!

!
!

Apparitions

_____________

!
!

Thomas Nicholson
(2014)

Thomas Nicholson

Apparitions
(2014)
!
!
!
!
!
!
!
!
!
!
************
Flute
Clarinet
Violin
Violoncello
Piano
************

!
Commissioned by the Bathurst Chamber Music Festival

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 the
instrumentation that should be brought out of the other instruments textures. That said, the
integrity of the equal balance within the ensemble should not be ignored and no one
instrument is ever really more important than the others (apart from possibly measures 19
through 25).

FLUTE The fingerings for extended techniques such as multiphonics were taken from The
Techniques of Flute Playing by Carin Levine, reprinted in 2003 by Brenreiter. The dynamics
written for the multiphonic passages should be considered and the player should strive to
reach these levels, although physical limitations are also taken into consideration by the
composer. The harmonic written in the final two measures should be as quiet as possible; it is
the fifth partial of its fundamental.

CLARINET - The fingerings 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 player
should strive to reach these levels, although physical limitations are also taken into
consideration by the composer.

VIOLIN & CELLO The more complicated rhythmic notation in measures 31 through 38 are
meant 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 noteheads 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 82
represent directional glissandi indeterminately and the diamond in measure 83 represents the
region where the pianist should gently slap the strings. In measure 86, the pianist will run his
finger along the A-string indicated while striking the key to sound the various harmonics. The
notes in measure 88 will sound as written and will therefore be played on the strings an octave
lower at the location of the first harmonic (half way along the string) these are also struck by
the hammers.

PROGRAM NOTES

Apparitions was written for the Bathurst Chamber Music Festivals 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 compositions 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 Brunswicks northern region which the composer discovered during his
research. Slowly, the ship finally 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 inflections: the viewers sense of being
changed after having seen the Phantom Ship. When the ship finally 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.

!
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!
!
!
!
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!

!
2014 Thomas Nicholson. All Rights Reserved.
Independently Printed.

for David Scott

Apparitions
(2014)
q

= 40

Flute

4
& 4 .

Clarinet in B b

4
& 4 .

Piano

senza vib.

wO
w

w
w

archeggio libero

= 40

(l.v.)

0'30.5"
poco vib.

&

poco vib.

Vln.

& w
w

Vc.

? wO
w
6

&
?

p
N >
R

# .
S

w
w

w
w

wO
w

wO
w

wO
w

senza vib.

wO
w

0'27"

&

j
#

sulle corde

5
4

0'48"

5
4

w
w

0'48"

w
w

.
.

5
4

wO
w

O ...

45

perd.

poco vib.

0'48"

perd.

w
w

w
p

senza vib.

0'36"

0'30"

0'19.5"

perd.

w
p

& w

Cl. B b

Pno.

archeggio libero

Thomas Nicholson (b. 1995)

respirare quando necessario

senza vib.

? 4 L
4
sulle corde
? 4
4 L

? 4 ..
4
.
J

Violoncello

Fl.

respirare quando necessario

4
& 4 # .
.

Violin

senza vib.

wO
w
p

senza vib.

0'48"

perd.

? I

0'48"

sulle corde

2014 Thomas Nicholson. All Rights Reserved.

5
4

45

Apparitions

1'00"
& 45

11

Fl.

Cl. B b

5 1'00"
& 4

#.

.
.

1'00"
& 45

11

Vln.

Vc.

.
.

? 5 1'00"
4

?5
4

11

1'00"

Pno.

j
b

44

43

4
4

3
4

j
b

44

43

j
b

4
4

3
4

4 b n n n
4

3
4

4
4 n # # b
b

nn b # n n b b
# b n

&
3:2
p 3:2

3:2
b b b # n n # A
# b n # b b
&
come ghiaccioli

?5
4

3:2

3
4

& 43 # .

Fl.

Cl. B b

44 j
n

& 43 b .

#
F

b
F

3
& 4
13

Vln.

Vc.

? 3
4

#.

