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8/2/2019 The Uses of Electronics in Three Works by Kaija Saariaho
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Home / Writings / Uses of Electronics in Three Works by Kaija Saariaho
The Uses of Electronics in Three Works by Kaija Saariaho
Paul Nelson - 5/10/2004
Introduction
The purpose of this paper is to analyze and discuss the use of electronics in three works by Kaija
Saariaho written in the early to middle 1990's. All three works are for solo performer plus
electronics. As such, all three works depend heavily on electronics to modify and complement the
sound of the acoustic performer. The three works are: Prs (1992) for Cello and Electronics, Six
Japanese Gardens (1993-5) for Percussion and Electronics, andLonh (1996) for Soprano and
Electronics.
This paper is organized by the musical effect achieved by Saariaho's use of electronics. For each
effect, the purpose of the effect is discussed in terms of how it enhances the goals of the music
overall.
In general, Saariaho uses electronics to enhance, rather than supplant, the music which is present
in the acoustic performance. The electronic effects are always complementary to the sound of the
instrument, never fighting or opposing the performer. Rather, the performer and the electronics
work together to create an enhanced -- and quite beautiful -- sound world which would be
difficult, if not impossible, to achieve by a single performer alone.
How Electronics Are Used
Atmosphere
A primary use of electronics in these works is to place the music within an environment of sound
which serves to create the atmosphere of the work. In these works, Saariaho is creating a fantasy
environment. These are not gritty, urban, realist compositions. Rather, they are effervescent and
dreamlike, and the electronics are used to build this world.
Of course, the total atmosphere of a work is the result of many factors, including the harmony,
general activity, melodic lines, background lines, timbre, etc. (all of which is discussed later). But
in addition Saariaho uses real-world sounds to help create the atmosphere.
For example, sounds of waves are used to place the music in a natural setting [Prs/I/ending] and
to round-out the composition. In Six Japanese Gardens, crickets evoke a magical twilight [SJG/I
/Beginning], and chanting and the sounds of ringing prayer bowls evoke mystical eastern religious
rituals [SJG/II/Beginning]. Although the atmosphere inLohn is more the result of timbral choices
than of specific quotes of real-world sounds, Saariaho does use recorded gongs and ghostly voices
to achieve a "far off" and ethereal feeling [Lohn/Beginning].
Sound Objects
Tristan Murail, in his lecture to composers at Peabody, described a compositional method of
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creating "sound objects" which are then manipulated (stretched, deformed, etc.) and repeated to
create a work of music. Much of the music (especially inPrs) of Saariaho appears to work with
similar objects in sound.
For Saariaho, electronics become an integral part of creating these sound objects. Often, a sound
object will be initiated by the acoustic performer. Then, electronics will be used to emphasize the
climax of the object -- to give the object more "bloom" or to increase the high point. Finally,electronics will be used to stretch out the object, adding an additional "resonance" or "echo" to the
object which stretches out into time like waves in a pond.
In the first example of a sound object [Prs/I/3:41], electronics are used to stretch out the trill at
the end of the cello gesture. The second example [Prs/I/6:27] is more complex, and if you listen
carefully you can hear electronics used to subtly enforce the grittiness of the cello part at the
climax of the object. These examples above blend in additional timbres to the sound and do so
with long sustained notes. These might be called "pads" in pop-music nomenclature.
It is also possible to create objects with sounds that have sharp attacks. For example, inPrs[Prs/III/1:43], the cello does a tremolo glissando to a high note, and then electronics "react" to
this gesture with a kind of skittery echo. InLohn [Lohn/9:56], sound objects are created with the
soprano's voice and a recorded vibraphone sound, which occur together. This sound object is
especially interesting for the long resonance, which fades away in much the same way as a gong
might fade, with interesting partials fading in and out.
Timbre
The first of the three works,Prs, also appears to have the most amount of real-time processing of
the solo instrument. This processing has the effect of making the instrument "wetter" and more
sustained. It is as if the 'cello has additional sympathetic strings (such as with a viola d'amore)
which are excited by the playing and ring well after the player has finished. [Prs/I/0:35]
Similarly, Saariaho uses electronics to modify timbre by mixing additional sounds into the music.
These can be used to create sound-objects (such as before), or it can be used to simply add some
special quality to the performer's sound. For example, inLohn, she uses high, shimmery sounds to
add a bright "sheen" to the voice [Lohn/13:50].
Form
Many electronic compositions I've heard use electronics to merely set the mood or to create a new
sound world. Saariaho rises above the ordinary by using electronics to help structure the
composition as well. Unique electronic effects are saved and used to delineate sections, identify
cadences, and to round out the composition as a whole.
Three specific examples show how Saariaho uses electronics to help shape the composition and to
make the form clear to the ear. First,Lohn is based on a poem from the French middle ages and is
roughly structured according to the stanzas of the poem. Several of these sections are identified by
the introduction of new electronic sounds and effects. For example, the second section introduces
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the unison voice + recorded vibraphone to create a shimmering bell like effect [Lohn/2:54]. The
third section introduces a scratchy mechanical effect [Lohn/5:32], and the fourth section
[Lohn/8:06] uses fast repeated vibraphone notes blended with a slight hissing sound. What is
important about these three sections is that these electronic effects are held back and used to
introduce new sections when appropriate.
