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Kaija Saariaho Only the Sound Remains, Dutch National Opera, Muziektheater, Amsterdam
Tempo, 2016Only the Sound Remains consists of two stories of supernatural encounters. A monk, praying for the soul of a deceased general, meets the latter's ghost, attracted by the sounds of the lute used in the monk's ritual. A fisherman finds the feather mantle belonging to a Tennin, an angelic spirit, who pleads with him to return the item, which he only does ...
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Displaced time: transcontextual references to time in Kaija Saariaho's Stilleben
Organised Sound, 1996This article discusses the nature of transcontextual references to time in the light of one composition, Kaija Saariaho's radiophonic work Stilleben. The term transcontextuality indicates that a sound has a dual meaning, which refers both to the musical context created by the composer and to its original, natural or cultural context.
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SPEKTRAL MÜZİK ÇERÇEVESİNDE KAIJA SAARİAHO
Finnish composer Kaija Saariaho's interaction with spectral music and its reflection in his musical language has had a remarkable impact on the music world. Saariaho has been strongly influenced by the work of Tristan Murail and Gérard Grisey, and this interaction has reshaped his understanding of sound, texture and form.openaire +1 more source
Aesthetical, Technical and Musical Analysis of Kaija Saariaho’s Laconisme De L’aile
2020Kaija Saariaho, one of the most influential composers of the twenty-first century, has an essential place in the flute literature, especially with regard to her works written for flute and electronics. When the stylistic features in Saariaho’s flute works are examined, it can be seen that she enriches the natural sound of the flute through the use of ...
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Kaija Saariaho’s “Près”: The Transformation of Gesture
College Music Symposium, 2015openaire +1 more source