OnDemand
Saariaho, Kaija Lonh
Score for sale (North America): http://www.halleonard.com/product/viewproduct.do?itemid=14028534 Score for sale (UK, Europe and other territories): http://www.musicroom.com/se/id_no/00015636/details.html?kbid=1296 Information about the work and materials for hire: http://www.musicsalesclassical.com/composer/work/7852
Score begins on the next page.
Chester Music Limited Part of the Music Sales Group
This work was commissioned by the Wien Modern Festival. It was written for Dawn Upshaw, who gave the first performance on 20th October 1996.
Duration: c. 16 minutes Materials available on sale: Score Order No. CH61458 Electronics CD-ROM and rehearsal CD Order No. OM24566
INTRODUCTION The title Lonh, meaning ‘far away’ or ‘distant’, comes from Occitan, the Old Provençal language in which the text is sung. The text itself, a poem about love from afar, famous among scholars of medieval poetry, is attributed to the medieval troubadour Jaufré Rudel. The work loosely follows the form of the poem in structure, and is divided into nine sections. Symmetrical and repeating elements may be found in the solo soprano part, which uses fragments from the original poem quite freely, so that the resulting text is really a collage based on Rudel’s song. In the electronic part, the text may be heard in three languages: Occitan, French and English. The texts in Occitan were read by the poet Jacques Roubaud – who has studied the poem extensively, and also translated it into French – and also by Julie Parsillé, a young French girl. The Modern French version was read by Jean-Baptiste Barrière, and the English text by Dawn Upshaw, whose recorded singing voice is also included in the sound material heard in the electronic part. This vocal material, together with various concrete sounds of, for example, birds, wind and rain, was processed using a variety of IRCAM transformation programs, such as resonant filters (Chant programme), cross-synthesis and stretching with the phase-vocoder (AudioSculpt programme), etc. After a preliminary mixing with ProTools, the sound materials were projected into a virtual acoustic, and moved through a three-dimensional space (Spatialisateur programme on the IRCAM Music Workstation). The electronic part was realised at IRCAM with the assistance of Gilbert Nouno, and with the help and supervision of Jean-Baptiste Barrière. K.S.
NOTATION
→ o o
change very gradually from one phoneme or one way of singing (etc.) to another diminuendo al niente crescendo dal niente
S.V.
senza vibrato
molto vibr.
molto vibrato
vibr. ord.
the usual vibrato of the performer
When vibrato markings are not specified, singers may use their usual vibrato, or a vibrato of their choice for a specific passage. The semitone glissandi should always be sung very evenly, without vibrato or accentuation, unless specially indicated. If there is no sfortzato marking, the grace note at the end of the glissando will be unaccented. Trills and mordents should always be sung up a semitone, unless marked otherwise.
N
whispered
◗
N
speaking voice with much air
•
N N
speaking voice singing voice with as much air as possible (breath tone)
◗
singing voice with air
•
normal singing voice
The text of Lonh is written in Occitan, the Old Provençal French language in which the words were sung long ago by the troubadour Jaufré Rudel. No one can know for sure now how this language was pronounced. I follow the pronunciation as interpreted by the French poet Jacques Roubaud, who is also a specialist in medieval French literature and troubadour poetry. A recording of him reading the text is on Track 10 of the rehearsal CD. The phonemes should be pronounced as follows: a
as in English father
h
as in English hat
m
hum (closed lips)
s
as in English sue
z
as in English zip
for Dawn Upshaw
LONH
Kaija Saariaho
Prologue Calmo, dolce q = 60
ELECTRONICS
Soprano
Recorded voices/ Pitched percussion Recorded percussion Natural sounds
8 S.
&
& 24
Perc.
& 24 ã
2 ˙ 4
unpitched percussion
2 4
œ.
œ J
œ.
œ J
œ.
œ J
œ.
œ J
œ J
œ.
œ J
œ.
wind/mix of wind and whispering voices 1
recite freely in French or English: sempre
P
m’est beau doux chant d’oiseaux de loin I like the sweet song of birds from afar
Lorsque les jours sont longs en mai When the days are long in May P. Perc./ Voices
& ã
œ J
œ.
œ J
œ.
œ J
œ.
œ J
œ.
œ J
œ.
œ.
œ J
œ J
œ.