3
&4

13

Pno.

j b

13

b
# b n n
3:2

3:2

b n

3:2
perd.
3:2
#

?3

4 j & # b n n # # # n n # n
b
n

come prima

4
4
44

4
4

P
P

b b

4
4

4
4

n n

3:2

Fl.

Cl. B b

Apparitions

Vc.

& w

& w

16

&

Pno.

&

16

Vln.

16

3:2

Fl.

5
& 4

Cl. B b

5
& 4

rit.

5
& 4

19

Vln.

Vc.

? 45

b ww

w
w

rit.

5
&4 w
b www

?5
4 n ww
w

19

Pno.

3:2

sul D

5
4

.
.

45

5
4

45

# b # wwwww
p

j
#

5
4

.
.

4
4

7
4

4
4

7
4

4
4
p

espress.

pizz.

44

come accompagnamento di chitarra

j 5
# 4

3:2

A ...

q = 56

19

b #
p

J .
p

b b b b
P

F
? . .

3:2

3:2

q = 56

4
4

4 .
4 .

j
.

3:2

sul G

3:2

.
..

w
w
w
w

.
.

7
4
74

7
4
7
4

Apparitions

& 74

Fl.
Cl. B b

7
& 4
7
& 4

Vc.

? 7
4

7
& 4

22

3:2

.
P

3:2

3:2

#
b

3:2
3:2

ord.

3:2

4
4

# #

4
4

3:2

# #

4
4 .

Pno.

? 74

4
4

22

Vln.

44

22

44

#
b

3:2

n #n

n b

b
b

come ghiaccioli

3:2
#
&
# b n n # # b b b
3:2

3:2

3:2

Fl.

&

7
4

Cl. B b

&

7
4

24

24

Vln.

Vc.

&
?

24

Pno.

& #
b
P
?

#
3:2

b b

lentamente piegando

3:2

b
n
n
F

b b

# # #

3:2

n
#

p 3:2

3:2

b
# a
b

74

7
4

7
4
7
4

Apparitions
Fl.

7
& 4

Cl. B b

7
& 4

Vln.

7
& 4

Vc.

? 7
4

26

26

& 74
b
3:2
p

#
? 7 #
4 &

26

Pno.

& 44

28

Fl.

Cl. B b

4
& 4 b
F

con forza!

& 44

28

Vln.

con forza!

? 4 b 4
F

con forza!

Vc.

b -

b -

>
n A n >
#

n n
>
3:2
F
3:2
n
3:2
? 44
#

b N

v
>

3
4
P
3
4
P

3
4

arco

> .
43

n
#

b n

43
?

3
4

molto

frullato

.
43 # .
>

molto tremolo
n > .
3 .
4

molto

molto tremolo

molto

^
^
^ b ^
3 b b # A
4
b b ..
.
f

^
3:2
^

# b
43
b b .

b.

4
4
4
4

4
4

4
4

b P

- b
-

frullato

3 > .
4

3
4
P

.
F

.
F

b b n n A b

n
b

n
#
3:2
3:2
P

3:2
3:2
n
#
?
n
#

# #
& # n n

4
b
& 4 b b n b #

28

Pno.

b n

3:2

con forza!

1
1

44
4
4

44
4
4
44

4
4

4
4

44

molto

Apparitions

q = 56

Fl.

4
& 4

Cl. B b

& 44

31

Vln.

4
& 4

Vc.

? 4
4

#.
.

# #

31

6:4

3:2

b b n n # # n b

.
b

5
4

gliss.

3:2

45

5
# b n n
4
n #
3:2

b #
n

3:2

3:2

Pno.

q = 56

4
&4

? 44

31

Fl.

& 45

Cl. B b

5
& 4

..
.

32

5
& 4

32

Vln.

Vc.

? 5
4

45

43
3:2

. .
f

#
p

sul G

3:2

5
4

.
#.

