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Livret Philadelphia SAARIAHO D’OM LE VRAI SENS for clarinet and orchestra LATERNA MAGICA LEINO SONGS Kari Kriikku · Anu Komsi Finnish Radio Symphony Orchestra Sakari Oramo KAIJA SAARIAHO (*1952) Clarinet Concerto “D’OM LE VRAI SENS” (2010) 31’01 Commissioned by the Finnish Radio Symphony Orchestra, the BBC, Fundação Casa da Música, the Swedish Radio Symphony Orchestra and Radio France 1 I. L’Ouïe 7’00 2 II. La Vue 3’29 3 III. L’Odorat 7’04 4 IV. Le Toucher 3’27 2 5 V. Le Goût 3’59 6 VI. A mon seul désir 6’02 KARI KRIIKKU, clarinet 7 Laterna Magica (2008) 23’40 Commissioned by Stiftung Berliner Philharmoniker and Lucerne Festival Leino Songs (2007) (Texts: Eino Leino) 12’24 Commissioned by the Osaka International Festival, the Finnish Radio Symphony Orchestra and Fundação Casa da Música 8 I. Sua katselen 3’01 9 II. Sydän 2’03 10 III. Rauha 4’58 11 IV. Iltarukous 2’22 3 ANU KOMSI , soprano Finnish Radio Symphony Orchestra SAKARI ORAMO , conductor Publisher: Chester Music Booklet Editor: Jean-Christophe Hausmann Cover Photo: © KoMa Recorded by the Finnish Broadcasting Company Artist Photos: Maarit Kytöharju/ FIMIC (Kaija Saariaho), Marco Recordings: Espoo, Sello Hall, 7.1.2010 (Leino Songs); Borggreve (Kari Kriikku), Maarit Kytöharju (Anu Komsi), Heikki Helsinki, Finlandia Hall, 31.5–1.6.2010 (Laterna Magica); Tuuli and Octavia (Sakari Oramo) Helsinki, Kulttuuritalo , 18.–20.4.2011 (Clarinet Concerto) Booklet Cover Back: The Lady and the Unicorn: To my only Executive Producer: Reijo Kiilunen desire (Tapestry, ca. 1500; Musée de Cluny, Paris) Recording Producer: Laura Heikinheimo Design: Eduardo Nestor Gomez Recording Engineer: Jari Rantakaulio Mixing and Mastering: Enno Mäemets – Editroom Oy This recording was produced with support from the P 2011 Ondine Oy, Helsinki Foundation for the Promotion of Finnish Music (LUSES) and © 2011 Ondine Oy, Helsinki the Finnish Performing Music Promotion Centre (ESEK). 4 Kaija Saariaho he music of Kaija Saariaho (b. 1952) has a powerful, characteristic and immediately recognisable style: a sound world of hissing, buzzing and tinkling, replete with the strangeness of being. There are certain recurring topics in her work, such as light, space, wandering, searching, dreams and the processes of the human body, running through all of Ther orchestral and chamber music and operas, from Verblendungen (1984) combining orchestra and tape to Mirage (2007) for cello, soprano and orchestra, and from the opera L’amour de loin (2000) to the monodrama Émilie (2008). Saariaho may be regarded as a philosophical composer of mysteries. Her music explores modes of experience that language cannot describe. Often her music seems to suggest an invisible yet tangible ‘other world’ that can be sensed in the translucent sonorities, echoes, overtones, harmonics, shadow tones and reflections of her music. Transitory and bodily images dominate: tones that decay and die, arresting pauses, and impressions of breathing and heartbeats. Saariaho’s music conjures up a sense of infinite space and multimodality. Small wonder, then, that she has collaborated with a number of artists in various branches of the arts (including Amin Maalouf, Peter Sellars and Esa-Pekka Salonen). 5 Born in Finland, Saariaho has been living in Paris for three decades. The Clarinet Concerto D’OM LE VRAI SENS (2010) was inspired by a series of Medieval tapestries at the Musée de Cluny in Paris entitled The Lady and the Unicorn. Each of its panels depicts one of the human senses, the last being dedicated to the mysterious ‘sixth sense’. This governed the structure of the concerto. In L’Ouïe (Hearing), the orchestra oscillates in elongated tones, fading sighs and microintervals that probe the cracks between notes. The sliding, gliding clarinet breaks into multiphonics, and the crotales evoke a doorbell to the beyond, while the music box of the celesta reveals its dark side. La Vue (Sight) opens with a clarinet ripple imitated by the marimba. Acoustic mirrors of this kind permeate the entire movement, characterised by a mysterious scale and a sense of growing pressure. A cry of alarm from the clarinet leads into L’Odorat (Smell), a dreamy mist of notes with magical puffs of colour: the clicking of seashells, the tinkle of pieces of glass, the creaking of the guiro. The music collapses, and the clarinet flies away from the orchestra like a soul fleeing the body. In Le Toucher (Touch), the clarinet calls up the instrument groups one at a time to join it in an incantation, a chase and a gallop. Finally, the clarinet – also a unicorn – bursts into neighing. The following Le Goût (Taste) features the clarinet treading the fine line between a tone and hot air. The work concludes with the meditation A mon seul désir (To my only desire), an anagram of which provides the title of the entire work, D’OM LE VRAI SENS, translating approximately as ‘The true sense of man’. Here, the clarinet ascends in multiphonics, slowly and painfully. The celesta ticks out the remaining time, while the pedal point of eternity sounds in the bass. What, then, is the true meaning of life? What is a way of existing in the world that is even more important than the senses? The answer is different for each listener; and indeed for the soloist too, the last few measures being given over to improvisation. 