oggetti 1 (2014) by jason thorpe buchanan

www.jasonthorpebuchanan.com

oggetti I For the Fiati 5 Chamber Music Campania, Lucera, Italy

by

JASON THORPE BUCHANAN

June 2-5, 2014 (Rev. 1 – 7.21.14)

I

Transposed Score (Omaggio a Sciarrino) for the Fiati 5 Wind Quintet Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ q = c48-54 [ o7

g±

Jason Thorpe Buchanan June 5, 2014

.

A.Fl. (G)

Ob.

Cl. (B b)

Ó &5 4

Bsn

Hn.

Bsn.

‰

3

. reed alone, high, abrasive multiphonic

O

n ‚æ

Ó

6

‚ ! O- O- O- Ofl P O

‰.

‰ æ ·

yÿ

"

( ƒ)

j3 O O f

aspirated

O

7

P

Œ

flatt. 3 air only slap tongue

O

?5

sealed embouchure flatt.

O O

O.

4

7

O

[t]

[k]

Œ

b º œo . !

œ

O ‰.

Œ

O 7

O.

O

4

&!

micro/semi-tone fluctiations ad libitum irregular overblowing/accents ad libitum

7

6

˙.

tongue slap, secco 5

! bº- - - º "ÿ ÿ ÿ ÿ

Œ 5

tæ. > P 6

œ.

? Ó

9

! " ˘œ !

6

(F)

"

sealed embouchure flatt.

[p] #

[b]

sub

Ø

?

P

[ffa]

& !· only air (w/tongue) &

9

F pp

[k]

6

B b Cl.

.

[CH] (Shhhh, tongue high)

#

Ob.

decel. reart.

(F)

?5 Œ

3

A. Fl.

Ï

ç

Œ &5 4

Hn (F)

ha rm . gl

5

harm. gliss.

iss .

! &5 4 nOæ

flatt.

Œ 5

‰. 5

port.

F

j3 ‚æ ‚æ >

!æ ‚ >

Œ

5

ÿ ƒ

O O O

b -º ÿ !

(F)

r‰

poco

‰ Œ

5

ÿ

Œ

O

3

(

)

(

b º (ng œœœ )

)

ÿ

F

j Œ

p

> n œÿ ´ n œ . œ nœ ® # œ !# Ünœœj nœ# Ü œÿ n œ´ ÿnœ ÿ ÿ ƒ pp Fÿ ç ß

ä

˘ Ü ˘œœ ˘œœ

# Ü œœ)

‰

O

5

3

(

! nO ! ‰ O ! O ! O ‰ . bº O ‚ æ ç 5 6 sfffz m. 1 n œ ˙ n œ ˙ `23456 ‰ n # œœ ˙˙

5

abrasive multiphonic mid-range, ad libitum mechanical/metallic stuttering

[CH]

5

n ˘œ

sub

5

ÿ

!

r O f j m. Ab29 Dœ b >œ Œ + n œœ F 6 J ß O

port.

O

5

äœœ

[7 .

5

A. Fl.

œ

po

nœ.

>´

)

rt.

n( n œœ œœ)

nœ

ss. gli flatt. rm. ha

& Œ

Œ

B b Cl.

& Œ

slap tongue

Bsn.

?

5

O

Œ

rŒ yÿ ß

O

7

A. Fl.

Ob.

bºO º O . &5 4 ç

P ç

œ

port.

O O >O

Hn.

Bsn.

?5 Œ

4

?5

4.

rŒ -ÿ

Œ

b ºœ

port.

O b Oº O O b Oº

"

5

4Œ 4

o

(+ œ ) œ

OO

(œ)

port.

"

œo .. ®

port.

O"

"

‰. ‰ ‰ ‰ ! -ÿ (ad libitum) -ÿ -ÿ -ÿ sfz 7

5

tongue ram

(œ )

n O b Oº O n O b Oº O n ObOº O n O bOº O O O O

7

6

-ÿ

# Ü œ´ ´ 5 pulsating, dynamic swells ad libitum ! n œ´ œb œ´ # Ü œ 4 ÿ nœ ! 4 ÿ nœ ˙. "3 F ppp sempre

O

port.

sub

( ")

port.