3:2

3:2
b

#
b
n

b
7:4
f

& 45
? 45

# # #

32

Pno.

gliss.

j b

5
4

3:2 A
#

r
7:4

#
n
n
3:2

3
4

3:2
A 43

a
b
n
r
7:4

#
n

3:2

3
4

43
43

 .
#.

3
& 4

33

Fl.

Cl. B b

Vc.

6
4

poco

# # 4:3
# 6
4

# # J 3:2
p
F

3
& 4 b b O
p

33

Vln.

rit.

3:2

& 43

sul G

? 3
4

r
5:4

gliss.

6
4 O ..

j
b

3
& 4 #
#
?3
4

33

Pno.

Apparitions

w
# w

#.
#.

6
4

# #

rit.

= 40

O ..

4 Ow
4

O O

4
4
q

44

perd.

(l.v.)

4
4

perd.

6
4

6
4

&

b b O

#
# n 3:23:2
4

4
#
3:2

4
?

= 40

Fl.

Cl. B b

q = 56

#.
& .

36

&

Vln.

Vc.

&
?

Pno.

b b n n # # n b

q = 56

.
b

5
4

3:2

6:4

&

36

# #

36

gliss.

r
3:2

5
4

5
# b n n
4
n #
3:2

b #
n

3:2

3:2

# # #

#
b

45

5
4
5
4

Apparitions

Fl.

& 45

Cl. B b

5
& 4

37

5
& 4

37

Vln.

Vc.

? 5
4

.
#.

..
.

3:2

# . .
f

3:2
b

#
b
n

b
7:4
f

j
3:2

gliss.

j b

F
#

3:2

5
&4
? 45

#
p

sul G

37

Pno.

43

3:2
A #

r
7:4

3
4

3:2

# #

3:2
3
A

a 4
b
n
7:4

3:2

&

3
4

3
4

# #
p

43

.
n #
n # . b . . b . .

4 . b

n # .
4

frullato

3
& 4

& 43

38

Fl.

Cl. B b

> #

44

arco

Vln.

Vc.

3
&4
?3
4

9:8

3:2

3 o .
& 4
gliss. sul. arm.
P
38

Pno.

pizz.

3
& 4 # #

#
F
S

38

j
b
f

molto tremolo

3:2

4
4

F
o

r
3:2

#.

O ..

.
4 b # ...
4
P
4
4

#.

3:2

3:2

>
f

#
#.

# n

45

3:2

5
4

O ..

b # ...
.
J
#.

5
4

O
J

arco

b 44
5:4

#.

rK
7:8

pizz.

rK
5:4

>

f

5
4

5
4
# n
3:2

5
4

Apparitions

5 #
& 4
P 3:2

40

Fl.

Cl. B b

5
& 4

5
& 4
F

40

Vln.

Vc.

B 5
4
F

3:2

3:2

p
?5 j
4 b

42

&
&

42

Vln.

Vc.

&
B

b -

= 40

b # -

# -

f
-

f
q

rit.

j
.

3:2

3:2

3:2

n
b -

>

>

^

b

rit.

= 40

>

3:2

3:2

3:2

>

3:2

3:2

j
b

# -

& b b
b
f
? n n
n -

42

Pno.

#

& 45 #

3:2
3:2

Cl. B b

3:2

3:2

3:2

Fl.

3:2

40

Pno.

rit.

#
#

3
4

3:2

#
F

3
4 #
f

3
4
3
4

. jN

3:2

3:2

3:2

3:2

3:2

rit.

.
3:2

3:2

n #
3
4

#
3:2
F
3
4

b
b

b
3:2

3:2

q = 56 [e = 112]

n
3:2

b
b

#
.
b # n b

frullato

4
4

4
4

5
8

4
4

5
8

23
4 8

4
4

5
8

23
4 8

4
4

www
www

44 U
w
w
w

5
8

q = 56 [e = 112]

b b

5
8
85

j
#

n #

3:2

3:2

23
4 8
23
4 8

23
4 8
4238

Apparitions

10

2 3
& 48

46

Fl.

