Saariaho已经驾到，开始聆听！
甲米 发表于 2013-1-28 16:01

甲米兄：萨利亚霍听的如何了？

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年底较忙，晚上应酬多，4张CD刚初初的听了一遍，可听性还好，不难接受。Saariaho的音乐与ligeti联系较多吗？

   

接下来的假期，我会对照一些文字说明仔细来聆听。

A guide to Kaija Saariaho's music

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.

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.

第一天上班，收到了布列兹的钢琴作品集和陈银叔的小提琴协奏曲

我们论坛听历史录音的人多，听当代作品的人不多啊。甲米兄有毅力，不容易啊。

听萨莉亚霍的“极光”（Lichabogen),上些极光的照片

萨里亚霍新唱片 D’OM LE VRAI SENS获得BBC Music Magazine Awards 2013度首演奖（Premiere Award）

甲米兄：萨利亚霍最近听的如何？萨的作品我连听了一个多月，刚刚有点头绪。

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前一阵听了一段时，初步听了一遍，最近两月家事较忙，没有再听。初步感觉没有人声的作品更容易接受，例如＂北极光＂一听就很喜欢。
   

找到一篇评论，B老师请看一下
Although Saariaho was part of the high modernist scene during her studies in Helsinki, and she studied with the "new complexity" composer Brian Ferneyhough, her mature career really began with her arrival at IRCAM in the mid-1980s. The technology available at the famous French music research institute gave her a fascinating insight into sound itself and her writing eschewed atonal complexity for sensuous detail and slow processes of change. When there is dissonance, it is due to the transition between a pure tone and noise and used for colour. Thus the flute, whose sound is very pure, and the cello, with its great wealth of articulations, are prominent instruments. "Lichtbogen" (1986) is the foundation of this new style, something like Ligeti's "Atmospheres" but more lush and less spooky. "Nymphea Reflection", though dating from 2012, is an arrangement for orchestra of her string quartet "Nymphea" from this time. "Grammaire des rêves" for soprano, alto and chamber ensemble (1988) is a setting of Paul Eluard, but the two voices melt into a great musical cloud just as much as they recite the text.

Certainly the summit of Saariaho's early orchestral pieces, and in my opinion the best work in this set, is the diptych "Du cristal ...a la fumee" (1990). This is music that sounds just like what the title says. "Du cristal" is slow, cast in great blocks, with portentuous drumbeats. The last sound is a cello trill played sul ponticello, which becomes the first sound of "...a la fumee". In this second piece, everything is in flux and flute, cello and live electronics disrupt any attempt at uniformity. Years later, I still clearly remember the slack-jawed amazement I felt when I first heard this diptych. "Solar" (1993) and the short setting of Shakespeare for baritone and orchestra "Caliban's Dream" (1992) refine these concerns.

As the 1990s went by, Saariaho gradually became interested in melody. The violin concerto "Graal théatre" maintains the orchestral explorations of timbres, but adds a solo part with a very clear and memorable line. A further impetus to overt melody came as she was writing her first opera "L'Amour de Loin". Another brief Tempest setting "Miranda's Lament" (1997) presents some of the solo voice concerns that were to appear in the opera, while the large-scale "Oltra mar" (1998-99) displays a new approach to choral writing with material that appeared in the opera. These pieces are not up to the standard of the earlier works, but there are still many pleasures in them.

Unfortunately, Saariaho's drive and power declined around the turn of the millennium, and in many of her recent pieces the violence that shook up earlier music is gone. "Orion" (2002) retreads old ground with somewhat diminishing results, while the cello concerto "Notes on Light" (2006) is an overly pretty Debussyean work. Still, Saariaho can still delight on occasion, and it's good we have "Mirage" (2007) for soprano and orchestra here. This is a setting of Mexican folk healer Maria Sabina's poem about mushroom hallucinations (who expected Saariaho to write psychadelia?) and intended as a special kind of double concerto. The writing for all elements, cello, voice and orchestra alike, is among the strongest of Saariaho's entire career. The soprano is dramatic, with loud outbursts, while the cello line is subtle, silky and mysterious. The orchestra, meanwhile, varies between supporting one line and the other. Cool stuff.

