Saariaho D'OM LE VRAI SENS

Kaija Saariaho

D’OM LE VRAI SENS

for clarinet and orchestra

Full Score

Chester Music

INSTRUMENTATION

2 Flutes(Fl. 1 doubling Piccolo) (Fl. 2 doubling Alto Flute)

issuu version for perusal only

2 Oboes (Ob. 2 doubling Cor Anglais)

2 Clarinets in B - (Cl. 2 doubling Clarinet in E - ) Bass Clarinet Bassoon (doubling Contrabassoon)

4 Horns in F Trumpet in C

Timpani (1 set) with cymbal Percussion (4 players)

1:Crotales (with bow)

Frame Drum

3 Tomtoms (small, medium, large)

Medium Suspended Cymbal Glockenspiel

2:Vibraphone (with bow)

Glass Chimes

3:Marimba

Bass Drum

Small Triangle

Shell Chimes

Tubular Bells

Mark Tree

4: Xylophone

3 Suspended Cymbals (small, medium, large)

Tamtam Triangle

Guiro

Shell Chimes

Wood Chimes

Tenor Drum

Bass Drum

Harp

Celesta

Solo Clarinet in BStrings

The score is transposed

Crotales sound two octaves higher than written

Duration: c. 35 minutes

Orchestral parts are available on hire from the publisher

Kaija Saariaho’s D’OM LE VRAI SENS was commissioned jointly by:

Finnish Radio Symphony Orchestra: first performance 8th September 2010 by the Finnish Radio Symphony Orchestra in Finlandia Hall, Helsinki;

BBC: first performance 22nd October by the BBC Symphony Orchestra in the Barbican Hall, London, conductor David Robertson;

Fundação Casa da Musica: first performance 11th December 2010 by Orquestra Nacional do Porto at Casa da Musica, Porto;

Swedish Radio Symphony Orchestra: first performance 31st January 2011 by the Swedish Radio Symphony Orchestra at Berwaldhallen, Stockholm;

Radio France: first performance 19th February 2011 by l’Orchestre Philharmonique de Radio France conducted by Esa-Pekka Salonen at the festival Présences in Paris

The solo clarinettist on each occasion was Kari Kriikku

NOTATION

General

Trills should always be played up a semitone, unless otherwise specified.

issuu version for perusal only

Tremolo should always be as dense as possible.

change very gradually from one sound or one way of playing (etc.) to another.

>o diminuendo al niente

o< crescendo dal niente

slow vibrato:very slow and wide oscillation

When vibrato markings are not specified,players can use their usual vibrato.“Molto vibrato”always means a rapid and quite narrow vibrato,unless otherwise specified.

l.v. laissez vibrer (allow to sound as long as possible)

quarter tone,between natural and sharp quarter tone,between natural and flat

All glissandi should start immediately at the beginning of the note value.

Strings

S.P. sul ponticello:near the bridge

S.T. sul tasto

N. normal (used with S.P.and S.T.,otherwise ord.)

r h

a trill produced by alternating the finger pressure between normal ( ) and light (harmonic, ). The result should be alternating normal and harmonic sounds.

When playing long sustained notes,the bow changes should always be imperceptible and made independently of the other players.During long slurs which include several long sustained notes a change of note should preferably not coincide with a change of bow.

Woodwind

M complex multiphonic

Brass

half stop

Straight mutes should be used unless otherwise specified.

Percussion

The choice of sticks is left to the musicians.Whether hard or soft,always choose sticks giving as much resonance as possible.

Celesta

If pedalling is not specified,use the pedal lightly according the nature of the textures.

Harp

circular glissando:play several overlapping,circular glissandi,gradually ascending or descending to the destination pitches.

Harp sounds should always be allowed to ring as long as possible.

COMPOSER’S NOTE

issuu version for perusal only

This piece is based on the famous medieval tapestries called La Dame à la Licorne. The subject matter is the five senses and the ‘sixth sense’. Much could be said about the symbolism and metaphors in these artworks, as they are especially rich.

These six tapestries give their names to the six parts of the piece, in the following order: L’Ouïe (Hearing), La Vue (Sight), L’Odorat (Smell), Le Toucher (Touch), Le Goût (Taste), A mon seul Désir (According to my desire alone).

More information about the tapestries can be found on the website of the Musée national du Moyen Âge, Paris (www.museemoyenage.fr), where the tapestries are exhibited.

MOVEMENT AND STAGE REQUIREMENTS

The soloist plays from different positions within the hall and on the stage

The orchestra should be set up to allow the soloist to move freely between instrumental sections, and from back to front.

The soloist should be followed by a spotlight as he/she moves between different positions during the piece.

The orchestra should play from lit music stands to allow for stage lighting to be dimmed where appropriate.

Stage positions

Part I: L’Ouïe: the soloist begins to play from a hidden place within or outside the hall.

Part II: La Vue: whilst playing, the soloist moves to the stage and is followed by a spotlight.

Part III: L’Odorat: the soloist plays from behind the orchestra in the centre. To ensure proper sightlines he/she should be placed on a podium.

Part IV: Le Toucher: the soloists starts playing from behind the orchestra and during the movement moves towards the the front of the stage.

Part V: Le Goût: the soloist plays from the traditional solo position to the left of the conductor.

Part VI: A mon seul désir: The soloist sits down before the beginning of the movement. As marked in the score, the soloist walks from the stage into the hall. He/she is followed by members of the violin sections who walk slowly among the audience while playing. The section leaders do not move.

Kaija Saariaho