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Journal articles on the topic 'Saariaho'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

van, Herck. "Spatiality as creativity in the music of Kaija Saariaho: A reflection with a focus on 'Lichtbogen'." Zbornik Akademije umetnosti, no. 9 (2021): 155–73. http://dx.doi.org/10.5937/zbaku2109155h.

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In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.

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2

Gray, Mary W. "Émilie by Kaija Saariaho." Mathematical Intelligencer 38, no. 4 (October 19, 2016): 84–85. http://dx.doi.org/10.1007/s00283-016-9642-5.

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3

Moisala, Pirkko, and Camila Durães Zerbinatti. "Gender Negotiation of the composer Kaija Saariaho in Finland: The Woman Composer as Nomadic Subject." Revista Vórtex 3, no. 2 (December 31, 2015): 1–24. http://dx.doi.org/10.33871/23179937.2015.3.2.886.

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This essay is my interpretation of the gender negotiation of the Finnish composer Kaija Saariaho in Finland. I demonstrate, by examining the public's reception of Kaija Saariaho and her own experiences, how the gender negotiation of gender identity and the presentation of a woman composer take place, as ongoing processes, between the realms of conventional otherness (the socially constructed category of women composers) and real-life experiences of the individual. The analysis is done through the theoretical lenses offered by DE LAURETIS (1988) CITRON (1993), FOUCAULT (1984) and the epistemology of nomadic transitions by BRAIDOTTI (1991, 1994). I claimed that Saariaho has negotiated her gender not “within” the male-dominated system but “with” it, defining a new gender subject position: the position of the nomadic subject.

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4

Munk, J. "Kaija Saariaho. By Pirkko Moisala." Music and Letters 92, no. 1 (February 1, 2011): 174–76. http://dx.doi.org/10.1093/ml/gcq096.

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5

Stein, Robert. "Proms 2004: Adams, Corigliano, Saariaho." Tempo 59, no. 231 (January 2005): 45–47. http://dx.doi.org/10.1017/s0040298205260059.

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Like its predecessors Nixon in China and The Death of Klinghoffer, the third opera in John Adams's trilogy, Doctor Atomic, seems set fair to juxtapose modern political forces, personalities and moral debate. Here admiration for Robert Oppenheimer and his fellow geniuses who created the atomic bomb is contrasted with the enormity of destruction wreaked on Hiroshima. With over a year to go to the opera's world première by San Francisco Opera, the composer himself conducted Easter Eve 1945, the opening of Act 2, at the Albert Hall on 22 August with the BBC Symphony Orchestra and Audra McDonald as soloist.

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6

Tsaregradskaya, Tatiana V. "Kaija Saariaho and Her Laterna Magica." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 607–35. http://dx.doi.org/10.21638/spbu15.2021.403.

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Nowadays Kaija Saariaho is one of the most successful composers in the field of contemporary classical music. A former student of Tristan Murail, she works in the direction initiated by socalled spectral composition, composing extremely colourful and poetic pieces that are highly appreciated by music critics. One of her orchestra compositions, Laterna Magica, based on the memoirs by Ingmar Bergman and commissioned by the Berliner Philharmoniker Orchestra, premiered in 2009 and became a hit — it was performed more than thirty times after the premiere. This successful piece is the main object of the analysis which is performed according to ideas of Saariaho expressed in her theoretical articles. One of the most interesting ideas about music form proposed by the composer is the idea of “polyphony of processes”, which means that different parameters of composition are realized in different schemes that do not intersect but act as separate phenomena creating an impression of both independence of the parameters and their interaction at the same time. Such parameters as rhythm, melodic ideas, application of text, tempos, textures and their combinations as well as orchestration and harmony have their own profile and are constructed according to different schemes. Besides music itself, a text by Saariaho written for the premiere of the piece is analysed and interpreted as a special case of a “composer’s vision” which shows specific angles in the author’s perception.

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7

Kucia-Kuśmierska, Katarzyna. "Simone Weil i Kaija Saariaho. Paradoksy literacko-muzyczne." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 10 (December 30, 2021): 67–97. http://dx.doi.org/10.18778/2299-7458.10.04.

