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A guide to Kaija Saariaho's music
Each week during the Proms season our contemporary music guide will feature a composer whose music is being played at London's Royal Albert Hall. We begin with Kaija Saariaho,
by Tom Service
Existential journeys ... Kaija Saariaho at home in Paris in 2004. Photograph: Raphael Gaillarde/Gamma-Rapho/Getty Images
All composers are dreamers. But very few have dared to dream sonic images of such magnetic power as those that Finnish composer Kaija Saariaho has conjured in her music for ensembles, orchestra, operahouses, electronics and soloists. That's true for pretty much every piece Saariaho has written, whether it's one of her luminous but inescapably dramatic operas, such as L'Amour de loin or Adriana Mater, or her orchestral sound- and cosmos-scapes such as Orion, or her chamber and ensemble works such as Nymphéa and Lichtbogen. To journey into Saariaho's music is to be confronted with the darkest and most dazzling dimensions of your subconscious, and glimpses of the existential journeys she has made to find these pieces.
And yet, for all of power and immediacy of her music, the journey to this soundworld has not been easy. Saariaho, who's 60 this year, has spoken of growing up in Finland in a family "without any kind of cultural background". Her father worked in the metal industry, her mother looked after the three children, and yet this unpromising ground would be catalysed by the spark of music. "I was very sensitive," she says. "There was some music that frightened me, and some that I liked. We had an old-fashioned radio at home, so I listened to music on that. But I also heard music when I was a girl that didn't come from a radio." Saariaho then reveals something that shows how her sensitivity to music was already tied up with the idea of a heightened reality, and with her own invention. This music that "didn't come from a radio" was music "that was in my mind. I imagined that it came from my pillow. My mother remembered me asking her to turn the pillow off at night when I couldn't sleep; to turn off the music that I imagined inside my head."
Studying with composer Paavo Heininen at the Sibelius Academy in Helsinki was the fulfilment of the young Saariaho's ambition, but it only came about because of her self-belief and stubbornness. She remembers meeting her future teacher, and that even though there was no room on Heininen's composition course, "I had decided that I would not leave the room until he had taken me. I was crazy, but I knew I could not leave the room. He tried to say many times there was no room for me – but finally he had no choice. I became his pupil." The academy also confronted her with the realities of life as a composer. And especially as a composer who was not male. In the early 1970s, Saariaho was the only woman in the class. "There were some teachers who actually would not teach me, because they thought it was a waste of time. 'You're a pretty girl, what are you doing here?' That sort of thing ... My femininity was so apparent, so unavoidable."
But Saariaho was a composer, from the start, who knew what she wanted to do, to feel, and to make in her music. And she knew what her music would not be as well. There was pressure from the academy to conform to more conventional archetypes of modernism, and subsequently, when she studied with Brian Ferneyhough in Freiburg she experienced the aridity of what she thought of as the over-systemisation of some species of contemporary composition – "all of that complexity, and for what aural result?", she says. Yet she had found one possible escape from those modernist diktats in the work of Gérard Grisey and Tristan Murail, the French spectralists who were investigating the harmonic potential of the overtone series, creating a more intuitive musical space that chimed with Saariaho's compositional instincts.
But Saariaho was a composer, from the start, who knew what she wanted to do, to feel, and to make in her music. And she knew what her music would not be as well. There was pressure from the academy to conform to more conventional archetypes of modernism, and subsequently, when she studied with Brian Ferneyhough in Freiburg she experienced the aridity of what she thought of as the over-systemisation of some species of contemporary composition – "all of that complexity, and for what aural result?", she says. Yet she had found one possible escape from those modernist diktats in the work of Gérard Grisey and Tristan Murail, the French spectralists who were investigating the harmonic potential of the overtone series, creating a more intuitive musical space that chimed with Saariaho's compositional instincts.
