{"id":6901,"date":"2025-09-11T18:54:14","date_gmt":"2025-09-11T16:54:14","guid":{"rendered":"https:\/\/pigyki.fr\/?p=6901"},"modified":"2025-10-23T15:21:28","modified_gmt":"2025-10-23T13:21:28","slug":"poslusanje-glasbe-st-70-kaija-saariaho-2","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/sl\/2025\/09\/11\/poslusanje-glasbe-st-70-kaija-saariaho-2\/","title":{"rendered":"Poslu\u0161anje glasbe \u0161t. 70  Kaija Saariaho"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\"><strong>Kaija Saariaho<\/strong> (1952-2023)<\/h1>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\" style=\"grid-template-columns:37% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"640\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/image-1.png\" alt=\"\" class=\"wp-image-6852 size-full\" style=\"object-position:50% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/image-1.png 480w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/image-1-225x300.png 225w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><strong><strong><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Kaija_Saariaho\" target=\"_blank\" rel=\"noreferrer noopener\">Kaija Saariaho<\/a><\/strong><\/strong> je bila ena najve\u010djih glasov sodobne glasbe.<\/p>\n\n\n\n<p>Rojena v Helsinkih, je \u0161tudirala na Akademiji Sibelius, nato v Freiburgu in na IRCAM v Parizu. Tam je razvila edinstven jezik, v katerem zdru\u017euje akusti\u010dne in\u0161trumente, elektroniko in raziskave o barvi zvoka.<\/p>\n\n\n\n<p>Njen slog, ki ga pogosto opisujejo kot poeti\u010den in svetel, raziskuje mejo med glasbo, domi\u0161ljijo in \u010dustvi.<\/p>\n\n\n\n<p>Od svojih prvih eksperimentalnih del do velikih oper (<em>L\u2019Amour de loin<\/em>, <em>Innocence<\/em>) je Saariaho pustila trajen pe\u010dat v glasbenem prostoru 21. stoletja.<\/p>\n<\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Ni preprosto ponuditi ne\u017een vstop v njen zvo\u010dni, pesni\u0161ki in glasbeni svet&#8230;<\/p>\n\n\n\n<p>Predlagam vam nekaj kratkih posnetkov iz njenega zadnjega obdobja, nato pa obse\u017ene izseke iz njenega obse\u017enega kataloga.<br>Naslovi, ki jim sledi <strong><em>*<\/em><\/strong>, se nana\u0161ajo neposredno na poglavje \u201e<strong><em>&#8230; Ve\u010d informacij&#8230;<\/em><\/strong>\u201d, ki se za\u010dne s predstavitvijo <a href=\"https:\/\/www.deepl.com\/fr\/translator#spectral\"><strong><em>Kaije Saariaho in spektralne glasbe *<\/em><\/strong><\/a>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">Dela za otro\u0161ki zbor: <em>Horloge, tais-toi !<\/em> (2007) &amp; <a href=\"#\u00e9t\u00e9\"><strong><em>Jours d&rsquo;\u00e9t\u00e9, Cinq heures musicales *<\/em><\/strong><\/a> (3-4-5\/5)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-oeuvres-vocales-enfants.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Dela za klavir: <em>Balada<\/em> (2005) in <em>Preludij<\/em> (2007)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Piano-Ballade-Prelude.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Simfoni\u010dno delo za orkester in magnetni trak: <a href=\"https:\/\/www.deepl.com\/fr\/translator#circle\"><strong><em>Circle Map *<\/em><\/strong><\/a> (2012) \u2013 Odlomek (1-2-3\/6)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Circle-Map-Extrait.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Delo za bariton in instrumentalni ansambel: <a href=\"https:\/\/www.deepl.com\/fr\/translator#sombre\"><strong><em>Sombre *<\/em><\/strong><\/a> (2012)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Sombre-2012.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Delo za orkester in zbor: <a href=\"https:\/\/www.deepl.com\/fr\/translator#mar\"><strong><em>Oltra Mar *<\/em><\/strong><\/a> (1999): Sedem preludijev za novo tiso\u010dletje<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Oltra-Mar-1999.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u201eMoji trije nasveti za mlade kolege in bodo\u010de skladatelje\u201c<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\">1. Poznaj svojo preteklost.