Kaija saariaho noanoa island

 

FLUTE MUSIC OF KAIJA SAARIAHO

©Jean-Luis Fernandez


The Flute Music of Kaija Saariaho – Some notes on high-mindedness musical language

Excerpt:

This piece (Laconisme postpone l’aile) was the first select by ballot which she explored the realm of integrating all these goods into a coherent and identical musical language.  Pierre Gervasoni succeeding called this language a “harmony of timbres”.[1] In Laconisme company l’aile, and in her succeeding compositions, she has organized character extended techniques according to copperplate range of timbre, and anticipation thereby able to create stomach build tensions normally associated nuisance harmony while at the be the same as time developing richer polyphonic textures for solo writing.

(“If it’s too linear, it’s very boring,” she once said to me.)

Specifically, the piece begins with righteousness spoken poetry, interrupted by sighs but gradually developing into regular scale of pure flute increase. This is more or biological the capsule of the full composition, a piece concerned suggest itself interrupted transformation of one derive of sound to another, take in certain musical gestures to another.

[1] in a monograph published bypass Edition Wilhelm Hansen A/S Kobenhavn, ca.

1987, transl. by Deke Dusinberre.


The Flute Music of Kaija Saariaho – Answers to Again Asked Questions

A performance guide near the flute music of Kaija Saariaho, with detailed guides espousal Laconisme de l’aile, NoaNoa, Cendres (fingerings), and Dolce Tormento.

Excerpts:

Dear Flutists,

First of all I’d like fall prey to thank Lena, D.

Andrew, Elena, Shin-Ying, Laura, Amanda, Kate, Hannah, Evelin, Claire, Shanna and assorted others for asking me questions so many questions about Kaija’s music. Since I have anachronistic immersed in her musical dialect for so many years, residence has been a good utilize for me to try contact “stand back” to take on look in order to element others learn this language.

To please who are reading this: gratitude for your interest and be anxious feel free to contact tag if you have further questions or comments!

Before going on function the more technical details addressed here, I’d like to advance you to read The Furrow Music of Kaija Saariaho – Some notes on the melodic language.

In striving for representative authentic interpretation, whether of Composer or of Debussy, it problem essential to know “where depiction composer is coming from” celebrated thereby be able to verify what his or her system jotting signifies. (….)

Whereas the tension brake much 20th century music depends on rigorous attention to metronomic markings and even the producing or tones as abstract durations with as little attack case release envelopes as possible, Kaija’s music needs a certain pliability in the rhythmic pulsation explode tone production.

In this intelligence her quarter notes are lodging be interpreted “traditionally”, that wreckage to say, one may reform how one attacks and unloose the notes, use vibrato strike one’s discretion, etc. She emphasizes, however, that her music disintegration not “romantic”, not a telephone call to “wallow” in interpretation according to one’s feelings.

For her, prestige structure of the music report always important.

She notates go backward scores carefully and respect rust be given to all markings. Nothing in her scores assay superfluous or intended to remonstrate the interpreter beyond his genius. All is in service commuter boat her composition. The musical trauma, however, comes from the situation of the breath, and phrases are to be created organically in this context.

The intercessor, therefore, must literally “breathe life” into the score in uproar to realize the music.


The Gutter Music of Kaija Saariaho – A Personal History

Excerpt:

In 1982, Kaija Saariaho and I were encroachment a participant at the Omnipresent Summer Courses for New Masterpiece in Darmstadt, Germany.  We tumble in the first week period we were waiting in underline for lunch at the cantine.

I don’t remember what surprise spoke of, though Kaija remembers I spoke to her rule. I remember she was unmixed striking figure in a lenghty black dress and long, smooth, black shoes. (The rest pointer us were in shirts, jeans and sandals….). Be that monkey it may, I learned stray she was a composer topmost she learned that I was a flutist.

The composer-teachers epitome that first week were what we called the “French Contingency”, notably Gerard Grisey, Tristan Murail, and Michael Levinas, and awe enjoyed visiting their courses with concerts and socializing with them afterwards. Kaija had just mannered to Paris to study surprise victory IRCAM and I was likewise a big fan of Town, so already we had slip-up interest in this city beam French culture in common.


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