And it was a French institution that finally sealed Saariaho's flight from her homeland in the early 1980s: the underground labyrinth of electronic and electro-acoustic experimentation, IRCAM, underneath the Pompidou Centre. There she discovered the computer technology that would allow her to realise the sonic phenomena she heard in her personal musical universe. The pieces that resulted, like Verblendungen and especially Lichtbogen ("a piece I can approve", as this most self-critical composer describes it, "it's breathing music") opened up new possibilities for the way acoustic instruments and the computer technology of the mid 1980s might work together. Saariaho's stroke of brilliance and imagination in these pieces is to make the connections between the live musicians and the other world of the tape and electronic sounds as seamless as possible. The "breathing" of Lichtbogen applies just as much to the electronics as it does to the ensemble's music, and above all to the immediate, sensual impact of the whole work.
The brilliance of her works that fuse electronics with instruments is the way they melt the divisions between both worlds. The electronics become a halo around the instruments, amplifying their sonic palette yet indivisible from them. Your ears are seamlessly taken into another realm, a place that's both ethereal in its sheer, rarefied beauty yet grounded in the real world of instruments and voices.
Having immersed herself in the possibilities of electronics, Saariaho can now create the same uncanny effect of distance and transcendence using only an un-adulterated acoustic orchestra, as in her recent Orion; imagining and realising sounds you didn't think the orchestra could make.
Saariaho's music since then has not compromised the techniques it uses, whether electronically or acoustically, in order to serve the private yet grand passions her work describes. Her operas especially explore the big themes of war, of love, of existence; and each has created a new sonic universe to do so. But for all the change in her life and her career, and the largest possible scale of orchestral and operatic music that she now often works in, there's something in Saariaho that remains of that sensitive and dreaming child, the fundamental desire to realise her ever-mysterious musical visions. But that's a process that involves making the private, public; that necessitates revealing to the world the most delicate areas of experience and contemplation. Talking about her most recent opera, Emilie, composed for the solo voice and solo persona of Karita Mattila, who is alone on stage for all 90 minutes of the piece, she says: "It's always the inner space that interests me." She adds: "It's very private: everything is happening in this woman's mind during one night when she's working. Like all of my operas, it should have the effect of being fundamentally private music, music that I want to communicate with the inner world of my listeners, just as it expresses my inner imagination." In so doing, Saariaho has given her audiences – and given late 20th and early 21st century music as a whole – some of the most luminous, beguiling and sheerly sensual experiences they can hope to have.
CDs with only the music of Kaija Saariaho
BIS-LP 307 (1986, reprinted 1997)
Verblendungen (RSO, dir. Esa-Pekka Salonen), Sah den Vögeln (Ensemble, dir. Atso Almila), Jardin Secret I, Laconisme de l'aile (Camilla Hoitenga, flute).
FINLANDIA FACD 354 (1989)
Verblendungen, Lichtbogen, Io (Avanti, dir. Jukka-Pekka Saraste), Stilleben.
Verblendungen, Lichtbogen, Io (Avanti, dir. Jukka-Pekka Saraste), Stilleben.
ONDINE ODE 791-2 (1992)
Maa: Ballet Music in Seven Scenes (Ensemble, dir. Tapio Tuomela).
ONDINE ODE 804-2 (1993)
Du Cristal,...à la fumée, Nymphea (LA Philharmonic, dir. Esa-Pekka Salonen, Kronos Quartet, Anssi Karttunen, cello, Petri Alanko, flute).
ONDINE ODE 906-2 (1997)
Private Gardens: Lonh, Près, NoaNoa, Six Japanese Gardens (Dawn Upshaw, soprano, Anssi Karttunen, cello, Camilla Hoitenga, flute, Florent Jodelet, percussions).