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Artykuł jest próbą porównania, w jaki sposób poetyka paradoksu realizuje się w pisarstwie filozoficzno-teologicznym Simone Weil oraz w języku muzycznym fińskiej kompozytorki Kaiji Saariaho w jej oratorium La Passion de Simone, poświęconym życiu i twórczości Weil. Przewodnikiem na drodze analizy komparatystycznej jest etymologia paradoksu, począwszy od jego znaczeń związanych z przeciwstawianiem się doksie, rozumianej jako zbiór przyjętych przez ogół mniemań, po odczytanie paradoksu jako ‛bycia obok’ (para) ‛chwały’ (doxa). Oba zakresy semantyczne przenikają tkankę tekstów Weil, zarówno na poziomie języka pełnego sprzeczności, jak i na poziomie rozważanej idei kenozy – największego paradoksu teologicznego, zasadzającego się na zderzeniu boskiej natury Chrystusa z pozbawieniem Go chwały w momencie Ukrzyżowania. Język muzyczny Saariaho wyzyskuje weilowskie sprzeczności, zestawiając ze sobą kontrastowe masy brzmień. Zamienia także muzyczny czas na wrażenie muzycznej przestrzeni oraz w sposób paradoksalny naśladuje dźwiękami ciszę.

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8

Howell, Tim. "OUT OF THE SHADOWS AND SILENCES: THE LOTTA WENNÄKOSKI IN PROFILE." Tempo 66, no. 259 (January 2012): 2–14. http://dx.doi.org/10.1017/s0040298212000010.

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AbstractThe sheer quantity and diversity of music being written in Finland today continues to surprise and delight us. But one significant strand in this otherwise egalitarian success story has remained in the shadows: the role of women composers. Kaija Saariaho appears to be the only such figure to hold a truly international reputation, raising basic questions: why should this be so, how are things changing and what kind of music is being produced. Outlining social and political issues that are distinctive to Finland helps to explain the emergence of Saariaho as a role model for younger women composers. It also invites a detailed case study of a leading member of this generation: Lotta Wennäkoski. This focus on an analytical reading of Wennäkoski's compositional process – as evidenced through her orchestral piece Sakara (2003) – reveals how this music communicates so effectively with contemporary audiences.

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9

Skhaplok, Galina. "ON THE REALIZATION OF NOANOA AND PRES, TWO PIECES FOR SOLO INSTRUMENTS AND IRCAM SIGNAL PROCESSING WORKSTATION (Xavier Chabot, Kaija Saariaho, Jean-Baptiste Barrière)." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 12 (2021): 73–82. http://dx.doi.org/10.17223/26188929/12/7.

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This article is a translation of a musicological work written by the Finnish composer Kaia Saariaho with sound engineers Xavier Chabot and Jean-Baptiste Barrière from the Ircam. The study describes two solo pieces – «NoaNoa» and «Près» – one for flute, the other for cello, realized during 1992 by Kaija Saariaho with the Ircam Signal Processing Workstation (ISPW, based on the Next computer) and with Xavier Chabot from the Ircam Pedagogy department. These works are created in the pedagogical perspective to explore the potentialities of Max on the ISPW, and specially its connexion with Patchwork used to prepare data and patches. In the two pieces, the electronic parts amplify and develop the sonic structure of the solo instrument, exemplify the close relationship between sound material and musical structure, and explore real-time strategies for control over various synthesis and signal processing algorithms.

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10

Sivuoja-Gunaratnam, Anne. "Desire and distance in Kaija Saariaho's Lonh." Organised Sound 8, no. 1 (April 2003): 71–84. http://dx.doi.org/10.1017/s1355771803001080.

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This article explores the relationship of desire and distance in Kaija Saariaho's Lonh (1996) for soprano and electronics. The subject matter of Lonh is desire and romantic pleasures, anchored to feminine subjectivity, represented on stage by a soprano singer. Electronics provide the environmental sounds and amplify the singer's voice. Through Lonh looms a medieval song in the Occitan language, ‘Lanquan li jorn son lonc en mai’ by Jaufré Rudel, a famous troubadour in twelfth-century Provence. Saariaho reverses the narrative convention of love stories by presenting the most intimate encounter at the very beginning. In their succeeding encounters, the lovers move further away from each other. Similarly, in the course of Lonh the distance to Jaufré's song also increases. Luce Irigaray's concepts of love are used for an analysis of the relationship of the loving pair. By the end of Lonh the borderlines of speaking, singing, electronics, language and music collapse in Barthesian jouissance (bliss). The electronic technology in Lonh enables the re-investiture of cultural values, and the construction of flexible identities, crossing boundaries between the self and the other.