O O

"

F

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6

5

Œ

6

trill Ÿtimb. ~~~~~~~~~~~~~~~~~~~~ 6 leggiero [ ˘j > Dœ . n œ bº œ > œ > .

Œ

C/E bisb.

"

b œº œ œœb º œœb º 4 œ œ œ œ œ ! Œ 4 b b O 6 p O n œo œ 5 ! bº œ n œ ! nœ b ºœ 4 b º œ ( b œº )

!

nœ

poss.

.

5

O3

Œ

b ºœ 4 O O O " Oœ

O

b œº œ œ bœº œ œ œ œ œ œ ‰ . bº n b n b œ O p O6 o n œo œ ( œ ) œ .. ® #œœ J # œ Œ ( b œº ) &5 Ob Oº O n ObOº O 4 ‰ &5 4

7

Œ

œ œ b œº

"

Œ

port.

B b Cl.

bºœ œ œ J œ b ºœb ºœ

2

‰ bœnœ b œº nœ

4 4O.

C/E bisb.

O

>œ œ œœ œœ œœ œœ

6

.

Œ

O

j nœ

" F F ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ó O ‰

m. B b11

[4 b º äœ º äœ .

3

.

port.

( ")

'ghosted'

Œ

+ ˘œ . ‰+ # œœ .. # b ºœœ ..

˘ ? œœœ ‰ .

Dœ

port.

O O O >O O O O

port.

Ob.

Hn.

[ º œä äœ äœ œ

! ! & O (œ) n O O bOº O O O O æ æ F 3ç O 3 3Í (

trill Ÿtimb. ~~~~~~~~~~~~~~~~ j ˘

oggetti

4.

O b Oº O O 7

3

port.

o ( œ ) œ .. ®

!

n œ n>œ b> ºœ

n>œ

! b ºO b º O n O n Ob º O 4 ! ! ! ! ! 4n!O n >œ . œ ppp

F

Œ

Ó

‰.

Œ

F( ")

ƒ 5ß Ÿ~~~~~~~~~~~~~ ˘ n œ ( nœ) œ n œ (( #n œœ )) 4 œœ ‰ . `2345 n œ

m. 2 & 3

-o

port.

sub

5

"

4

Œ

4! 4 y

ƒ

(œ )

n ObOº O O n ObOº On ObOº O O

5

(molto vib., slow, pulsating)

5

œ œ ! œ œ.

yÿ ÿ O sim. O O O >œ > > > > ß n j ‰ 5 ‰ Œ & ! #!Ü œ n!œ n!œ b!ºœ 4bœº ! ! ‰ ? !5 æ -ÿ -ÿ y yæ 4 > nœ> " Ï m. Ab29 ( sfp) m. G10 flatt. b º œ´ œ´ œ´ ´ ´ >œœ b œ œ 4 ‰ . + b >œœ œœ !œ æææ ææ ´ œ œ n œ. ! " 4 n œ bº œ 5 "

"

yÿ

attack with repeated tonguing, as fast as possible, almost no tone production, mostly breath, staccatissimo, very pointed and distinct

F

ƒ

3

ç pp sub

O

yæ ! yæ yæ ( sfp) œœ ‰ œœ 3

5

port.

œÿ F

O

5 pp ç sub

O

oggetti

9

A. Fl.

Ob.

n>œ

6.

.

(

)

!

b ºœ nœ

(

port.

)

! 5 nO bº O bº œ O bº O O >O O O b º O œ œ´ n O 4b Oº nO b º O ß pp O J ç O F 5 "F5 ( ") ( ") F Ï ˘œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ nŸœ~~~~~~~~~~~~~~~ œ( n œ ) C/E bisb. 6 6 # # œ ( ) n œ œ œ œ œ 5 ( Ó Œ Œ n œ Œ Œ œ œ ‰. ) n œ œ œ œ œ œ œ & œ œ œ # Ü # Ü #Ü #Ü n R4 R O 6 5 5 p " O ƒ 5 r œ´ œo . œ´ œo œ´ r œo . n œ# Üœ ‰ 5 # Üœ 5 ! Œ Œ b º œ ® ® ( ) & ‰. O O O 4 O# Ü O O# ÜO nO # Ü O yÿ yÿ yÿ O O #ÜO O OnO# Ü O O O nO# ÜO O sim. F O F O O ß O FO 5 tongue ram >œ # >œ >œ´ > > 5 3 ! 6 5 ? œ ? ! # Ü œ r 5 ! b º œ Œ ! ! ! & ‰ ‰ ‰ ! ! yæ yæ yæ ! yæ y n œ > 4 ! yæ -ÿ -ÿ ! -ÿ ! -ÿ ! ! -ÿ 5 Ï > ( sfp) ( sfp) (ad libitum) sfz " flatt. 5 m. Ab29 æ æ b œº æ >œœ æ œœ > æ œÿ ÿ Œ ? ! 5 ‰ Œ + nb œœœ œœœ Ó. œ œ œ # œ 4œ ÿ ÿ ƒ bºœ œ J 3 O 5 ç pp O Pÿ &

