Cinq reflets de L'Amour de loin - Nymphea Reflection - Oltra mar
21th Century Classical - Contemporary | 2004 | Ondine
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Finnish Radio Symphony Orchestra - Tapiola Chamber Choir:
Jukka-Pekka Saraste, conductor - Pia Freund, soprano - Gabriel Suovanen, baritone
TRACKS
Cinq reflets de L'Amour de loin (Five Reflections on Love from Afar) (2001) [29:28]
01 - I. Outremer [6:24]
02 - II. Songe [5:05]
03 - III. L´Amour de loin [7:25]
04 - IV. Si la mort pouvait attendre [5:32]
05 - V. Vers toi qui es si loin [5:01]
Nymphea Reflection (2001) [21:40]
06 - I. Sostenuto [3:32]
07 - II. Feroce [3:39]
08 - III. Dolcissimo [4:15]
09 - IV. Lento espressivo [3:17]
10 - V. Furioso [3:56]
11 - VI. Misterioso [3:02]
Oltra mar (Across the Sea) (1998-99) [21:53]
12 - I. Départ [4:38]
13 - II. Amour [3:05]
14 - III. Vagues [2:18]
15 - IV. Temps [3:39]
16 - V. Souvenir de vagues [1:10]
17 - VI. Mort (In memory of Gérard Grisey) [3:38]
18 - VII. Arrivée [3:25]
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Three relatively recent works by Finnish composer Kaija Saariaho, performed by the Finnish Radio Symphony Orchestra and Jukka-Pekka Saraste:
- "Cinq reflets de L'Amour de loin" for soprano, baritone, and orchestra is an arrangement of five scenes from her 2000 opera "L'amour de loin", concerning the consuming love of the 12th century troubadour for the countess of Tripoli, whom he never met. Here Pia Freud performs the part of the countess and Gabriel Suovanen the part of Rudel.
- "Nymphea Reflection" for string orchestra (2001) is a reworking of her "Nymphea" for string quartet and electronics. Originally Saariaho intended to merely replace the electronics with additional strings, but found that they were not capable of the same subtleties, hence the extensive rewriting.
Maybe less thrilling than the quartet, but still very interesting in its textures, it's certainly the best of the pieces here.
- "Oltra mar" (1998-1999) is a set of seven preludes for the new millenium for orchestra and choir, which last part is here the Tapiola Chamber Choir. Going from "Depart" to "Arrivee" (in that order), only three of these preludes have texts, by an Arab poet and African pygmies, while the rest have mere vocalizations. The sixth, "Mort" is in memory of Gerard Grisey, the French spectralist composer who influenced Saariaho significantly.
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