Saariaho PRÈS by ScoresOnDemand

ScoresOnDemand

Saariaho, Kaija PrĂ¨s

Score for sale (North America): http://www.halleonard.com/product/viewproduct.action?itemid=14028546 Score for sale (UK, Europe and other territories): http://www.musicroom.com/se/id_no/00077991/details.html?kbid=1296 Information about the work and materials for hire: http://www.musicsalesclassical.com/composer/work/11108

Chester Music Limited Part of the Music Sales Group

COMPOSER’S NOTE Près for solo cello and electronics emerged at the same time as Amers, a concerto for cello and chamber orchestra. The musical material in the two works is to a large extent the same, but it is used in very different ways, and in terms of form and dramatic structure the pieces are strikingly different. The only identical elements are certain passages for the solo instrument and a few of the electronic materials. Both works were produced at IRCAM, and the electronic component is very important in each case; in Près the electronics continue and expand the musical gestures of the solo instrument in many different directions. Près is in three movements. The first movement concentrates on a rather linear texture in which the cello part is sometimes fused with the synthetic sounds. This material is based on recordings I made with Anssi Karttunen and have subsequently either analysed and used as the starting point for the work’s harmony and sound synthesis, or transformed in various ways. The synthetic element is realised using resonant filters that also operate in real time in the later movements, where the cello sound is modified on a music workstation developed at IRCAM. As a whole the electronic element consists of synthetic sounds, modified cello sounds stored in the computer, and real-time sound processing. This latter element has made use of resonating filters and different types of delay, space-filtering, and transposing techniques. The programming work was realized by Xavier Chabot and Jean-Baptiste Barrière at IRCAM. The title of the work links it to its sister-work (Amers, a nautical term for leading marks or landmarks), and also to Paul Gauguin’s painting By the Sea; and hence to the experience of the sea itself and waves, their different rhythms and sounds, stormy weather and calms. In other words: material, wave shapes, rhythmic figures, timbres. The charging up of the music and the ultimate release of that charge. Près is dedicated to Anssi Karttunen, with whose collaboration I completed the piece, and who gave the first performance in Strasbourg on 11th November 1992. Performance Notes Trills should always be played up a semitone, unless otherwise specified. Tremolando should always be as dense as possible. → change very gradually from one sound or way of playing (etc) to another. o

diminuendo al niente crescendo dal niente

_ senza v. molto v.

as high as possible senza vibrato always means a rapid and large vibrato, unless otherwise specified. When vibrato markings are not specified, players may use their usual vibrato.

All glissandi should be started immediately at the beginning of the note value. S.P. S.T. N.

always estremamente sul ponticello sul tasto normale (used with S.P. and S.T., otherwise ord.)

quarter tone, between natural and sharp

quarter tone, between natural and flat

always natural harmonic add bow pressure to produce a distorted sound, in which the audible pitch is totally replaced by noise. as above, but move back from noise to tone again.

( )

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

Electronics

Download the necessary materials and check the up-to-date version of this page at www.saariaho.org/Preselectronics.html For general technical notes go to www.saariaho.org/Electronics-general-notes.html For solutions to common problems go to www.saariaho.org/Electronics-common-solutions.html

General information The electronics for this piece can be run with a Max patch that includes infinite reverberation, general reverberation, harmonizers, and plays pre-recorded sound files. Cues in the score must be triggered by the performer with a sustain pedal (or by another musician directly on the computer at the mixing desk). In both rehearsal and performance the sound engineer/musician should read the score and adjust the relative levels of the cello and electronics on the mixing desk, according to the given context (musical interpretation, equipment, acoustics of the performance space).

Technical requirements - Macintosh computer equipped with an external audio interface compatible with Max (cf: www.cycling74.com), e.g. Motu: www.motu.com, Digidesign: www.digidesign.com, RME: www.rme-audio.com - Sustain pedal (for Max triggering) connected to the computer through a MIDI keyboard, or through a MIDI interface and a voltage-to-MIDI converting device, e.g. MIDI Solutionsâ&#x20AC;&#x2122; Footswitch controller, see www.midisolutions.com - Microphone for the cello - Mixer & stereo diffusion (possibly a return monitor for the cellist)

Performance notes The amount of amplification required naturally depends on the performance space, but it should never cover the acoustic sound of the cello. The ideal sound is a clear and rich 'closeâ&#x20AC;&#x2122; sound. The microphone should be placed as close to the instrument as possible. The general level should be rather loud, but not painfully so.

Près was commissioned by the Carrefour des littératures Européennes de Strasbourg. It was realized at the studios of IRCAM (musical assistant: Xavier Chabot). The work was written for Anssi Karttunen, who gave the first performance on 11th November l992. He has recorded it on Ondine ODE 906-2.