(molto vib., slow, pulsating) 5

œ ! œ.

œ > ß

œ

(

)

sub

5

port.

B b Cl.

> n[>œ bºœ n œ

trill [6 ä Ÿtimb. A b↑ *(leave Ab key up) ~~~~~~~~~~~~~~~ > b º œ >b œ Dœ > > n>œ bnº œœ bœº n œ .

3

port.

7

Hn.

sempre

Bsn.

ç pp

sub

b œ´ (molto vib., slow, pulsating) 5 . œ 4 b O º n O &4 b Oº n O n O . ˙ œ ! nœ .

11

A. Fl.

´ n œ nb ºœœ´ œ´

"

7

Ob.

B b Cl.

Hn.

Bsn.

>.

F

#

&4 4 Œ &4 4 ?4

4‰

?4

4

O"

6

# Ü # œœ . .

5 4 #Ü O .

port.

6

yæ

#

tongue ram

6

5

6

>

sempre

~~~~~~~~~~~~~~~~~~~~(cont'd)

!

abrasive multiphonic ad libitum

Í ƒ

‰.

p

Œ

œ.

!

Œ

j ‰. (reed in) ÿ (F)

tongue slap, secco 5 6

"

-ÿ -ÿ

Œ

5

‰

sub

abrasive mp. ad libitum

5

yÿ yÿ O sim. ß B b> ´ œ d >œ n>œ > > > 7 1 n œ 3 ~ ! ! ! ! n!œ n!œg œ œ! œ! ! ! ! ‰ Œ ~ ~ 5 ~ ! œ ~ yæ ! yæ œæ ~&~~4 œ 3 Sff F ƒ œ ( sfp)

5Œ 4

! #´ b º O - pp 5 ß `234 m. 3 n >œ #œ nœ œ!Œ R O 5 ß pp > Œ R 5 ß

!n # # ! # ‰ # ‰ # # ‰ # ! -ÿ -ÿ -ÿ -ÿ ƒ b º -ÿ -ÿ -ÿ sfz

5 ! n œ . b œº œ # œÜ œ œ ˙ 4 "

5! - - - - - - - - - - - - - - - - - - -! 4

-ÿ ‰

.

5

p

> n b œœ

[6

as fast as possible

slap tongue (with air)

!5æ y ( sfp)

ß

port.

sub

"ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ ÿ (ÿ ƒÿ ) 5

˘j nœ

[6

( # Üœ )

Œ 6

!ÿ

Œ

? 5

sub

n äœ R

(+ voice)

ç

multiphonic 5 ad libitum

r > ç

13

A. Fl.

Ob.

B b Cl.

º œœ

˘ j *ring finger E key pinky finger 2nd trill key r # Ü œœ

port.

tongue ram

&4 4º O

5

p

œ œ &4 œ

! n# ‰ ƒ bº sfzÿ

‰

4$

O

.. &4 4

! O

?4 œ

Bsn.

4

A. Fl.

Ob.

( b œº )

O O bO O

"

7

3

‰

4

O

Œ

##‰ -ÿ -ÿ

)

‰

O nO b O O

O"

7

j @O y ‰ . " Fÿ

air only tongue stop

‰

5

! -ÿ ÿÿ ÿ (F)

®

OOO

Hn.

.

?6 æ 4 >y (sfp)

yæ ! yæ yæ yæ ( sfp)

flatt, without reed, keys shut, with tongue staccattsimo, breath only

Bsn.

y ! yæ y >) (sfp

O nO b O O

OOO O

yÿ ‰ F

5

OO

"

!6 !6

^

5

sempre

O

5

O

!

5! 4 y. 7

ÿ ç

5 ! yæ yæ yæ ! yæ 4 y ( sfp) 3