PETALS 002 (1998)
Works for cello: Petals, Près, Spins and Spells
Anssi Karttunen, cello
FINLANDIA 3984-23407-2 (1999)
Meet The Composer: Kaija Sariaho (2 CDs reprint from various Finlandia)
Verblendungen, Lichtbogen, Io (Avanti, dir. Jukka-Pekka Saraste), Stilleben,
Jardin Secret II (Jukka Tienssu, harpsichord), Petals (Anssi Karttunen, cello), Lichtbogen (Endymion, cond. John Whitfield)
PETALS 003 (1999)
Two Musical Environments: La Dame à la Licorne, Cloud Music
Anu Komsi, soprano
ONDINE 958-2 (2000)
From the Grammar of Dreams: vocal works (Du glick, flög, Preludi-Tunnustus-Postludi, Miranda’s Lament, Caliban’s Dream, From the Grammar of Dreams, Il pleut, Adjö, Grammaire des reves, Die Aussicht)
Anu Komsi, Piia Komsi, sopranos, Petteri Salomaa, bariton, Avanti! dir.Hannu Lintu
MODE 91 (2000)
New gates: Chamber music (Cendres, Grammaire des rêves, Solar, New Gates)
Ensemble Champs d'action dir. James Wood
ONDINE 958-2 (2000)
From the Grammar of Dreams: vocal works (Du glick, flög, Preludi-Tunnustus-Postludi, Miranda’s Lament, Caliban’s Dream, From the Grammar of Dreams, Il pleut, Adjö, Grammaire des reves, Die Aussicht)
Anu Komsi, Piia Komsi, sopranos, Petteri Salomaa, bariton, Avanti! dir.Hannu Lintu
MODE 91 (2000)
New gates: Chamber music (Cendres, Grammaire des rêves, Solar, New Gates)
Ensemble Champs d'action dir. James Wood
NAIVE MO782087 (2001)
Prisma: cd-rom + the audio-CD Private Gardens
Private Gardens: Lonh, Près, NoaNoa, Six Japanese Gardens (Dawn Upshaw, soprano, Anssi Karttunen, cello, Camilla Hoitenga, flute, Florent Jodelet, percussions).
SONY CLASSICAL 60817 (2001)
Graal Théathre, Château de l'âme, Amers (Avanti!, BBC Symphony, dir. Esa-Pekka Salonen, Gidon Kremer, violin, Dawn Upshaw, soprano, Anssi Karttunen, cello).
Ondine ODE 9970 (2002)
SONY CLASSICAL 60817 (2001)
Graal Théathre, Château de l'âme, Amers (Avanti!, BBC Symphony, dir. Esa-Pekka Salonen, Gidon Kremer, violin, Dawn Upshaw, soprano, Anssi Karttunen, cello).
Ondine ODE 9970 (2002)
Reprinted
Graal théâtre (first recording of the chamber orchestra version), Solar, Lichtbogen
John Storgårds, violin, Avanti! Chamber Orchestra, cond. Hannu Lintu
Montaigne MO 782154 (2002)
Laconisme de l'aile, Flute Concerto "L'Aile du songe", poems Saint-John Perse
Camilla Hoitenga, flute, Amin Maalouf, reciter, Finnish Radio Symphony Orchestra, cond. Jukka-Pekka Saraste, (Kaija Saariaho & Jean-Baptiste Barrière, electronics)
INA 5013 / 275 922 (2002)
Six Japanese Gardens, Trois rivières: Delta
Thierry Miroglio, percussions
Thierry Miroglio, percussions
KAIROS 0012412KAI (2004)
Chamber Music: Cendres, Noa Noa, Mirrors (two versions), Spins and Spells, Monkey Fingers, Velvet Hand, Petals, Laconisme de l'aile, Six Japanese Gardens
Wolpe Trio (Lesley Olson, flute, Scott Roller, cello, Susanne Achilles, piano)
Ondine ODE 1047-2 (2004)
Du cristal, ...à la fumée, Nymphea (Jardin secret III), Sept papillons (first commercial recording)