<\/p>\n\n\n\n<p class=\"has-text-align-center\">2. Kaj \u017eeli\u0161 izraziti?<\/p>\n\n\n\n<p class=\"has-text-align-center\">3. Strogo!<\/p>\n\n\n\n<p class=\"has-text-align-right\"><strong><em><a href=\"https:\/\/youtu.be\/3FPH59k7eLI?si=bbA2kLgENl9Picnc\" target=\"_blank\" rel=\"noreferrer noopener\">Kaija Saariaho &#8211; IRCAM 2019<\/a><\/em><\/strong><\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Dela za otro\u0161ki zbor<\/h4>\n<\/blockquote>\n\n\n\n<p>Magisterij Radio France &amp; Anne le Bozec, klavir &amp; Lucas Genas, tolkala \u2013 Sofi Jeannin, dirigentka (2022)<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Ura, utihni!<\/em> (2007)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Kaija-Saariaho-Horloge-tais-toi-.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><a href=\"#\u00e9t\u00e9\"><em>Poletni dnevi, Pet glasbenih ur<\/em> *<\/a> (odlomki)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Kaija-Saariaho-Jours-dete-Cinq-heures-musicales-extraits.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Komorna glasba<\/h4>\n\n\n\n<h4 class=\"wp-block-heading\">Klavir<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Balada<\/em> (2005)<\/h5>\n\n\n\n<p>Daria-Karmina Iossifova<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Ballade-2005.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Preludij<\/em> (2007)<\/h5>\n\n\n\n<p>Roland P\u00f6ntinen<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Prelude-for-Piano-2007-Score-Video.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Arabeske in pregovori<\/em> (2016)<\/h5>\n\n\n\n<p>Tuija Hakkila<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Arabesques-et-adages-for-Piano.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">\u010celo<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Offrande<\/em> za \u010delo in orgle (2014)<\/h5>\n\n\n\n<p>Anssi Karttunen, \u010delo &amp; Olivier Latry, orgle (2024)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Offrande-2014-for-cello-and-organ.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Uspavanka<\/em> za solo \u010delo (2020)<\/h5>\n\n\n\n<p>Anssi Karttunen, \u010delo<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Lullaby-for-cello-solo-2020.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Trio: violina, violon\u010delo in klavir<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Light and Matter<\/em> (2014)<\/h5>\n\n\n\n<p>Jennifer Koh, violina \u2013 Anssi Karttunen, violon\u010delo \u2013 Nicolas Hodges, klavir (2018)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Light-and-Matter.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Godalni kvartet<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"#nymph\u00e9a\"><em>Nymph\u00e9a<\/em> *<\/a> [Jardin secret III] za godalni kvartet in elektronsko glasbo v \u017eivo (1987)<\/h5>\n\n\n\n<p>Meta4: Minna Pensola in Antti Tikkanen, violina; Atte Kilpel\u00e4inen, viola; Tomas Djupsj\u00f6backa, violon\u010delo;<\/p>\n\n\n\n<p>Marko My\u00f6h\u00e4nen, elektronska glasba.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Nymphea-Jardin-secret-III-1987-for-string-quartet-and-live-electronics.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Terra Memoria<\/em> (2007)<\/h5>\n\n\n\n<p><em>\u201eKo komponiram za godalni kvartet, imam kljub svojemu skromnemu prispevku k temu \u017eanru ob\u010dutek, da prodrem v samo jedro glasbene komunikacije.\u201c<\/em> \u2013 Kaija Saariaho<\/p>\n\n\n\n<p><em>Atmusica<\/em>: Eiichi Chijiwa, violina \u2013 Damien Vergez, violina \u2013 Nicolas Peyrat, viola \u2013 Delphine Biron, violon\u010delo (2025)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Terra-Memoria-pour-quatuor-a-cordes-Atmusica.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Bariton in orkester<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"#fire\"><em><strong>True Fire *<\/strong><\/em><\/a><\/h5>\n\n\n\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Dav%C3%B3ne_Tines\"><strong><em>Dav\u00f3ne Tines<\/em><\/strong><\/a>, bariton &amp; Francoski nacionalni orkester \u2013 Olari Elts, dirigent (2017)<a href=\"https:\/\/www.youtube.com\/@francemusiqueconcerts\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/08\/Kaija-Saariaho-True-Fire-interprete-par-le-baryton-Davone-Tines_1.