œ J
œ.
percussion filtered in d1
M
16 S.
& et quand je me suis séparé de là and when I have gone away from there
P. Perc./ Voices Perc.
recorded singing
& ã
je me souviens d’un amour de loin. they bring to mind a love from afar.
œ J
œ.
˙ œ J
œ.
˙ œ J
œ.
˙ œ J
˙ œ J
œ.
œ.
˙ œ J
œ.
œ J
œ.
œ J
œ.
M
24 S.
& si bien que chant ni fleur d’aubépine ne me plaisent plus que so that neither song nor hawthorn flower pleases me more than
Je vais de désir courbé et incliné I go bent and bowed with desire
processed singing voice
P. Perc./ Voices Perc.
& ã
˙ œ J
œ.
œ J
œ.
œ J
œ.
œ J
œ.
œ J
œ.
forest
œ J
œ.
œ J
œ.
œ J
œ.
M
32 S.
&
˙
˙
œ.
˙
˙
‰
Perc.
&
˙
ã
œ J
˙ œ.
œ J
œ.
œ J
œ.
œ J
l’hiver gelé. frozen green.
a P. Perc./ Voices
˙ œ.
œ J
˙ œ.
œ J
˙ œ.
œ J
˙ œ.
œ J
œ.
M
© Copyright 2005 Chester Music Ltd.
CH61458
All rights reserved Printed in England
5
142 S.
j œ ‰
& œ.
œ œ œ œ #œ œ œ œ
œ œ œ #œ œ œ œ œ
P. Perc./ Voices
œ œ œ œ œ œ œ œ
&
P
147 S.
#œ
& Œ
¿ ¿ gen - sor
P. Perc./ Voices
S.
&
œ
œ.
3 8 spoken: mas
2 œ œ 4 œ œ ¿
38 œ œ #œ œ œ œ
24
3
-
œ œ
#œ
f ‰ œ J
Œ
s
S.
P
&
œœ
ni
F œœ œ œ œ 5
tant, P. Perc./ Voices
&
S.
˙˙˙
œ œ œ œ œ œ œ œ
P 3 ˙. &4
164
ß
pretz P. Perc./ Voices
3 & 4
L
2 ‰ 3 4 ¿ ¿ ¿ ¿ ve - rais - s
2 4
˙˙ .. ˙ # ˙˙ ...
S.
P. Perc./ Voices
5 Ÿ~~~~~~~~~ 3 2 & 4 œ #œ œ œ ˙ 4 #˙
œ
#œ
o ~~~~~~~~~~~~~~
S.
& œ.
j œ
‰
&
œ œ œ œ œ œ œ œ
œ #œ
œ
3 4 3 4
j ‰ œ #œ œ . œ œ
œ
3 4
lai,
œ.
o
j œ
2 4
#œ #œ
3 4
P Ÿ~~~~~~~~~~~~~~~~~
˙fos
43 # # ˙˙˙ .. # ˙ .
24 # # ˙˙˙
# œœ
¿
¿
per
lieis
chai
œ œ
spoken: fos eu M
L
3
j ¿
œ
œ
œ œ
#œ œ
œ œ œ œ
spoken: renc dels sarrazis
‰
ßj
5
m
42 # # ˙˙˙ # ˙˙
P. Perc./ Voices
o
#œ œ œ #œ
continuously in background: forest....birds.......
174
poco
˙ ˙˙ ˙˙
p 3 4 #˙ .
m
el
& 43 # ˙˙ ..
‰
que
F
lai
P œ. sos
œ
b œ #œ œ œ
spoken: fis
M
169
‰
˙ ˙˙ # ˙˙
œ
la
es
œ œ œ œ œ #œ
-
œ œ œ œ œ œ œ œ
e
˙˙ ˙ ˙˙
#œ
j œ
œ.
˙˙
P
poco
j œ
tant
œ J
nuil
œ
˙ # b ˙˙˙˙ #˙
Œ
3
loing
˙
œ
œ
2 œ œ 4
˙
spoken: part ni
159
3
vas
˙ ˙˙
F 2 œ œ œ œ 4
sai
ß
3 8
Œ
3 8
‰
spoken: que
˙
&
#œ
non
pres P. Perc./ Voices
#œ œ œ bœ œ œ œ
˙˙˙
spoken: de loing M
153
œ
non,
œ œ œ œ œ
&
œ œ œ
Ÿ~~~~~~~ 3 ‰ œ. ‰ œ œ œ
3
‰
#œ œ œ
¿ -
ti
œ œ
j ‰ ¿
¿ -
œ
L
j ¿ ¿.
