Bianchi Oscar
(05. 08. 1975)
Genre: Musique Classique
Biographie
Born n Milan, holding dual Italian-Swiss citizenships, Oscar Bianchi completed degrees in composition, choir conducting and electronic music at the Giuseppe Verdi conservatory of Milan. He pursued studies in composition taking part in master programs such as at IRCAM - Centre Pompidou and with a doctoral degree at Columbia University in New York.
Vitality, pulsing rhythms, and virtuosity are the hallmarks of the music created by Bianchi, who reveals a sensible interest in new phrasings and new ornamentations, something to be expected from someone whose ears are finely attuned to the music from all corners of the globe. A vocal quality, even in his instrumental work, can strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension plays with a refined art of accentuations in all its intermediate degrees. We know him now increasingly interested in cantata and opera: at its core, Bianchi's music continues to be guided by the challenge of dramaturgical and formal issues. The unexpected contrasts between voluble virtuosity and contemplative stasis are the driving force of his flair for dramatic gesture. His music is joyfully violent in breath and in song but may suddenly come to rest in prayer, via a specific harmony, as though struck by the noonday light.
Commissioned by the Aix-en-Provence Festival and Théâtre & Musique, his first opera, Thanks to My Eyes, libretto and direction by Joël Pommerat, received critical acclaim by audiences and critics alike (A masterly portrait of Melancholy, Le Monde, July 7, 2011). His music has been performed by outstanding ensembles and orchestras such as Orchestre Philharmonique de Radio France, Deutsche Symphonie Orchester, Ensemble Modern, Klangforum Wien, JACK quartet, Les Percussions de Strasbourg, Ictus, Quatuor Diotima, Ensemble Remix, Nieuw Ensemble, Ensemble l'Itineraire, Ensemble Contrechamps, International Contemporary Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik, Sound'arte.
Upcoming projects include new works for the Gewandhaus in Leipzig and Maestro Riccardo Chailly, The Bavarian Radio Symphony Orchestra, Ensemble Modern, Hebbel am Ufer and Neuevocalsolisten Stuttgart. A monographic CD will be released in 2013 while an extraordinary recording of his cantata MATRA has been just released under the label Cypres.
The works of Oscar Bianchi have been performed throughout Europe and the Americas in prestigious venues such as Alice Tully Hall (Lincoln Center); Merkin Hall, New York; Luzern Festival; Muziekgebouw, Amsterdam; Venice Biennale; Musica Festival in Strasbourg; Warsaw Autumn Festival; Ultrashall, Berlin; Eclat, Stuttgart; Gasteig, Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für Neue Musik, Zürich; IRCAM Centre-Pompidou, Paris; Abbaye du Royaumont; DRS; RSR; RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, the Tchaikowsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di Bologna, Nuova Consonanza, Rome; CEMAT, Rome.
Oscar Bianchi was a guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, such as the Gaudeamus first Prize, the Dussurget Prize, the Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship.
This extended biography is to be reproduced without any changes, omissions or additions, unless expressly authorized by the artist management.
(Transl.: English source text left uncorrected.)
Vitality, pulsing rhythms, and virtuosity are the hallmarks of the music created by Bianchi, who reveals a sensible interest in new phrasings and new ornamentations, something to be expected from someone whose ears are finely attuned to the music from all corners of the globe. A vocal quality, even in his instrumental work, can strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension plays with a refined art of accentuations in all its intermediate degrees. We know him now increasingly interested in cantata and opera: at its core, Bianchi's music continues to be guided by the challenge of dramaturgical and formal issues. The unexpected contrasts between voluble virtuosity and contemplative stasis are the driving force of his flair for dramatic gesture. His music is joyfully violent in breath and in song but may suddenly come to rest in prayer, via a specific harmony, as though struck by the noonday light.