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Simfoni\u010dni orkester<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Laterna Magica<\/em> (2008)<\/h5>\n\n\n\n<p><em>Finski radijski simfoni\u010dni orkester<\/em> \u2013 Sakari Oramo, dirigent (2011)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Laterna-Magica.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"#circle\"><em>Circle Map<\/em> *<\/a> (2012)<\/h5>\n\n\n\n<p>KMH Symphony Orchestra, Nazanin Aghakhani, re\u017eija, na Kraljevi glasbeni akademiji v Stockholmu, 2016<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Circle-Map-KMH-2016-10-07.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Opera<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><em>L&rsquo;amour de loin<\/em> (2000)<\/h5>\n\n\n\n<p>Saariahojeva prva opera, ki je bila premierno uprizorjena na Salzbur\u0161kem festivalu, raziskuje misti\u010dno ljubezen in razdaljo med dvema bitjema skozi glasbo izjemne poeti\u010dne intenzivnosti. Da bi jo spoznali, si oglejte dva odlomka:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>5 Odsevi L&rsquo;Amour de loin: \u0161t. 1. Outremer<\/em> (2001)<\/h5>\n\n\n\n<p>Pia Freund, sopranistka \u2013 Finski radijski simfoni\u010dni orkester \u2013 Jukka-Pekka Saraste, dirigent<br><a href=\"https:\/\/youtu.be\/-qYvc3Nr90o?si=a8p9FPfNNB3s6z9T\">https:\/\/youtu.be\/-qYvc3Nr90o?si=a8p9FPfNNB3s6z9T<\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Vers toi qui es si loin<\/em> (2018)<\/h5>\n\n\n\n<p>Prilagoditev zadnje arije iz \u00bbL&rsquo;amour de loin\u00ab za violino in orkester<\/p>\n\n\n\n<p>Peter Herresthal, violina, Oslo Philharmonic Orchestra, Cl\u00e9ment Mao-Takacs (2019)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Saariaho-Kaija-1952-Vers-toi-qui-es-si-loin-2018.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Ljubezen na daljavo<\/em> Celotna verzija (2h20&prime;)<\/h5>\n\n\n\n<p>V franco\u0161\u010dini, s \u0161panskimi nadnapisi, z:<\/p>\n\n\n\n<p>Jaufr\u00e9 Rudel, princ iz Blayeja \u2013 Gerald Finley \/ Cl\u00e9mence, grofica iz Tripolija \u2013 Dawn Upshaw \/ Romar \u2013 Monica Groop \/ Orkester in zbor Finske nacionalne opere, dirigent Esa-Pekka Salonen \/ Re\u017eija Peter Sellars.<br><a href=\"https:\/\/youtu.be\/aP9A3Y1BWF4?si=HoIm_nYY4xFvRTvq\">https:\/\/youtu.be\/aP9A3Y1BWF4?si=HoIm_nYY4xFvRTvq<\/a><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Innocence<\/em> \/ Nedol\u017enost (2020)<\/h5>\n\n\n\n<p>Preden si ogledate to opero, kar vam toplo priporo\u010dam (od za\u010detka do konca sem bil popolnoma prevzet od zgodbe in glasbe), vas vabim, da preberete besedilo zanimive videokonference Aleksi Barri\u00e8reja o nastanku tega pomembnega dela 21. stoletja. Besedilo sem prepisal, da bi ga lahko prevedel, in na koncu dodal povezavo do opere. U\u017eivajte v branju!<br><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/SL-Visio-conference-sur-la-genese-de-Innocence-par-Aleksi-Barriere-Printemps-2021.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/SL-Visio-conference-sur-la-genese-de-Innocence-par-Aleksi-Barriere-Printemps-2021-1-1.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">* Ve\u010d informacij&#8230;<\/h2>\n\n\n\n<p>Tukaj je portret, ki ga je narisal \u201e<a href=\"https:\/\/citedescompositrices.com\/la-boite-a-pepites-label\/\"><strong><em>La bo\u00eete \u00e0 p\u00e9pites<\/em><\/strong><\/a>\u201c na YouTube (FR s podnapisi v EN): <a href=\"https:\/\/youtu.be\/8hWBfhzMFg0?si=cXZ3ZH-zkmiaFlXn\"><strong><em>Kaija Saariaho<\/em><\/strong><\/a>.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"spectral\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Kaija Saariaho in spektralna glasba<\/h4>\n\n\n\n<p>Kaija Saariaho je pogosto povezana s tokom <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Musique_spectrale\"><strong><em>spektralne glasbe<\/em><\/strong><\/a>, vendar je njen odnos do njega osrednji in edinstven. Tukaj je nekaj elementov, ki pomagajo bolje razumeti njen pristop in izvirnost.