Duration: c. 18 minutes The solo cello part and CD-ROM are included here, but are also available separately: Cello part Order No. CH61239-01 CD-ROM Order No. CH61239-02

The Finnish composer Kaija Saariaho (born 1952) has lived and worked in Paris since 1982. She studied composition with Paavo Heininen at the Sibelius Academy and later at the Musikhochschule in Freiburg with Brian Ferneyhough and Klaus Huber, receiving her diploma there in 1983. In 1982 she attended courses in computer music at IRCAM in Paris, and since then the computer has been an important element of her composing technique. The haunting and individual beauty of her music has won her many awards, including the Kranichsteiner Preis at the new music summer courses in Darmstadt in 1986, the Prix Italia for her work Stilleben in 1988, and the Ars Electronica Prize for Stilleben and Io in 1989. In 2000 she received both the Nordic Music Prize (for Lonh) and the Stoeger Award of the Chamber Music Society of Lincoln Center (in recognition of outstanding services to chamber music). More recently, in 2001, Saariaho was awarded the Rolf Schock Prize (Sweden) and the Kaske Prize (Germany). Saariaho achieved international recognition with works that include Verblendungen for orchestra and tape (1982–84); Lichtbogen for chamber ensemble and electronics (1985–96); Nymphéa for string quartet and electronics (1987), a commission from the Lincoln Center for the Kronos Quartet; and two linked orchestral works Du Cristal and ...à la fumée premiered in 1990 and 1991 in both Helsinki and Los Angeles. Saariaho has also taken part in a number of multimedia productions such as the full-length ballet Maa (1991) and a pan-European collaborative project to produce a CD-ROM, Prisma, about her life and work. More recent compostions include Graal Théâtre, a violin concerto for Gidon Kremer premiered at the 1995 BBC Proms, and two pieces for Dawn Upshaw: an orchestral song cycle, Château de l’âme, premiered at the 1996 Salzburg Festival, and a solo song cycle, Lonh for soprano and electronics, premiered at the 1996 Wien Modern Festival. In 1999 Saariaho completed a major work for chorus and orchestra, Oltra mar, which was premiered by the New York Philharmonic and Kurt Masur on 11th November 1999, as part of their millennium series of commissions. Saariaho’s first opera, L’Amour de loin, was awarded the prestigious Grawemeyer Award for music, 2003. A co-commission from the Salzburg Festival and Théâtre du Châtelet, L’Amour de loin is based on ‘La Vida breve’ of Jaufré Rudel, Prince of Blaye, one of the first great troubadours of the 12th century. The libretto was written by the French-Lebanese author Amin Maalouf. L’Amour de loin was premiered on 15th August 2000 at the Salzburg Festival, directed by Peter Sellars and conducted by Kent Nagano. This production has been staged at the Théâtre du Châtelet and Santa Fe Opera, and in 2001 a new production was presented at Stadttheater Bern. The German premiere was given at the Staatstheater Darmstadt in April 2003 and the first performance in Finland took place in September 2004. Following L’Amour de loin, Saariaho wrote a flute concerto for Camilla Hoitenga: Aile du songe (2001) has been widely performed since its premiere in autumn 2001, and it has been released on naïve with the Finnish Radio Symphony Orchestra conducted by Jukka-Pekka Saraste. Similarly successful is her string orchestra work Nymphea Reflection (2001) which is dedicated to Christoph Eschenbach. In January 2003 the Cleveland Orchestra premiered a major new orchestral work, Orion, with Franz Welser-Möst. In April 2003 Karita Mattila and Tuija Hakkila gave the world premiere of Saariaho’s Quatre Instants for soprano and piano, and an orchestral version followed at the Tammisaari Festival in August 2003. In April 2004 Emanuel Ax and friends gave the premiere of a new trio Je sens un deuxième coeur. The title is taken from the libretto of Saariaho’s second opera, which is to be presented at the Opéra National de Paris at the Bastille in March 2006. Saariaho’s music is available on the Finlandia, Ondine, SONY, Wergo, Neuma, BIS and naïve record labels, and is published exclusively by Chester Music Ltd and Edition Wilhelm Hansen.

for Anssi Karttunen

Près Kaija Saariaho

I Misterioso, poco fiero libero S.T.

Cello

Electronics

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CH61239

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3 4

Vlc.

gliss.

2 ˙ 4

S.P.

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pre-recorded and transformed 10 cello part, and harmonizer

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con violenza

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2 4 #˙

S.P.

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pre-recorded and transformed 12 cello part, and harmonizer, mixed with sea

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S.P.

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S.T.

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a tempo

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135 Vlc.

Elect.

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2 4

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2 4

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dolce, calmato S.T. 140 Vlc.

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a tempo con violenza

calando, espressivo 145 Vlc.

Elect.

S.P. 3

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2 4

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molto v.

v. ord.

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149 Vlc.

S.P.

gliss.

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calando S.P.

151 Vlc.

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∑

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2 4

F ∑

mix of synthetic 32 computer sounds

155 Vlc.

N. molto v.

? #· #˙ F

S.P.

#· . 34 · .

v. ord.

N. molto v.

# ˙ .. ˙ p F

˙ .. ˙

#· . 34 · . p

v. ord.

24 # · ˙

gliss.

S.P.

repeat slowly, ad lib. N.

#· . ? 2 #· 3 ·. 4#˙ 4 Ÿ~~~~~~~~ P

161 Vlc.

S.P. gliss.

j œ

3 8

œ.

4 4

N. very slow bow molto vibrato

bw P

S.P.

gradually senza vibrato

b·

S.P. S.T. senza vibrato

.. U b·

33 Fine

Paris 15/10 92