Commissioned by the Aix-en-Provence Festival and Théâtre & Musique, his first opera, Thanks to My Eyes, libretto and direction by Joël Pommerat, received critical acclaim by audiences and critics alike (A masterly portrait of Melancholy, Le Monde, July 7, 2011). His music has been performed by outstanding ensembles and orchestras such as Orchestre Philharmonique de Radio France, Deutsche Symphonie Orchester, Ensemble Modern, Klangforum Wien, JACK quartet, Les Percussions de Strasbourg, Ictus, Quatuor Diotima, Ensemble Remix, Nieuw Ensemble, Ensemble l'Itineraire, Ensemble Contrechamps, International Contemporary Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik, Sound'arte.
Upcoming projects include new works for the Gewandhaus in Leipzig and Maestro Riccardo Chailly, The Bavarian Radio Symphony Orchestra, Ensemble Modern, Hebbel am Ufer and Neuevocalsolisten Stuttgart. A monographic CD will be released in 2013 while an extraordinary recording of his cantata MATRA has been just released under the label Cypres.
The works of Oscar Bianchi have been performed throughout Europe and the Americas in prestigious venues such as Alice Tully Hall (Lincoln Center); Merkin Hall, New York; Luzern Festival; Muziekgebouw, Amsterdam; Venice Biennale; Musica Festival in Strasbourg; Warsaw Autumn Festival; Ultrashall, Berlin; Eclat, Stuttgart; Gasteig, Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für Neue Musik, Zürich; IRCAM Centre-Pompidou, Paris; Abbaye du Royaumont; DRS; RSR; RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, the Tchaikowsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di Bologna, Nuova Consonanza, Rome; CEMAT, Rome.
Oscar Bianchi was a guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, such as the Gaudeamus first Prize, the Dussurget Prize, the Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship.
This extended biography is to be reproduced without any changes, omissions or additions, unless expressly authorized by the artist management.
(Transl.: English source text left uncorrected.)
Liste des oeuvres
Explosion Implosion (1999)
für Solo-Klavier
Durée: 5' 30"
Manuscrit
für Solo-Klavier
Durée: 5' 30"
Manuscrit
Involve (2000)
für Tonbandgerät
Durée: 4' 45"
Manuscrit
für Tonbandgerät
Durée: 4' 45"
Manuscrit
Estensione di forma (2000)
für Klavier und Violine
Durée: 4' 20"
Manuscrit
für Klavier und Violine
Durée: 4' 20"
Manuscrit
Pictures of an Explosion (2000)
für gemischtes Ensemble (Kla, Fg, Trp, Pos, E-Git, E-B, E-Keyb, Schlgz, Hf)
Durée: 8' 00"
Manuscrit
für gemischtes Ensemble (Kla, Fg, Trp, Pos, E-Git, E-B, E-Keyb, Schlgz, Hf)
Durée: 8' 00"
Manuscrit
Concordia discors (2001)
für Trio (Klav, Vn, Vcl)
Manuscrit
für Trio (Klav, Vn, Vcl)
Manuscrit
Sibilla (2001)
für elektrische und akustische Violine (3 Fl, 2 Kl, Fag, Trp, Pos, H, Pk, 2 Schlgz, Klav) und live Elektronik