( sfp)

! yæ yæ (s>fp) 5

5 4

!æ y ( sfp)

(triple tonguing as fast as possible)

yæ yæ ( sfp)

‰.

-ÿ

,

5

6

‰

O

‰

7

P

( ƒ) ˘ !

y

( ƒ) 

tongue 5 stop

y ! fl ( ƒ)



without reed, only air 5

O. >Í

7

O! fl ƒ

7

O

[k] 6

6

(F)

without reed, only air (w/tongue)

Œ

yæ.

5

-ÿ ! -ÿ

[t]

6

"

b ºO ! nfl ç ˘y  !

5

3

5‰ · 4

6.

5

‰.



c.2" 5

5

6

‰. Œ

O

3

sealed embouchure flatt.

‰ n # ! # # ‰ ‚æ ‚æ. > b º -ÿ -ÿ -ÿ sfz ^ 6.

6 Œ æj 5 ‚ 4 ‚ ! O- O- O- Ofl " O P

reed alone, soft yet rich multiphonic

?6 !5 4 yæ yæ ( sfp)

r ‚ ‚æ > ß

5

air only

"

O

( )

Ø

tongue ram

5

! !! ‰ ! ‰ -ÿ -ÿ -ÿ -ÿ

tongue slap, without reed 6 6

&6 4$

&6 4

‚æ. F>

4

only air

multiphonic ad libitum, as high and soft as possible

B b Cl.

sealed embouchure 5 flatt.

O

% # Ü ˙ whistle tone

&6 4"

oggetti

5

(r œ )

OOO

(

# . n TR -ÿ . Ô

Ó

port.

O

?4

15

Œ

(+ voice)

Hn.

sempre

5

# Ü˘ œœ

Œ

6

b º œo . !

œ

j3 O O f

O

7

[CH]

O O

#

"

!

5

oggetti

17

A. Fl.

Ob.

B b Cl. Hn.

Bsn.

&!

& ‰ &

Ob.

7

$

7

F pp

[k]

[ffa]

·

? ?

P

6

tongue slap, secco 5

5

! ‚æ ‚æ. F>

Œ &4 4

5

[6 ˘

ä # Ü # œœ

5 ! æ æ æ n œ æ æ + œ æ ® n œ #œÜ # Ü O nO n b ºœ· · b º œ b œº œ œ OœO O · · ObOº O O nOb Oº nO ‚ #œÜ nœ ç 5ß " P

‚>æ

˘j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ port. n œ œ œ

! # Ü> .

9

10

! œ # œœœ œÿ # Üœ œ F ç pp " sub

~~~~~~~~~~~~~~~ bisb. R.H. o œo œo œo ! n œ œ# Ü œ œ œœ# Ü # Ü

Bsn.

?4 4O ?4 ‰

4

yÿ ß

O

‰

r O O f

5

yÿ . sim.

11

‰.

˘—j

5

bº œ

(breath attack) 3

.

5

6

O O O Oport.b º O O O O b º O O nO O R 5

"

Œ

F pp

œ.

O O O # ÜO O O # OÜ 6 " O

O

‰

6

r air only (with tongue) œ r O nO O # ÜO nO O O ( F> ) 3

‰. ‰.

Ï

F

Ó

F

sub

? Œ j & Œ O œ Sff m. G14 O n œ´ ´ 3 5 ´ # Ü œ b º œ nœÿ œ bœº ´ œ´ ! # œ . n œ . ! ! + œ ´ # Ü œÿ n œ n œœ .. œœœ ÿ # œÿ b œº ÿ â n œÿ œÿ 7 Ï ç p