Œ
us
cla - matz.
œ œ
œ
œ
œ
œ
œ œ
œ
œ œ
œ
œ
œ œ œ
9 254 S.
&
F bœ œ
Voices
&
˙
Perc.
&
#˙
loin
-
260
‰ #¿ ¿
Perc.
&
œ
43
˙
3
-
˙
j #œ œ
2 4
l’a
42 ˙
˙.
œ
ve - zis
˙
F nœ œ
pL
j 3 œ- # œ -
˙
ra
˙.
3 4
5
tant
˙
par
œ nœ œ œ œ
‰
er tant,
3 #œ 4
Be - m
&
œ.
œ
più dolce
3
& Œ
Voices
das
˙
P S.
œ œ œ
Nœ œ œ
qand 3 drutz
j #œ #œ 3
-
p
œ
œ
#˙
mor
de
loing
˙
j œ
˙
2 4
M
265 S.
f passionato #œ #œ œ œ
&
3
par - ra Voices
&
Perc.
&
˙
271 S.
&
Perc.
&
V 277 S.
˙
jois
œ3
l’a - mor
˙
˙
˙
˙
˙
˙
œ.
j œ -
par Voices
œ.
œ
˙
fœ.
&
‰
-
ra
˙
P L
j œ #œ . -
¿
# -˙
de
loing
ß
j œ
˙ ‰
P più dolce #œ . j 3 U œ 4 #˙ .
Œ
jois,
par
˙
œ
˙
˙
˙
˙
-
ra
3 4
2 4
jois.
2 4
˙.
3 4
2 4
Poco agitato, ma dolce
& 42 œ .
‰
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
& 42 Perc.
2 & 4
œ œ œ œ œ œ œ œ continuous background: processed girls’ voices
‰
œ œ œ œ œ 3
6
3
12
P & œ œ
345 S.
’a Perc.
œ #œ -
œ
&
3
œ
f œ J
cest
’a
œ.
œ J
œ
mor,
œ
F œ.
#œ
Œ
3
˙
œ -
S.
Perc.
& Œ
e Perc.
&
œ
˙
-
˙a
F
’a
˙a
-
S.
3
œ
˙a.
U
2 4
. ˙a
3
¿
jois
no
2 4
œ
œ œ œ œ œ œ œ œ œ œ
œ
-
L
3
j j ¿ ¿ ¿ m
F ‰
¿.
œ œ œ
Œ
3
plai
nuills au - tre
3
3
œ
vai
˙a
Œ
P
˙
nuills au - tre
& 42
ni
long reverb.: fade out
F œ œ œ
2 &4 Œ
˙.
mor.
˙a
Œ
˙
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U ˙. ˙.
˙
met
Œ
. ˙a
œ
Œ
œ
ve
vibr. ord.
Risoluto, poco dolente q = 72
363
˙a
Œ
3
VII
˙ Dieus
˙.
œ
Œ
S.V.
˙
fer
œ
Œ
Œ
# ˙a .
vibr. ord.
Œ
Œ
3
S.V.
mor
Œ
qant
molto vibr.
œ
357 S.
œ
˙a
f
P vibr. ord.
F
molto vibr.
tot
œ
&
f ˙.
˙
fetz
-
˙.
p
3
vibr. ord.
œ
&
#˙ .
-
˙a
3
351
œ
-
œ
molto vibr.
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ
˙
˙
˙
œ
œ
œ
Perc.
? 2 4 #˙
˙
8
368 S.
&
M
˙
Œ
p œ œ œ 3
jois,
nuills au - tre 3
& Perc.
?
3 8 ¿.
2 4
F œ œ œ 43
Œ
3
jois,
nuills au - tre
3
œœ œ œ œ œœ œ œ œ
œœ œ œ œ œœ œ œœ œ
3 œœ . œ 8
˙
˙
3 8 œ. M
œ
3
3
2 4 œ œ œ œ œœ œ œ œ
˙œ
2 4 ˙
˙
œ
œ
œ
3 4 3 4