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Graduate recitals Coulter, Nicholas Scott 1997

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GRADUATE  RECITALS  by NICHOLAS SCOTT COULTER B.Mus., U n i v e r s i t y o f V i c t o r i a ,  1995  THESIS SUBMITTED IN PARTIAL FULFILLMENT THE  REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (PERCUSSION) in  THE  FACULTY OF GRADUATE STUDIES (School  We a c c e p t  this  o f Music)  t h e s i s as c o n f o r m i n g  to the required  THE  standard  UNIVERSITY OF BRITISH April ©  Nicholas  COLUMBIA  1997 Scott  Coulter  In presenting  this thesis in partial fulfilment of the requirements for an advanced  degree at the University of British Columbia, I agree that the Library shall make it freely available for reference  and study. I further agree that permission for extensive  copying of this thesis for scholarly purposes may be granted by the head of my department  or by his or her representatives.  It is understood  that  copying or  publication of this thesis for financial gain shall not be allowed without my written permission.  Department The University of British Columbia Vancouver, Canada  DE-6 (2/88)  U n i v e r s i t y o f B r i t i s h Columbia R e c i t a l Programme, M a r c h 1996 Nicholas Coulter, Percussion March  E l l i o t Carter (not o n t a p e )  Tango S u i t e p a r a duo de g u i t a r r a s No.3 No.2 No.l  Astor  Graham H a r g r o v e , 'untitled'  marimba Joel Tibbits  Joel Tibbits, Caribana  Piazzolla a r r . N. C o u l t e r , G. H a r g r o v e  electric  Suite  guitar  Mark Duggan  intermission Temazcal f o r a m p l i f i e d maracas and tape Sonata  f o r Two p i a n o s a n d p e r c u s s i o n  Javier  . Bela  Alvarez  Bartok  L e s l i e Dala, A n i t a Wilson, pianos Graham H a r g r o v e , p e r c u s s i o n  THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC Recital Hall Sunday, March 23,1997 8:00 p.m. MASTER'S STUDENT RECITAL* NICHOLAS COULTER, Percussion  Vals Venezolano No. 2 El Marabino  Antonio Lauro (1909-1986) arr. by N. Coulter  Concertino for marimba  Paul Creston (1906-1985)  Vigorous Calm  Lively Cynthia Yeh, piano psappha  Iannis Xenakis (b. 1922) INTERMISSION  Music for a Summer Evening (Makrokosmos IID I. II. III. IV. V.  George Crumb (b. 1929)  Nocturnal Sounds (The Awakening) Wanderer-Fantasy The Advent Myth Music of the Starry Night Leslie Dala and Karen Lee, pianos Graham Hargrove, percussion  * In partial fulfillment of the requirements for the Master of Music degree with a major in Percussion. Reception to follow in the Lobby.  -programme notes-  Vals Venezolano No.2 / El Marabino The Venezuelan waltz is a musical genre combining the elements of the three major cultures present in Venezuela in the nineteenth and early twentieth centuries; the local indigenous population, the Spanish colonists and African, slaves each influenced the musical environment that created the Venezuelan waltz., Antonio Lauro has written a significant body of music in this style, and his music, is well known to guitarists around the world. Alirio Diaz, a fellow Venezuelan, has championed Lauro as an interpreter of his music both in performance and in published editions. The two waltzes presented here show the effective adaptation of guitar music to the marimba, with its sparse chordal texture and energetic melodic lines. Concertino for marimba The Concertino holds the distinction of being the first work in the concerto genre for marimba and orchestra, and thus has since become part of the standard percussion repertoire. It was commissioned by Frederique Petrides and was first performed in A p r i l , 1940. In collaboration with Ruth Steger, the original soloist, Creston was able to compose a work that represented well the marimba's technical and musical possibilites of the time. Although the marimba has existed in various forms in Africa and South America for centuries, the late date of the composition of this work shows the surprising youth of the marimba as an instrument of western art music. psappha Iannis Xenakis composed this work on a commission from the Gulbenkian Foundation for the English Bach Festival in London. The.work is dedicated to Sylvio Gualda, who gave the first performance at Round House in London in 1976. psappha is written using a boxed notation similar to graph paper, with dots representing sounds on each of the instruments. Instruments are grouped into six families, based on the construction of the instrument (membrane, metal, wood) and on register (high, medium and low). Thus, at times the performer is reading multiple "staves" of three or more instruments each. Despite the mathematical sounding nature of the score, and Xenakis' reputation for a mechanistic compositional style, the composer allowed himself more intuitive freedom with musical choices than in other works; many sections of the work seem organic in form, and much of the work lends itself to a very natural rhythmic drive which ultimately fuels its performance.  Music for a Summer Evening (Makrokosmos III) (1974) George Crumb provides poetic quotations for the three larger movements (I, III, and V ) which he described as being "very much in my thoughts during the sketching-out process, and which, I believe, find their symbolic resonance in the sounds of Summer Evening." These three quotations shall thus stand alone as reference to the work as a whole: I. "Odo risonanze effimere, oblio di piena nolle nell'acqua stellata" ("I hear ephemeral echoes, oblivion of full night in the starred water") -Quasimodo III. "Le silence eternel des espaces infinis m'effraie" ("The eternal silence of infinite space terrifies me") -Pascal V . "Und in den Ndchlen fdllt die schwere Erde aus alien Sternen in die Einsamkeit. Wir alle fallen. Und doch 1st Einer, welcher dieses Fallen unendlich sanfi in seinen Hdnden halt" ("And in the nights the heavy earth is falling from all the stars down into lonliness. We are all falling. A n d yet there is One who holds this falling, endlessly gently in His hands") . -Rilke  I would like to express my deep gratitude to Leslie, Karen, Graham and Cynthia for their effort and committment to this project. Without them this would not have been possible. I would also like to thank my family and friends who travelled from other parts of the country to share this recital with me. Finally, I would like to express much gratitude to John Rudolph and Salvador Ferreras for their direction and support.  Please join us for a reception in the lobby.  


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