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11

Saamishvili, N. N. "True Fire by Kaija Saariaho: Poetics of Composition." Art & Culture Studies, no. 2 (June 2021): 198–229. http://dx.doi.org/10.51678/2226-0072-2021-2-198-229.

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Finnish composer Kaija Saariaho is one of the most prominent figures in contemporary music culture. She became known to the general public after the triumphant premiere of her Love from Afar opera (L’amour de loin, 2000), held at the Salzburg festival. The article is devoted to another work of the composer — the vocal cycle True Fire (2014), which was also successfully received by critics and the public, but has not yet been the subject of a separate study. This work is the first experience of its analysis, focused on both its musical and literary components, which led to the conditional division of the article into two parts. The composer, by her own admission, sought to demonstrate in the cycle the rich palette of colors of the world-famous Canadian baritone Gerald Finley for whom the composition was written. In addition, in True Fire through the texts of R.W. Emerson, M. Darvish, S. Heaney and the lullaby of the Tewa Indians, which became the literary basis of the work, the author’s ideas of a different order are embodied. What they are and how they are reflected in music are the questions that we tried to answer in this article.

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12

Stein, Robert. "London, Proms 2012 (2): Olga Neuwirth, Kaija Saariaho." Tempo 67, no. 263 (January 2013): 73–75. http://dx.doi.org/10.1017/s0040298212001416.

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Postmodernism in music may be hard to define – even harder than the same notoriously slippery term in literature – but Olga Neuwirth's viola concerto Remnants of songs … an Amphigory (2009) may be as good an exemplar as any. Given its UK première on 13 August by the talented British violist Lawrence Power, with the Philharmonia Orchestra under Susanna Mälkki, the concerto's Proms appearance marks the first time the festival has put on any of her pieces.

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13

Romero Ortiz, M. ª. Dolores. "Jardín japonés en Six Japanese Gardens de Kaija Saariaho." Quodlibet. Revista de Especialización Musical, no. 75 (June 22, 2021): 272–340. http://dx.doi.org/10.37536/quodlibet.2021.75.1458.

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La obra Six Japanese Gardens (1994) de la compositora finlandesa Kaija Saariaho (1952) es el objeto de estudio de esta investigación como obra significativa no solo en la producción de su autora sino también como visión finisecular de la aplicación de principios estéticos japoneses en obras musicales occidentales. Una orientación eminentemente analítica permite establecer que los principales fundamentos del jardín japonés (el vacío, la dualidad, la asimetría, la sencillez y la abstracción) se aplican en la composición tanto en la construcción y tratamiento del material como en lo referente a la elección y agrupación instrumental. Además, la simbología actúa de eje vertebrador en las decisiones compositivas ya que afecta tanto al parámetro tímbrico como a la construcción matérica, fundamentada en la aplicación del número tres.

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14

Romero Ortiz, M. ª. Dolores. "Jardín japonés en Six Japanese Gardens de Kaija Saariaho." Quodlibet. Revista de Especialización Musical, no. 75 (June 22, 2021): 272–340. http://dx.doi.org/10.37536/quodlibet.2021.75.1458.

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La obra Six Japanese Gardens (1994) de la compositora finlandesa Kaija Saariaho (1952) es el objeto de estudio de esta investigación como obra significativa no solo en la producción de su autora sino también como visión finisecular de la aplicación de principios estéticos japoneses en obras musicales occidentales. Una orientación eminentemente analítica permite establecer que los principales fundamentos del jardín japonés (el vacío, la dualidad, la asimetría, la sencillez y la abstracción) se aplican en la composición tanto en la construcción y tratamiento del material como en lo referente a la elección y agrupación instrumental. Además, la simbología actúa de eje vertebrador en las decisiones compositivas ya que afecta tanto al parámetro tímbrico como a la construcción matérica, fundamentada en la aplicación del número tres.

