Graal théâtre (1994)
(Graal theatre)

The central characteristic of Saariaho’s music, constant tension of slow changing, is microscopic drama at its best: as if one would examine large quantities of identical snowflakes first from a distance and then more closely and closely, so that the diversity and wealth of the flakes’ figures suddenly dawned like a stroke of lightning. … The climax of the huge concert was the premiere of the chamber version of GRAAL THÉÂTRE. … In the chamber version of her brilliant [violin] concerto Saariaho has reduced her spectra to become more evocative and in their individuality maybe more touching, too.

It is indeed a superbly made piece, elegantly shaped, addressing and challenging the canons of violinistic virtuosity… It is rare, at this point, to see a composer get to grips with writing that is virtuostic, Paganinian, without succumbing to aridity, and without the piece losing its whole raison d’être.

Its protagonist is a solo violin (here played by Gideon Kremer, to whom the work is dedicated). The drama of the music is created by the fearsome virtuosity – but also the lyricism – of the violin part in the context of an everchanging orchestral texture, sometimes drawing its ideas from the violin’s lead, sometimes complementing it with other gestures…highly effective in its scintillating juxtapositions and interweavings of delicacy and richness, activity and stillness.