Kaija Saariaho - Petals for Violoncello (Rhythm/tempo (Sections with…
Kaija Saariaho - Petals for Violoncello
Most important sections tend to be the loudest E.g ff
Use of crescendos and diminuendos
Fairly rapid dynamic changes - E.g stave 4-6
Bursts on C in staves 17-27 start with the loud 'pedal' C note.
Does not follow a conventional musical structure
which have more clear rhythmic and melodic character.
Alternates between 'Lento-free' and ♩=60
No repetition of sections
Sections with notated tempo are slow and last around 54-66 beats per minute.
Lento sections lack of pulse, and each stave should last around 20 seconds.
Reverberation also creates a sense of free tempo by blurring and overlapping notes.
Tension between sections with and without pulse.
Rapid dectuplets in staves 4-7.
Syncopated septuplet/quintuplet rhythms in staves 10-13.
The repeated low C notes during staves 17-27 almost sounds like a pedal note of some kind.
Some 2 note chords could imply a mind of tonality, for example: the D/A in stave 9.
Absence of conventional harmony.
Harmony is often covered up by the timbre of the sound and the playing techniques.
Use of microintervals, specifically quarter-tones.
Staves 4-7 - Passage taken from Nympheas where the melodic ideas are short, dense chromatic phrases.
Use of glissandi
Fourth leaps, trills/mordents,
Stave 10/11 - falling idea based on repetitions and elaborations around fixed groups of pitches.
She was born in 1952
Inspired by french 'spectral' composers such as Tristan Murail and Gerard Grisey.
Petals was written in 1988 and was first performed in Bremem by Cellist Anssi Kartunnen, who continued to work with saariaho after this recording.
Based on ideas from
a piece for string quartet and electronics.
is also associated with the paintings of Claude Monet.
Many playing techniques used
Pizzicato and LH pizzicato
Sul ponticello/Sul tasto
Scratching - replacing audible pitch with noise
Trills and mordents
brings out the natural timbre of the quieter sounds
- sustaining notes after their production.
'detunes the input pitch by creating microintervals above it.
The rare use of conventional textures on the whole
Monophonic textures - Staves 1-3
Two part textures - staves 3,5,7.
Pedal/drone textures - Sections 3 and 5.