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- Kaija Saariaho
Laterna Magica (2008)
- Chester Music Ltd (World)
This work has been commissioned by Stiftung Berliner Philharmoniker and Lucerne Festival. The world premiere was given at the Berliner Philharmonie by the Berliner Philharmoniker on August 28 2009. The second performance was given by the Berliner Philharmoniker at Lucerne Festival on September 2 2009
- 3(III:afl,pic).3.3.2(II:cbn)/6.4.3.1/2timp.3perc/pf.cel.hp/str
- 20 min
- 5th April 2025, Richard B Fisher Center for the Performing Arts, Annandale On Hudson, NY, United States of America
- 6th April 2025, Richard B Fisher Center for the Performing Arts, Annandale On Hudson, NY, United States of America
Programme Note
Laterna Magica (The Magic Lantern) alludes to the autobiography of the same name by film director Ingmar Bergman. The book caught my eye after many years whilst I was tidying my bookcases in autumn 2007.
In time, as I read the book, the variation of musical motifs at different tempos emerged as one of the basic ideas behind the orchestral piece on which I was beginning to work. Symbolising this was the Laterna Magica, the first machine to create the illusion of a moving image: as the handle turns faster and faster, the individual images disappear and instead the eye sees continuous movement.
Musically speaking, different tempos underline different parameters: the rhythmic continuity is accentuated at relatively fast tempos, whereas delicate shades require more time and space for the ear to interpret and appreciate them.
While I was working with tempos, rhythms with different characters became a major part of the piece’s identity: a fiery dance-rhythm inspired by flamenco, a shifting, asymmetrical rhythm provided by speech and an accelerating ostinato that ultimately loses its rhythmic character and becomes a texture.
In contrast to this, there emerged music without a clear rhythm or pulse. This material is dominated by strongly-sensed colourful planes and airy textures, such as the unified colour of six horns, which divides the orchestral phrases. This use of horns points to Bergman’s film Cries and Whispers, in which the scenes are often changing through sequences of plain red colour.
When reading the autobiography I was also touched by the way Bergman described the different lights which his favourite photographer, Sven Nykvist, was able to capture with his camera. Part of the text found its way into the piece in German – for the work was commissioned by the Berlin Philharmonic. The extract, in English, goes as follows:
Gentle, dangerous, dream-like, lively, dead, clear, hazy, hot, strong, naked, sudden, dark, spring-like, penetrating, pressing, direct, oblique, sensuous, overpowering, restricting, poisonous, pacifying, bright light. Light.
Paris, 22 March 2010
Kaija Saariaho
In time, as I read the book, the variation of musical motifs at different tempos emerged as one of the basic ideas behind the orchestral piece on which I was beginning to work. Symbolising this was the Laterna Magica, the first machine to create the illusion of a moving image: as the handle turns faster and faster, the individual images disappear and instead the eye sees continuous movement.
Musically speaking, different tempos underline different parameters: the rhythmic continuity is accentuated at relatively fast tempos, whereas delicate shades require more time and space for the ear to interpret and appreciate them.
While I was working with tempos, rhythms with different characters became a major part of the piece’s identity: a fiery dance-rhythm inspired by flamenco, a shifting, asymmetrical rhythm provided by speech and an accelerating ostinato that ultimately loses its rhythmic character and becomes a texture.
In contrast to this, there emerged music without a clear rhythm or pulse. This material is dominated by strongly-sensed colourful planes and airy textures, such as the unified colour of six horns, which divides the orchestral phrases. This use of horns points to Bergman’s film Cries and Whispers, in which the scenes are often changing through sequences of plain red colour.
When reading the autobiography I was also touched by the way Bergman described the different lights which his favourite photographer, Sven Nykvist, was able to capture with his camera. Part of the text found its way into the piece in German – for the work was commissioned by the Berlin Philharmonic. The extract, in English, goes as follows:
Gentle, dangerous, dream-like, lively, dead, clear, hazy, hot, strong, naked, sudden, dark, spring-like, penetrating, pressing, direct, oblique, sensuous, overpowering, restricting, poisonous, pacifying, bright light. Light.
Paris, 22 March 2010
Kaija Saariaho
Media
Laterna Magica
BBC Philharmonic Orchestra, Mena
Scores
Preview the score
Features
- Explore music by women for dance
- In response to requests from choreographers, dance and ballet companies we invite you to explore music in multiple styles and genres by women at the height of their composing game. From Missy Mazzoli, Maja Ratkje and Helen Grime, to Joan Tower, Kaija Saariaho, Gloria Coates and the new generation Hania Rani and Lisa Morgenstern, we are sure there’s something for everyone in this first in a series of specially curated features.
Reviews
From breathlessness to exaggerated breathiness, Kaija Saariaho’s Laterna Magica requires the wind players to blow noisily into their instruments. The work superimposes motifs played at different tempi, an idea inspired by the cinematic techniques of Ingmar Bergman. There’s also something of Bergman’s existential angst, though Saariaho’s exotic scoring ensures that the ear is constantly bewitched in this highly impressive piece.
18th July 2012
Saariaho rings changes on ideas of stasis and speed in a score that deploys constantly shifting tempi and rhythms beneath orchestral sonorities of considerable refinement.
Fragments of Bergman's text, whispered by the players, are added to the textures. Pervasive horn chords, meanwhile, refer specifically to the unforgettable seepage of red through Cries and Whispers...
Fragments of Bergman's text, whispered by the players, are added to the textures. Pervasive horn chords, meanwhile, refer specifically to the unforgettable seepage of red through Cries and Whispers...
18th July 2012
Away from the composer's stated extra-musical stimuli, the 'innocent ear' might hear Laterna magica as an exploration of the unknown, some players required to speak into and breathe through their instruments to add human vapour. Tempos and rhythms abound in this fastidiously composed music, subtle, shifting and, appropriately, light-projecting. Parallels with Lutoslawski are apparent, so too with Birtwistle, particularly regarding perspective and tumult - not as volcanic as his Earth Dances but Saariaho may well have composed her own 'secret theatre'.
17th July 2012
Discography
Kaija Saariaho: 70 Years
- LabelOndine
- Catalogue NumberODE 1407-2
- ConductorMarko Letonja / Christoph Eschenbach / Hannu Lintu / Sakari Oramo / Jukka-Pekka Saraste / Esa-Pekka Salonen
- EnsembleOrchestre Philharmonique de Strasbourg / Avanti! Chamber Orchestra / Finnish Radio Symphony Orchestra / Meta4 / Orchestre de Paris
- SoloistWilhemina Smith, cello; Gerald Finley, bass-baritone; Camilla Hoitenga, flute; Anssi Karttunen, cello; Anu Komsi, soprano; Karita Mattila, soprano; John Storgårds, violin; Gabriel Suovanen, baritone; Dawn Upshaw, soprano; Karen Vourc'h, soprano
- ReleasedJanuary 2023
Finland 100: A Century of Finnish Classics
- LabelOndine
- Catalogue Number1300
- Released11th November 2016
D'OM LE VRAIS SENS / LATERNA MAGICA / LEINO SONGS
- LabelOndine
- Catalogue NumberODE 1173-2
- ConductorSakari Oramo
- EnsembleFinnish Radio Symphony Orchestra
- SoloistKari Kriikku (clarinet), Anu Komsi (soprano)
- Released1st August 2011
