Oscar Bianchi - Inventio

Oscar Bianchi

lle ts rtie erp pa exc me as mê en ite ev erd en int idd pie orb co n f oto ctio Ph du --- pro nd Re ura --s D nd ion ura dit s D s E on de iti Ed té rié of op ty Pr oper Pr

INVENTIO pour orchestre

commande de / commissioned by musica viva des Bayerischen Rundfunks avec le soutien de / with the friendly support of Swiss Arts Council Pro Helvetia

Création / First performance : 2 June 2017 Herkulessaal of the Munich Residenz Symphonieorchester des Bayerischen Rundfunks dirigé par / conductor : Johannes Kalitzke

lle ts rtie erp pa exc me as mê en ite ev erd en int idd pie orb co n f oto ctio Ph du --- pro nd Re ura --s D nd ion ura dit s D s E on de iti Ed té rié of op ty Pr oper Pr durée : 30 minutes environ duration: approx 30 minutes

© 2017 Éditions DURAND Tous droits réservés pour tous pays All rights reserved édition du 3 février 2017 DF 00000

Instrumentation

3 Flutes (2nd doubling Piccolo and Alto Flute, 3rd doubling Bass Flute) 3 Oboes (3rd doubling Cor anglais) 3 Bb Clarinets (2nd doubling E b Clarinet, 3rd doubling Bass Clarinet) 3 Bassoon (3rd doubling Contrabassoon)

lle ts rtie erp pa exc me as mê en ite ev erd en int idd pie orb co n f oto ctio Ph du --- pro nd Re ura --s D nd ion ura dit s D s E on de iti Ed té rié of op ty Pr oper Pr

4 Horns in F (with aluminium foil)

3 Trumpets in C (with aluminium foil)

3 Trombones (with aluminium foil) Tuba

Timpani

3 Percussion (see details below)

Harp (with super ball, plectrum, soft timpani sticks, guitar slide, steel guitar slide, credit card or similar) Piano – possibly Steinway D (doubling Celesta) (with plectrum, 2 EBows®, art eraser (Knetgummi), super ball, wooden sticks, small glass)

14 Violin I (with plastic film and aluminium foil, plectrum) 12 Violin II (with plastic film and aluminium foil, plectrum) 10 Violas (with plastic film and aluminium foil, plectrum) 8 Cellos 6 Double Basses (all with C string)

Timpani: with bongers or Superball Kontraklang KK-d1X-BL, 2 large cymbals to be played with bow, 2 medium polystyrene pieces, plastic Waldteufel GEWA 227482

Percussion 1: Thai Gongs F # 4 and C # 4, water bucket (to gliss Thai Gong F # 4 into), Thai Gong A3, Metal drum (such as Metal Barrel), Slap Stick, Bali Gong B1, Bull Roarer very large (20 cm ca), Crotales (B b6, C7), Glockenspiel, Xylophone, Plexiglass (78 cm x 50 cm x 2 mm ca), small wooden Waldfteufel with goat skin or similar, medium Tom-tom, Spring Drum (Remo Spring Drum Thunder Tube 6" or Remo SP-0410-1A 4" x 10"), Friction Drums on symphonic or very large bass drums, Plastic Waldteufel GEWA 227482 (1 for conductor), sets of Superball Kontraklang KK-d1X-BL, large cymbals similar in size to Timp’s large cymbal (to be played with bow), sandy sponges, cello or double bass bows, symphonic bass drums Percussion 2: Thai Gong C # 4, water bucket (to gliss Thai Gong C # 4 into), Crotales (A6, B b6, D6, F6, G b6), Thai Gong A3, Metal drum (such as Metal Barrel, variation of Perc 1’s Metal Drum), Bull Roarer very large (15 cm ca), Marimba, Plexiglass (78 cm x 50 cm x 2 mm ca), small wooden Waldfteufel with goat skin or similar, medium Tom-tom, Spring Drum (Remo Spring Drum Thunder Tube 6" or Remo SP-0410-1A 4" x 10"), Friction Drums on symphonic or very large bass drums, plastic Waldteufel GEWA 227482 (1 for conductor), sets of Superball Kontraklang KK-d1X-BL, large cymbals similar in size to Timp’s large cymbal (to be played with bow), sandy sponges, cello or double bass bows, symphonic bass drums Percussion 3: Snare Drum, Vibraphone, Plexiglass (78 cm x 50 cm x 2 mm ca), small wooden Waldfteufel with goat skin or similar, medium Tom-tom, Spring Drum (Remo Spring Drum Thunder Tube 6" or Remo SP-0410-1A 4" x 10"), Friction Drums on symphonic or very large bass drums, plastic Waldteufel GEWA 227482 (1 for conductor), sets of Superball Kontraklang KK-d1X-BL, large cymbals similar in size to Timp’s large cymbal (to be played with bow), sandy sponges, cello or double bass bows, symphonic bass drums

