...À LA FUMÉE
Score
For Esa-Pekka and Alex Commissioned by the Finnish Broadcasting Company
Kaija Saariaho ...A LA FUMÉE
1990
for alto flute and cello soli and orchestra
Premiere performances
Helsinki Festival
The Finnish Radio Symphony Orchestra
Conductor Esa-Pekka Salonen
Solo Alto Flute Petri Alanko
Solo Cello Anssi Karttunen
5 September 1990
The Los Angeles Philharmonic Orchestra
Conductor Esa-Pekka Salonen
Solo Alto Flute Petri Alanko
Solo Cello Anssi Karttunen 1 November 1990
Full Score
Duration: ca. 19 min.
Orchestra
Solo Alto Flute in G*
Solo Violoncello*
4 Flutes in C (all db. Picc. and Alto Fl. in G)
3 Oboes
3 Clarinets in B
1 Bass Clarinet in B (db. Contrabass Clarinet in B )
2 Bassoons
1 Alto Saxophone in E
4 Horns in F
3 Trumpets in C
3 Trombones
1 Tuba
Timpani (3 instruments)
Percussion (4 players, see next page for details)
1 Harp
1 Piano
1 Synthesizer (see next page for details)
16 Violins I
14 Violins II
12 Violas
10 Violincelli
8 Double Basses
The score is written in transposition
* The two soloists should be amplified and their music processed through live electronic equipment. b b b b
Percussion instruments that are underlined may be shared between several players
1 Crotales
1 Xylophone
1 Triangle
1 Bamboo Wind Chimes
1 Lion’s Roar
1 Gong (large)
1 Bass Drum (with soft skin, no audible pitch)
1 Glockenspiel
1 Triangle
1 Claves
1 Cabasa
1 Sand Blocks
2 Suspended Cymbals (high and low)
1 Xylophone
1 Crotales
1 Vibraphone
1 Claves
1 Maracas
1 Tomtom (largest)
2 Suspended Cymbals
1 Metal Plate
1 Tam-Tam
1 Claves
1 Marimba
1 Wood Wind Chimes
1 Bass Drum
1 Triangle
The part was written with a YAMAHA SY 77 Synthesizer in mind. There are 12 presets, numbered 1-12 which should be stored in memory bank D. A disk with the presets is supplied with the performance (hire) material. 1 2 3 4
Synthesizer
Notes on notation and special features
General
All transposing instruments are written in their relevant transpositions, as indicated in the orchestral set-up on p.(II)
Crotales and Glockenspeil sound two octaves higher than written.
The Harp should always be allowed to ring out for as long as possible.
L.V. lasciar vibrare (let vibrate) for as long as possible
Vibrato
Whenever a special vibrato is not specified, players should use their normal vibrato. A molto vibrato marking always means a rapid and large vibrato.
S. V senza vibrato.
M.V. molto vibrato.
Tremolo
Tremolo should always be as dense and fast as possible.
Gradual changes
change very gradually from one sound (or way of playing) to another diminuendo al niente.
crescendo da niente.
Accidentals
note raised 1/4 tone (between and upwards).
note raised 3/4 tone (between and (next) upwards.
note lowered 1/4 tone (between and downwards).
Glissandi
gliss. gliss. gliss.
glissando played very evenly, without vibrato or accents.
glissando played molto vibrato
glissando with artificial harmonics in which the upper finger is constantly moving, thus creating a rich sound with varying pitches, instead of one gliding pitch.
All glissandi should be started immediately at the beginning of the note value. The pitches in brackets ( ) during the glissandi are there only to show the approximate speed of the glissando and are not to be played with any kind of accentuation or tenuto
Strings
S.P. estremamente sul ponticello.
S.T. sul tasto
N. normale
natural harmonic.
add bow pressure gradually to produce a scratching sound in which the audible pitch is totally replaced by noise. as above, then return to normal sound.
a trill produced by alternating rapidly the finger pressure between light (harmonic: ) and normal (normal pitch: ). The sounding result should be a rapid change between harmonic and normal sound.
When playing long sustained tones, the bow changes should always be made imperceptibly and independently of the other players. During longer phrases which include several long sustained notes, a change of note should preferably not coincide with a change of bow.
Flutes
Breath tone: use the fingering needed to produce the indicated pitch but do not produce the normal tone, just blow air through the instrument.
Piano
When there are no specific pedalling indications, pedalling should be used at the discretion of the performer according to the texture of the music.
Percussion
The choice of mallets is left to the discretion of the musicians. The choice of mallets should always be in favour of as much resonance as possible.