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15

Oliveira, Levy, and João Pedro Oliveira. "Procedimentos Estruturais na Peça A Twilight's Song de Matthias Pintscher." Per Musi, no. 40 (October 30, 2020): 1–19. http://dx.doi.org/10.35699/2317-6377.2020.15108.

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Este trabalho visa analisar os procedimentos estruturais da peça A Twilight’s Song do compositor alemão Matthias Pintscher. A análise terá enfoque em três aspectos: desenvolvimento motívico, articulação global da forma e exploração tímbrica. Utilizando como referência bibliográfica textos de Steve McAdams, Kaija Saariaho, Panayiotis Kokoras e o filme A Lesson by Pierre Boulez, almeja-se descobrir quais técnicas foram utilizadas pelo compositor para alcançar a plenitude formal da obra.

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16

Anderson, Julian, and Kaija Saariaho. "Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho." Musical Times 133, no. 1798 (December 1992): 616. http://dx.doi.org/10.2307/1002509.

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17

Carey, Christian. "Musikfabrik - Musikfabrik: Sturm. Schleiermacher, Saariaho, Wertmüller. Wergo Wer 686-2." Tempo 74, no. 291 (December 19, 2019): 114–15. http://dx.doi.org/10.1017/s0040298219000901.

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18

Lister, Rodney. "Boston: Saariaho's ‘Circle Map’." Tempo 67, no. 264 (April 2013): 74–75. http://dx.doi.org/10.1017/s0040298213000144.

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When the Royal Concertgebouw Orchestra wanted to commission Kaija Saariaho for a work to perform at the Westergasfabriek Gashoulder, a gasholder building restored as a performance space, it did so through a consortium including the Gothenburg Symphony Orchestra, the Orchestre National de France, the Royal Scottish National Orchestra, the Stavanger Symphony Orchestra, and the Boston Symphony. The Boston Symphony, conducted by Juanjo Mena, gave the first American performance of the work, entitled Circle Map, in Symphony Hall in November.

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19

Vriezen, Samuel. "Kaija Saariaho Only the Sound Remains, Dutch National Opera, Muziektheater, Amsterdam." Tempo 70, no. 277 (June 10, 2016): 96–97. http://dx.doi.org/10.1017/s0040298216000255.

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Only 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 after she performs a celestial dance; thus, the chorus tells us, ‘was the dance of pleasure, Suruga dancing, brought to the sacred east’. Both encounters are evanescent: the ghost of the general is visited by memories of terrible battles and disappears back into the spirit world; the Tennin's dance is an announcement of spring, as the Tennin herself disperses into the mists that obscure mount Fuji. In both stories, the spiritual is a manifestation of something virtual, relating artistic forms to worlds not of, yet touching on, the everyday. The sounds of the lute, which used to belong to the general, are a conduit to deep memory; the dance taught by the Tennin connects humans to the inhuman workings of nature.

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20

Potter, Caroline. "Kaija Saariaho - Kaija Saariaho: Graal Théâtre, Circle Map, Neiges, Vers toi qui es si loin. Peter Herresthal, violin/Oslo Philharmonic/Clément Mao-Takacs, conductor. BIS 2402." Tempo 74, no. 292 (March 6, 2020): 89–90. http://dx.doi.org/10.1017/s0040298219001347.

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21

Kiseyeva, Elena V., and Emma S. Korotkiyeva. "Interpretation of the Genre in Kaija Saariaho’s Opera Innocence." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 128–41. http://dx.doi.org/10.56620/2782-3598.2023.4.128-141.