Partition en ut Score in C

Bass Flute, Contrabassoon and Double Bass sound an octave lower than written; Piccolo, Glockenspiel and Crotales sound an octave higher than written.

Composer’s note

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.



Realization





  



  



  



  





lle ts rtie erp pa exc me as mê en ite ev erd en int idd pie orb co n f oto ctio Ph du --- pro nd Re ura --s D nd ion ura dit s D s E on de iti Ed té rié of op ty Pr oper Pr

Trill

 

LEGEND

TUTTI

µ#˜

B b Bb

quarter tone higher, sharp, three quarter tones higher quarter tone lower, flat, three quarter tones lower crescendo dal niente

decrescendo dal niente

glissandos should always start immediately, and they should be played as continuous and as even as possible

WIND INSTRUMENTS

≤ ≥ í

inhale

exhale

fully close embouchure with mouth

FLUTES « vocal fry » : produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches. Turn the flute towards the mouth (closed mouth embouchure)and speak into the tube with vocal fry, change fingering in the meantime whenever is required. « internal frullato » : exhale into the instrument while fingering the indicated pitches, make sure to hold closed mouth embouchure as indicated « air only (no tone) » : produce an airy sound by blowing regularly but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : produce whistle-tones inside of the instrument

« + growl » (measure 272) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

OBOES « vocal fry » : produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches. Speak inside the instrument with vocal fry, change fingering in the meantime whenever is required. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « + growl » (measure 272) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

CLARINETS « vocal fry » : produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches. Speak inside the instrument with vocal fry, change fingering in the meantime whenever is required. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « Harmonics Tremolo » : tremolos of harmonics with different fundamentals « open slap » (Cl 3, Bass Clarinet): open your mouth very quickly at the same time (or just slightly after) as slapping. « outside jet air » : blow from the outside of the mouthpiece while fingering the given notes « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour.

lle ts rtie erp pa exc me as mê en ite ev erd en int idd pie orb co n f oto ctio Ph du --- pro nd Re ura --s D nd ion ura dit s D s E on de iti Ed té rié of op ty Pr oper Pr

« + growl » (measure 272) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

BASSOONS « vocal fry » : produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches. Speak inside the instrument with vocal fry, change fingering in the meantime whenever is required. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « outside jet air » : blow from the outside of the mouthpiece while fingering the given notes

« air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « lala slap » : with the mouthpiece off, double-tongue the indicated pitches producing a dry but deep and articulated sound « + growl » (measure 272) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

HORNS « vocal fry » : produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches. Speak inside the instrument with vocal fry, change fingering in the meantime whenever is required. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound. Sometimes without mouthpiece when indicated. « outside jet air » : blow from the outside of the mouthpiece while fingering the given notes

« jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « + growl » (measure 272) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

TRUMPETS, TROMBONES AND TUBA « air only (no tone) » : produce an airy sound by blowing close to the instrument but without harmonic sounds (no tone), emulate a « white noise » like sound. Sometimes without mouthpiece when indicated. « vocal fry » : produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches. Speak inside the instrument with vocal fry, change fingering in the meantime whenever is required. « internal frullato » : exhale into the instrument while fingering the indicated pitches. As indicated, please make sure to take the mouthpiece out and exhale inside the instrument. « outside jet air » : blow from the outside of the mouthpiece while fingering the given notes « jeu de trompette » : similar to flute’s whistle-tones, produce these sounds inside the instrument while keeping variating their contour. « + growl » (measure 272) : vocalise into the instrument to alter quality of the sound. Add a growling vocal sound by humming, singing, or even screaming into the instrument. This will create interference within the instrument. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle noise in the instrument.