Manuscrit
für elektrische und akustische Violine (3 Fl, 2 Kl, Fag, Trp, Pos, H, Pk, 2 Schlgz, Klav) und live Elektronik
Manuscrit
De rerum natura (2001)
für Flöte und Violine
Durée: 12' 00"
Manuscrit
für Flöte und Violine
Durée: 12' 00"
Manuscrit
QBA (2002)
für Solo Schlagzeug
Manuscrit
für Solo Schlagzeug
Manuscrit
Sussurro... forse sussulto (2002)
Kurzes Stück
für Stimme und Orchester
Manuscrit
Kurzes Stück
für Stimme und Orchester
Manuscrit
I due cardini (2002)
für Klavier und grosses Ensemble
Manuscrit
für Klavier und grosses Ensemble
Manuscrit
Esegesi del ricordo (2003)
für Ensemble (Sax, Kor, Pos, Schlgz, Klav, Akk)
Durée: 13' 00"
Manuscrit
für Ensemble (Sax, Kor, Pos, Schlgz, Klav, Akk)
Durée: 13' 00"
Manuscrit
Primordia rerum (2003)
für Sopran und fünf Instrumente (Fl, Kl, Klav., Vl, Vc)
Texte: Oscar Bianchi, Lucrezio
Durée: 12' 00"
Manuscrit
für Sopran und fünf Instrumente (Fl, Kl, Klav., Vl, Vc)
Texte: Oscar Bianchi, Lucrezio
Durée: 12' 00"
Manuscrit
Crepuscolo (2003-2004)
für Paetzold Flöten (Kb in F) und Elektronik
Durée: 12' 00"
Manuscrit
für Paetzold Flöten (Kb in F) und Elektronik
Durée: 12' 00"
Manuscrit
Alba (2004)
für Ensemble (Fl, Kl, Trp, Schlgz, E-Git, E-B, Klav, Synth, Vl, Br, Vc)
Durée: 12' 00"
Manuscrit
für Ensemble (Fl, Kl, Trp, Schlgz, E-Git, E-B, Klav, Synth, Vl, Br, Vc)
Durée: 12' 00"
Manuscrit
Mezzogiorno (2004-2005)
für Ensemble (Fl, Kl, Trp, Schlgz, E-Git, E-B, Synth, Klav, Vl, Br, Vc) und Elektronik
Durée: 15' 00"
für Ensemble (Fl, Kl, Trp, Schlgz, E-Git, E-B, Synth, Klav, Vl, Br, Vc) und Elektronik
Durée: 15' 00"
Editions Durand-Salabert-Eschig
AQBA, nel soffio tuo dolce (2005)
für sechs Perkussionisten
Durée: 17' 00"
Manuscrit
für sechs Perkussionisten
Durée: 17' 00"
Manuscrit
Zaffiro (2005)
für Ensemble (Bfl, Bar.S, Br, Git)
Durée: 12' 00"
für Ensemble (Bfl, Bar.S, Br, Git)
Durée: 12' 00"
Editions Durand-Salabert-Eschig
Introitus (2005)
für Chor (8 Stimmen)
Durée: 8' 00"
Manuscrit
für Chor (8 Stimmen)
Durée: 8' 00"
Manuscrit
Teso ma non nervoso (2006)
für Ensemble
Durée: 11' 00"
Manuscrit
für Ensemble
Durée: 11' 00"
Manuscrit
Preludio (2006)
für Ensemble
Durée: 3' 00"
Manuscrit
für Ensemble
Durée: 3' 00"
Manuscrit
The Salvador Dali Secret Chord Progression (2006)
für Schlagzeug-Ensemble
Durée: 14' 00"
Manuscrit
für Schlagzeug-Ensemble
Durée: 14' 00"
Manuscrit
Matra (2006-2007)
Cantata
für Vokal-Ensemble, Instrumental-Ensemble, Trio Concertante und Elektronik
Durée: 60' 00"
Manuscrit
Cantata
für Vokal-Ensemble, Instrumental-Ensemble, Trio Concertante und Elektronik
Durée: 60' 00"
Manuscrit
Stone Rhapsody (2007-2008)
für elektrische Gitarre, zwei Klaviere, zwei Schlagzeuge
Durée: 19' 00"
Manuscrit
für elektrische Gitarre, zwei Klaviere, zwei Schlagzeuge
Durée: 19' 00"
Manuscrit
Trasparente (2007)
für Ensemble (Fl, Ob, Kl, Schlgz, Klav, Vl, Br, Vc, Kb)