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The idea of a renewal of the genre of opera has found its brilliant manifestation in numerous works written by some of the outstanding composers of our time: John Adams, Louis Andriessen, Tan Dun, Steve Reich, Philip Glass, John Cage, Kaija Saariaho and many others. Their works demonstrated transformations stipulated by transgressions of cause-and-effect relationships in their dramaturgy, inclusions of semantic abruptions interrupting the linearity of the narrative, as well as a rejection of the communicative function of words in favor of the musicality of their sound. In some compositions the nature of the relationship between the composer, the performer and the audience has radically changed, which has led to the disintegration of the established norms of genre. The experiments in the sphere of genre demonstrated in Kaija Saariaho’s new opera Innocence (2018) present the subject of research interests, since they, similar to a mirror, reflect a much more extensive and serious scholarly issue — the interpretation of the genre of opera at the beginning of the 21st century. The novelty of the studied composition is determined by the combination of the genres of opera and thriller in it. The specific construction of the libretto and musical dramaturgy, as well as the interpretation of the vocal and choral parts are aimed at creating a long-lasting emotional buildup characteristic of a thriller and immersing the audience in a state of anxiety and fear.

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22

Adlington, Robert. "Moving Beyond Motion: Metaphors for Changing Sound." Journal of the Royal Musical Association 128, no. 2 (2003): 297–318. http://dx.doi.org/10.1093/jrma/128.2.297.

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This article argues that music offers experiences of change that are at odds with our common understanding of time. Specifically, I question the widespread belief that onward motion is a condition of musical temporality. I approach this issue through metaphor theory, which tends to argue for the necessity of metaphorical experiences of time and music in terms of motion. I argue that music's changing sound evokes a variety of bodily metaphors; motion is not ever-present, but intermingles with metaphors of heat, light, weight, tension and so on. Works by Ligeti, Carter, Kurtág and Saariaho are discussed as case studies.

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23

Gotcheva, Angelina-Ogniana. "The True Sense оr to My Only Desire: The Music as a Reason for Sun Reflections." Filosofiya-Philosophy 33, no. 1 (March 25, 2024): 93–105. http://dx.doi.org/10.53656/phil2024-01-05.

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The article presents musicological and existentialist philosophical discourses on renaissance and baroque structures in the works of two contemporary classical composers. The existentialist point of view is imposed due to the examination of contemporary music works in which historically conditioned practices are also found. Being and Time and Introduction to Metaphysics by Martin Heidegger serve as a starting point for the reflections. The two works D’Om Le Vrai Sens by Kaija Saariaho and Concerto Grosso “Sun Reflections” by Yordan Goshev are stylistically very different but the first bears renaissance and the second – baroque features respectively. In consequence, Der Man or Das Man is defined by the opposition between renaissance humanism and the metaphysics of Being.

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24

Cagney, L. "Kaija Saariaho: Visions, Narratives, Dialogues. Ed. by Tim Howell, Jon Hargreave, and Michael Rofe." Music and Letters 95, no. 3 (August 1, 2014): 493–95. http://dx.doi.org/10.1093/ml/gcu052.

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25

Anderson, Martin. "Vilnius: The Gaida Festival, October 2002 (plus recent CD releases of Lithuanian Music)." Tempo 57, no. 224 (April 2003): 47–50. http://dx.doi.org/10.1017/s0040298203260150.

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There's a heartening number of contemporary music festivals in the former Soviet-bloc countries, and in the three Baltic republics in particular: it's as if, after decades of the suppression of modern music – even though less severe there than elsewhere in the USSR – they're all desperate to make up for lost time. The Gaida Festival, founded in 1991 and an annual event in Vilnius in mid-October, is one of the most ambitious: ten concerts in as many days, presenting contemporary Lithuanian composers, usually in first performances, in conjunction with others from further afield (among them this year Saariaho, Tan Dun, Cage, Jan Sandström – with Christian Lindberg astride the ubiquitous Motorbike Concerto – and Gubaidulina). Naturally, such occasions are ragbags, with failures among the successes – but young composers have to be able to hear their miscalculations, and Gaida is commendably generous with its time.

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26

Heaton, Roger. "Jonathan Sage - Jonathan Sage, Strange Machines: Carter, Leedham, Smith, Saariaho, Scheuregger, Berio. Dark Inventions, DICD2001." Tempo 75, no. 298 (October 2021): 98–101. http://dx.doi.org/10.1017/s0040298221000504.

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27

CROSS, JONATHAN. "Musical Spectra,l'espace sensibleand Contemporary Opera." Twentieth-Century Music 15, no. 1 (February 2018): 103–24. http://dx.doi.org/10.1017/s1478572218000087.

