Oscar Bianchi - « 6 db »

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Concerto pour 6 contrebasses & orchestre

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Commande de Radio France, du Festival Archipel, de Basel Sinfonietta et de la Russian Concert Agency, avec le soutien de la Fondation pour la musique Ernst von Siemens, de Pro-Helvetia, de Landys Gyr et de Covéa Finance

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Création le 17 septembre 2021, Paris, Radio France, Auditorium, par l’Orchestre Philharmonique de Radio France, Lorraine Campet, Wei Yo Chang, Yann Dubost, Lucas Henri, Édouard Macarez et Boris Trouchaud (contrebasses), sous la direction de Mikko Franck

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Durée : 22 minutes environ

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© 2021 Éditions DURAND Tous droits réservés pour tous pays All rights reserved Édition du 27 juillet 2021 DF 16697

Nomenclature

2 Flûtes (2de aussi Petite Flûte et Flûte basse)

2 Hautbois

2 Clarinettes en si b (2de aussi Clarinette basse) 2 Bassons (2d aussi Contrebasson)

2 Cors en fa

2 Trompettes en ut

2 Trombones

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Timbales

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aussi : 2 Schwirrbogen Kolberg (petit, B4, et grand, D2), Bol tibétain (moyen-petit) sur Tom-tom (pour les résonances), Crotale (Bb6), Steel Drum (E4), Waldteufel Kolberg (pas trop petit), Cuica (ou similaire), Waterphone, Cymbale (grande, avec archet) renversée sur Timbale, Plexiglass (78 cm x 50 cm x 2 mm environ), Spring Drum (Remo SP-0410-1A 4’’ x 10’’ ou similaire)

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1. Vibraphone, Grosse Caisse symphonique, Bâton de pluie, Seed Pods (très petits), Crotales, 2 Cloches-plaques, Lion’s Roar, Cuica (ou similaire), Crécelle en bois (grande), Plexiglass (78 cm x 50 cm x 2 mm environ), Sleigh Bells sur Tom-tom (grand), 4 Tom-toms, Slap Stick, Gong thaï (C#4), Tam-tam, Cymbale suspendue (grande), Hochet Seed Pod (grand), 3 Springs Coil (disposés sur du polystyrène ou similaire), Spring Drum (Remo SP-0410-1A 4’’ x 10’’ ou similaire), Log Drum (moyen-aigu), 2 Schwirrbogen Kolberg (moyen et grand), Steel Drums (F5) 2. Vibraphone, Grosse Caisse symphonique, Bâton de pluie, Seed Pods (très petits), Crotales, Waterphone, 2 Cloches-plaques (différentes de celles de la Percussion 1), 3 Cymbales suspendues (petite, moyenne-petite et moyenne), Cuica (ou similaire), Gong balinais (B1), Plexiglass (78 cm x 50 cm x 2 mm environ), Schwirrbogen Kolberg (grand, D2), 4 Tom-toms, Slap Stick, 3 Springs Coil (disposés sur du polystyrène ou assimilé), Hochet Seed Pod (grand), Spring Drum (Remo SP-0410-1A 4’’ x 10’’ ou similaire)

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Piano (aussi Célesta)

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accessoires : E-bow, Spring Drum (Remo SP-0410-1A 4’’ x 10’’ ou similaire), 2 Poulets couineurs (jouets canins)

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accessoires : baguettes de Timbale (douces), Guitar Slide en métal, Super Ball

6 Contrebasses solistes (2e et 5e à cinq cordes)

6 Altos

5 Violoncelles

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8 Violons II

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10 Violons I

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Partition en ut (non transposée)

La Flûte basse sonne une octave au-dessous, le Célesta une octave au-dessus, le Glockenspiel et les Crotales deux octaves au-dessus. Les Contrebasses solistes sont notées ordinairement, mais en sons réels (avec des clés octaviantes).