HARP and Piano (see individual parts or score)

ALL STRINGS sp = sul ponticello st = sul tasto msp = molto sul ponticello mst = molto sul tasto SV = senza vibrato xv = extreme vibrato (very wide vibrato, minimum fifth wide)

highest pitch available

bow: from ordinario to overpressure

« Harmonic glissando » : gradually move from lightly touched to pressed.

lle ts rtie erp pa exc me as mê en ite ev erd en int idd pie orb co n f oto ctio Ph du --- pro nd Re ura --s D nd ion ura dit s D s E on de iti Ed té rié of op ty Pr oper Pr

VIOLE « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants.

CELLI « col legno slide » : slide vertically the stick of the bow (col legno) over the string towards the scroll: you should hear two glissando sounds. The stick of the bow should lay lightly on the string (it works best to use the higher half of the bow-stick) « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello « Formantic noise-skratch » : pinch and lift IV string (if possible pinch bow hair as well). Then slide vertically from ponticello sul tasto (no need to press very hard) in order to produce a scratchy sound which is noisy and characterised by a distinctive iridescent variation of formants. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique) DOUBLE BASSES « continuos ricochet » : let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break. The general motion of the bouncing bow should be from tasto towards ponticello « flanger pizz » : approach the surface of the wooden tip of the bow against the vibrating string (after the pizz). Alternatively, use a ring instead. The flanger effect is created by quickly ‘intercepting’ the vibrating string and creating a ‘wah-wah’ effect by approaching the bow’s tip against the vibrating string. « press ricochet » : press the bow into the string and get as many bounces possible (similar to percussion’s press roll or multiple bounce roll technique)

toDaniel Daniel Libeskind to Libeskind

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&

Flûte

4 q = 60 4

vocal fry ✶

voice (vocal fry): fingering:

∑

∑

Ó

voice (vocal fry): 6‚ fingering:

Ó

3

vocal fry

∑

&

Flûte basse

voice (vocal fry): fingering:

∑

‚ 6

&

mouthpiece off

voice (vocal fry): fingering:

mouthpiece off

voice (vocal fry): fingering:

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2

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3

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~

3

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vocal fry

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Cor anglais

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voice (vocal fry): fingering:

b)

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1

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‚ 6

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vocal fry

Clarinette en sib

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2

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1

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voice (vocal fry): fingering:

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mouthpiece off

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mouthpiece off

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Basson

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vocal fry

2

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voice (vocal fry): fingering:

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Contrebasson

1

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voice (vocal fry): fingering:

mouthpiece off

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vocal fry

voice (vocal fry): fingering:

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‚ 6

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3

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vocal fry

Cor en fa

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2

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voice (vocal fry): fingering:

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vocal fry

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4

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voice (vocal fry): fingering:

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&

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Trombone 1–3

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Tuba

Timbales

Plexiglass 1

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Plexiglass 2

Plexiglass 3

Piano (Steinway D)

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Violons II

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Altos

B

no bend

max bend no bend

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Violons I

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max bend

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Harpe

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max bend no bend

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concerned pitches

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4 q = 60 4

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hold the plastic film already in your hand

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hold the plastic film already in your hand

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3

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O 6 #6 6 #6 6 #6 #6 n6 n6 #6 n6 #6 í 6 #6 #6 6 #6 6 #6 6 6 # 6 6 # 6 6 6 #6 6 #6 5

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O 6 #6 6 #6 6 #6 6 b 6 n 6 #6 n6 #6 n6 6 b6 n6 #6 6 #6 6 6 #6 6 #6 6 6 # 6 6 # 6 6 6 #6 6 #6 5 5 Oj

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b 6 n 6 b 6 n 6 6 #6

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b6 n6 b6 n6 6 6 b6 n6 b6 6

b6 n6 6 b6 n6

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6 b6

6 6 #6 6 #6 6 b6 n6 6 #6

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tremolo ord or mandolino technique

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soft sticks

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tremolo ord or mandolino technique

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soft sticks

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tremolo ord or mandolino technique

soft sticks

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Wooden small Waldteufel over tom-tom medium

≈ Ó

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pp

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towards the board:

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mf

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6 n6 b6

6 b6

6 b6

6

(ppp)

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slide super ball along the strings

6 b6

6

Play the waldteufel over the skin of the tom tom, close to the border. Explore and variate ad libitum the position of the waldteufel around the tom-tom.