Durée: 9' 00"
Manuscrit
für Ensemble (Fl, Ob, Kl, Schlgz, Klav, Vl, Br, Vc, Kb)
Durée: 9' 00"
Manuscrit
Trasparente II (2007-2008)
für Ensemble (Fl, Kl, H, Trp, Schlgz, Hf, Klav, Vl, Br, Vc)
Durée: 11' 00"
für Ensemble (Fl, Kl, H, Trp, Schlgz, Hf, Klav, Vl, Br, Vc)
Durée: 11' 00"
Editions Durand-Salabert-Eschig
Anahata Concerto (2008)
für sechzehn Instrumente
Durée: 23' 00"
Manuscrit
für sechzehn Instrumente
Durée: 23' 00"
Manuscrit
Vishudda Concerto (2008-2009)
für neunzehn Instrumente
Durée: 23' 00"
Manuscrit
für neunzehn Instrumente
Durée: 23' 00"
Manuscrit
Semplice (2009-2010)
für Violine
Durée: 8' 00"
Manuscrit
für Violine
Durée: 8' 00"
Manuscrit
Ajna Prelude (2009-2010)
für Orchester
Durée: 6' 00"
für Orchester
Durée: 6' 00"
Editions Durand-Salabert-Eschig
Gr... (2010)
für Bassflöte
Durée: 7' 00"
für Bassflöte
Durée: 7' 00"
Editions Durand-Salabert-Eschig
Thanks to my Eyes (2010-2011)
Oper in einem Akt
Texte: Joël Pommerat
Durée: 75' 00"
Oper in einem Akt
Texte: Joël Pommerat
Durée: 75' 00"
Editions Durand-Salabert-Eschig
Adesso (2011)
Streichquartett Nr. 1
Durée: 20' 00"
Streichquartett Nr. 1
Durée: 20' 00"
Editions Durand-Salabert-Eschig
Ante litteram (2011-2012)
für 6 Stimmen und Bassklarinette
Durée: 18' 00"
Manuscrit
für 6 Stimmen und Bassklarinette
Durée: 18' 00"
Manuscrit
Sinfonia Concertante (2011-2013)
für Soli und Orchester
Durée: 20' 00"
Manuscrit
für Soli und Orchester
Durée: 20' 00"
Manuscrit
Lullaby (2012)
für sechs Musiker
Durée: 5' 00"
Manuscrit
für sechs Musiker
Durée: 5' 00"
Manuscrit
The Infinite Jest (2012)
für Sopran, Tänzer und Schauspielerin
Konzept, Inszenierung, Musik, Choreographie: Oscar Bianchi / Constanza Macras.
Texte: Ausschnitte aus "Infinite Jest" von David Foster Wallace.
Durée: 45' 00"
Manuscrit
für Sopran, Tänzer und Schauspielerin
Konzept, Inszenierung, Musik, Choreographie: Oscar Bianchi / Constanza Macras.
Texte: Ausschnitte aus "Infinite Jest" von David Foster Wallace.
Durée: 45' 00"
Manuscrit
Sotto vuoto (2012)
für Stimme und Schlagzeug
Durée: 3' 00"
Manuscrit
für Stimme und Schlagzeug
Durée: 3' 00"
Manuscrit
New Work (2012-2013)
für 2 Stimmen und Dudelsack
Durée: 10' 00"
Manuscrit
für 2 Stimmen und Dudelsack
Durée: 10' 00"
Manuscrit
Diskographie
Oscar Bianchi (Musiques Suisses Nr. MGB CTS-M 138, 2013)
Scheidegger, Mats
Bianchi, Oscar: Primordia rerum (2003)
Bianchi, Oscar: Crepuscolo (2003-2004)
Bianchi, Oscar: Zaffiro (2005)
Bianchi, Oscar: Matra (2006-2007)
Bianchi, Oscar: Anahata Concerto (2008)
Bianchi, Oscar: Thanks to my Eyes (2010-2011)
Interprètes:
Gubler, RicoScheidegger, Mats
Œuvres:
Bianchi, Oscar: Gr... (2010)Bianchi, Oscar: Primordia rerum (2003)
Bianchi, Oscar: Crepuscolo (2003-2004)
Bianchi, Oscar: Zaffiro (2005)
Bianchi, Oscar: Matra (2006-2007)
Bianchi, Oscar: Anahata Concerto (2008)
Bianchi, Oscar: Thanks to my Eyes (2010-2011)