Panisello SEVEN JAPANESE SKETCHES by ScoresOnDemand

PANISELLO

Seven Japanese Sketches

for Oboe and String Quartet

Score and Parts

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FABIÁN PANISELLO

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Seven Japanese Sketches

for Oboe and String Quartet (2023)

to Ramon Ortega Quero and the Amaryllis Quartet

EDITION PETERS

LEIP ZI G · L ONDO N · NE W YOR K

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Commissioned by the Amaryllis Quartet

First perfomed on 14. October 2023 at “Meistersolisten im Isartal” in Icking (Germany)

PROGRAMME NOTE

This piece is a reworking of certain themes that emerge from my recent experience with the opera Die Judith von Shimoda. This way, characters reappear from the fore mentioned, questioning themselves and rethinking themselves, as well as harmonic elements linked to the bonsho bells, the sho instrument or the harmonic and inharmonic spectrum harmonies that define some of the characters.

The figurative staging that this piece possesses brings into dialogue elements from our own musical culture, such as those derived from the harmonic and inharmonic spectrum or the tempered hexachordal fields and, in the case of the oboe, multiphonic materials with sound materials from the bonsho bells, the sho and the melodic twists of old popular songs that served as a symbolic reference for me, and in some cases tangible, for the composition of Die Judith von Shimoda and Seven Japanese Sketches

In this way, the harmonies that include micro-intervals present in the piece, all have a specific origin related to these sources, although they have been adapted to the quarter tone, in order to make their interpretation more accessible.

For oboists and quartets unfamiliar with such intervals, an alternate tempered intonation version of some of the pieces is included. This serves as a substitute, although in my opinion it loses some of its original color, mysterious and deep at the same time.

Microtonal accidentals are used in three main ways:

1. Melodically as color or ornamentation, the interpreter having a framework of freedom for its execution. In this case, microtonal intonation should not be replaced by tempered tuning. (Movements: I, IV, VII).

2. Originated in the multiphonics of the oboe. In this case, the eighth tone microintervals will be adapted to the quarter tone to facilitate reading and an effort will be made to execute them rigorously. (Movements: IV, VI).

The reference book for multiphonics in this work is The Techniques of Oboe Playing by Peter Veale, Claus-Steffen Mahnkopf, Wolfgang Motz and Thomas Hummel published by Bärenreiter-Verlag, Kassel.

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3. Vertically as part of a spectral treatment of original harmonic complexes or based on the spectra of the Bonsho or Keisu bells used as reference. For these cases, oboists and string quartets who play these pieces and are not familiar with microinterval intonation, may use the following adaptation to tempered intonation in movements II, III and V:

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Index

I. Okichi and Tsusumatsu’s Insights………………...…………………………………...1

II. Bonsho………………………………...………………...……….…………………..7

III. Madrigal 1…………………...…………….………….………...………………....17

IV. Imaginary song…………..…………...………………….……………...………….20

V. Madrigal 2…………………...………………….……………………………...…...39

VI. Maiko song...…………...………………….…………………...………………….43

VII. Wind…………………...………………….…………………...............................56

Duration: 16 minutes

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SevenJapaneseSketches I.OkichiandTsusumatsu'sInsights

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pocovib.onthestring

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sulpont. , sultasto

sulpont. () ne Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ ,sultasto

, senzavib.

ord.vib.molto > , senzavib.

sulpont. , sultasto , senzavib.

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*)Seenoteonmicrotonalityintheintroduction.

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nœ œ™

nœœ b nœœ n#œœ # nœœ n nœœ n nœœ n#œœ # nœœ ##œœ n nœœ ##œœ n nœœ n#œœ #nœœ n#œœ n #œnœ ‰ Œ

nœœ n#œœ # œœ n#œœ # #œœ nbœnœœ n nœœ # nœœ n #œœ # nœœ n#œœ # nœœ ##œœ ##œœ n#œ #œnœ ‰ Œ

nœœ b nœœ # nœœ b nœœ ##œœ nbœnœœ b nœœ n nœœ n#œœ nbœœ n nœœ # nœœ ##œœ n nœœ #nœ #œnœ ‰ Œ

nœœ b nœœ #bœœ b nœœ # nœœ nbœnœœ b nœœ nbœœ n nœœ nbœœ b nœœ # nœœ n#œœ n œœ n nœœ # nœ ‰ Œ

nœœ b nœœ n #œœ # nœœ n nœœ nnœœ n#œœ # nœœ ##œœ n nœœ ##œœ n nœ nœœ n #œœ n nœœ n nœ #œnœ ‰ Œ

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bœœ n nœœ nbœœ n nœ bœœ n nœœ nbœœ nbœrnœœ n nœœ b bœœ n nœ R nœœ b nœœ nbœœ nbœr œ

bœœ n nœœ nbœœ n nœbœœ n#œœ n nœœ n#œ R bœœ n#œœ n nœœ n bœ R nœœ # nœœ n bœœ n#œ R bœ

bœœ n nœœ nbœœ n nœbœœ n#œœ n nœœ n nœ R bœœ n#œœ n nœœ n bœrnœœ # nœœ nbœœ n#œ R bœœ nbœr œ

bœœ nnœœ nbœœ n nœ

bœœ n nœœ nbœœ n nœ

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VI.Maikosong

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witha"nohstyle"color

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collapartescratchingonthestring

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Vln.II

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Vln.II

Vla.

Vc.

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Precipitating, brutalq=q Expressive,delicateq=q(h=96)

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senzavib. flaut.

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senzavib. flaut.

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