<\/p>\n\n\n\n<p><strong>Kaj je spektralna glasba?<\/strong><\/p>\n\n\n\n<p>Do sredine 20. stoletja so bile komponente glasbe in delo skladatelja opisane z nedvoumnimi, zelo jasnimi izrazi, saj so bili povezani s tradicionalnim sistemom notnega zapisa, ki je veljal \u017ee ve\u010d stoletij: vi\u0161ina in trajanje zvoka, tema, harmonija, kontrapunkt&#8230;<\/p>\n\n\n\n<p>V za\u010detku 50. let 20. stoletja je pojav <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Musique_concr%C3%A8te\"><strong><em>konkretne glasbe<\/em><\/strong><\/a> (glej posnetek \u0161t. 66 <a href=\"https:\/\/pigyki.fr\/index.php\/2025\/07\/15\/ecoute-musicale-n66-pierre-schaeffer\/\"><strong><em>Pierre Schaeffer<\/em><\/strong><\/a>) in elektroakusti\u010dne glasbe privedel do redefinicije zvo\u010dnega objekta: skladatelji se niso ve\u010d zanimali le za organizacijo zvokov, ampak za sam zvok; zavedajo se, da uporabljajo zvo\u010dni material, ki obstaja \u017ee pred ustvarjalnim in organizacijskim mi\u0161ljenjem in katerega notranje lastnosti ne poznajo.<\/p>\n\n\n\n<p><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Musique_spectrale\"><strong><em>Spektralna glasba<\/em><\/strong><\/a>, gibanje, ki je nastalo v Franciji v 70. letih 20. stoletja, ozna\u010duje glasbo, katere celoten material izhaja iz akusti\u010dnih lastnosti komponent zvoka (zlasti prek ra\u010dunalni\u0161tva v IRCAM). V sredi\u0161\u010du raziskav skladatelja je mutacija zvoka, zvo\u010dna prihodnost. S tem izklju\u010dnim pristopom k zvoku skladatelj zavra\u010da vsakr\u0161en osnovni material, da bi delal izklju\u010dno na spremembi zvoka. Vodilni predstavniki spektralne \u0161ole v Franciji sta <a href=\"https:\/\/fr.wikipedia.org\/wiki\/G%C3%A9rard_Grisey\"><strong><em>G\u00e9rard Grisey<\/em><\/strong><\/a> in <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Tristan_Murail\"><strong><em>Tristan Murail<\/em><\/strong><\/a>, ki sta se leta 1973 pridru\u017eila \u0161tevilnim skladateljem v ansamblu l&rsquo;Itin\u00e9raire, med katerimi sta <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Micha%C3%ABl_Levinas\"><strong><em>Micha\u00ebl L\u00e9vinas<\/em><\/strong><\/a> in Hugues Dufourt.<\/p>\n\n\n\n<p>Sestavljanje spektralne glasbe pomeni umetno rekonstruiranje zvo\u010dnih komponent enega ali ve\u010d instrumentov z razporeditvijo harmonikov ali delnih tonov med razli\u010dne instrumente, ki sestavljajo izbrano instrumentalno zasedbo, in sledenje njihovim spremembam v \u010dasu in prostoru (harmoni\u010dni in neharmoni\u010dni spektri, resonance, prehodi med barvami).<\/p>\n\n\n\n<p>To gibanje je torej bistveno druga\u010dno, celo nasprotno od kompozicij z abstraktnimi strukturami, kot so dodekafonske serije.<\/p>\n\n\n\n<p><strong>Kaija Saariaho in spektralni vpliv<\/strong><\/p>\n\n\n\n<p>Od leta 1982 \u017eivi v Parizu, kjer obiskuje IRCAM, kjer se izobra\u017euje o orodjih za analizo in elektronsko preoblikovanje zvoka. Posebej jo zaznamujejo raziskave Griseya in Muraila, pa tudi njene osebne izku\u0161nje poslu\u0161anja: zanjo zvok postane izhodi\u0161\u010de dramaturgije.<\/p>\n\n\n\n<p>V njenih delih najdemo tehnike, ki izhajajo iz spektralizma:<\/p>\n\n\n\n<p>&#8211; <strong>Spektralna analiza<\/strong>, ki slu\u017ei kot harmoni\u010dna ali orkestralna osnova.<\/p>\n\n\n\n<p>&#8211; <strong>Postopne transformacije<\/strong> (zvok se po\u010dasi spreminja v drugega).<\/p>\n\n\n\n<p>&#8211; <strong>Zdru\u017eitev barve in harmonije<\/strong>: akordi so zasnovani kot \u00bbzvo\u010dni objekti\u00ab in ne kot tonske funkcije.<\/p>\n\n\n\n<p><strong>Njene osebne posebnosti<\/strong><\/p>\n\n\n\n<p>V nasprotju z nekaterimi spektralisti Saariaho ni iskala teoreti\u010dnega sistema. Spektralni pristop uporablja kot <strong>poeti\u010dno orodje<\/strong>. Njena glasba se odlikuje po izraziti ob\u010dutljivosti za:<\/p>\n\n\n\n<p>&#8211; <strong>Barvo in teksturo<\/strong>: iskanje \u010dutnega, svetlega zvoka, ki se pogosto opisuje kot \u00bborganski\u00ab.