Kaija Saariaho - Nymphéa [Jardin secret III] (1987) for string quartet and live electronics

Nymphéa [Jardin secret III] (1987) for string quartet and live electronics Composer: Kaija Saariaho (1952-2023) Performers: Meta4: Minna Pensola and Antti Tikkanen, violin; Atte Kilpeläinen, viola; Tomas Djupsjöbacka, cello; Marko Myöhänen, electronics. _________________________________________________________ “Nymphéa (1987), written for the Kronos Quartet to a commission from the Lincoln Center in New York, is one of the cornerstones of Saariaho’s output and one of the principal works of her early period. It is a rich, colourful and resplendent compendium of the key features of her string writing. The [electronic sound processing] extends the scope of expression far beyond that of a traditional string quartet and even somehow redefines the string quartet as an ensemble. Nymphéa is a fine example of how Saariaho manages to combine new technology and poetic fantasy into a seamless whole. One of the starting points for the piece was a computer analysis of the tone of a cello, which Saariaho used as the basis for the harmonies in the work. She has also used computer-calculated processes for rhythmic and melodic transformations. The sub-title, Jardin secret III, refers to the computer software used by Saariaho and links Nymphéa to two of its predecessors: Jardin secret I (1985), a pure tape work; and Jardin secret II (1986) for harpsichord and tape. The title of the work alludes to water lilies. The composer was thinking above all about the late paintings of Impressionist master Claude Monet. However, the music is not about illustrating Monet’s water lilies but about conjuring up thoughts about the symmetry of their structure and contrasts in lily ponds. Saariaho said: “The image of the symmetrical structure of the water lily that bends as it floats on the waves is transformed. It is about interpretations from different dimensions of the same image: the one-dimensional surface with its colours and shapes; the materials, states and dimensions that may be sensed; the white water lily is nourished by the mud under the water.” Nymphéa creates its own unique sound universe where the gamut of sounds is expanded with microintervals. The palette of nuances is bewilderingly broad, ranging from hesitant fragility and glasslike sounds to harsh fields of noise and outbursts of power (con ultima forza or con violenza). The inner world of the piece is in a continuous state of metamorphosis and passes through a great many moods. Towards the middle of the work, the human voice is introduced as an element, the musicians whispering individual sounds into microphones. This effect recurs towards the end and coalesces into actual words, the English translation of a poem by Russian poet Arseni Tarkovsky, introducing thoughts of a lost summer and longing – not as a programmatic element but as a poetic enhancement.“ ~Kimmo Korhonen (translated by Jaakko Mäntyjärvi) Source: CD booklet __________________________________________ For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at) and I will delete this video.