0:00 A1 - Lento - free: single notes; glissandi; trills; tremolandi; bow noise 1:08 B2 - crotchet = 60: rapid demisemiquaver figures; quartertone chromatic figures 1:35 A3 - Lento - free: slow two-art texture over a D pedal 2:26 B4 - crotchet = 54/66/40: more conventional ideas with rhythmic focus, lots of normal to sul pont. moments, trills, glisses, identifiable agitated semiquaver double stopping, slurred semiquavers 3:15 A5 - Lento: slow two-part texture with high artificial harmonics 5:18 B6 - crotchet = 60: many variations on an idea heard at the start of bar/line 17/this section, LH pizz open C string, later low C becomes a bowed drone 7:10 A - Lento - free: concluding section with similarities to section 2, bow noise prominent, lots of tremolo
So eerie, so beautiful, so terrifying, a marvelous display of the limits of electro-acoustic composition and musicianship. Very well played by Imke and Gary, bravo!
Listening to this music is like a torture, but exciting and awakening! It is scary and mysterious, so it awakens the courage and desire to search! It was impressive in general, especially since all these sounds and tunes were pulled out of one instrument by one person!
I went to the same school as Imke, just a few years younger. Back then I really admired her for her expressive way of playing the cello, her personality and her style. She hasn't changed!
Kaija Saariiaho loves particularly the cello and is eager to explore its limits with the support of a real-time electronics. The esult is absolutely astonishing.
Thanks for uploading this jewel. This is a journey, not just a piece of music. Fantastic interpretation. By the way, written in 1988. It might be the year when she was visiting Darmstadt International Summer Courses - I as there as a student then.
VERY fascinating piece of hers. There might be quite a lot with reverb, transposition (pitch shift) with feedback, ringmodulation, and filtering in the effects line. But it is true mastership to use those effects to create new vast spaces around the solo instrument.
People are thinking of this in terms of good and bad... that is irrelevant... it is on a whole different spectrum... if you lose yourself in it, and are willing to learn a different language, so to speak, you will find satisfaction...
If you don´t like this and don´t understand this, stop the video please and listen to whatever you want but don´t degrade the musician, the composer and the music.
As a song to listen to, it probably isn't something you go home on a friday night and rave to or listen to in the car but as a performance and in horror films/ games this is a truly unique and outstanding piece, but i'd rather listen to twenty one pilots xD
I'm curious to know which of the 25 students who thumbed down this video actually passed their exam. Did they're distaste for this piece come back to bite them in the ass? :-)
Very, very intriguing. I need to listen several more times to get a better sense of what's going on. Is the electronic component - accompaniment? - improvised against a fixed cello score, or set up beforehand? Kaija Saaiaho is new to me. I'm glad to have made her acquaintance! Also Gary Berger's.
the electronic component is harmoniser and resonance if my memory is correct. All components are written in the score. The piece is (or was when I studied) an A level music set-work to be studied and analysed, so there's no doubt an abundance of info out there online if you look with that in mind
Heureux qu'il y ait quelques défenseurs parce que le déchaînement des incultes fait pleurer... Cette pièce est magnifique. On a le droit de dire qu'on ne la comprend pas, on a le droit de dire que la musique spectrale nous est inconnue, on a le droit de ne pas aimer. Mais les termes employés dans les commentaires qui attaquent cette compositrice ne sont que le reflet d'un sexisme crasse.
Why this piece makes so much sense for me? I'm reading the very violent but convincing double stories of a certain Daniel, in LXX. The storm in both is a storm.
Compare Alexis Descharmes (Saariaho supposedly at the electronics). Completely different. I've got the score and the MSP patch - the pitch shifting is minimal and as for feedback into the harmonizer. This version has had a lot of 'tinkering'. Begs the question 'how far can you go?'
"If you don't have anything nice to say, don't say anything at all"... if only we remembered that... but people feel that their beliefs are the most correct and that they absolutely understand everything they hear with the upmost intelligence... sorry, but not everyone wants to hear the complaining...
شنیدن این موسیقی مثل یک شکنجه ، اما شور انگیز و بیدار کننده است ! ترسناک و اسرارآمیز است ، پس شجاعت و میل به جستجو را بیدار میکند ! در کل تاثیر گذار بود ، مخصوصن که همه این صداها و نواها را یک نفر از یک ساز بیرون کشید !
The piece was derived from her music from the Nymphéa (water lilies) quartet, thus the piece is titled petals. A petal is derived from a water lily. :)
Dear god what a load of crap, all you protentious people who call this ingenious would be very impressed by my 3 year old neighbor banging any random key on the piano as there's just as much skill involved in creating that 'art'
Keep an open mind. Educate yourself. Don't make blanket generalizations without knowing what really goes into a work of art. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m20uYXTquks.html. (P.S. *pretentious)
Seán Roy Mac Aodha when you get to this level though you've got to apply some common sense
6 лет назад
new youtube This is spectralism and live electronic music, you should search these two terms on internet, maybe you'll be less narrow-minded. Just learn, learn before saying total non-sense like one of these intolerant teenager, thank you.
Ōkami Amaterasu it's god awful crap with no meaning and purpose - don't try and defend this shit. There's a reason the common man hates music like this
6 лет назад
No, it's a music based on harmonics and spectral composition of the sound. It's way richer and complex than 90% of commercial music nowadays. There is a reason why the "common man" hates music like this, it is called culture, indeed music is only a cultural thing, a human who is conditionned by only the listening of atonal music will consider Mozart's works as a dissonant and awful music, it's just a matter of culture and conditioning (and there's scientific studies about this, you can search by yourself). If the "common man" reaction toward atonal music is so non-responsive perhaps agressive, it's just because you have been conditionned by tonal music, you are immersed in a world of tonal music since the beginning of your life.
Objectively, this "music" is pretty bad. Horribly mixed and absolutely no form. Timbre is abysmal as well. It's got a neat "horror" affect to it, but I definitely would shy away from calling this "music" or a "song". It's just a horror movie sound board played live. Nothing special.
You're just not smart and/or artsy to understand it or something. I am a fan of Saariaho's music. IMO it is pain to listen to but it is a greater pain to others. Hopefully she haunts you in your dreams and also in real life.
@@sandels2000 I forgot about this comment. I normally would delete something like this, because I shouldn’t be so harsh and blunt, but I think your reply makes a lot of sense. This music wasn’t made to be “liked”. So it’s ok that I don’t “like” it. Lmao.