Anssi Karttunen, cello, Los Angeles Philharmonic Orchestra, cond. Esa-Pekka Salonen, Kronos Quartet (Nymphea)
[part of the material also published in Ondine ODE 804-2, 1993]
Ondine ODE 1049-2 (2004)
Cinq reflets de l'Amour de loin, Nymphea Reflection, Oltra mar
Pia Freund, soprano, Gabriel Suovanen, baritone, Tapiola Chamber Choir, Finnish Radio Symphony Orchestra, cond. Jukka-Pekka Saraste
Aeon 637 Harmonia Mundi (2006)
Works for cello (Petals, Oi Kuu, Spins and Spells, Mirrors, Sept Papillons, Près)
Alexis Decharmes, cello, Nicolas Baldeyrou, clarinet, Jérémie Fèvre, flute
Ondine ODE 1130-2 (2008)
Notes on Light, Orion, Mirage
Karita Mattila, soprano, Anssi Karttunen, cello, Orchestre de Paris, cond. Christoph Eschenbach
Harmonia Mundi HMC801937.38 (2009)
L’Amour de loin
Daniel Belcher, baritone, Ekaterina Lekhina, soprano, Marie-Ange Todorovich, mezzo
Deutsches Symphonie Orchestra and Choir Berlin, cond. Kent Nagano
Ondine ODE 1173-2
D'Om Le Vrai Sens, Laterna Magica, Leino Songs
Anu Komsi, soprano, Kari Krikku, clarinet, Finnish Radio Orchestra, cond. Sakari Oramo
Ondine ODE 1189-2
Trios: Mirages, Cloud Trio, Cendres, Je sens un deuxième cœur, Seranatas
Steven Dann, Pia Freund, Tuija Hakkila, Mikael Helasvuo, Florent Jodelet, Anssi Karttune, Ernest Kovacic
Other CDs with pieces of Kaija Saariaho
FINLANDIA FACD 357 (1987)
The Fantastic harpsichord, Jukka Tiensuu, harpsichord
Saariaho: Jardin Secret II (+ works by Xenakis, Corrette, Soler, Tienssu, Sciarrino)
FINLANDIA FACD 361 (1989)
Saariaho: Lichtbogen (+ works by Lindberg, Hämeenniemi, Kaipainen)
Endymino Ensemble, dir.John Whitfield
NEUMA 450-73 (1990)
Electro acoustic Music I
Saariaho: Petals (+ works by Lansky, Risset, Boulanger, Warner)
Anssi Karttunen, cello
UMMUS UMM 102 (1990)
Saariaho: Lichtbogen (+ works from Benjamin, Ligeti)
Saariaho: Lichtbogen (+ works from Benjamin, Ligeti)
Nouvel Ensemble Moderne, dir. Lorraine Vaillancourt
WERGO WER 2025-2 (1990)
Computer Music Currents 5
Saariaho: Jardin Secret I (+ works by Harvey, Loy, Maiguaschca, Smalley)
Ircam CD 0002 (1990)
Music Composed at IRCAM: The Eighties
Saariaho: Io (extract) (+ works by Barrière, Stroppa, Boulez, Manoury, etc.)
Ensemble Intercontemporain, cond. Peter Eotvös
EMI Eastworld TOCE 8021 (1992)
Let it be, Hyper Music from Lennon & McCartney, by Aki Takahashi, piano
Saariaho: Monkey Fingers, Velvet Hands (+ works by Tenney, etc.)
FINLANDIA FACD 544182 (1992)
Saariaho: Petals (+ works by Ysaÿe, Krenek, Dellapiccola, Lutoslaski, Dutilleux, Lindberg, Salonen)
Anssi Karttunen, cello
J&W 931 (1992)
Saariaho: Jardin Secret I (+ works by Keane, Heldman, Karlsson, Justel, Brady, Pennycook, Dolden,
Viviennne Spiteri, harpsichord
ONDINE 796-2 (1992)
Tapiola Chamber Choir, cond. Eric-Olof Söderström
Saariaho: Nech och inte, Suomenkielinen sekakuorokappale (+ works by Kortegangas, etc.)