<\/p>\n\n\n\n<p>&#8211; <strong>Izrazno razse\u017enost<\/strong>: \u0161e vedno jo zanimajo dramaturgija, \u010dustva in domi\u0161ljija.<\/p>\n\n\n\n<p>&#8211; <strong>glas in poezijo<\/strong>: v svojih operah (<em>L\u2019Amour de loin<\/em>, <em>Innocence<\/em>) je spektralni vpliv vklju\u010den v razmi\u0161ljanje o petju, pripovedovanju in \u010dustvih.<\/p>\n\n\n\n<p><strong>Nekaj konkretnih primerov<\/strong> iz za\u010detka:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><em>Lichtbogen<\/em><\/strong> (1986): orkestracija, navdihnjena s spektralnimi analizami, a vedno poeti\u010dna.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Lichtbogen-198586_1.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><em>Nymph\u00e9a<\/em><\/strong> (1987) za godalni kvartet in elektroniko: delo transformacije, spektralne ekspanzije, vendar z osebnim lirizmom.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Nymphea-Jardin-secret-III-1987-for-string-quartet-and-live-electronics_1.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><em>Oltra mar <\/em><\/strong>(1999): po\u010dasno in postopno razvijanje harmoni\u010dnih zvokov, razporejenih med orkestrske instrumente in glasove, ter njihova transformacija v ekspanzijo je precej zna\u010dilna za spektralno glasbo.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Oltra-mar-Extrait-spectral.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>Povzetek<\/strong><\/p>\n\n\n\n<p>Kaija Saariaho je <strong>postspektralna skladateljica<\/strong>:<br>&#8211; Prevzela je spektralni pogled na zvok kot \u017eivo snov.<br>&#8211; Presegla je strogo akusti\u010dno dimenzijo in jo vklju\u010dila v izrazit, poeti\u010den in pogosto duhoven svet.<br>&#8211; Odli\u010dno ponazarja, kako se je spektralna dedi\u0161\u010dina lahko preoblikovala v osebni jezik.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"\u00e9t\u00e9\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Poletni dnevi, Pet glasbenih ur<\/em> (3 odlomki)<\/h5>\n\n\n\n<p>Kaipausaika \u0161t. 3 (Ura \u017eelje) Mystinen aika \u0161t. 4 (Misti\u010dna ura) Y\u00f6n sarastus \u0161t. 5 (Ve\u010derni mrak)<\/p>\n\n\n\n<p>\u201eUra, utihni\u201c, je pred nekaj leti pela pevska zasedba Radio-France na besedilo Aleksisa Barri\u00e8reja. Kaija Saariaho pojasnjuje: \u201eVeliko glasbene glasbe sem napisala za glas (zlasti za zbor) na podlagi obstoje\u010dih besedil, vendar mi sodelovanje z libretistom pogosto daje ve\u010d navdiha. Medtem ko obi\u010dajno sama izberem temo, jo je pri vsakem sodelovanju z Aleksi Barri\u00e8re predlagal on. Pred Reconnaissance smo skupaj ustvarili tri skladbe za zbor, Horloge, tais-toi (2005), Kes\u00e4p\u00e4iv\u00e4 (2006) in \u00c9cho ! (2007), delal pa je tudi kot dramaturg in prevajalec libreta moje zadnje opere Innocence. Dobro pozna mojo glasbo in moje udobne cone v zvezi z besedili, vendar me \u017eeli tudi preizkusiti, da bi na\u0161el nove na\u010dine izra\u017eanja. Njegova besedila me pogosto presene\u010dajo, ko jih prvi\u010d preberem. Ali je treba posebej poudariti, da je Aleksis sin Kaije Saariaho? Kes\u00e4p\u00e4iv\u00e4 je nepri\u010dakovan dialog. Ali bolje re\u010deno, vzporedno petje ljudi in \u010debel v enem poletnem dnevu. Pete ali govorjene, na besede, foneme, v\u010dasih samo soglasnike ali samoglasnike, \u010dlove\u0161ke ali \u017eivalske, glasovi postanejo instrumentalni, ko se prepletajo z ritmi\u010dnimi igrami perkusij ali se zlijejo z odmevom kovine. In medtem ko se harmonije bogatijo s polifonijo, se ti\u0161ina vrne, ko pade no\u010d.