6 The traditional symbolic meaning of a unicorn is spiritual and sensual love, innocence and wisdom, courage and magical power (as a curiosity, we may note that these tapestry panels hang on the wall of the Gryffindor common room in the Harry Potter films), and also immortality and Christ. Saariaho was inspired by the clarinet wizardry of Kari Kriikku, and she completed the solo part in collaboration with him. The work invites the soloist to move around the venue while performing, even going into the audience. Eino Leino (1878–1926) was one of the most important Finnish poets of all time, and Saariaho’s Leino Songs (2007) is a philosophical and soul-searching work much like her settings of Simone Weil ( La Passion de Simone , 2006) and Sylvia Plath ( From the Grammar of Dreams , 1988). Saariaho writes music like a confessionalist poet: the human self is the point through which the whole world is reflected, and the focus is on the most sensitive and delicate parts of the soul. This is a sound world of austerity, lucidity and rust, reflecting Leino’s key themes: the power of creation vs. the finite nature of life; the fiery spirit vs. the bleak world. Feelings of being left alone in the world, of being detached and of the proximity of death dominate. Each song is a dazzling vision on the dark shores of melancholy. For Saariaho, the human voice is always an instrument of colour. The Leino songs were written with the alabaster voice of Anu Komsi in mind, a voice both dark and light, both dull and glossy, just like Leino’s poetry. Sua katselen (Looking at you), shadowed by drums, scintillates with the tones of soprano, glockenspiel and harp as if mirroring the cold stars. Sydän (The Heart) embodies the beat of a heart building its own coffin. Rauha (Peace) vanishes in the distance both upwards and downwards – ‘with love’, as the performing instruction says. Iltarukous (Evening prayer) concludes with four-note figures played by the violins over a quiet shimmering sound field like the unhurried wing strokes of a being flying away. Saariaho, like Leino, is powerfully figurative in her art. Laterna Magica (2008) derives its title from the memoirs of film director Ingmar Bergman 7 (1918–2007), referring to an early kind of slide projector, the magic lantern, where a candle or oil lamp was used to project images painted or printed on glass plates onto a wall. Bergman was fascinated with the idea of a moving image: if one turns the handle fast enough to show a sequence of still images in rapid succession, the human eye perceives movement instead of individual images. The boundary between observation and imagination, the phenomena of light and dream-like reality, are recurring features in Saariaho’s music, featured in works from Lichtbogen (1986) to the cello concerto Notes on Light (2006), just as in the films of Bergman or, say, of Andrei Tarkovsky. Laterna Magica consists of gaseous fields that shift and disappear, creating mirages in sound. The woodwind players whisper words describing different kinds of light taken from Bergman’s memoirs: soft, dangerous, dreaming, dead, hot, direct, oblique, poisonous, calming, etc. Translated into German, the words are hissing and mysterious. Light, on the other hand, is in many cultures, religions and philosophies held as a symbol for the mystery of life, for spiritual searching, for enlightenment and for revelation. At times, the six horns in the orchestra fill the entire space like red colour fills the screen in Bergman’s film Cries and Whispers , a parallel the composer herself has acknowledged. The violent assaults lead to an outburst abruptly cut off by a pause: death, trauma, darkness, non-existence. The aimless clicking and humming in the texture evokes a machine creating all these visions, while the breath-like or wind-like sighs imply a vivifying spirit. But what, ultimately, is keeping the magic lantern of the universe in motion? Susanna Välimäki Translation: Jaakko Mäntyjärvi 8 Eino Leino (1918) a musique de Kaija Saariaho (née en 1952) est caractérisée par un style distinctif, immédiatement reconnaissable : un univers sonore fait de murmures, de susurrement et de tintements, qui bruit de l’étrangeté de l’existence. Parmi ses thèmes récurrents : la lumière, l’espace, l’errance et la quête, les rêves et les processus corporels. Ceci s’applique autant à Lla musique orchestrale de Saariaho qu’à ses œuvres chambristes et opératiques, et ce de manière continue de Verblendungen (« Éblouissements », 1984), qui associe orchestre et bande enregistrée, à Mirage (2007) pour violoncelle, soprane et orchestre, et de l’opéra L’Amour de loin (2000) au monodrame Émilie (2008).
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