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AbstractThe appearance of thecorps sonoreat a key dramatic moment in Rameau'sPygmalion(1748) opens up anespace sensible(a term borrowed from Michel Leiris) where sounds derived from the harmonic series can articulate transformed temporal and spatial environments. Thecorps sonore– rediscovered and repurposed by the spectral movement of the 1970s – reappears in a number of twenty-first-century operas in order to animate a late-modern sense of theespace sensible. Instead of crossing a threshold towards the transcendent, the seemingly immobilecorps sonorecan now represent a modernist sense of loss, death, exile, ruin, and failure. Michaël Levinas's 2010 operatic reinterpretation of Kafka'sMetamorphosisstands as an exemplar of the ways in which the spectrum of sound (here the voice of the ‘becoming-animal’ Gregor Samsa metamorphosed by electronic means) can create a ‘deterritorialized’ space of alienation. Liminal, spectral spaces in works by Dufourt, Grisey, Haas, Harvey, Murail, and Saariaho are also discussed.

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28

Peraino, Judith A. "Sonograms of Desire, Medieval and Modern." Paragraph 41, no. 1 (March 2018): 26–41. http://dx.doi.org/10.3366/para.2018.0248.

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This essay unites musicology's concern with the discursive force of organized sound, and sound studies' concern with the discursive force of sonic environments, recording formats and media networks, to consider how the widely transmitted medieval song ‘Lanqan li jorn son lonc en mai’ attributed to Jaufre Rudel produces sonograms that map distance and desire in the chasm between the Islamic East and the Christian West. The first half of the essay examines ‘Lanqan li jorn son lonc en mai’ in the context of transcultural sound networks, medieval notions of global geography and the material formatting of songs. The second half considers a 1977 recording of the song by the Clemencic Consort, and the 2000 opera by Finish composer Kaija Saariaho called L'Amour de loin with a libretto by the Lebanese author Amin Maalouf. In both cases, the song is sonically reimagined to express modern-day strife in the Middle East.

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29

Kucia, Katarzyna. "The Figure of Kenosis in Literature and Music. The Case of Kaija Saariaho’s Oratorio La Passion de Simone." Rocznik Komparatystyczny 8 (2017): 231–61. http://dx.doi.org/10.18276/rk.2017.8-11.

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30

Campion, Edmund. "Dual Reflections: A Conversation with Kaija Saariaho and Jean-Baptiste Barrière on Music, Art, and Technology." Computer Music Journal 41, no. 3 (September 2017): 9–20. http://dx.doi.org/10.1162/comj_a_00426.

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31

GOTCHEVA, Angelina-Ogniana. "The Position of Women Composers in the World and in Bulgaria – is the Audience of Contemporary Classical Music Privileged or Deprived?" Balkanistic Forum 32, no. 3 (September 15, 2023): 290–308. http://dx.doi.org/10.37708/bf.swu.v32i3.17.

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The article addresses the issue of discrimination against women in their work field, which is still relevant today. It contains an overview of the historical development of women in the composers’ profession around the world and in Bulgaria, as well as an outline of the difficulties and accomplishments of famous women composers. The obstacles in the work realization of world-renowned women composers are sought: the Finnish composer Kaija Saariaho, the Soviet/Tatar composer Sofia Gubaidulina and the Bulgarian composer Julia Tsenova. An overview of annual statistics on the presence of women composers in the world's concert halls is shown and analyzed. Statistics on the concert program in the major Bulgarian halls are provided. Answers to current questions about the impact of globalization on the audience of contemporary classical music in Bulgaria in comparison with the world state are sought. The term discrimination in the professional music field is defined and researched, and those affected are noted.

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Rickards, Guy. "Kaija Saariaho: Visions, Narratives, Dialogues. Edited by Tim Howell with John Hargreaves and Michael Rofe. Ashgate, £55.00." Tempo 67, no. 265 (July 2013): 95–97. http://dx.doi.org/10.1017/s0040298213000612.

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Pousset, Damien, Joshua Fineberg, and Ronan Hyacinthe. "The works of Kaija Saariaho, Philippe Hurel and Marc-André Dalbavie—Stile concertato, stile concitato, stile rappresentativo." Contemporary Music Review 19, no. 3 (January 2000): 67–110. http://dx.doi.org/10.1080/07494460000640371.