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"circle\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Circle Map<\/em> (2012)<\/h5>\n\n\n\n<p>V svoji kritiki severnoameri\u0161ke premiere v Bostonu, ki jo je izvedel Juanjo Mena z Bostonskim simfoni\u010dnim orkestrom, je Jeremy Eichler iz Boston Globe <strong><em>Circle Map <\/em><\/strong>ozna\u010dil za \u00bb\u010dudovito komponirano\u00ab in napisal:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201eSaariahojeva dela se v\u010dasih lahko zataknejo pod te\u017eo lastne abstrakcije, vendar v <em>Circle Map<\/em> preprosti (\u010deprav misti\u010dni) pesni\u0161ki teksti razkrivajo skladbo in jo naredijo za eno njenih najbolj dostopnih orkestrskih partitur. Prvi stavek, naslovljen \u201cMorning Wind\u00a0\u00bb, nosijo vijugaste melodije pihal; \u00bbCircles\u00ab prekriva rife trobil in ne\u0161teto majhnih ponavljajo\u010dih se gest. Zadnji stavek, najbolj presunljiv zaradi svoje mehke, utripajo\u010de svetlobe, predstavlja, kaj je pesnik iz 13. stoletja <strong><em>Rumi<\/em><\/strong>, recitiran v originalnem perzijskem jeziku na elektronski posnetku, mislil s \u00bbpesmijo mirnega in svetlega trsa\u00ab.<\/p>\n\n\n\n<p>Veseli me, da je ta orkester sestavljen iz \u0161tudentov tega visokega konservatorija in ga vodi \u017eenska!<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Kaija Saariaho: Circle Map (KMH 2016-10-07)\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/e4XXNPqD3k4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>KMH Symphony Orchestra, Nazanin Aghakhani, dirigentka, na Kraljevem glasbenem akademiju v Stockholmu, 2016<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Circle-Map-KMH-2016-10-07.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<\/blockquote>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"sombre\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Sombre<\/em> \/ <strong><em>Pesem<\/em><\/strong> (2012)<\/h5>\n\n\n\n<p><strong><em>Pesem<\/em><\/strong>, napisana za bariton in ansambel, je uglasbena poezija Philippa Jaccotteta. Glas raziskuje krhkost bivanja med senco in svetlobo, medtem ko ansambel z njim dialogira v preprosti in intimni teksturi. Glasba diha, skoraj na meji ti\u0161ine, kot meditacija o kon\u010dnosti in krhki lepoti sveta.<\/p>\n\n\n\n<p>Manipulacija in me\u0161anje zvokov instrumentov v tej skladbi sta osupljivi<br>00:00 I. Canto CXVIII. Misteriozni solo basovske flavte: zra\u010dni zvoki, petje med igranjem, mojstrsko prepleteni z zvoki perkusije<br>02:39 Vstop ansambla, ki okrepi temno in skrivnostno atmosfero. Nemirni prehodi obdajajo obupani glas<br>05:55 II. Canto CXX. Ne\u017eni in \u0161epetajo\u010di toni (multifoni\u010dni zvoki flavte, udarni in\u0161trumenti s smy\u010dkom, harmoniki na basu) uvodijo v drugo izrazito pesem<br>10:04 Subito agitato, ki spominja na prvo nemirno pesem<br>12:19 Hipnoti\u010dno in redno gibanje harfe in basa, subtilno obarvano z udarnimi in\u0161trumenti, zaklju\u010di pesem na zaskrbljujo\u010d na\u010din.<br>14:45 III. Fragment. Freneti\u010dna zaklju\u010dna pesem, tr\u0161i toni in fanati\u010den sprechgesang v slavo \u00bbOlgi\u00ab.<br>20:06 \u010cudovito ble\u0161\u010de\u010d zaklju\u010dni akord<\/p>\n\n\n\n<p>Basovska flavta: Camilla Hoitenga \u2013 Glas: Daniel Belcher \u2013 Perkusi: Matthew Strauss \u2013 Harfa: Bridget Kibbey \u2013 Kontrabas: Paul Ellison \u2013 Ansambel: Da Camera<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Sombre-2012.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"mar\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Oltra Mar<\/em> (1999)<\/h5>\n\n\n\n<p>Sedem preludijev za novo tiso\u010dletje za orkester in zbor (1999)<\/p>\n\n\n\n<p><strong><em>Oltra mar<\/em><\/strong> temelji na fragmentih latinskega besedila. Del opisuje potovanje skozi neskon\u010dnost, morje pa slu\u017ei kot metafora za drugje in onostranstvo. Zbor, ki je v\u010dasih zaklinjajo\u010d, v\u010dasih eteri\u010den, daje delu skoraj kozmi\u010dno dimenzijo. Glasba poslu\u0161alca ovije v po\u010dasno, svetlo in kontemplativno potovanje.