Cl. B b

23
& 4 8

Vln.

& 4238

Vc.

B 4238

# #

>

P
F
f
3:2

23 b b
&48

? 4238

o .

. 3:2
n
#
3:2

Fl.

5
& 16

Cl. B b

5
& 16
5
& 16

Vc.

B 16
5

Pno.

5
& 16

# .

>

# > ..

b
n
5
& 16 n n

48

41

48

Vln.

2
4

b # -

>
#

b b b
?

>


J
F
j


>

.
b

46

48

46

Pno.

2
4

rit.

5
16

42

5
16

42

# #

6
4

41

46 b
F

1
4 n #
n P
#
1
4 n
rit.

46 b
F

6
4 www ...
w .
q

= 104

6 w.
4 w.

n #
b

= 104

pizz.

5
16

1
4

41

3:2

46

5
16

42

2
4

b bn # n b

5
16

3:2

& b

#
45
5
4

j 5
# 4

5
16

3:2

J b.

5
4
5
4

3:2

n >
gliss.

p
w

46
6
4

#.
p

# # n b n 45 #
3:2
P
f

#
arco

46

46

#
#

6
4
6
4

11

Apparitions

& 46

52

Fl.

Cl. B b

6
& 4

6
& 4

52

Vln.

Vc.

b
P

3:2

b
p

& 46

? 6
4

c b

Fl.

Cl. B b

&

b
b # #
7:4

&
& n.

Vln.

Vc.

&

54

Pno.

54

n n

3:2

#
& # # #
3:2

#
n #

8
4

pizz.

n n n n wwwww
p

# # ww
8 # # # www
4

b bn ....
F

3:2

n
n ..

3:2

# .
p

.
F

3:2

8
4

8
4

8
4

8
4
7:4
F

3:2

54

pizz.

52

Pno.

? 6 b
4

c #

Apparitions

12
rit.

Fl.

Cl. B b

&
&

Vc.

#w

&

arco

ww
P

rit.

& b b ww
w
P
? nw
w

# # n www
w
w
n ww

& c

& c

58

Cl. B b

#
>

Vc.

arco

n #
&c J
f

n ^

58

Pno.

?c

j
nb

# #

b n
3:2

& b b

b n

^
b

3:2

b n

3:2

# # ^
^

b ^
?
J

c
c

b n ...
b
. # J
F

b n ...
n n .

3:2

b # b b

# n n

>
.
f

# n b

3:2

3:2

& c
? c

6
4

58

Vln.

b
f

46

b.

pizz.

a tempo

n n ww
w

3:2

6
4

b ww
n # ww
f

3:2

46

b ww
f

3:2

6
4
,

b.

a tempo

46

#w
f

Fl.

3:2

w
P

56

Pno.

3:2

56

Vln.

56

. # .
F
#
F

b
f

# . b .

n .
J

b bb #
. # .
F
. b .
?#
b

b .

13

Apparitions
60

Fl.

Cl. B b

&

Vc.

&

Fl.

&

Cl. B b

&

b ..
.

j
b
b

3:2

&
?

Pno.

.
.

>

gliss.

3:2

b
fl

3
4

3:2

j
n
n

b A

3:2

43

3
4

3
4

4
4

44

n U
#
# # n

#
f
U
# # .
# - # - 43 # .. #
b

.
n .
n n b n 43
n

a b
& #
.
# b b - n n
# .
n .
.

?
- - b - n - b
b - b n n - n - b - b - n
- -

61

frullato

61

Vc.

# # n b #

61

3:2

# n a # b

3:2

&

Vln.

& .
F

60

Pno.

3:2

60

Vln.

4
4
4
4

4
4
4
4

Apparitions

14
e

Fl.

& 44

Cl. B b

4
& 4

63

= 72

Vln.

& 44

Vc.

? 4
4

63

& 44

63

Pno.

Vc.

4538

5
8

53
4 8

85

4538

74

5
8

53
4 8

7
4

#
p

pizz.

