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Compositor: Saariaho, Kaija (n. 1952)

Buscador de conciertos de música clásica, óperas, espectáculos de ballet y danza | Saariaho
Datos
Año de nacimiento1952
NacionalidadFinlandia
PeriodoContemporáneo
octubre 2020
lunmarmiéjueviesábdom
28293001020304
05060708091011
12131415161718
19202122232425
26272829303101
02030405060708
Función de tarde
Matiné
Próximos eventosVer más...

BarcelonaPalau Chamber Choir and Simon Halsey: Bach Magnificat

© Ricardo Rios Visual Art
Saariaho, Bach
Vespres d'Arnadi; Xavier Puig; Dani Espasa; Cor de Cambra del Palau de la Música

LondresLinos Piano Trio

Conway Hall
Grieg, Saariaho, Bach C.P.E., Brahms
Linos Piano Trio

LondresSibelius, Mendelssohn & Saariaho

London Symphony Orchestra
Sibelius, Mendelssohn, Saariaho
London Symphony Orchestra; Susanna Mälkki; Christian Tetzlaff

EstocolmoBeethoven, Smyth, Saariaho, Brustad, Melartin

Stockholms Konserthusstiftelse
Beethoven, Smyth, Saariaho, Brustad, Melartin
Cecilia Zilliacus; Kati Raitinen; Lilli Maijala

BarcelonaSeville Symphony: Sibelius and Saariaho

Seville Symphony: Sibelius and Saariaho
Sibelius, Saariaho
Real Orquesta Sinfónica de Sevilla; Ernest Martinez Izquierdo; Kari Kriikku
Últimas críticasVer más...

Ecos en la zona de confort: Only the Sound Remains en Madrid

Philippe Jaroussky, Davóne Tines y Nora Kimball-Mentzos © Javier del Real | Teatro Real
La cuarta ópera de de Kaija Saariaho llega a Madrid con el mismo reparto que en su estreno mundial y Davone Tines, Philippe Jaroussky y Nora Kimball-Mentzos en los papeles protagonistas

El cromatismo de Saariaho regresa a España con la OSG y Jennifer Koh

La violinista Jennifer Koh © Juergen Frank
Un atractivo programa fundado en los contrastes, con un discurso heterogéneo que entrecruza lenguajes folclóricos, electroacústicos y clásicos, donde la emotividad se reinventa en las melodías de Kaija Saariaho. 

La OSPA con sabor finlandés

Música de origen finlandés para presenciar las Auroras Boreales desde el Auditorio Príncipe Felipe, con Frédéric Chopin como invitado.

Le piano multidimensionnel de Vadym Kholodenko à Gaveau

Vadym Kholodenko © Vadym Kholodenko
Retour sur le récital exceptionnel donné par le pianiste ukrainien Vadym Kholodenko salle Gaveau, dans un programme alliant Mozart, Schubert, Saariaho, Scriabine et Rachmaninov. 

L'Orchestre de Montpellier fête ses 40 ans : soirée de gala au Corum

Les 40 ans de l'Orchestre National de Montpellier au Corum © Marc Ginot
En compagnie du pianiste Nelson Goerner, la phalange héraultaise a emmené son public fidèle dans une soirée festive, avec Michael Schønwandt en heureux maître de cérémonie. 
Biography

You can read our October 2013 interview with Saariaho here.

Kaija Saariaho is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. Born in Helsinki in 1952, she studied at the Sibelius Academy there with the pioneering modernist Paavo Heininen and, with Magnus Lindberg and others, she founded the progressive “Ears Open” group. She continued her studies in Freiburg with Brian Ferneyhough and Klaus Huber, at the Darmstadt summer courses, and, from 1982, at the IRCAM research institute in Paris – the city which has been most of the time her home ever since.

At IRCAM, Saariaho developed techniques of computer-assisted composition and acquired fluency in working on tape and with live electronics. This experience influenced her approach to writing for orchestra, with its emphasis on the shaping of dense masses of sound in slow transformations. Significantly, her first orchestral piece, Verblendungen (1984), involves a gradual exchange of roles and character between orchestra and tape. And even the titles of her next, linked, pair of orchestral works, Du Cristal (1989) and …à la Fumée (1990) – the latter with solo alto flute and cello, and both with live electronics – suggest their preoccupation with colour and texture.

Before coming to work at IRCAM, Saariaho learned to know the French “spectralist” composers, whose techniques are based on computer analysis of the sound-spectrum. This analytical approach inspired her to develop her own method for creating harmonic structures, as well as the detailed notation using harmonics, microtonaly and detailed continuum of sound extending from pure tone to unpitched noise – all features found in one of her most frequently performed works, Graal théâtre for violin and orchestra or ensemble (1994/97).

Later Saariaho has turned to opera, with outstanding success. L’Amour de loin, with a libretto by Amin Maalouf based on an early biography of the 12th-century troubadour Jaufré Rudel, received widespread acclaim in its première production directed by Peter Sellars at the 2000 Salzburg Festival, and won the composer a prestigious Grawemeyer Award. Adriana Mater, on an original libretto by Maalouf, mixing gritty present-day reality and dreams, followed, again directed by Sellars, at the Opéra Bastille in Paris in March 2006. Emilie, an opera and monodrama for Karita Mattila had its première in Lyon in March 2010.

The experience of writing for voices has led to some clarification of Saariaho’s language, with a new vein of modally oriented melody accompanied by more regular repeating patterns. This change of direction has been carried over into orchestral works including Aile du songe for flute and chamber orchestra (2001) and the stunning Orion for large orchestra (2002), Notes on Light (2006) for ‘cellist Anssi Karttunen and the Boston Symphony Orchestra and the Bergman inspired Laterna Magica (2008) for Sir Simon Rattle and the Berlin Philharmonic Orchestra. Most recently, D’OM LE VRAI SENS was written for the clarinettist Kari Kriikku.

In the profusion of large and small works which Saariaho has produced in recent years, two features which have marked her whole career continue to stand out. One is a close and productive association with individual artists. The other is a concern, shown equally in her choice of subject matter and texts and in the profusion of expression marks in her scores, to make her music not a working-out of abstract processes but an urgent communication from composer to listener of ideas, images and emotions.

Saariaho has claimed the major composing awards of the Grawemeyer Award, the Wihuri Prize, the Nemmers Prize and in 2011 was awarded the Sonning Prize. In May 2013, Saariaho was awarded the Polar Music Prize. In 2015 she will be the judge of the Toru Takemitsu Composition Award.

The most recent orchestral work, Circle Map, has jointly been commissioned by the Royal Concertgebouw Orchestra, the Boston Symphony Orcestra, Gothenburg Symphony Orchestra, Orchestre National de France, Royal Scottish National Orchestra and Stavanger Symphony Orchestra. The piece has been inspired by six poems of Rumi. These poems recited in Persian are used as the material for the electronic part. Circle Map was premiered by Amsterdam’s Royal Concertgebouw Orchestra conducted by Susanna Mälkki at the Westergasfabriek Gashouder, Amsterdam on June 22 2012.

The music of Kaija Saariaho is published exclusively by Chester Music and Edition Wilhelm Hansen, part of the Music Sales Group of Companies.