excerpts

more infos: http://oscarbianchi.com/compositions/adesso/

Adesso, string quartet no. 1 (excerpt)

Opera in one act on a libretto and staging from Joel Pommerat
Ensemble Modern, Franck Ollu
Festival d'Aix-en-Provence

more infos: https://www.oscarbianchi.com/compositions/thanks-to-my-eyes/

Thanks To My Eyes, scene 23 (excerpt)

More info: https://www.oscarbianchi.com/compositions/matra/

(2007) - Cantata for vocal ensemble, instrumental ensemble, trio concertante, and electronics. Commissioned by Pro Helvetia (Swiss Art Council). Premiere: October 12, 2007, Festival Musica Strasbourg. Neue Vocalsolisten Stuttgart, ICTUS Ensemble. Suzie Fröhlich: Paetzold (contrabass) recorder. Rico Gübler: Tubax (contrabass saxophone). Michael Schmid: bass flute. George-Elie Octors, conductor.

Tantric Shivaism, Gnostic writings, and De Rerum Natura by Lucretius intertwine to sing in MATRA the endless dimensions of material life. The result is a long, exalted prayer (50 minutes) that juxtaposes smooth harmonies against turbulent yet concentrated rhythms and bursts of implosive energy.

Three layers of sound: the six members of Neue Vocalsolisten Stuttgart (three female voices and three male voices) project the often homorhythmically sung texts in a commendatory spirit with long echoes. The vocal style is rich in short and rapid ornaments (often linked to exhalation phenomena), introducing musical phrases with glottal effects until they get engulfed by long and luminous chords. A cornucopia of "close harmonies," diatonic quasi-clusters that become brighter thanks to carefully balanced quarter tones adorning the texture.

The instrumental ensemble is a breathing, spitting force of nature, weaving rhythms and punctuating the pace. Bianchi explored the theory of chakras: the motion and circulation of energy underlie his conception of spirituality, a combination of labor and struggle. A few fine spectral chords from the woodwinds conjure up the sound of bells or gongs, while a transparent but unstable instrumental harmony reminds us that Bianchi studied with Tristan Murail at Columbia University. On the electric guitar: instrumental “bone fragments,” lurking infrabass shadows, a few saturated textures... The young man is in tune with his time!

Lastly, a trio of low-register instruments — tubax (contrabass saxophone), contrabass Paetzold recorder, and bass flute — evokes the tireless inward-looking and inescapable flurry of Samsara, a place of ignorant passions (or of a passion for ignorance). We processed these three instruments with almost no reverb in contrast to the human voices. What a sweet sound for sore ears!

(Jean-Luc Plouvier)

MATRA (excerpt)

Orchestra della Svizzera Italiana, Markus Poschner conductor  
Christina Daletska Mezzo-Soprano  
Coro Clariére, Brunella Clerici, choir conductor
http://oscarbianchi.com/compositions/alfredo/

Alfredo, scene IV - S (excerpt)

Alfredo, scene IV (excerpt)

for Petzold recorders and electronics

http://oscarbianchi.com/compositions/crepuscolo/

Alfredo, scene IV - S (excerpt)

Oscar Bianchi