5

b -º ÿ ! [6

timb. trill

~~~ ~~~ ~~~

Hn.

&4 4!

5

(F)

*right hand 3 to 3rd finger (E-key)

B b Cl.

OO

.

Œ 5

F

‰.

5

!

[CH]

port.

flatt.

5

O

(A-D gliss, slide fingers)

! bº- - - º "ÿ ÿ ÿ ÿ

&4 4 ‚æ.

˘œ R

Œ

‰.

O

‚æ > P

"

œ ..

O

sealed embouchure 5

6

(F)

"

˙.

$ [p]

[d]

sub

6

sealed embouchure flatt.

irregular overblowing/accents ad libitum

Ø

18

A. Fl.

micro/semi-tone fluctiations ad libitum

O

air w/slap tongue

# >O

(F) only air (w/tongue)

bº O >) (F

j œ

O O # ÜO O

‰

O

‰

O

[6 .

20

A. Fl.

Ob.

B b Cl.

Hn.

Bsn.

&nO

(

6 port.

B b Cl.

nœ

5

P

port.

O

O O bOº O bO port.

O

#

"

? Œ

3

! #O. >O

? Œ

n œ b ºœ œ b ºœ œ œ

! nO O

(F) O

‰

! bº O . >) (F

O

‰

"

[CH]

(single tongue)

5

ä + bn œœœ !

m. Ab29

z

ç

O"

tongue ram

n# ‰ # ‰ b º - -ÿ sfz ÿ 5

port.

#‰ # # ! # ! # ‰. -ÿ -ÿ -ÿ -ÿ -ÿ 6

5

r O O. f œœ´ œ Œ 3

> # Ü# œœ Ü œœ [6 .

?5 Œ

4

Œ

Œ j‰ -ÿ -ÿ ! -ÿ ÿ ÿ ÿ

!ÿ ÿÿÿ (F)

6

~~~~~~~~~~~~~~~~~~~~ 10

b œº œœœb º œœb º º œœ œœœœ œ n n C/E bisb.

port.

äœ œ œ´ œœ œœ œœ ‰ . zJ 5

= ˘œœ

5

port.

O

Œ

ç

Œ

nœ b œ ‰ b œº n œ 7 nœ 8

Œ

#Üœ nœ # Ü œ ‰ #Üœ

"7

sub

abrasive mp. ad libitum

tongue slap, secco (with reed) 6 3

sub

O"

4! # ! 4 nœ . #Ü O O = O J " -ÿ 3 5 " ß( pp) ß `2345 m.>2 > nœ œ œ n œœ œ 4Œ # nœ œ œ &5 4 4 5 J Í 3ƒ slap tongue 5 > ˘ air only 3 ‰ . ‰ 5 4 Œ Œ r &4 j4 ! y. ‰. y · y yÿ ß ƒ3 " fl ÿß O ÿsim. ç n >œ slap tongue 5 5 3 6 6 ?5 . ‰ 4Œ & R ‰. ‰ ‰ ! ! ! ! ! 4 OO - - ! - ! - - - - - - 4 5 ß sfz ad libitum flatt.

ç pp F ( ")

n œ b º œ nœ b º œ œ œ n œ b ºœ nœ b º œ œ œ nœ b ºœ œ nœ b ºœ œ . ( ‰) ( Œ)

œ b ºœ œ

( )

sempre

Bsn.

‰.

port.

O 3 p O ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ o. o o o

!

‰

only air (w/tongue)

! &5 4 b œæ.

Œ

bisb. R.H.

O

air w/slap tongue

( ")F

6

>œ Ÿ. ~~~~~~~# Ü œ˘j !

+œ

O b º O O O >O O O

ç

Œ

r air only (with tongue) & œ .O #OÜ O O nO œ r O O# ÜO nO O O ( F> ) 6

bºO

port.

~~ ~~~~~

Hn.

port.

)

sempre

Ob.

.

, #OÜ Ü

&

22

A. Fl.

6

[4 legatoŸ~~~~~~~~~ ä b º äœ äœ . + œ b ºœ .

4Œ 4

abrasive multiphonic + vocalizations ad libitum

5

R

ç

O

Œ

˘ ‰ Ó 3

?