Produce irregular and sparse "clicks" ad libitum. The shortest interval between clicks: 0.5'', the longer 2'' (notation suggestive only)

Wooden small Waldteufel over tom-tom medium

∑

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6 b6

6 #6 n6 #6 n6

6

(ppp)

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∑

n6

6 b6

Play the waldteufel over the skin of the tom tom, close to the border. Explore and variate ad libitum the position of the waldteufel around the tom-tom.

Produce irregular and sparse "clicks" ad libitum. The shortest interval between clicks: 0.5'', the longer 2'' (notation suggestive only)

∑

towards the bridge:

6 b6

6 b6

(ppp)

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œ

6 n6

Play the waldteufel over the skin of the tom tom, close to the border. Explore and variate ad libitum the position of the waldteufel around the tom-tom.

Produce irregular and sparse "clicks" ad libitum. The shortest interval between clicks: 0.5'', the longer 2'' (notation suggestive only)

Wooden small Waldteufel over tom-tom medium

Ó

6

5

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6

prendre la Basson

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Put the super ball between the two gut strings and slowly slide downwards (from towards the bridge to towards the board).

The fritcion of the super ball between two gut strings should result into a generic upwards glissando (E4 to D5 approx)

hold the plastic film already in your hand

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Approx sound result & œ

position of the super ball

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3

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&

''p''

‚ 6

vocal fry

mouthpiece off

Clarinette basse

voice (vocal fry): fingering:

mouthpiece off

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~

)

í O

Ó

Ó

í O™

vocal fry

voice (vocal fry): fingering:

mouthpiece off

''p'' 3

‚ 6

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í ~

3

3

mouthpiece off

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‚ 6

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)

~

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Oscar Bianchi 2015–2016

for orchestra

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''p''

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vocal fry

Hautbois

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vocal fry

1

''p''

3

í 3

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∑

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&

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3

‚ 6

vocal fry

Flûte alto 2

INVENTIO

(✶) «vocal fry»: produce a rattling croaking sound with the voice (pitch ad libitum) and finger the indicated pitches.

Turn the flute towards the mouth (closed mouth embouchure) and speak into the tube with vocal fry, change fingering in the meantime when required.

scrape with fingernail along wire string

)

˙ o

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

✶ immediate continuos ricochet: let the bow bounce fast and homogeneously in order to produce an almost helicopter or engine-like rhythm, never letting the sound break.

The general motion of the bouncing bow should be from tasto towards ponticello

?

1.3

∑

continuos ricochet ✶

∑

∑

∑

senza accento, sempre sp st

)o ™

“ pp ”

?

2.4

∑

continuos ricochet ✶

∑

∑

∑

IV

Œ

senza accento, sempre sp st

)o ™IV

“ pp ”

Violoncelles

?

5.7

∑

continuos ricochet ✶

∑

∑

∑

Ó

senza accento, sempre st

6.8

∑

continuos ricochet ✶

∑

∑

∑

Ó

Contrebasses

¢

)o ™

sp

Œ

st

IV

senza accento, sempre sp st

Œ

6o

)o ™

sp

)o ™ )o

)

Œ

6o

)

sp

st

Œ

)o ™

sp

)o ™ )o

sp

Œ

6o

)

sp

st

Œ

)o ™

sp

)o ™ )o

sp

Œ

6o

)

Œ

st

Œ

6 st

sp

st

Œ

st

Œ

6 st

sp

st

Œ

st

Œ

6 st

sp

st

Œ

st

Œ

6

“ pp ”

?

sp

st

)o

“ pp ”

?

Œ

)o ™

sp

st

Œ

)o

sp

st

Œ

6o

IV

∑

©©2017 DURAND 2017Éditions Editions DURAND Paris,France France Paris,

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