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Bauer, Amy. "Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, Tan Dun. By Yayoi Uno Everett." Music and Letters 99, no. 3 (August 1, 2018): 500–502. http://dx.doi.org/10.1093/ml/gcy089.

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Leydon, Rebecca. "Review: Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun, by Yayoi Uno Everett." Journal of the American Musicological Society 71, no. 1 (2018): 272–77. http://dx.doi.org/10.1525/jams.2018.71.1.272.

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36

Pennington, Stephan. "Kaija Saariaho, and: Dusty! Queen of the Postmods, and: Big Ears: Listening for Gender in Jazz Studies (review)." Feminist Formations 23, no. 2 (2011): 232–37. http://dx.doi.org/10.1353/ff.2011.0029.

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Tsaregradskaya, Tatiana V. "The Music of Fausto Romitelli: Concerning the Question of “Musical Material”." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 81–90. http://dx.doi.org/10.56620/2782-3598.2024.1.081-090.

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The end of the 20th century demonstrates an expansion of horizons of the comprehension of musical sonorities, the conception of their transformation from music into “sound,” which radically changes the perception of timbre: this element becomes transformed from a peripheral component of sound to the primary element, thereby changing entirely the entire conception of musical material. Thus, the theory of music material developed by outstanding German philosopher Theodor Adorno in the middle of the 20th century has found its confirmation. The latter’s concept of the historicity of music material was upheld and further developed by Italian composer Luigi Nono, who fundamentally changed the sphere of perception of this phenomenon, which subsequently was testified by his German student Helmut Lachenmann. This required not only new combinations of sound, but a reevaluation of the attitude of working with them. Fausto Romitelli (1963–2004) pertains to the generation of composers that discovered new paths for work with sound. In his musical output sound becomes a complex multicomponent phenomenon presuming an interaction between acoustic instruments, electronic sounds and reverberation — the sound “aura” and the sound “halo,” both of which are also composed consciously (presenting “composed resonance”). Romitelli’s individuality demonstrates itself in the fact that he builds this component of his musical material, basing himself on sonar discoveries in the sphere of rock music, in particular, the Pink Floyd ensemble, which finds reflection in such of his works as EnTrance, Professor Bad Trip, etc. Romitelli characterized the “aura” of his sound as “dirty,” comprehending this as a specific resonance of the sound of the electric guitar in rock music. Romitelli’s “composed resonance” is not characteristic solely of him; “composed resonance” as an element of musical material may be discerned in the works of other composers, in particular, Kaija Saariaho in her Amers for solo cello and ensemble.

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.

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Hinkle-Turner, Elizabeth. "Kaija Saariaho: Private Gardens Compact disc, 1997, Ondine ODE 906-2; available from Electronic Music Foundation, 116 North Lake Ave., Albany, New York 12206, USA; World Wide Web http://www.cdemusic.org/." Computer Music Journal 23, no. 3 (September 1999): 117–18. http://dx.doi.org/10.1162/comj.1999.23.3.117.

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Barker, Jonathan, Veli-Matti Kahari, William C. Parks, and Annamari Ranki. "Ulpu Saarialho-Kere (1960–2009)." Journal of Investigative Dermatology 130, no. 3 (March 2010): 640. http://dx.doi.org/10.1038/jid.2009.422.

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41

Sternburg, Judith von. "Requiem für ein Genie." Opernwelt 65, no. 7 (2024): 14–15. http://dx.doi.org/10.5771/0030-3690-2024-7-014.

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42

Marusik, Yuri M., and Seppo Koponen. "Michael Ilmari Saaristo (1938-2008)." Arachnologische Mitteilungen 36 (December 1, 2008): 37–40. http://dx.doi.org/10.5431/aramit3607.

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Weber, Sabine. "Grenzerfahrungen." Opernwelt 63, no. 4 (2022): 79. http://dx.doi.org/10.5771/0030-3690-2022-4-079.