Instrumentation

2 Flutes (2nd also Piccolo and Bass Flute)

2 Oboes

2 Clarinets in B b (2nd also Bass Clarinet) 2 Bassoons (2dn aussi Contrabassoon)

2 Horns in F

2 Trumpets in C

2 Trombones

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also : 2 Kolberg Schwirrbogen (small, B4, and big, D2), Tibetan Bowl (medium-small) over Tom-tom (for resonances), Crotale (Bb6), Steel Drum (E4), Waldteufel (Kolberg, not very small), Cuica (or similar), Waterphone, reversed Cymbal (large, with bow) over Timpano, Plexiglass (78 cm x 50 cm x 2 mm ca), Spring Drum (Remo SP-0410-1A 4’’ x 10”)

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1. Vibraphone, Symphonic Bass Drum, Rain Stick, Seedpods (mini), Crotales, 2 Bell Plates, Lion’s Roar, Cuica (or similar), Wooden Ratchet (large), Plexiglass (78 cm x 50 cm x 2 mm ca), Sonagli Stab over Tom-tom (large), 4 Tom-Toms, Slap Stick, Thai Gong (C#4), Tam-tam, Suspended Cymbal (large), Seed Pod Rattle (big), 3 Car Springs (placed over polystyrene or similar), Spring Drum (Remo SP-0410-1A 4’’ x 10” or similar), Log Drum (medium-high), 2 Kolberg Schwirrbogen (big and medium), Steel Drums (F5) 2. Vibraphone, Symphonic Bass Drum, Rain Stick, Seed Pods (mini), Crotales, Waterphone, 2 Bell Plates (not same as those of Percussion 1), 3 Suspended Cymbals (small, medium-small and medium), Cuica (or similar), Bali Gong (B1), Plexiglass (78 cm x 50 cm x 2 mm ca), Kolberg Schwirrbogen (big, D2), 4 Tom-toms, Slap Stick, 3 Car Springs (placed over polystyrene or similar), Seed Pod Rattle (big), Spring Drum (Remo SP-0410-1A 4’’ x 10” or similar)

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Piano (also Celesta)

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accessoires : Ebow, Spring Drum (Remo SP-0410-1A 4’’ x 10” or similar), 2 Squeaky Chickens

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Harp

6 solo Double Basses (2nd and 5th with five strings)

6 Violas

5 Violoncellos

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8 Violins II

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10 Violins I

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accessories: Soft Timpani Sticks, Steel Guitar Slide, Super Ball

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The score is in C (not transposed)

Bass Flute sounds one octave lower than notated, Celesta one octave higher than notated, Glockenspiel and Crotales two octaves higher than notated. Solo Double Basses are ordinarily notated, but in real sounds (through cautionary octave clefs).

LEGEND

TUTTI

Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves).

Altered pitches might be sometimes respelled within the measure for cautionary purposes.

Trills: unless differently specified the auxiliary note is always a step above the main note, see example below:

Trill

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 

Realization

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  



  

  





  

quarter tone higher, sharp, three quarter tones higher

B b Bb

quarter tone lower, flat, three quarter tones lower

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notes without ledger lines always indicate the highest pitch available (here shown as ordinario and as harmonic pitches)

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all glissandos should always start immediately and played as continuous and as even as possible

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flz = flatterzunge, flattertongue

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WIND INSTRUMENTS

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bisb = bisbigliando: a tremolo between different fingerings of the same pitch, often referred to as a timbral (color) trill. The result is a fast, shimmery change of tone color.

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« + growl » (flutes, measure 209) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by singing, or even screaming into the instrument. This will create interference within the instrument.

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« lala slap » (bassons measures 105, etc,): with the mouthpiece on or off (ad libitum), double-tongue the indicated pitches producing a dry but deep and articulated sound

BRASS

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rip: glissando through the harmonic series

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« Mouthpiece pop » pop the mouthpiece with the palm of your hand letting the instrument resonate

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HARP

Pedal buzz (slow, transition) after plucking the string and let it vibrate slowly slide the pedal from natural towards diesis so that a metallic intermitting interference (buzz) appears on its resonance

Pedal buzz (fast, thunder effect) position the pedal in between natural and diesis so that a metallic explosion is allowed

STRINGS

pont. or s.p. = sul ponticello s.t. = sul tasto m.s.p. = molto sul ponticello (a metallic but reach sound) m.s.t. = molto sul tasto gradually transition from lightly touch / ‘’harmonic sound’’ (harmonic node notwithstanding) to full press (‘’ordinario sound’’) and vice-versa.

harmonics are notated as resulting note

Pr

or as resulting notes with half-pressure note head:

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or by fingerings (with ossia for resulting notes)

of P as fast as possible

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« spazzolato » (vertical brushes): rapidly alternate the bow between the two following positions: T and P (alto sul tasto and molto sul ponticello). It comes in two forms: as fast as possible and measured

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Contrabasses soloists

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By careful manipulation of bow weight in the sul ponticello regions, it is possible to allow overtone regions to clearly emerge

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