‰

7 8 "

7

Bb

œ

7 8

&7

~~~~ ~~~

oggetti

œ p

8

B7

8

7

ä ä b ºœ º œ .

oggetti trill ~~~~~~~~~~~~~~~~~~ r 5 Ÿtimb. j ˘j º Dœ nœ

legato

24

A. Fl.

Ob.

B b Cl.

port.

bOº O . &7 8ç

O O O

O O

" F5

(

nO)

port.

( b œº )

F

( ")

port.

OP

O

"

1 >œ d >œ > > > n œ n œ n œg>œ ! ! ! ! ! ! ! ! œ œ œ! ! ! ‰ Œ &7 8 Sff F œ 3 ƒ œ 7

Bb

7

!

7

?4

4! O.

˙Ÿ. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~# Ü˘œj B7 ‰? 4

8$

p

˘

#(Ü # œœ )

26

A. Fl.

! ‰ &7 8 #O

5 sfffz sempre

˘

# œœ

B b Cl.

Hn.

Bsn.

˘

Ü œœ

O ! O ‰.

>œ œ n œ œ n œ œ œ œ ‰ #œ œ 7 &8 œ œ n œ œ F O 5 ßpp sub

&7 8

( f)

?7

8

´

>

abrasive multiphonic + vocalizations ad libitum

‰ 5

z

ç

F

œœ

ÜO

port.

5

stuttering, irregular rearticulations

5

O

´ ‰. 5

N.B.: four contrasting multiphonics

stuttering, irregular rearticulations

z

ç

abrasive mp. ad libitum

! ! >‚æ ‚´ # OÜ O

sfffz stuttering, irregular 5

`2345

n >œ . ‰ n n œœ .. @ pp 5ß

rearticulations

m. 2

sub

po

rt.

O.

O

>

.

abrasive multiphonic + vocalizations ad libitum

‰

Œ

z

ç

5

( f)

N.B.: four contrasting multiphonics

.

œ

>.

> ‰ J y y !ÿ ÿ 5

4

˘ nn œœ

5

ä ˘œœ

# Ü# Ü œœ

[6

˘œ

O ‰

[CH]

r æ‚ ‚æ. > Œ

j bº œ ˙ > subpppppossibile

m. 1 œ˘ m. 2 & 3 n œ>.Ÿ( n~~~~~~ n œ œ ) n œ œ n n œœ . ((#nÜœœ )) # Ü œ œ ‰. . n œ œ 5 ƒ 5 ƒ 5

?7

8O

F

O

m. 1

Ob.

sfz sempre

"

port.

Bsn.

4 4 yÿ

slap tongue

O

~~~ ~~~ ~

Hn.

sfz sempre

5

æ >‚

b œº œ œ b œº œ b œº ºœ nœ œ nœ œ œ ‰ 4Ó œ 4 O O p o o (œ )œ. ( œ ) ®œ .. (œ ) repeat ad libitum

O b Oº O O b Oº n O b Oº O n O b Oº n O bOº O n O bOº OO OO OO

F

sealed embouchure flatt. dark 5

4! æ 4 >‚

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ C/E bisb. 13

Œ &7 8 n >œ >œ . &7 8

port.

5

>

z

ç

air/breathy

nO ! 3 8 b º >O F >œ œ œ œ J

ƒ

r‰ O O

J

[shhhhhhh]

œ. œ. 3 œœ .. 8

3 yæ 8( ƒ> )

!

O

air only

3 y@ 8>

forceful exhalation

O

slap (single) tongue

ç

3 8

.

4 4 O

º º

j

!

O

‰

4 4

‰

4 4 O

‰

&4

4 4 4

oggetti

8

Moderately Faster

 Œ &4 4

28

A. Fl.

Ob.

B b Cl.

Hn.

Bsn.

q = c54-60

timbral/phonemic coloring ad libitum breath only, no pitch (into flute as amplifier) all holes covered (inhale) 5

6

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ · · · · · ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ !‚‚ ‚‚‚

 4 &4 Œ

F

only air (w/tongue)

5

O

5

6

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ !‚‚ ‚‚‚ F O trill Ÿtimb. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ scarcely audible pitch, fragile œ œ . !b œ ˙ œ bº œ .

$



Œ &4 4

œ



Œ &4 4

œ bºœ

œ

pppppossibile

! nœ.

˙

(open, not stopped)

breath attack

"

œ

œ ! œ ˙.

O5 Ø

pppppossibile " 5O Ø (high D key) timb. trill Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

! bº œ .