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HOLGER FALK ist ein Spezialist für Neue Musik. Er war Lord Byron in «Diodati. Unendlich» von Michael Wertmüller, der wahnsinnige König in Peter Maxwell Davies’ «Eight Songs for a Mad King», der Dichter in Manfred Trojahns «Ein Brief» und der suizidale Troubadour in Kaija Saariahos «L’amour de loin». Im Mai verkörpert er an der Bayerischen Staatsoper den Titelhelden in «Thomas» von Georg Friedrich Haas

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44

Sarelin, Mikael. "Rock 'n' roll på gott och ont." Budkavlen 83 (June 13, 2023): 82–84. http://dx.doi.org/10.37447/bk.130601.

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45

Sivuoja-Gunaratnam, Anne. "Miniatures and tensions: phenomenological reverberations in and around Kaija Saariaho's Lichtbogen (1985-86)." Articles 25, no. 1-2 (December 17, 2012): 44–66. http://dx.doi.org/10.7202/1013305ar.

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The article studies miniatures in Kaija Saariaho's Lichtbogen for nine musicians and live electronics (1985-86). The research material consists of records, the score and composer's interviews and articles. Methodologically, the article is based on Gaston Bachelard 's phenomenology (The Poetics of Space) and Denis Smalley's "Spectromorphology." Miniatures are subtle spatio-temporal constellations, which require a non-global listening strategy, or an "aural magnification glass" in order to be perceived. In Saariaho's case, these miniatures are often imbued with musical tension, which reverberates across the material borders of music and texts. By working on the borderline between music and language, they challenge the notion that a hard separation exists between the purely musical and the extra-musical.

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46

Anderson, Martin. "London, Barbican: Saariaho's ‘L'amour de loin’." Tempo 57, no. 224 (April 2003): 42–43. http://dx.doi.org/10.1017/s0040298203220155.

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Kaija Saariaho's opera L'amour de loin – her first – was completed in 2000 and given its first production at the Salzburg Festival that year; it toured to Paris in late 2001 and to Santa Fe in 2002; it has also been staged in Darmstadt. Its concert presentation at the Barbican on 21 November was thus the first performance without the support of stage business – and, not having seen those earlier productions, one wonders how it can have been staged at all: the work is a drama-less, interiorized dreamscape-cum-ritual which proceeds in the imaginations of its symbolic characters. Those are the troubadour Jaufré Rudel, Prince de Blaye (baritone – on this occasion Gerald Finley), whose idealized love Clémence, Princess of Tripoli (soprano – Dawn Upshaw) lives at a (literally) respectable distance, at the other end of the Mediterranean; the go-between is a pilgrim (mezzo soprano – Beth Clayton); male and female choruses, deployed separately and only intermittently, represent the outside world, their matter-of-factness contrasting with the high-flown unrealism of the principals.

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Honorato, Cezar. "Canários e a pesca no banco saariano (séculos XVII e XVIII)." Tempo 22, no. 39 (April 1, 2016): 216–19. http://dx.doi.org/10.20509/tem-1980-542x2016v223912.

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Niiranen, Pekka. "Työleirien saaristo. Työleirijärjestelmä Suomessa vuosina 1942-1944." Ennen ja nyt: Historian tietosanomat 22, no. 4 (December 5, 2022): 94–97. http://dx.doi.org/10.37449/ennenjanyt.121902.

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Leclerc, Gervais, and J. J. Pireaux. "What is Wrong with “What is Wrong with MEM?”." Applied Spectroscopy 48, no. 8 (August 1994): 973–76. http://dx.doi.org/10.1366/0003702944029668.

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50

Santin, Janaína Rigo, and Carlos Manuel dos Santos Teixeira. "Poder local e autoridades tradicionais em Angola: desafios e oportunidades." Seqüência: Estudos Jurídicos e Políticos 41, no. 85 (November 5, 2020): 135–72. http://dx.doi.org/10.5007/2177-7055.2020v41n85p135.

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A pesquisa procura analisar o Poder Local em Angola, país situado na África Sub-saariana, e as instituições que o integram, reconhecidas explicitamente na Constitução da República de Angola de 2010. Entretanto, o Poder Local e as instituições descentralizadas e participativas que o compõem necessitam muito mais do que o seu reconhecimento formal. É preciso desenvolver instituições políticas participativas. E esse é o grande desafio da governação local democrática angolana neste século XXI.

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