Oscar Bianchi - "Pathos of distance"

Oscar Bianchi

PATHOS OF DISTANCE

Oscar Bianchi

PATHOS OF DISTANCE

Quatuor à cordes n° 2

Commissioned by the Wittener Tage für neue Kammermusik with friendly support of Pro Helvetia, Swiss Arts Council

First performance: 05 May 2017

Wittener Tage für neue Kammermusik

JACK quartet

© 2017 Editions DURAND

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Edition du 30 avril 2017 DF 16420

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.

LEGEND

quarter tone higher, sharp, three quarter tones higher

quarter tone lower, flat, three quarter tones lower

eight tone up (natural, quarter, sharp)

crescendo dal niente

decrescendo dal niente highest pitch available

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

sp = sul ponticello

msp = molto sul ponticello st = sul tasto ast = alto sul tasto

mst = molto sul tasto pst = poco sul tasto

clb = col legno battuto

mv = molto vibrato

xv = extreme vibrato (very wide vibrato, minimum fifth wide)

spazz = spazzolato, rapidly alternate between the two following positions: T and P (ast and msp)

w.n. « white noise » : “tonelos”, bow right over the bridge cls = « col legno slide », slide the bow along the string

† or p.r. = « press ricochet ». Press the bow into the string and get as many bounces as possible (similar to percussions press roll or multiple bounce roll technique)

† clb = « press ricochet col legno battuto»

f.p. « flanger pizz » : after executing a left hand pizzicato, immediately approach the surface of the metal part of the frog (or the wooden tip of the bow when requested) against the vibrating string, always leading the bow from moltissimo sul ponticello towards alto sul tasto. The flanger effect is created by quickly “intercepting” the vibrating string and therefore creating a “wah-wah” effect by approaching the bow's metal (or the bow’s wooden tip) against the vibrating string. Use the entire length of each duration to gradually and profoundly venture from msp to ast.

Part One string scordatura down a ¼-tone.

Furioso! Enjoy the few moments of respite, bringing out warmth and lyricism of line, looking towards the second part of the work.

« 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

Up-bow double harmonic trill on III/IV, played with varying degrees of sul pont. Distorted trills always sul pont exploring layers of overtones–bring out relative diferentiation of pitch, tracing a quasi-melodic line up and down the II/IV strings. Trill the double harmonics always very fast and regluar, alternating upper and lower trilling fngers (1/2 with 2/3). Play where possible with fast and fuid up-bow gesture. Harmonic nodes or contact points are given in the part/score. A chart below shows actual sounding pitches of the harmonics. Exact pitches are not critical, and it should be added that sul pont creates additional layers of overtones. Glissandi are very fuid. Te short-note interjections of single tones, open strings, chords, also chordal harmonics, trace an elongated melodic line which is at times refected in the orchestra.

Part Two

« 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.

« 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)

« harmonic glissando »: starting from the highest pitch available, glissando the from lightly touched to press, while bow pressure changes from ordinario to over pressured

Re-tune to D-natural.

Restrained but expressive. Five fragments of an extended melodic line thread through the orchestral textures. Te line is always in motion drawn out of and disappearing into silence.

broken tremolo: as fast as possible towards the frog bow: from ordinario to overpressure

Te overall e fect creates a quasi-static multiphonic. Double, triple or quadruple chords combine open strings, open-string/harmonic trills and stopped tones. Fast string crossings - explore with varying bow pressure and changing bow strokes, avoiding cliché arpeggios I-IV-I. Varying degrees of sul pont creates additional layers of overtones. Open-string/harmonic trills immediately as fast as possible, and remain very fast, continous and regular. Build up playing all three strings. Bring out the harmonics more than the open strings. Noteheads in brackets add last and play less often.

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

Natural

Natural harmonics for G string (Violin and Viola. By transposition values are valid for all strings):

Vla Cello

Due to the scordatura of IV c., the low tension of the string might delay attacks, please do not bother too much. In the occurrence of f or ff dynamics please increase bow speed and be aware that the pitch might change dramatically.

Cello « multi-phonics»: created when the finger splits the string in between two natural harmonics in the strings overtone series. Always use harmonic finger pressure. The accidentals used relay to vague geographical locations on the instrument concerning the finger position, therefore the number of partials that the multiphonics lie between is indicated.