?4Œ

4

˙

pppppossibile

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ !b œ . ˙

œ

scarcely audible pitch, fragile

"

O5 Ø

a tempo q = c48-54

only Ÿair~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & ‚‚‚‚‚‚‚‚‚‚‚6^ #Ü œ n œ Fç O F" 6

6

port.

air only

F F ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ç pp ! œ. œ airŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ only

.

(D b down)

(into flute)

6

> # Ü # œœ

[6

[7

& ‚‚‚‚‚‚‚‚‚‚‚6^ 6

Ob.

5

$

30

A. Fl.

5

(exhale)

bº œ n œ ƒ

#œ

"

#

! nœ ! #ÜO n O sfffz 5

sub

B b Cl.

Hn.

& &

"

œ ..

"

O

r Ú ^ 3

ç pp

œ R

Bsn.

"

(molto secco) 6

6

Œ 6

Œ

7

!

6

7

ÿ sfzÿsempre --

O ! -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ ! -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ ! ! ! ! " ( ƒ )timb. trill

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

? œ ..

F

sub

Œ

slap tongue

œ R Ó

O

äœ Ÿ~~~~~~~D œj ´ ´ ´ œ # Ü œ 5 ´ ´ b º äœ œ ‰ b º œ´n œ R n œ !# œÜ ÿ bœº # Üœ´ œ´ œ nœ ÿ 6 5 " F pp " ÿ 5 F port.

sub

9

> > ## Üœœ œœ

>œœ

[5

A. Fl.

[5 [5

n œ´ O

! ! O O nO

Ob.

B b Cl.

Hn.

Bsn.

.

! &4 4 # ÜO O sfffz

&4 4 Œ &4 4

4

nO

"

5

Œ

-ÿ -ÿ !

ä

n >œ

poss.

ß

5

pp

sub

Œ

b º ˘œ ‰ . F

nœ

"

#

r -ÿ -ÿ ‰ .

5

Œ

>œ

(B b trill fingering slide R2) port.

.

sfffz

5

6

! nœ &4 4 fffƒ B4 !

‰.

nœ

>œœ >œœ

[5

.

32

oggetti

ß

5

sfffz

port.

˘œ !

>

reed alone, high, abrasive multiphonic

Ob.

B b Cl.

Hn.

Bsn.

! &3 4

3!

&4

( f) nœ bœº bœº œbœº

5

F

"

œ # Üœ œ bœº bœº

˘ç !

Œ

10

œœ œœ

10

# Üœœ bœº bœº œ

n>œ # Ü >œ n>œ > > 3 n œ b ºœ bœº ? &3 æ 4Ï 5 > nœ>n œÿ ! >y ß flatt. ´ bºœ ´ ´ ´ ?3 œ œ b º œ œ´ œæ ‰ æ ÿ æ æ æ æ n œ 4ƒ 5 ÿ Î 9

4! # Ü T # T 4 nOæ n- - ç O sfffz

yæ.

pp

sub

Œ

œœ

O

‰. 5

6

flatt.

5

s. lis .g rm ha

[o7 g±.

O

3

n äœ .

‰

5

ß

port.

pp

sub

.

harm. gliss.

decel. reart.

Ï

O. æ

without reed, only air flatt.

4Œ 4

ç

4Œ 4

Œ

4 -ÿ ! 4 ! -ÿ -ÿ -ÿ -ÿ y . > P ç ç 3

4Œ 4

F

- - -ÿ -ÿ -ÿ -ÿ -ÿ -ÿ

"ÿ ÿ

8

tongue ram

5

Œ

( f)

#

bº œ n œ

#

3 8!

Ÿ~~~~~~~~~~

>œ > b º œ b nº œœ > 34 n œ n>œ b º>œ > nœ 3 ! &4 b º O b º O n O n O b º O n O ! n >œ œ . 5

3 8

port.

"

?3 ‰

.

Ï

"

5

[5

A. Fl.

3

n O 8n œ # Ü œ

n äœ œ Œ R R

F

pp

nœ

.

3 ! -ÿ -ÿ ! 8

5

sub

5

[7

,

.

O. æ

only air flatt.

