Hinter den Kulissen
5 Fragen an OSCAR BIANCHI
Das Stück „Inventio“ des Komponisten Oscar Bianchi wird am 2. Juni 2017 im Rahmen des Orchesterkonzerts der musica viva uraufgeführt. Oscar Bianchi beantwortete auf Englisch 5 Fragen der musica viva über sein neues Werk, wo es entstand und seine letzte musikalische Entdeckung.
musica viva: Gab es eine nennenswerte Inspiration für das Stück „Inventio“? (Was there a significant inspiration for the work „Inventio“?)
Oscar Bianchi: „Inventio“ is the first output of an orchestral cycle inspired by the Art of Rhetorics.
I’ve picked the Art of Rhetorics because in a period of trumpism and brexitism, where both media manipulation and populism are corroding social cohesion, economical progress and in general terms the perception of reality, rediscover the factuality of a discourse, in its structured terms, seems to me a worthy and necessary exercise, an obligation – as creator as much as a citizen – to contribute to reset and refine our moral compass.
A refined moral compass comes sometime also from a better understanding of who we as people and as social groups are, what’s our story and where do we come from.
Sound is a vehicle that can contribute to better understand who we really are. Rather than an idealistic refuge – where the individual can dream away (weather with its heart or intellect) from the constraints of daily life – music can allow us to better comprehend ourselves. To paraphrase Sartre in his writing of „Being and Nothingness“ being what we are not is an abdication of freedom: escapism is an abdication of freedom because we, as free people (given the chance of being free people), must make ourselves what we truly are. To that extent, music, as an all-inclusive, existential art form, has the power to shed light into our very existence, instead of either romantically or intellectually pulling us away from it towards emotional and intellectual parallel realities. With „Inventio“ – I’ve therefore envisioned a music experience based on several unbridled expressions of invention, and have them deal, dialogue and relate to each other. The friction that results from elements, to make an example, inspired by a long tremolo glissandos over imaginary Oud strings, or a reminiscence of a Palestrina’s motets, translate into an „ethical embrace”, a form of sonorous inclusiveness.
musica viva: Wo genau ist dieses Stück entstanden? Und in welchem Umfeld arbeiten Sie am liebsten? (Where exactly did you compose this work? And in which environment do you prefer to work?)
Bianchi: I work as a sculptor, as an architect, as an anarchic, or as a mystic would do, as each of these facets, of these behaviours, are a portion of creativity as a whole. I love to work outside my own apartment, that is, cafes, libraries, or other public places (like a swimming pool, see below), as I do enjoy the friction between the environment with its own dynamics and my own internal self, while nurturing the ideas I’m developing. Schubert was often living and working in very constraint conditions. Sometime (sometime!) I’ve experienced that a reduced space can lead us aiming towards farer intellectual and artistic destinations.
musica viva: Wann entsteht der Titel eines neuen Stücks – am Anfang oder am Ende des Entstehungsprozesses? (When does the title of a new piece develop – at the beginning or at the end of the composing process?)
Bianchi: Usually at the end, but as „Inventio“ is part of a large orchestral cycle, it came our quite clear early on that this was going to be the title (following a prelude orchestral work called „Exordium”).
musica viva: Wie stellen sich Leute einen Komponistenalltag vor, gibt es ein Klischée? Und wie ist es wirklich? (How do people imagine a composer’s daily life, is there a cliché? And how is it really?)
Bianchi: Ich liebe cliches, they are a wonder of our times. This being said each of us has its own routines, preferences and daily structures. I often try to avoid creating a big leap between sleep and work, because during these hours of early wake my mind is much integer and less spoiled or fragmented by other activities (such taking care or responding to many other inputs, emails, etc). The most genuine and unpredictable ideas actually come through before I even wake up…
musica viva: Was war Ihre letzte musikalische Entdeckung? (What was your last musical discovery?)
Bianchi: Waldteufels, an amazing instrument. It does combine archaic sound, but also depth, ridicule, as well as vocal qualities (all the formants that a performer can produce and evoke by playing it with open and close position recalls an almost otherworldly voice). Is a rather unpredictable instrument, yet within its unpredictability there’s a lot of space for freshness, playfulness and depth. Here an example of a recent use of it within my 2nd string quartet: Oscar Bianchi’s «Pathos of distance», string quartet no 2 – JACK quartet
Die 5 Fragen stellte das musica viva Team sowohl an Oscar Bianchi, als auch an Hans Thomalla, einen weiteren Komponisten, dessen Werk am 2.6.2017 uraufgeführt wird.
Weitere Informationen zu diesem Orchesterkonzert finden Sie auf www.br-musica-viva.de.
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