Petals(Old)

Shes from Finland

she went to IRCAM music school

was composed in 1989 it was composed as a sequenl from Nyphmes

she loves nature,

Pierre Boulez founded IRCAM

the genre that she works

Acousmatic Music

Music Concrete

Spectralistm(the one shes most into) - a compositional approach that uses the analysis of a sound's spectral properties—its frequency components and overtones—as the basis for creating music

seamusly taken into another realms, a place thats both ethereal in its sheer,rarefied beatuy yet grounded in the real world of instruments and voice

ethereal yet grounded

Gerard Grisey and Tristan Murail - these are French spectralists who were investigating the harmonic potenntiol of the overtone series,creating a more intuitive musical space that chimed with Saariahos compositionals instincts.

spectrilism music wider listening need and the progression of solo cello

wider listening(as it goes down it evolves,so first is oldest last is newest)

C.P.E Bach Cello COncerto in a A Major wq 172

Schuman Cello COnetro op 129

Dvoorak Cello Concerto No2.

Dmitri Schostakovish Cello Concerto Num 1

Krzysztof Penderecki Cello Concerto N2

theres an alement of indetermancy - invloves decisions from the performer

timbre and texture predominate over traditional ideaos of melody,pitch,rythm

IRCAM,spectralism is important for this set work

lots of extended techinques and also the added techinilogical computer techniques

on the score R is reverberation and H is harmoniser

this could be generally signal processing,the sounds undergo signal processing

we dont have ideas of dissonance consonance,we have ideas of dirty and clean

timbres and colours are essential

she has synesthesia

lot of microtones

extended techinques expands the palette of sound available

shifting soundscapes is a word you want to use

no clear harmonic goal,harmony has nothing to do with it

pretty clear structure

wider listening Music electric and concrete

Edgard Verese Poem Electronique

sonority

extremamente flautando(EF) - making the cello sound like the flute

tremelando

vibrato

sense vibrato

molto vibrato

naturale vibrate

normale

trills,mordents, sometimes they are on the harmonics and or during glisandi

option between mono and stereo : if its stereo then its quarter tone up and quarter tone down(by the harmonizer),if its mono the quarter tone up

artificial harmonics

glissandi

microtonality

quarter sharps quarter flats

the octave is now 24 pitches cause of the quarter tones

the reverb is set at 2.5 second,at stave 21 it goes 15s and the end is around 30 second decay : CA 30 seconds means around 30 seconds

there are hairpin dynamics for the reverb but its not about loud,its about the intensity of reverb

Filagration : ornament

theres no harmonizer in section B,only reverb

structure

the structure is contunuos music,she descrube there being an A and B

A - fragile and colouristic

B - more energetic events with clear rhythmic + melodic character

there are 7 sections

theres no harmonizer in section B,only reverb

A - 1-3

B: 4-7

A: 8-9

B: 10-13

A: 13-16

B : 17-27(Could call this the climax)

A: 28-30

in A(1-3) section : single notes, glissandi,trili,tremelandi,bow noise

In B(4-7) section : rapid demisemiquavers and chromatic quarter tone movement

InA ( 8-9) slow two part tecture over a D pedal :also lento free

In B(10-13) - melodic ideas from B

In A(13-16) - back to A - two part texture,high artificial harmonics,double stopping with harmonics

In B(17-27) A : Theme of variations/climax

In A(28-30) : Free/lento, bow noise,glissando,double stopped harmonics

A - ppp to ff

dyads( - grounded

although it seems random theres continuity

dyamics

huge range,lots of dynamics

in stave 26 goes to ffff to pppp

texture

in some ways its monophonic,in some ways its not

texture doesnt conform to our categories

richly layered - rich texture

implications of homophony

double stopping

pedal + drone texture

tonality

atonal but there are repeated notes but some notes are given prominence

from stave 15 - to end : the C is heard frequently

in stave 70 onwards the ascending and descending ideas end on f#

some conventional strategies such as dyads on points of resolution(however these are not cadences)

not atonal but not rooted in harmony,its something else

harmony

no conventional harmony

conventional ideas of harmony are absent

QUOTE FROM HER, timbre” vertical”,harmony “ horizontal”

harmony happens but its not notated

harmony set quarter tone higher and lower than pitch

harmony is unintentiannly being created through the use of harmonics and overtones and as a result we are having octaves

original note C# then artifical harmonic notated as F# but it plays octave higher (so C)

melody

the B energetic section is where we hear the melodies

stave 4-7 is directly taken from Nyphea

chromatic scale like ideas

therefore there are melodic characteristics

in stave 10 we also got melodic characteristics :range of interval sizes, gradually ascending ideas

end of stave 10 descending idea - repeated at end of 11 (with extra note)

in A section there more microtones in B section its more “normal”,energtic using normal tones

stave 17-27 - repeateding B to A# idea.goes on for 10 whole staves,low pizzicatio in C followed by B and an A#

17 to 27 - C left hand pizz(like drone/ pedal note) followed by B and an A # this happens throughout and then as we get towards 27 we keep hearing this F# note,goes from the F#(quite high) glissando to the highest note possible

routed to something in an unconventional fashion

rythm tempo and meter

sections with notated tempo changes of tempo,80,54,66

dolce,intenso,furioso - open to interprtation

lento sections - lots of different tempo,last stave could take up to a min

theres a clear difference

from stave 10 to 13 there isnt a sense of pulse,but theres rythmic drive comes from sextuplets,semiquavers,triplets,septuplets

thats what gives the drive and energy

the bottom c drone, oftem marks the beggining of phrases

overall pulsless but theres a rythmic quality

17-27 in stave 22 the hgih f# are on fermatas

and then its left hanging