ç

O (gradually lower in pitch) forceful exha lation

Œ



O

hold (quite long)

T

"

r yÿ F

slap tongue

5 air only

O (gradually lower in pitch) forceful exha lation

O

oggetti I (Omaggio a Sciarrino) was written June 2-5, 2014 in New York, NY for Chamber Music Campania as composer-in-residence, and premiered by the Fiati 5 wind quintet in Lucera, Italy on June 25, 2014. This is the first movement of a larger cycle of works for wind quintet exploring concise musical objects, gestures, and formal structures. While composing this work, I was concurrently finishing antistasis for Ensemble Nikel and composing very rapidly to complete both commissions. Many concepts and compositional devices are shared between the two works, although there is no explicitly shared material. The Ancient Greek word ἀντίστασις (antístasis), meaning opposition, is defined as a rhetorical term for the repetition of a word or phrase in a different or contrary sense. In the work for Nikel, this concept is translated into sound through the repetition of a small number of musical gestures, or objects, that are continually recurring and recontextualized so as to contribute to the composite in a different way. oggetti I functions in a similar manner, drawing upon extremely limited materials that are reconfigured in various ways, something like a musical jigsaw puzzle. _______________________________________________________________________________

Jason Thorpe Buchanan’s works have been described by critics and leading composers as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, IKTUS Percussion, [Switch~ Ensemble], OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, and TAD Wind Symphony (Japan), among others. Awarded a Fulbright Fellowship (2010-11) at the Hochschule für Musik und Theater in Hamburg (Germany) as a visiting scholar, he was recently selected as Artist-in-Residence by USF Verftet and the City Council of Bergen, Norway to complete work on Hunger in late 2015. Additional honors and awards include the ASCAP Morton Gould Award (2014) and the Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, a commission from the International Horn Society for Double Concerto (2014) with soloists Jeff Nelsen, Michael Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman, antistasis (2014) for the Tzlil Meudcan Festival (Tel Aviv) with Ensemble Nikel, oggetti 1 (2014) as composer-in-residence for Chamber Music Campania (Italy), the selection of Hunger for the Darmstadt Contemporary Opera Workshop with Ensemble Interface (2014), both the newEar 4th Annual Composer’s Competition (2013) and selection at the NYC Electroacoustic Music Festival (2014) for Asymptotic Flux: First Study in Entropy co-commissioned by the [Switch~ Ensemble] & OSSIA, and 2nd place in the American Prize orchestral composition competition (2012) for Berlin Songs, commissioned by the German/American Fulbright-Kommission and premiered at the Akademie der Künste (Berlin) during the Pan-European Fulbright Conference. Jason has studied composition with Ricardo Zohn-Muldoon, Carlos Sánchez-Gutiérrez, Robert Morris, Allan Schindler, David Liptak, Virko Baley, Peter Michael Hamel, Jorge Grossmann, Pablo Furman, and Manfred Stahnke, conducting with Takayoshi Suzuki and Brad Lubman, and with Georges Aperghis, Brian Ferneyhough, Raphaël Cendo, Chaya Czernowin, Augusta Read Thomas, Hans Abrahamsen, Philippe Leroux, Clemens Gadenstätter, José María Sánchez-Verdú, and Pierluigi Billone, among others. He is Executive Director of the Valencia International Performance Academy & Festival’s Composition & Contemporary Music Program (Spain). From 2007-2012 he served as founder and director of Melos Music, a composer’s consortium and concert series in Chicago, San Francisco, and Philadelphia. He has served as assistant conductor for Eastman’s Musica Nova Ensemble with conductor Brad Lubman and Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, as well as a board member of Ossia and co-founder, conductor, and artistic director of the ECMC’s ensemble-in-residence, the [Switch~ Ensemble] as a Ph.D. candidate at the Eastman School of Music. He holds degrees in Composition and Music Technology from San José State University and the University of Nevada, Las Vegas, where he taught courses in composition and music theory (2008-2010), receiving the highest honors for excellence from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a work for saxophone and electronics to be premiered by Andrew J. Allen at the World Saxophone Congress (Strasbourg, 2015), and a work for solo percussion and electronics to be premiered by Peter Ferry (Chicago, 2015).

For more information or to contact the composer, please visit www.jasonthorpebuchanan.com

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