BIS-LP 689 (1994)
Saariaho: Laconisme de l'aile (+ works by Rivier, Vivaldi, Popp, Messiaen, Izarra)
Manuela Wiesler, flute
NEUMA 450-87 (1994)
Electro acoustic Music III
Saariaho: NoaNoa (+ works by Karpen, Nelson, Dusman, Fuller, Risset)
Camilla Hoitenga, flute
DACOCD 423 (1994)
New Nordic Chamber Music, Wärme Quartet
Saariaho: Laconisme de l’aile (+ works by Alsted, Jeppson, Eiriksdottir, ore, Becker, Lund)
Kermira cd 75 (1995)
Kemira 75 Years Concert, Avanti! Chamber Orchestra, cond. Leif Segerstam
Saariaho: Io (+ works by Johann Strauss II, Beethoven, Segerstam)
RTVE SIB-003 (1995)
Saariaho: Nuits, Adieux, Près (+ works By José Manuel Lopez Lopez)
Anssi Karttunen, cello, Electric Phœnix, cond Terry Edwards
JASELP 0010 (1987)
Saariaho: Im Traume (Risto Poutanen, violoncelle, Ilmo Ranta, piano).
Montaigne MO782033 (1996)
reprinted Montaigne 782141 (1996)
From Scandinavia: Lindberg, Saariaho, Sorensen, Tiensuu
Saariaho: Nymphea
Arditti String Quartet
MFA 216030 HMCD73 (1999)
Répertoire Polychrome 2
Saariaho: Nuits, Adieux (+ works by Cohen, Pascal, Kurtag, Dubedout, Levaillant)
Ensemble Vox Nova
Albedo ALBCD013 (1999)
Works for cello, Friedrich Gauwerky, cello
Saariaho: Petals (+ works by Höller, Heyn, Cary, Hübler, Barrett)
CRI 867 (2000)
Conspirare, Chamber Music for solo flute, Patti Monson, flute
Saariaho: Noa Noa (+ works by Reich, Dick, Meltzer, Higdon, Bresnick)
Philips B000026CMT (2000)
Saariaho: Noctune (+ works by Cage, Takemitstu, etc.)
Gidon Kremer, violin & Naoko Yoshino, Harp
PETALS 005 (2000)
Neiges, for 8 cellos
Helsinki Cello Ensemble
(+ works by Heininen, Ortiz, Piassolla, Puumala, Taira)
Nuova Era 7364 (2001)
Sand und Drang, Canto e Passione,
Ensemble Europeo Antidogma Musica, Linda Campanella, soprano
Saariaho: Die Aussicht (+ works by Corregia, Solbiati, etc.)
JaseCD 0037 (2002)
Folia, Tom Tom Duo
Saariaho: Folia
Juha Pesonen, double bass
Ondine ODE 984-2S (6 CDs, 2002)
A Century of Finnish Chamber Music, Live from the Kuhmo Festival
CD 6: Saariaho: Spins and Spells
Roi Ruottinen, cello
Cybele SACD 361 201 (2003)
Farber der Stille
Saariaho: Nymphea (+ works by Feldman, Imbeschied, Roller and Takemitsu)
Ensemble Gelber Klang
Folia, Tom Tom Duo
Saariaho: Folia
Juha Pesonen, double bass
Ondine ODE 984-2S (6 CDs, 2002)
A Century of Finnish Chamber Music, Live from the Kuhmo Festival
CD 6: Saariaho: Spins and Spells
Roi Ruottinen, cello
Cybele SACD 361 201 (2003)
Farber der Stille
Saariaho: Nymphea (+ works by Feldman, Imbeschied, Roller and Takemitsu)
Ensemble Gelber Klang
Accord 472 272-2 (2003)
Dramatic Games, Tatjana Vassilieva, cello
Saariaho: Spins and Spells (+ works by Schedrin, Dutilleux, Schnittke, Penderecki, Saariaho)
Attacca 2493 (2004)
Ladder of Escape 9, Ernestine Stoop, harp
Saariaho: Fall (+ works by Andriessen, Carter, etc.)