在我们所知的许多个文明终结时刻里，没有一天像 1913 年 5 月 29 日那般充满浪漫的挣扎，那一夜，斯特拉文斯基的《春之祭》引起了一场骚乱。
当香榭丽舍剧院里芭蕾舞者在起舞，管弦乐队在演奏时，走道里却乱成一团，有人挥拳相向，拐杖戳破了礼帽，钥匙被当成口哨，警察被叫来清场。斯特拉文斯基被混乱给惊呆了，两只手紧紧抓住编舞的尼金斯基，生怕他陷入麻烦。舞蹈团经理佳吉列夫命令电工将剧场灯光开了又关。第二天早上，奥匈帝国的大使向法国外交部递交了一份外交抗议，说一个不知是谁的人辱骂了他，很可能是作曲家拉威尔。
大使的抗议可能看上去很荒谬，但并不完全无关紧要。因为，在 100 年前的那个不朽的春夜，文化人变得政治化，而音乐艺术一时间有颠覆既有秩序的危险。
那么我的问题是，它为什么没有颠覆？
我们且当一回事后诸葛，1913 年的欧洲从头烂到了尾，即将在地球上最大的一场战争中消耗掉整整一代人。我们还知道，传统艺术的资源已几近枯竭。毕加索开启了抽象绘画，阿诺德·勋伯格将音乐推下了无调性的悬崖。斯特拉文斯基发现节奏可以替代旋律，这一点为纽约下东区的美国流行乐创造者们充分借鉴发展。创新在召唤。从来没有比这更好的辞旧迎新的时代，不管从文化上还是政治上，然而大好机遇却无人问津。
下一场骚乱在哪里？在媒体的大肆鼓吹下，《春之祭》本该在许多剧院点燃模仿的火花，让城市怒吼，催生各类活跃的宣言。但什么也没发生。除了勋伯格的无调性在维也纳引起两次骚乱，亨利·伍德在伦敦逍遥音乐节上重演这些曲目引起了一片嘘声之外，公众大喇喇地坐在椅子上，任由激进的创意冲刷而过。
《春之祭》的重演没有引起任何大惊小怪，《泰晤士报》说：“几乎无人表示丁点不同意见。”巴黎的混乱只是昙花一现，一次特例。今年的百年纪念唱片、广播讨论和学院派重构只能给那个事件带来一些怀旧的意义：历史的一次反常。
真的只是反常吗？那混乱也许有超越其时代的意义？重读当晚的报道，我们会发现熟悉的陈词滥调。当时的观众跟现在差不多，爱炫耀、富有、容易走神。狂暴而古怪的音乐脱离了正统，尼金斯基为舞者设计了强劲的舞步，这一切都冒犯了资产阶级的期待，于是他们爆发了。这鬼东西可不是他们付钱来看来听的。接着愤愤不平的人们回到家，忘记一切，因为没有什么能像不稳定那样威吓中产阶级，尤其是他们自己制造的骚乱。这场混乱实际上终结了所有的剧院暴动，因为它威胁了公共娱乐的根基。
斯特拉文斯基本人的第一反应（后来他改了说法）“不是很沮丧”。在后台他告诉一个记者他“很理解”人们无法领会这音乐。“观众缺乏善意真是不合情理，”他抱怨道，“一次意料之外的创新让巴黎惊慌失措，但是巴黎会知道如何恢复镇定。”他真是太懂他的听众了。
第二天一早德彪西发电报请他吃晚饭，只字未提首演。对作曲家而言，这是家常便饭。两个充满敌意的评论人蓄势待发。《费加罗报》的亨利·吉塔特说斯特拉文斯基有着“费劲而幼稚的野蛮”，《巴黎回声报》的阿道夫·鲍肖说他“竭力让音乐接近噪音”。这些即刻判词比一个世纪的虚伪仰慕要更真实。你若盛赞《春之祭》是音乐现代主义的里程碑，我一定唱反调。
斯特拉文斯基触到了俄罗斯文明的野性根源，在那些广袤无情的冰原上，生命粗糙、野蛮、卑贱。他的副标题描述了诱拐、人祭、部落战争、原始崇拜。一支巴松奏起了异教仪式，接着是战鼓响起。这可不是什么人类进程的预兆，它颂扬的是挑战了现代社会价值的原始主义。其导致的回应就是以暴制暴。
当勋伯格向维也纳展示调性音阶并不是作曲家唯一的选择时，也引起了相同的焦虑。勋伯格在《第二弦乐四重奏》正当中离开了八度音程，他拥抱的并不是一种勇敢的无拘无束的新式无调性，而是一种被遗忘的前调性音乐——在西方古典音乐成熟之前存在的开放模式。勋伯格像斯特拉文斯基一样，把时钟往回拨，而不是向前。
他们二人相继承认了这一矛盾。斯特拉文斯基因战争和布尔什维主义离开俄国，继续开创了新古典主义，从其定义上就是一种反动，用悦耳的音响讨好观众。勋伯格是个“被迫成为革命者的保守派”，很快走出了随心所欲的无调性，代之以合成的12 音序列，用预定的秩序重新创造音乐而不是任由之回复混沌状态。斯特拉文斯基在晚年拥抱了勋伯格的序列主义，当成自己的现代性徽章。《春之祭》已经后退得脱了轨。
他在 1921 年和 1943 年两度修改乐谱，为了“让指挥和乐团更容易掌握”。他本意从未想过干扰公共秩序，或是废除作曲家和观众之间互相谅解的潜在友好协议。1913 年的春天，两位作曲家分别试验挑战了这一联盟的极限，此后却再也没有打破过规则。