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8/9/2019 Apparitions 2014
1/22
Apparitions
_____________
Thomas Nicholson(2014)
8/9/2019 Apparitions 2014
2/22
Thomas Nicholson
Apparitions(2014)
************Flute
Clarinet Violin
VioloncelloPiano
************
Commissioned by the Bathurst Chamber Music Festival
8/9/2019 Apparitions 2014
3/22
Thomas Nicholson
Apparitions (2014)Commissioned by the Bathurst Chamber Music Festival
PERFORMANCE NOTES
GENERAL – Hauptstimme indications have been included in the score to indicate parts of theinstrumentation that should be brought out of the other instruments’ textures. That said, theintegrity of the equal balance within the ensemble should not be ignored and no oneinstrument is ever really more important than the others (apart from possibly measures 19through 25).
FLUTE – The ngerings for extended techniques such as multiphonics were taken from “TheTechniques of Flute Playing” by Carin Levine, reprinted in 2003 by Bärenreiter. The dynamics
written for the multiphonic passages should be considered and the player should strive toreach these levels, although physical limitations are also taken into consideration by thecomposer. The harmonic written in the nal two measures should be as quiet as possible; it isthe fth partial of its fundamental.
CLARINET - The ngerings for extended techniques such as multiphonics were taken from“New Directions for Clarinet” by Phillip Rehfeldt, printed in 1977 by University of California
Press. The dynamics written for the multiphonic passages should be considered and the playershould strive to reach these levels, although physical limitations are also taken intoconsideration by the composer.
VIOLIN & CELLO – The more complicated rhythmic notation in measures 31 through 38 aremeant to represent an anxiousness and ought to be played as accurately as possible.
PIANO – Sections of the piece are to be played inside the piano on the strings: square note-heads represent notes that are either plucked or are played as a glissando (cf. the opening).The grace notes in measure 60 should be played as fast as possible. The arrows in measure 82represent directional glissandi indeterminately and the diamond in measure 83 represents theregion where the pianist should gently slap the strings. In measure 86, the pianist will run hisnger along the A-string indicated while striking the key to sound the various harmonics. Thenotes in measure 88 will sound as written and will therefore be played on the strings an octavelower at the location of the rst harmonic (half way along the string) – these are also struck bythe hammers.
8/9/2019 Apparitions 2014
4/22
PROGRAM NOTES
Apparitions was written for the Bathurst Chamber Music Festival’s new music
concert celebrating the local myth of the Phantom Ship. Less concerned with an
actual narrative, the piece expresses rather the atmospheric, emotional, and
psychological effects that one might experience at the sighting of such a phenomenon.
The opening sets the composition’s backdrop with a slowly developing atmosphere in
which individual instruments appear one by one out of the texture, representing the
still yet eerily moonlit waters. After a transition, the violin plays a plaintive folksong
native to New Brunswick’s northern region which the composer discovered during his
research. Slowly, the ship nally begins to emerge accompanied by anxiety and
restlessness, especially in the strings. This section heralds echoes and remembrances
of the folksong in the piano juxtaposed with a gradually decaying sense of intonation
around it as the piece ventures into microtonal inections: the viewer’s sense of being
changed after having seen the Phantom Ship. When the ship nally disappears, the
“still waters” from the opening are heard once again at the end, but things are not as
settled as before, and the piece comes to close quietly though not decisively.
© 2014 Thomas Nicholson. All Rights Reserved.Independently Printed.
8/9/2019 Apparitions 2014
5/22
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Apparitions
Thomas Nicholson (b. 1995)
© 2014 Thomas Nicholson. All Rights Reserved.
(2014)
for David Scott
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8/9/2019 Apparitions 2014
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8/9/2019 Apparitions 2014
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8/9/2019 Apparitions 2014
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4 Apparitions
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8/9/2019 Apparitions 2014
9/22
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8/9/2019 Apparitions 2014
10/22
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8/9/2019 Apparitions 2014
11/22
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8/9/2019 Apparitions 2014
12/22
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8 Apparitions
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8/9/2019 Apparitions 2014
13/22
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9 Apparitions
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8/9/2019 Apparitions 2014
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8/9/2019 Apparitions 2014
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8/9/2019 Apparitions 2014
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Ó J œ- J.
Ó œ œ. Œ
‰œœœœœ‰œ
Ӝ.
œ. Œ
Ó œ. œœ. Œ
Ó œœ. œœ. œ. ‰
F
F
F ç
F
F f
12 Apparitions
ª
8/9/2019 Apparitions 2014
17/22
8/9/2019 Apparitions 2014
18/22
?
?
4
4
4
4
44
8
8
8
8
88
4̂8
4̂8
4̂8
4̂8
4̂84̂8
4
4
4
4
44
Fl.
Cl. B b
Vln.
Vc.
Pno.
63
$
$
63
Ó œ‰ŒU
Ó œ ‰ ŒU
63 wwU ?
wwU
e = 72
e = 72
pizz.
pizz.
p
p
$
$
$
$
œ JœJ
3:2
$
#absolutamente idillio
$
$ Œ .
$
$
j .J
œ˙ .. œ œJ
3:2
. ˙ .
Ø
??
?
