Ondine has already recorded a good deal of Saariaho's orchestral music as
well
as works for ensemble. These various discs were first released separately
and
later re-issued in a boxed set. In the meantime another disc with orchestral
works
was released more recently still (
ODE
1173-2) and reviewed here. Now Ondine sets forth with a disc devoted to
some
of her chamber music and in particular to her five trios for various
combinations.
The connecting element is the cello which is present in all five of them.
Moreover
all but one of these trios are fairly recent since they were composed
between
2003 and 2009, the exception being the somewhat earlier
Cendres for
alto
flute, cello and piano composed in 1998. Incidentally this work is the only
one
that has been recorded earlier on
Kairos
0012414KAI. All the others are first recordings.
As already mentioned
Cendres was composed in 1998 using some material
from
… à la fumée (1990) for alto flute, cello and
orchestra.
It is in no way a chamber arrangement of that work. As Kimmo Korhonen
rightly
states in his well-informed insert notes, this is definitely a new work
based
on existing material. This is not unusual in Saariaho's music: she fairly
often
uses or “recycles” material from other works of hers. The music
often
makes use of more or less advanced techniques such as key clicks and
breathing
noises in the flute part and some playing inside the piano but never
extravagantly.
The ultimate aim of Saariaho's music is to achieved expression and sonic
refinement.
Indeed from early on in her career she succeeded in using “noised
sounds”
very often as a springboard for further flights of fancy.
Mirage exists in two versions composed simultaneously: an orchestral one
(
Ondine
ODE 1130-2) and a chamber version for soprano, cello and piano recorded
here.
The piece is based on fragments of spells uttered in a trance by a Mexican
shaman,
Maria Sabina. The roughly ritualistic character of these words obviously
appealed
to Saariaho, allowing her to indulge her imaginative sound-world. To be
quite
frank, I thought, having heard the orchestral version, that the so-called
chamber
version could be a disappointment but I am glad to say that I have been
proved
completely wrong. I should not have had qualms about the composer's
remarkable
imagination. In the orchestral version both soprano and cello play as
soloists
in what amounts to a double concerto where the trio version has them
engaging
in a chamber-music dialogue with the piano. I eventually found the chamber
version
as satisfying as the orchestral one and I would not want to be without
it.
Cloud Trio for string trio is probably the one work here that comes as
close
as possible to a normal trio setting. That said, there is nothing overtly
traditional
in the music. The piece is said to have been inspired by ever-changing
clouds
observed in the French Alps although; clouds have often been a source of
inspiration
to composers. The work falls into four movements of which the outer ones are
rather
on the slow and meditative side whereas the inner ones are more animated and
at
times quite troubled. As a whole this is quite satisfying, again full of
imaginative
string writing. It’s a successful mix of 'noised sounds' and normal
sounds
that without being in any way descriptive suggest both the rugged
mountainous
landscapes and the sometimes unpredictable gliding of cloud formations. I
sometimes
felt that the music called for a larger ensemble and I would not be
surprised
if Saariaho was to make a version for string orchestra ’ere too
long.
Je sens un deuxième coeur for the somewhat darker piano trio
setting
of viola, cello and piano was written when the composer was working on her
opera
Adriana Mater. In fact, the title of the piece is a quote from that
work.
The five movements more or less relate to the opera. It is interesting to
know
that Saariaho originally planned to create portraits of the four characters
in
the opera but eventually abandoned the idea on musical grounds. Although the
music
is still fairly abstract, its character and different moods are clearly
related
to the context of the opera: war in the former Yugoslavia. It is a really
beautiful
work in which the composer allows her inborn lyricism to speak in utter
freedom.
I would not hesitate inviting you to listen to this wonderful piece first,
especially
if you are not all that familiar with Saariaho's strongly personal
sound-world.
The final work here is again structured as a suite of sorts with the slight
difference
being that the five movements may be played in any order. For myself, I
cannot
imagine them being played in a different order from the one applied here. As
such
the lay-out in this recording makes for a logical narration, from a delicate
opening
to a mysterious conclusion. It may be interesting to know that some of the
material
is derived from both
Mirage and the cello concerto
Notes on
Light
(2006). As with
Cendres, you have to be a Saariaho expert to spot
this.
This work shows the composer at her most engaging.
Over the years there have been some ground-breaking works. I would just
mention
Verblendungen (1982/4) for orchestra and tape and
Lichtbogen
(1985/6) for ensemble and tape. These put her firmly on the map. Since
then Saariaho has ceaselessly refined and enlarged her instrumental
and expressive palette. This has included spectral harmonies and other
techniques. She is now well and truly master of her aims and means.
Her music has acquired a remarkable subtlety and sonic refinement that
is her trademark.
These performances by musicians having a close working association with
the composer are ideal. They are also superbly served by Ondine's beautiful
recording. Full marks, too, for Kimmo Korhonen's excellent insert notes.
This well-filled release is an important addition to Saariaho's ever-growing
discography and a must for all devotees of her music.
Hubert Culot