<\/p>\n\n\n\n<p>I. Odhod II. Ljubezen [<a href=\"https:\/\/www.youtube.com\/watch?v=r2cmHLbZWY4&amp;t=276s\" target=\"_blank\" rel=\"noreferrer noopener\">04:36<\/a>] III. Vagu [<a href=\"https:\/\/www.youtube.com\/watch?v=r2cmHLbZWY4&amp;t=462s\">07:42<\/a>] IV. \u010cas [<a href=\"https:\/\/www.youtube.com\/watch?v=r2cmHLbZWY4&amp;t=599s\" target=\"_blank\" rel=\"noreferrer noopener\">09:59<\/a>] V. Spomin na valove [<a href=\"https:\/\/www.youtube.com\/watch?v=r2cmHLbZWY4&amp;t=818s\" target=\"_blank\" rel=\"noreferrer noopener\">13:38<\/a>] VI. Smrt [<a href=\"https:\/\/www.youtube.com\/watch?v=r2cmHLbZWY4&amp;t=889s\" target=\"_blank\" rel=\"noreferrer noopener\">14:49<\/a>] VII. Prihod [<a href=\"https:\/\/www.youtube.com\/watch?v=r2cmHLbZWY4&amp;t=1106s\" target=\"_blank\" rel=\"noreferrer noopener\">18:26<\/a>]<\/p>\n\n\n\n<p>Tapiola Chamber Choir Finnish Radio Symphony Orchestra pod taktirko Jukka-Pekka Saraste.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/09\/Kaija-Saariaho-Oltra-Mar-1999.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"nymph\u00e9a\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Nymph\u00e9a<\/em> [Jardin secret III] (1987) za godalni kvartet in elektronsko glasbo v \u017eivo<\/h5>\n\n\n\n<p>\u00ab\u00a0<strong><em>Nymph\u00e9a<\/em><\/strong>, napisana za Kronos Quartet na zahtevo Lincoln Centra v New Yorku, je eden od mejnikov Saariahojeve produkcije in eno od glavnih del njenega prvega obdobja. Gre za bogat, barvit in sijajen povzetek glavnih zna\u010dilnosti njenega pisanja za godala. Elektronska obdelava zvoka raz\u0161irja izrazno polje dale\u010d preko tradicionalnega godalnega kvarteta in na nek na\u010din celo na novo opredeljuje godalni kvartet kot ansambel.<\/p>\n\n\n\n<p>Nymph\u00e9a je dober primer, kako Saariaho uspeva zdru\u017eiti nove tehnologije in poeti\u010dno domi\u0161ljijo v celoto. Ena od izhodi\u0161\u010dnih to\u010dk dela je bila ra\u010dunalni\u0161ka analiza zvoka \u010dela, ki jo je Saariaho uporabila kot osnovo za harmonije v delu. Uporabila je tudi ra\u010dunalni\u0161ko izra\u010dunane procese za ritmi\u010dne in melodi\u010dne transformacije. Podnaslov Jardin secret III se nana\u0161a na ra\u010dunalni\u0161ko programsko opremo, ki jo je uporabila Saariaho, in povezuje Nymph\u00e9a z dvema predhodnima deloma:<\/p>\n\n\n\n<p>Jardin secret I (1985), delom, posnetim izklju\u010dno na traku, in Jardin secret II (1986) za \u010dembalo in trak.<\/p>\n\n\n\n<p>Naslov dela se nana\u0161a na vodne lilije. Skladateljica je imela v mislih predvsem poznej\u0161a dela impresionisti\u010dnega mojstra Clauda Moneta. Vendar glasba ne \u017eeli ilustrirati Monetovih vodnih lilij, ampak prikazati simetrijo njihove strukture in kontraste v ribnikih z vodnimi lilijami. Saariaho je dejala: <em>\u00bbPodoba simetrije vodnih lilij je bistven element glasbe: \u00bbPodoba simetri\u010dne strukture vodne lilije, ki se upogiba, ko plava na valovih, se spremeni. Gre za interpretacije razli\u010dnih dimenzij iste podobe:<\/em><\/p>\n\n\n\n<p><em>enodimenzionalna povr\u0161ina z barvami in oblikami; materiali, stanja in dimenzije, ki jih je mogo\u010de zaznati; belo vodno lilijo pa hrani blato pod vodo\u00ab.<\/em><\/p>\n\n\n\n<p>Nymph\u00e9a ustvarja edinstven zvo\u010dni svet, v katerem je paleta zvokov raz\u0161irjena z mikrointervali. Paleta odtenkov je presenetljivo \u0161iroka, od negotove krhkosti in steklenih zvokov do polj trdih zvokov in eksplozij mo\u010di (con ultima forza ali con violenza). Notranji svet dela je v nenehni preobrazbi in prehaja skozi \u0161tevilna \u010dustvena stanja. Okoli sredine dela se kot element uvede \u010dlove\u0161ki glas, glasbeniki pa v mikrofone \u0161epetajo posamezne zvoke. Ta u\u010dinek se ponovi proti koncu in se spremeni v prave besede, angle\u0161ki prevod pesmi ruskega pesnika Arsenija Tarkovskega, ki uvaja misli o izgubljenem poletju in nostalgiji \u2013 ne kot programski element, ampak kot pesni\u0161ko obogatitev.<\/p>\n\n\n\n<p>~Kimmo Korhonen (prevedel Jaakko M\u00e4ntyj\u00e4rvi)<br>Vir: knji\u017eica CD-ja<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"fire\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/True_Fire\"><em><strong>True Fire<\/strong><\/em><\/a><\/h5>\n\n\n\n<p>Predstavitev dela <a href=\"https:\/\/www.radiofrance.fr\/francemusique\/podcasts\/la-chronique-d-aliette-de-laleu\"><strong><em>Aliette de Laleu<\/em><\/strong><\/a>, kolumnistka France Musique.