= 72

w
wwww

5
8

4 w
w

& 74
7
& 4

? 74

? 7 J J .
4
3:2

3:2

J
3:2

4538

.
48 n

3:2

gliss.

. J

8
4
48

3:2

3:2

&

8
4

b ww ..

gliss.

8
4 . ww ..
P

45
5
4

48

74
7
4

arco

# ^

arco

..

7
4

B .

3:2

53
4 8

74

& 74

?7
4

66

Pno.

85

absolutamente idillio

66

Vln.

pizz.

66

Cl. B b

85

?4 U

Fl.

45
45

5
4
5
4

15

Apparitions

Fl.

& 45

Cl. B b

5
& 4

68

Vln.

& 45

Vc.

? 5
4

68

& 45

68

Pno.

j
b

44

4
4

3
4

j
B

44

j
I

4
4

43 b .

44

4
4

.
.

.
.

?5
4

Cl. B b

jb

4 j
& 4 n

4
& 4
& 44

Vc.

Pno.

? 4
4

4
&4

? 44

72

3:2

. .

3:2

72

Vln.

b #

44

4
4

#
p

44

b
p

4
4

43

44

3
4

4
4

#.

3
4

rit.

72

Fl.

43 .

perd.

perd.

perd.

N
n n

b b # # n
# #

rit.

n
n

3:2

Apparitions

16
q

= 40
senza vib.

& .

76

Fl.

Cl. B b

& .

senza vib.

?L

Pno.

respirare quando necessario

w
w

? ..
.
J

76

archeggio libero

senza vib.

Vc.

gliss.

& # .
.

76

Vln.

respirare quando necessario

wO
w

wO
w

archeggio libero

= 40

?
L

w
w

sulle corde

w
p

w
w

wO
w

wO
w

senza vib.

& w
p

Cl. B b

gliss.

82

Vln.

senza vib.

& w
w
? wO
w

Pno.

w
w

w
w

.
.

wO
w

O ...

senza vib.

perd.

schiaffeggiare le corde

sulle corde

wO
w
p

glissando sulle corde

# .

82

&

j
#

N >
R

perd.

poco vib.

Vc.

&

perd.

& w

perd.

w
w

(l.v.)

82

poco vib.

wO
w

Fl.

gliss.

poco vib.

? I

sulle corde

&

17

Apparitions
86

Fl.
Cl. B b

&

q = 46 [e = 92]

&

86

Vln.
Vc.

&

? w
w
p

#
p

3:2

Pno.

gliss. sul. arm.

& .. w

2
4

90

Cl. B b

Vc.

? ..

& ..

90

Pno.

& 44

42

espress.

p b
.

.
&

b -

2
4

Vc.

Pno.

? 44

4
&4

95

4
&4

#.
J

# -

sul pont.

4
4

# -

norm.

3:2

3
4

3
4

# o

3:2

3
4 #.

43 .
p

3
4

3
4

43 .

#.
P

3
4

4
4

4
4

4
4
4
4

&

4
4
44

44 B w
w

3:2

44

43

3
4

44

4
4

n #
# n

espress.

# #
F

espress.
4 j
4
.

n
P

3
4

4
4

43

44

3
4

44 n w
w

2
4

43

B .
4
4
B
p

95

Cl. B b

w
w

q = 46 [e = 92]

3:2

&

86

4
4
4
4
.. 32

.. 32

b
p

.. 32
.. 32

Apparitions

18
armonica

3
& 2

3
& 2

3
& 2

99

Fl.

Cl. B b

99

Vln.

Vc.

? 3
2

3
&2

99

Pno.

3
& 2

-14

O ..

bw.
w.

quasi

w.
bw.

w.

U
w

lunga

perd.

lunga

B w.

B w.

perd.

UO

lunga

O ..

perd.

Victoria, March 2014

lunga

w.
w.

U
# wwww ....
b w.

lunga

lunga

w.

perd.