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Kaija Saariaho is internationally recognized as a leading figure in contemporary music, enjoying a well-deserved reputation for works that are both creatively original and of considerable appeal. Her music communicates with a refreshingly broad audience, and this special achievement deserves careful consideration. In the first symposium book in English to be dedicated exclusively to this single figure, scholars from both the UK and Saariaho's native Finland bring a range of perspectives to her richly varied output. Uncovering the compositional, historical, cultural and sociological issues that have resulted in such critical acclaim lies at the heart of this collection of essays. Saariaho's approach to composition is an interdisciplinary one; it embraces a number of art forms - visual, literary and musical - in works that explore a creative dialogue between image, continuity and time. While such diversity is readily accommodated in a multi-authored collection, the consistency of an underlying compositional identity and integrity is also an important trait. The grouping of these essays into three strands - 'visions', 'narratives' and 'dialogues' - reflects the wide range of Saariaho's creative preoccupations while subscribing to a carefully structured succession of commentaries.
- Sales Rank: #2933252 in Books
- Published on: 2011-09-28
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x .63" w x 6.14" l, 1.38 pounds
- Binding: Hardcover
- 256 pages
Review
'... a refreshing departure from the norm... carefully edited and interesting...' Finnish Music Quarterly '... the versatile assemblage of perspectives, critiques, and analyses in Kaija Saariaho: Visions, Narratives, Dialogues offers readers the opportunity to make an extensive journey into Saariaho's aesthetic world, or to go only a short way down such a path; to travel directly, or with many fascinating diversions and detours.' International Alliance for Women in Music '... this volume, as the first substantial engagement in English with Saariaho's music from an analytic-theoretical point of view, is a welcome and useful one.' Music and Letters
About the Author
Dr Tim Howell, Department of Music, University of York, UK, Dr Jon Hargreaves, independent scholar, and Dr Michael Rofe, Senior Lecturer, University College Falmouth, UK
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Analytically detailed look at nearly all aspects of the Finnish composer's career
By Christopher Culver
KAIJA SAARIAHO: Visions, Narratives, Dialogues is a collection of nine articles on the Finnish composer, edited by Tim Howell and published in 2011.
After Howell's introduction, the first article consists of an interview that Tom Service carried out with Saariaho in 2010. This mainly gives readers an insight into Saariaho's upbringing, studies in Helsinki and Freiburg, and arrival in Paris in the early 1980s.
Daniel March's "Reading the Ashes" contains a detailed analysis of Saariaho's "Cendres" (a somewhat obscure work, hear it on a Mode disc) and her second string quartet "Terra Memoria" (a recording of which is due to be released by Ondine in 2014). Anni Oskala's "Dreams about Music, Music about Dreams" examines five pieces by Saariaho that refer to dreams or nighttimes, showing how the composer expresses such mental states. She describes the musical workings of pieces like "Im Traume" and "L'Amour de loin" (with its recurring themes)
Taina Riikonen contribues "Stories from the Mouth: Flautists, Bodily Presence and Intimacy in Saariaho's Flute Music". Although it goes astray with making a strange detour into gender theory (quoting Luce Irigay on, uh, a female flautist's other set of lips), this is in general a very informative look at Saariaho's pieces "Laconisme de l'aile" and "NoaNoa". Rikkonen notes that having the performer speak through the instrument breaks the spell of the music as some kind of abstract thing from out there, and instead highlights the fact that a human being is involved in its creation. Based on interviews carried out in 2001, Riikonen describes the different approaches of flautists Mikael Helasvuo, Petri Alanko, Eva Tigerstedt and Anne Eirola to Saariaho's demands.
Michael Rofe's "Capturing Time and Giving it Form: Nymphea" looks at Saariaho's first string quartet (which has recently be given a fantastic recording on Ondine). "Nymphea" is an awesome sonic experience when heard with just an open mind, but Rofe's detailed analysis reveals so much more depth to the piece.
In the new millennium, Saariaho has been mainly in the public eye for her operas, and Liisamaija Hautsalo's "Whispers from the Past" explores how these operas show the composer returning to tradition in many respects, taking on age-old conventions of the genre in "L'Amour de Loin" and "Adriana Mater".
Tim Howell's "Dualities and Dialogues: Saariaho's Concertos" is one of the only papers here I found truly disappointing. Although there is informative analysis of "Graal théatre" and "Notes on Light", Howell discusses only these two concertos for violin and cello respectively, neglecting Saariaho's first cello concerto "Amers" and flute concerto "L'aile du songe".
Saariaho came into her mature style after discovering the spectralist school, and Vesa Kankaanppä's "Dichotomies, Relationships: Timbre and Harmony in Revolution" looks at the spectralist theory in her early pieces. There are spectrograms of "Jardin secret I" and sketches that went into "Lichtbogen".
Finally, Jon Hargreaves's 'Networks of Communication: (De)Crystallization and Perceptual Zoom in Du cristal" is an exhaustive exploration of the form of Saariaho's first work for large orchesta.
This collection will greatly interest fans of Saariaho with some training in music: nearly every article has an analysis of a piece or pieces, score samples abound, and I now get a lot more out of Saariaho's music than I used to (though my opinions that some works are weak has not changed). The only real downside of the book is the decision of a few authors to start off their articles with "trendy" citations (Irigay has already been mentioned, Jacques Derrida is here too), which really have little to do with the rest of the paper, the composer or her music. I am not necessarily opposed to postmodernism, but I don't like it when authors refer to that work only briefly to score points before then writing a paper on something else.
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