大象传媒

Donald Macleod talks to Kaija Saariaho about the scope she finds both in writing for large scale instrumental forces and the intimacy of writing for small groups.

鈥淢usic is a study of my own self and of the human spirit鈥�, so says the Finnish composer Kaija Saariaho. Her passion for music is all consuming, with the inspiration to compose reflecting the breadth of her interests, in poetry, literature, fine arts, and cinematography to name but a few.
One of the foremost composers of our time, Kaija Saariaho was born in 1952 in Helsinki. She studied with the modernist Paavo Heininen, before founding the pioneering 鈥淓ars Open鈥� group with fellow composer Magnus Lindberg. Her studies continued in Freiburg with Brian Fernyhough and Klaus Huber at the Darmstadt summer courses, and then at the ground-breaking IRCAM research institute in Paris.
Earlier this year Donald Macleod and Kaija Saariaho met up in Paris, the city where she鈥檚 made her home since 1982, to talk about five contrasting aspects of her music.

Today Kaija Saariaho has chosen to talk about the differences in the canvasses and why she finds enjoyment in writing orchestral and chamber works.

Orion for Orchestra
I: Memento mori
Orchestre de Paris
Christoph Eschenbach, conductor

Nocturne for solo violin
Aliisa Neige Barri猫re, violin

Cloud Trio
IV : movement : Tranquillo ma sempre molto espressivo
Aristos Trio
Szymon Krzeszowiec, violin
Jakob Kullberg, cello
Alexander 脴llgaard, viola

Laterna Magica
Finnish Radio Symphony Orchestra
Sakari Oramo, conductor