Repertoire Search

Kaija Saariaho

Publisher: Chester Music

Château de l'âme (1996)
commissioned by Betty Freeman and Gérard Mortier for the 1996 Salzburg Festival
Work Notes
dedicated to the composer's daughter Aliisa and Dawn Upshaw
Publisher
Chester Music Ltd
Category
Soloist(s) and Orchestra
Year Composed
1996
Duration
22 Minutes
Chorus
SA
Soloist
soprano


Buy this work
Worldwide Sales   North American Sales
 
Full Score Full Score

Programme Note
Kaija Saariaho Château de l'âme (1996)
Château de l'Âme sets texts from the Hinduism and Ancient Egyptian traditions. The first three sections come from Artharva Veda, one of the books of Veden, fundamental to the spiritualistic tradition of Hinduism. La liane (with reversed verse order in section 3) concerns the love between a man and a woman - its birth, continuation and constant renewal. A la terre, a collage of texts by Saariaho, is named after a Vedic prayer of the same title. The last two sections are based on Egyptian magic spells: Pour repousser l'esprit is a spell "to push back a spirit", and Les formules are extracts from spells used to heal children. The title Château de l'Âme comes from Saint Theresa of Avila's work of the same title.

The relationship between words and music in Château de l'Âme is a uniquely complex one. At one level, certain immanent structures in the poems are reflected in the music, such as the refrain "et ne t'écarte pas de moi!", which in La liane is sung always with the same melody by the solo soprano. Further to this, the ever-changing polyphony between soloist and chorus (with the notable exception of the central section, where the chorus is silent) shapes the work structurally and musically. At the opening of the work, for example, the chorus introduces the text by speaking certain parts of it prior to the entry of the solo soprano, a texture which is mirrored in Les formules where they shout brief extracts of the first verse whilst the soloist sings and recites the second verse. The very sound of the words shape the work: phonemes sung by the solo soprano and female voices merge into the orchestral texture and are developed in a similar fashion.

  • Ensemble
    Avanti! Orchestra / Finnish Radio Symphony Orchestra / BBC Symphony Orchestra
    Soloist(s)
    Anssi Kattunen, cello / Dawn Upshaw, sorprano / Gidon Kremer, violin
    Conductor
    Esa-Pekka Salonen
    Sony Music:
Performances
Date
Title
  • 14 SEP 2006
    Auftakt 2006
    Alte Oper Frankfurt, Germany
    HR Sinfonieorchester
    Solveig Kringelborn, soprano; Hugh Wolfe, conductor

    Other Dates:
    15 September - Alte Oper Frankfurt, Germany
  • 01 JUN 2003
    Musik im 21. Jahrhundert
    Congresshalle, Saarbrücken, Germany
    Rundfunk-Sinfonieorchester Saarbrücken / Mitglieder des Tapiola Choir
    Lucy Shelton, soprano; Jukka-Pekka Saraste, conductor
  • 22 MAY 2003
    Château de l'âme New York Premiere
    Carnegie Hall, New York
    New York Philharmonic Orchestra
    Valdine Anderson, soprano; Robert Spano, conductor

    Other Dates:
    23,24,27 May - Carnegie Hall, New York
  • 08 NOV 2002
    Composer Festival
    Stockholm
    Norrköpings Symfoniorkester
    Anu Komsi, soprano; Lü Chia, conductor
  • 17 AUG 2002
    Tanglewood 2002
    Tanglewood, MA
    Valdine Anderson, Soprano; Robert Spano, conductor
  • 02 FEB 2002
    Château de l'âme Country Premiere
    Matinee op de vrije zaterdag
    Concertgebouw, Amsterdam, Netherlands
    Radio Symfonie Orkest / Capella Amsterdam
    Andrei Hottev, piano / Valdine Anderson, soprano; Eri Klas, conductor

Reviews
The extraordinary and the magical are…something quite apart. They are moments that rest in the memory for a very long time. What is surprising is that one of those moments should have happened during a world premiere. Kaija Saariaho (born in 1952) is a Finnish composer whose Château de l'âme (title inspired by St Teresa of Avila) forms a serene and intimate unity of imperishable music. The five songs last almost 30 minutes, and the soprano (Dawn Upshaw), eight female voices (the impeccable intonation of the Arnold Schoenberg Choir), and orchestra gave a performance that passed like a sigh, evidence of a profound communication, all supported by melody from our time and with a measured, sensitive and knowledgeable orchestration: Saariaho acknowledges the influences of Tarkovski or Canetti. Not bad company. Her marvellous Salzburg piece was received with amazement and gratitude by an enraptured audience.
Juan Angel Vela del Campo, El Pais,8/1/1996
"The basic thematic materials are as sparse and elegant as an ascending or descending scale. The orchestration, shot through with trills, gives the music an ecstatic shimmer. The soprano is backed up not only by the orchestra but by an ensemble of eight female voices that extend the range of effects in clusters of sound that hover around the vocal line like a cloud. There is a New Age dimension to the piece, but there is far more texture, density, intelligence, and emotion in this music than in some of its popular counterparts."
Richard Dyer, Boston Globe,1/1/0001
Close X

Newsletter Signup

Please fill in this form to receive regular news




Click here to receive regular news
© Copyright 2014 Music Sales Classical. Part of the Music Sales Group.