44
4
4
4
4
44
4
4
4
4
44
4
4
4
4
Fl.
Cl. B b
Vln.
Vc.
Pno.
66
Ó Œ Œ ‰œ ˙
3:2
w .66
Ó ‰œ w
$
66
JœJœ. œ . œJœ̂œJ œ3:2
3:2 3:2 3:2
˙ œœ w
Ø
Ø
arco
µ
µ
gliss. ˙$ Ó
$
˙ $ Ó
˙̇ ˙ ˙ ˙
œœœœ.œ.
˙ .
arco
%
P
µ
gliss.
14 Apparitions
ª
8/9/2019 Apparitions 2014
19/22
?
?
4
4
4
4
44
4
4
4
4
44
4
4
4
4
44
4
4
4
4
44
Fl.
Cl. B b
Vln.
Vc.
Pno.
68
Œ . j ˙
Œ . j ˙
68
Œ ..( j ˙
Œ ..œ( j ˙
68
$
$
%
%
%
%
µ
˙ ˙
˙ ˙
˙ ˙
˙ ˙̇
$
œœ. œœœœ ®œ. œœœ œ3:2
#
.
.
.
.
$
$
%
%
%
%
˜ œ˙
œ˙
œ˙
œ˙
$
$
p
pp
p
?
?
4
4
4
4
4
4
Fl.
Cl. B b
Vln.
Vc.
Pno.
72 jœ
j˙
œ œ œ œ72
œ œ œœœ3:2
œ œ ˙72
$
$
#
#
#
#
P
P
P
P
˜
µ
w
w
w
w
œœ œœœœ
˙ ˙̇
#
#
#
#
p
‰œœœœœ œœ
˙ œ Œ
˙ ˙
˙ . ‰
œœ œÓ3:2
˙ Ó
˜rit.
rit.
perd.
perd.
perd.
PJ
œjœ œ
$
$
$
$ ?
$
p %
15 Apparitions
ª
8/9/2019 Apparitions 2014
20/22
?
??
Fl.
Cl. B b
Vln.
Vc.
Pno.
76
‰œ.
‰œ.76
‰œœ..̇
‰· .
76
L L#
#
#
#
#
senza vib.
senza vib.
senza vib.
sulle corde
q = 40
q = 40
w
w
wwO
$
$
respirare quando necessario
respirare quando necessario
archeggio libero
(l.v.)
gliss.
archeggio libero
w
w
wwO
$
$
%
%
%
%
µ w
œ .
wwO
$
$
w
w
˙̇ ˙̇&
O
$
.j Ó
p
sulle corde
gliss.˜
œ œ.
w
wwO
' R>
œ.‰Œ Ó
$
p
poco vib.
poco vib.
S
perd.
?
?
Fl.
Cl. B b
Vln.
Vc.
Pno.
82
w
w82
wwO
82
$
p
poco vib.
senza vib.
senza vib.
glissando sulle cordeP
gliss.
w
w
wwO
$ ?
⁄
p
perd.
perd.senza vib.
schiaffeggiare le cordep
µ
w
w
wwO
I IØ
sulle corde
perd.
. Œ
. Œ
..̇ Œ
.Œ
$
$
16 Apparitions
ª
8/9/2019 Apparitions 2014
21/22
?
?
44
44
4
4
44
44
4
4
Fl.
Cl. B b
Vln.
Vc.
Pno.
86
$
Œ ‰ œ ˙ œ3:2
86
$
ww86
®) ) ) )) ))))) ) ) ) ) )
q = 46 [e = 9 ]
q = 46 [e = 9 ]p
p
gliss. sul. arm.
# #
$
˙ œœœ œœ3:2
$
ww
$
$
f
$
. œ ˙
$
' œœœœœœ œ
3:2
œo œ œ
$
P
F
espress.
P
$
j. ˙ œ
3:2
$˙̇ ˙̇
$
$
espress.
µµ
?
.
.
.
.
4
4
44
4
4
44
4
4
44
4
4
44
Cl. B b
Vc.
Pno.
90
w
‰. ˙
90 œŒœŒ
Œœ- Œœ-
#
# espress.
p
˙J .
œ-Œ
Œœ-
‰œ.
ww
˙ Ó$
p .Œ˙.
$
$
p
‰œ jœ œ.
$
$
P
P
?
4
4
44
4
4
44
4
4
44
.
.
.
.
2
2
22
Cl. B b
Vc.
Pno.
95
. œ
Ó O95
$
$
#
psul pont.
˙ ˙
œ œ œ ˙3:2
$
$
norm.
.
œ ˙̇
Œ Œœ$
#
œ .
wwÓ ˙
$
%
%
p
17 Apparitions
ª
ª
8/9/2019 Apparitions 2014
22/22
?
2
2
2
2
22
Fl.
Cl. B b
Vln.
Vc.
Pno.
99
$
$
99
$
$
99
˙ ˙ Ó$ ˙
?quasi
w ˙O O.
. .œ
..w
..w
.
-14¢
#
#
#
#
#
armonica
˙ wO O
U
.U
O OwU
..wU
.wU
.U
perd.
perd.
perd.
perd.
lunga
lunga
lunga
lunga
lunga
lunga
18 Apparitions
Victoria March 2014