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“An Extraordinary Correspondence” by Nathan Daughtrey


“An Extraordinary Correspondence” by Nathan Daughtrey

Performed by
Nathan Daughtrey, Marimba
Laura Stevens, Flute

Mallet Selection for this Piece:


Robert van Sice Signature (M111)

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Very soft. For a warm, round sound that is perfect for low register chorales.


Robert van Sice Signature (M112)

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Soft. Produces a broad sound with tremendous projection that is dark, but not muffled.


An Extraordinary Correspondence (for Flute and Marimba)
Copyright © 2012 C. Alan Publications (www.c-alanpublications.com)

An Extraordinary Correspondence was commissioned by Jennifer and Richard Elliot as a means of expanding the repertoire for their flute/marimba duo. Inspired by the Griffin & Sabine Trilogy of books by Nick Bantock (Chronicle Books), the work takes its title from the subtitle of the first book. Bantock tells the mystical story of these two people by inviting readers to examine handmade postcards and letters that are sent back and forth. As the story unfolds, we discover that Sabine can “see” what artist Griffin paints. Filled with skepticism and doubt, Griffin is resistant to the idea and flees. When he finally starts to come around, Griffin and Sabine attempt to meet but quickly discover that they are living in parallel universes. I will not reveal any more plot points, as I think Bantock does a much better job of telling the story.

The 6-1/2 minute piece unfolds in much the same way and is divided into six main sections, each describing a mood or quoting a phrase from the book:

A postcard…  
Griffin receives the first postcard from Sabine Sabine shares her ability with Griffin
“I share your sight”
Griffin trying to convince himself
“I must believe you’re real”
Doubt & uncertainty return for Griffin
“You’re a figment of my imagination” “Are you my shadow?”
Trying to make sense, Griffin asks…
Parallel worlds…
Attempting to meet one another, the discovery they are living in parallel worlds



Whether performing nationally as a marimba/vibraphone soloist or a chamber musician, conducting percussion clinics, composing for a range of soloists and ensembles around the world or teaching at the university level, Nathan Daughtrey (b. 1975) is a musical chameleon who uses his wide-ranging talents to adapt comfortably to a variety of environments.

As a performing artist and clinician for Yamaha and Vic Firth, Dr. Daughtrey has performed and conducted master classes and clinics in concert halls and at universities throughout the United States and across three continents. He has two solo marimba CDs to his credit –

Spiral Passages, which features premiere recordings of David Gillingham’s “Gate to Heaven” and David J. Long’s “Concerto for Marimba;” and The Yuletide Marimba, which showcases Daughtrey’s solo and marimba quartet arrangements of 13 Christmas favorites. Also active as a collaborative artist, he has performed and recorded in chamber settings with composers Michael Udow and Daniel McCarthy, saxophonists Susan Fancher and Steven Stusek, bassoonist Michael Burns, clarinetist Christina Giacona, and the Virginia Beach Percussion Quartet, Trommel Percussion Group and Philidor Percussion Group.

According to leading wind band conductors and clinicians Ray Cramer and Peter Boonshaft, Dr. Daughtrey’s compositions are “fresh, beautifully scored journeys through dramatic textures” that feature “powerful tensions, velvety textures, lamenting colors and driving vigor.” With over fifty publications for concert band, percussion ensemble, chamber ensembles, and soloists as well as an ever-growing number of commissions, his works have been performed at national and international conferences. Performance venues include Percussive Arts Society International Convention, Midwest Band and Orchestra Clinic, Bands of America National Percussion Festival, Asian Symphonic Band Competition (Bangkok, Thailand), and the International Music Conference (Beijing, China). Daughtrey is the only composer in the history of the Percussive Arts Society Composition Contest to procure both 2nd and 3rd place in the same year with his percussion ensemble works “Limerick Daydreams” and “Adaptation.” Additionally, his band pieces “Downtown Dash” and “Limerick Daydreams” have been featured in two volumes of GIA Publications’ “Teaching Music Through Performance in Band.” He has received annual awards from ASCAP since 2007. His eagerly awaited “Concerto for Vibraphone” is now available from C. Alan Publications in versions for both percussion ensemble and piano reduction.

As an educator, Dr. Daughtrey served as a Visiting Lecturer of Percussion for three years at the University of North Carolina at Greensboro, where he taught applied percussion and conducted the Percussion Ensemble. He also served as a sabbatical replacement at the University of Oklahoma, where he taught undergraduate and graduate percussion students and conducted the world-renowned OU Percussion Orchestra. Dr. Daughtrey is currently a Visiting Lecturer of Music Composition and Percussion at High Point University (NC), where he teaches applied lessons and directs the University Percussion Ensemble.

When not performing, composing or teaching, Dr. Daughtrey can be found running and biking the trails and greenways in his hometown of Greensboro, NC.


Flutist LAURA STEVENS, Instructor of Flute and Director of the Flute Ensemble, joined the full time music faculty at High Point University in 2012. She has served as the principal flutist of the Western Piedmont Symphony since 2002 and has been a member of the Salisbury Symphony since 2000.

In March of 2014, Stevens was the featured guest artist with the Western Piedmont Symphony performing Carl Neilsen’s Concerto for Flute and Orchestra. She is a founding member of the Relevents Wind Quintet who made their critically acclaimed debut tour through Southern Germany in April 2009. She also traveled to Venezuela, South America with the Archipelago Project to teach and perform through El Sistema — a publicly financed, voluntary sector music education program.

A native of Christiansburg, Virginia, Stevens received the Doctorate of Musical Arts degree at the University of North Carolina at Greensboro, the Master of Music Degree from the University of North Carolina School of the Arts, and the Bachelor of Music Degree from the Salem College School of Music. Her teachers include Elizabeth Crone, Deborah Kemper, Debra Reutter-Pivetta, Philip Dunigan, Tadeu Coelho, and Deborah Egekvist.

Stevens lives in Winston-Salem, North Carolina with her composer/recording engineer/husband, William R. Stevens, and their two daughters, Satie and Julianne.

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