Electronics can also be used to round out sections or movements of the work. InPrs, a highringing tone is used (more than once) to help provide the cadence for a section [Prs/I/2:39].
Similarly, the sounds of waves are used to end the first movement [Prs/I/ending] as well as the
last movement [Prs/III/7:26]. Note that the waves at the end of the work are not literal recordings
of waves, but rather "wave like" electronic effects.
Again, what is important about these examples is how Saariaho saves the effect for when it is
needed. In all of these cases, the effects are held back and then used only when needed to help
with form, rather than being a constant part of the sound world.
Commentary / Punctuations / Rhetoric
Saariaho uses electronics as an integral part of her rhetorical language. For example, she will use
electronics to connect together phrases into larger utterances, to comment on the music, or to
react/interact with the performer. Electronic sounds in these cases are used to punctuate rather than
blend with the flow of music produced by the acoustic performer.
In the first example, electronics are used to sustain the cello sound. This serves to elide phrases
together so that a new cello utterance can be heard as picking up and expounding on a previous
one [Prs/I/0:35]. These elisions make the music less 'blocky' and more continuous.
The next several examples show cases where the electronics punctuate the music. Electronic
punctuations are used to add interest to the line and to point up climaxes or cadences in the music.
In a sense, these punctuations serve as markers of the form, but on a local level [Prs/II/0:45],
[Prs/III/2:59]. Similarly, electronics can be used to create larger phrase groupings within busy
passages. In the second movement ofPrs, long electronic tones are played over a busy Cello
ostinato, effectively creating longer lines which carry the ear forward [Prs/II/0:32].
The last example shows how the performer interacts with the electronics. InLohn, there are
several cases where the singer appears to carry on a dialog with the recorded sounds (creating the
effect of multiple performers). [Lohn/4:31]
Additional Instrumentalists
Electronics are also used by Saariaho to solve simple pragmatic concerns: to simply reduce the
number of performers required. In all of the works studied, a second performer could have been
used in place of many of the prerecorded sounds.
And this does point to the fact that Saariaho is careful to use "compatible" electronic sounds in her
works. For example, inPrs, she uses sounds which recall Cello pizzicato or col legno [Prs/III
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/2:59].
Similarly, in Six Japanese Gardens, it is very difficult to tell the difference between the electronics
and the percussion player. For the most part, I believe that this piece could have been written for
two percussion players with no use of electronics at all. For example, in movement V, there is a
background percussion sound which sounds like a very soft cymbal strike with a hard (triangle?)
beater [SJG/V/0:56]. After listening to the movement carefully, however, it is clear that thesenotes are electronic tones.
When additional instruments are clearly apparent, they often are used to encourage forward
motion by providing rhythms and patterns (i.e. drum loops). SinceLohn is for Soprano and
electronics, the electronics are used as an entire percussion section, and many times this provides a
background tempo upon which the singer can float [Lohn/3:13].
Additional Aspects of the Sound World: Thickening, Spatial
Two additional uses of electronics help round out the overall sound world of these works.
The first is that electronics are used, in general, to achieve a "thickening" of the sound. InPrs this
is done with resonance and long sustained background tones [Prs/I/0:52]. In Six Japanese
Gardens it is done with additional lines of percussion instruments [SJG/V/0:56], and inLohn, of
course, the electronics provide a complete accompaniment to the soprano line [Lohn/3:13].
In rare cases, panning is used to add a spatial dimension to the music. This is usually done with
quick "reactionary" gestures which briefly swirl around and then disappear [Prs/III/0:22]. In Six
Japanese Gardens, sometimes it is only the panning of the sound which distinguishes the
electronics from the performer [SJG/II/0:55].
Pitch Centricity
In bothPrs and Six Japanese Gardens, the electronics do not appear to contribute to the overall
harmonic structure of the work. InPrs, the harmony is determined almost entirely by the solo
cello player. In Six Japanese Gardens, there is really no harmony to speak of, the emphasis is
really on atmosphere, percussion, and rhythmic modulation.
However, inLohn, the electronics serve as the entire accompaniment for the singer. Very often the
electronics will define a clear central pitch around which the singer will sing [Lohn/1:13].
ConclusionsIn all three of these compositions, Kaija Saariaho is intent on creating otherworldly places. These
worlds are constructed very carefully, so that all of the components work together and complement
each other.
As a matter of taste, it is clear that she likes mystical, fantastic places. These are worlds that
envelop the listener, using sounds that range from shimmery to thick and pungent, often using lots
of sustain and resonance.
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But these compositions are more than just soundscapes. Saariaho's musical craftsmanship is
apparent in the way she uses the electronics -- saving up effects and textures to help delineate
sections and form. Electronics are more than just atmosphere -- they also play a role in the
rhetorical language of the work itself.
In general, these works show that Kaija Saariaho is intent on crafting a beautiful and appealingworld to inhabit, and then using the full power of her musical language and craft to create
satisfying works within these newly created worlds.
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