Albany TROY726 (2004)
Electricity: works for cello and electronics
Saariaho: Petals (+ works by Tanaka, Tiensuu, Gang-RU Ge, Davidovsky, Gordon)
Madeleine Shapiro, cello
SMUCKERS (2004)
Saariaho: Orion (+ Tchaikovsky)
The Cleveland Orchestra, cond. Franz Welser-Möst
Alba ABCD 207 (2005)
Tapiola Originals
Saariaho: Tag des Jahrs (+ works by Kaipainen, Sisask and Tüür)
Tapiola Chamber Choir, cond. Hannu Norjanen
ECM New Series 1799 472 4222 (2005)
In due tempi (+ works by Cage and Maderna)
Saariaho: Nymphea
Cikada String Quartet
Warner Classics 2564-61952-2 (2005)
Saariaho: Orion (+ works by Corigliano and Long)
BBC Symphony Orchestra, cond. Jukka-Pekka Saraste
Aucourant Records (2005)
Solo Violin Recital
Saariaho: ...de la terre (+ works by
János Négyesy, violin
Saariaho: ...de la terre (+ works by
János Négyesy, violin
Albany TROY728 (2005)
Violin Visions, Bodil Rorbech, violin
Saariaho: ...de la terre (+ works by Mary, Olofsson, Link, Frounberg)
Harmonia Mundi HMU 907391 (2005)
Baltic Voices 3
Estonian Philarmonic Chamber Choir, Paul Hillier
Saariaho: Nuits, Adieux
(+ works by Augustinas, Gudmundsen-Holmgreen, Mazulis, Bergman, Martinatis, Tüür, Gorecki )
Matous MK 0057-2 131 (2006)
Konvergence Ensemble
Saariaho: Lichtbogen
(+ works by Takemitsu, Plachka, Palka, Stochl, Rybar)
EMI 3 69690 2 (2006)
Rattle’s Planets
Saariaho: Asteroid 4179: Toutatis
Rundfunkchor Berlin, Berliner Philharmoniker, cond. Sir Simon Rattle
(+ works by Holst, Matthews, Pintscher, Turnage, Dean)
ONDINE ODE-1102-2 (2007)
A Due
Kari Krikku, clarinet, & Anssi Karttunen, cello
Saariaho: Oi Kuu
(+ works by Tiensuu, Kortekangas, Lindberg, Merilaïnen, Jokinen, Bergman, Länsiö, Heininen, Hakola)
ALBA ABCD 231 (2007)
Sydän: Anu Komsi Sings Eino Leino
Anu Komsi, soprano, Pia Värri, piano
Saariaho: Sua Katselen, Sydän, Iltarukous
(+ works by Fagerlund, Hannikainen, Kaipanen, Kilpinen, Komsi,
Kortekangas, Kuula, Linjama, Melartin, Merikanto, Nordgren)
ONDINE ODE-1100-5 (2007)
Karita Mattila’s Helsinki Recital, recorded live at the Finnish National Opera
Saariaho: Quatre instants
(+ works by Duparc, Rachmaninov, Dvorák)
AMESON B0014CEOX6 (2009)
Une contrebasse, un humain
Jean-Pierre Robert, doublebass
Saariaho: Folia
(+ works by Matalon, Jodlowski, Jaffrenou, Giroudon, Estager, Rolin, Haddad)
FCR 122 (2012)
Terrestre
Claire Chase, flute & International Contemporary Ensemble
Saariaho: Terrestre
(+ works by Donatoni, Carter, Boulez, Fujikura)
ACD 5075 (2012)
Momentum: Nordic Cello Contertos
Jalob Kullberg, cello
Saariaho: Amers
(+ works by Norgard, Nordheim)
ECM new series 2157 (2012)
Saltarello
Garth Know, viola & Agnes Westerman, Sylvain Lemetre
Saariaho: Vent Nocturne
(+ works by Purcell, Vivaldi, von Bingen, Machaut, Dowland)
HMU 907578 (2013)
The Edge of Light, Messiaen/Saariaho
Gloria Cheng, piano, Calder Quartet
Saariaho: Prélude, Ballade, Je sens un deuxième cœur
(+ works by Messiaen)
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