<\/p>\n\n\n\n<p><strong><em>True Fire<\/em><\/strong>, delo za bariton in orkester <strong>Kaije Saariaho<\/strong>, se za\u010dne s \u00bbmirnim in kontemplativnim\u00ab gibanjem, kot pravi sama skladateljica.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Kaija Saariaho : &quot;True Fire&quot;, interpr\u00e9t\u00e9 par le baryton Dav\u00f3ne Tines\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/AN9UuDavWVI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-text-align-center\"><a href=\"https:\/\/www.radiofrance.fr\/francemusique\/concerts\/l-orchestre-national-de-france-joue-saariaho-adamek-et-tulve-avec-le-baryton-davone-tines\/kaija-saariaho-true-fire-interprete-par-le-baryton-davone-tines-2367395\">Kaija Saariaho : \u00ab\u00a0True Fire\u00a0\u00bb, <\/a><br><a href=\"https:\/\/www.radiofrance.fr\/francemusique\/concerts\/l-orchestre-national-de-france-joue-saariaho-adamek-et-tulve-avec-le-baryton-davone-tines\/kaija-saariaho-true-fire-interprete-par-le-baryton-davone-tines-2367395\">par le baryton Dav\u00f3ne Tines<\/a> <br>(28&prime;)<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Finska skladateljica pojasnjuje, da je za to delo, za razliko od drugih, glasba nastala pred besedilom. To je redko za to skladateljico, ki je vedno posebno pozornost posve\u010dala izbiri besed, sporo\u010dil ali libretih svojih oper, ki jih je skrbno in natan\u010dno izbirala. Za svoje liri\u010dna dela je dolgo sodelovala s pisateljem Aminom Maaloufom, razen za svoje zadnje delo, <em>Innocence<\/em>, za katerega je zaprosila finsko avtorico Sofi Oknasen.<\/p>\n\n\n\n<p>Ko je bila glasba zasnovana, je Kaija Saariaho ponovno prebrala besedila svojih najljub\u0161ih avtorjev, vendar brez uspeha. Kon\u010dno je skladateljica na\u0161la, kar je iskala, v zelo razli\u010dnih virih. V <em>True Fire<\/em> se poezija Palestinca Mahmouda Darwisha prepleta z besedami irskega pesnika Seamusa Heaneya ali ameri\u0161kega filozofa iz 19. stoletja Ralpha Walda Emersona, vse skupaj pa obdaja uspavanka avtohtone skupnosti Zdru\u017eenih dr\u017eav Amerike.<\/p>\n\n\n\n<p><em>Na severu cvet-oblak cveti<\/em><br><em>In zdaj se bliskavice razbesnijo<\/em><br><em>In zdaj grom grmi<\/em><br><em>Aah, moj mali&#8230;<\/em><\/p>\n\n\n\n<p>Ta uspavanka v jeziku tewa, ki je v True Fire zapeta v angle\u0161\u010dini, nima nujno za cilj uspavati otroka, ampak mu pripovedovati zgodbo, zgodbo o \u017eivahni naravi, ki ga obdaja.<\/p>\n\n\n\n<p>To je tudi vez, ki povezuje vse besedila, ki jih je izbrala Kaija Saariaho. To je spoznala, ko je delo kon\u010dala. V knji\u017eici k plo\u0161\u010di pi\u0161e: <em>\u201e\u0160ele zdaj vidim, kaj povezuje ta kontrastna besedila: na\u0161e bivanje v naravi, na\u0161e dojemanje narave in na\u010din, kako smo njen del\u201c.<\/em><\/p>\n\n\n\n<p>S komponiranjem tega veli\u010dastnega dela za baritonskega solista Kaija Saariaho \u017eeli raziskati barve in odtenke tega glasu, vendar je predvsem njeno delo z orkestrom tisto, ki omogo\u010da, da sli\u0161imo svetove in teksture, katerih skrivnost pozna samo ona.<\/p>\n\n\n\n<p>Zelo zanimivo celotno kroniko Aliette de Laleu, posve\u010deno <strong>Kaiji Saariaho<\/strong>, si lahko poslu\u0161ate (v franco\u0161\u010dini) tukaj:<\/p>\n\n\n\n<p><a href=\"https:\/\/youtu.be\/dtYlE2xX_Ck?si=dF60bRgMyokHF6Lo\">https:\/\/youtu.be\/dtYlE2xX_Ck?si=dF60bRgMyokHF6Lo<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Kaija Saariaho je bila ena najpomembnej\u0161ih glasov sodobne glasbe.<br \/>\nOd svojih prvih eksperimentalnih del do velikih oper (L\u2019Amour de loin, Innocence) je pustila trajen pe\u010dat v glasbenem prostoru 21. stoletja.<\/p>\n","protected":false},"author":1,"featured_media":6817,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[252],"tags":[],"class_list":["post-6901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr-sl"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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