« multi-phonics beyond bow »: fingers are positioned beyond the bow (between the bow and bridge). Oscillate between the different near harmonics, a shadow of the fundamental (C2) should appear every now and then (overall somehow always present). Aim therefore to an always rich and complex texture, clearly hinting to the indicated harmonics but always encompassing a generous mix of three element: harmonics, fundamental and “parasite” frequencies (the beats that result by the frictions and closeness of the near harmonics). Bow pressure is extremely important as its weight along with the string's density affects the resulting sound

PATHOS OF DISTANCE Harry Vogt and the JACK quartet quartet no 2 Wald Teufel

: always rotate around its handle until sign

speed per rotation ca.: j j. decel. i j accel. j 3:2 j. Wooden or plastic Wald Teufel

speed per rotation ca.: j j. j accel. j 5 j.

: always rotate around its handle until sign

anger pizz with metal part of the frog ✶ (✶) « anger pizz » : a er executing a le hand pizzicato, immediately approach the surface of the metal part of the frog against the vibrating string, always leading the bow from moltissimo sul ponticello towards alto sul tasto. e anger effect is created by quickly “intercepting” the vibrating string and therefore creating a “wah-wah” effect by approaching the bow's metal (or the bow’s wooden tip when later requested) against the vibrating string. Use the entire length of each duration to gradually and profoundly venture from msp to ast. (5x, etc.): lentghts of each individual gesture, explicited here for convenience ast (3) sim. (8) + (3)(2) (5) + (5) + (8) + (3)(3)(1) (5) accel. j 5:4 j. decel. i.j accel. j 3:2 j. decel. i. s decel. i. j accel. j 5 j. decel. i ijj. decel. i j accel. j 3:2 j. decel. i. tune IV c. gradually and ad libitum back to 8va: If possible invert hands (that is right hand for pizz and le hand for bow motion) and tune the peg during the small intervals of time that occur right a er and right before the pizz. (8) (1)(3) x) ) 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. e general motion of the bouncing bow is from tasto towards ponticello ricochet ✶ ) from here until cls repeat the same gesture interpolating ad lib. its lenghts form the following values: (7x), (8 (6 (9 (5 (4 (11

(sounding 8vb) (5x) msp

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bullet (sparser than before, that is, bigger leaps between clicks, especially at the beginning). towards a central single point in space, once vcl is ready very slowly (slower than before) move from such central axis towards the periphery (le -side) bullett

bullet (sparser than before, that is, bigger leaps between clicks, especially at the beginning). Aim towards a central single point in space, once vcl is ready very slowly (slower than before) move from such central axis towards the periphery (le -side)

bullet (sparser than before, that is, bigger leaps between clicks, especially at the beginning). Aim towards a central single point in space, once vcl is ready very slowly (slower than before) move from such central axis towards the periphery (right-side) rst Vla click stops vcl's C.R.)

impugna la Viola (sparser). Very slowly move from a central axis towards the periphery (right-side) Wald Teufel

impugna il Cello

impugna il Violino (if needed shorten earlier note )

impugna il Violino (if needed shorten earlier note )

B plastic Wald Teufel : rotate around its handle until sign ≈ / speed per rotation ca.: j j. decel. i j accel. j 5 j. decel. ✶) detune IV c. to 8vb (alternatively approx. a tritone lower)

≈ 14th 12th 13th 12th 16th 14th

B Viola

multi-phonics ord ✶✶ II c. - beetw. 4th and 5th ✶✶✶ 23 U

(✶✶✶) at is nger in between positions for A3 and G3 ca.. Restulting sound should inesorably break, like a broken vocal chord or a yodel singer's ''passaggio''. Play and indulge into this inbetweenness.

&(✶): « multi-phonics beyond bowl »: ngers position beyond bow (between bow and bridge). Oscillate between the different near harmonics. A shadow of the IV c. fundamental (C2) should appear every now and then, and been overall somehow always present. Aim therefore to an aways rich and complex texture, clearly hinting to the indicated harmonics but always encompassing a complex mix of those three element: harmonics, fundamental and “parasite” frequencies. Favour sounding result over rhythmical precision. (✶✶)« multi-phonic ord»: created when the nger splits the string in between two natural harmonics in the strings overtone series. Always use harmonic nger pressure. e used accidentals relay to vague geographical locations on the instrument concerning the nger position, therefore the number of partials that the multi-phonics lie between is indicated.