Uploaded May 2026 | Updated September 2026, 2 weeks ago
Futurum Exactum, for string ensemble (1992)
Oslo Sinfonietta
Christian Eggen
The title reflects a preoccupation with time. The "now" containing both past and future. The moment extended into a fluid present where a non-linear sound world appears. And within this world there are sudden "cuts" into the substance of time creating dramatic discontinuities in the overall continuous flow.
Technically speaking the piece may be described as a time machine, polyphonic clockworks ticking relentlessly. The machine is constructed to define matrices of time-points, networks of time relations controlling and triggering the spatial dimensions of the pieces.
Time and space appear as complimentary dimensions. And complimentary opposites are essential in the construction of the piece where the synchronized is contrasted with the unsynchronized, the linear with the non-linear, the symmetrical with the asymmetrical, the compressed with the expanded, the slow with the rapid, the soft with the strong, etc. --Cecilie Ore
Art by Giacomo Balla
Futurum Exactum, for string ensemble (1992)
Oslo Sinfonietta
Christian Eggen
The title reflects a preoccupation with time. The "now" containing both past and future. The moment extended into a fluid present where a non-linear sound world appears. And within this world there are sudden "cuts" into the substance of time creating dramatic discontinuities in the overall continuous flow.
Technically speaking the piece may be described as a time machine, polyphonic clockworks ticking relentlessly. The machine is constructed to define matrices of time-points, networks of time relations controlling and triggering the spatial dimensions of the pieces.
Time and space appear as complimentary dimensions. And complimentary opposites are essential in the construction of the piece where the synchronized is contrasted with the unsynchronized, the linear with the non-linear, the symmetrical with the asymmetrical, the compressed with the expanded, the slow with the rapid, the soft with the strong, etc. --Cecilie Ore
Art by Giacomo Balla



![Vivian Fine - Alcestis
Alcestis (1960)
I. Alcestis and Thanatos
II. Revelling Hercules
III. Battle of Hercules and Thanatos
IV. Dance of Triumph and the Rescue of Alcestis
Imperial Philharmonic of Tokyo
William Strickland
The working procedure was much different than it had been in Fine’s previous experience with choreographers. Heretofore the choreography preceded the music. With Alcestis, Fine wrote the music from a dramatic script written by Martha Graham. As stated on the score, Fine’s intention was “an attempt to depict the dramatic and emotional qualities of the myth…[that] avoids descriptive or representational writing.” As a musical work, the score is self-sufficient. Fine distilled the essence of the myth into a sonic drama expressed by contrapuntal lines enhanced by imaginative orchestration and flexible rhythms to complete the composer’s realization of Alcestis. Later she extracted sections of the ballet score to create an independent composition, an orchestral suite.
The following synopsis of the ballet’s mythological story is taken from CRI’s original LP release: “Alcestis has sacrificed herself to Thanatos (Death) in order that her husband, Admetus, king of Thessaly, might attain immortality. While the house of Admetus mourns her demise, Hercules arrives. While the news of Alcestis’ death has been kept from him...Hercules indulges in a heroic, might we say Herculean, bout of feasting and drinking. When he learns, by the careless words of a servant, of her death, he engages mighty Thanatos in combat. Victorious, her returns Alcestis to her husband and her people.” Heidi Von Gunden
Art by Maurice Denis Vivian Fine - Alcestis](https://i.ytimg.com/vi/aLcspXrXfMs/mqdefault.jpg)
![Klaus Wiese - Uranus
Uranus (1988)
1. Tâ Há I
2. Tâ Há II [29:52]
In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluoriscence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff & Nancy Hennings or Nada Himalayas Deuter. CD edition co-released with Aquamarin Verlag. [Black Sweat Records]
Art by Stefan Blaser Klaus Wiese - Uranus](https://i.ytimg.com/vi/aTzVo0p4HG4/mqdefault.jpg)

![James MacMillan - Cantos Sagrados
Cantos Sagrados (Sacred Songs), for choir and organ (1989)
I. Identity
II. Virgin of Guadalupe [8:40]
III. Sun Stone [16:16]
Christopher Bowers-Broadbent, organ
Polyphony
James MacMillan
One of MacMillan’s most powerful works, Cantos Sagrados sets poems by Ariel Dorfman and Ana María Mendoza on the subject of political repression in Latin America combines with traditional religious texts in Latin. The choral writing ranges from agitated speech-like violence to rapt meditation, and the organ part is a showcase for a talented soloist. The composer created an alternative orchestral version in 1997 making the work equally accessible to symphonic choruses.
As MacMillan states in his preface to the score ‘the title Sacred Songs is … slightly misleading as the three poems are concerned with political repression in Latin America and are deliberately coupled with traditional religious texts to emphasise a deeper solidarity with the poor of that subcontinent’.
This is a powerfully effective work that is not very difficult for the singers (the organ part is quite virtuosic and needs an accomplished player) although there are, as usual, points in the work that present some challenges. The second movement is unaccompanied for a substantial part of the first section that could lead to pitch problems when the organ/orchestra eventually joins. The third movement (in which a political prisoner is shot and his executioner begs him for forgiveness) uses MacMillan’s effective chorale-like vocal parts (with Latin words) which are interspersed by increasingly neurotic interventions from sopranos and then other voices which build to a huge climax as the shots are fired, gradually subsiding to a whispered ‘forgive me compañero’ at the end. Paul Spicer
Art by Diana Dowek James MacMillan - Cantos Sagrados](https://i.ytimg.com/vi/b-96ijD4IpM/mqdefault.jpg)
![Henrique Iwao - Estudo para um Instante Vazio
Estudo para um Instante Vazio (2004)
In the laborious Estudo para um Instante Vazio, the imperfections of an extensive and problematic technically manual work constitute the main body of the piece, being such characteristics, on the one hand, determined by the chosen technique for the sound generation (synthesis by graphical representation) and, on the other hand, by one practical result of this technique (appearance of clicks - and the compositional option of accepting these clicks).
The sections and materials used in the piece are pre-defined abstractly and treated with maximum rigidity avoiding, thus, any didactism (meaning a direct induced correspondence between the compositional plans and an intended comprehension of the music). [Clinical Archives]
Art by Anish Kapoor Henrique Iwao - Estudo para um Instante Vazio](https://i.ytimg.com/vi/bHgdt77-IDI/mqdefault.jpg)
![Elena Kats-Chernin - Variations in a Serious Black Dress
Variations in a Serious Black Dress, for piano (1995)
Topology
Arrangement for quintet by Robert Davidson.
This piece is conceived as a set of variations on two contrasting themes-both stated successively at the very beginning. Theme 1 is a melody employing a limited number of pitches. Theme 2 follows as a cycle of 13 chords with A minor as the harmonic centre. In the first two variations these elements are treated simultaneously, whereas starting form the third they get more and more detached from one another. The means of varying the material are derived from aspects of rhythm, register and texture, while the melodic/harmonic shape remains static almost throughout. [australianmusiccentre.com.au]
Art by Alex Katz Elena Kats-Chernin - Variations in a Serious Black Dress](https://i.ytimg.com/vi/bguaaBHwDZA/mqdefault.jpg)
![Kaija Saariaho - Notes on Light
Notes on Light, for cello and orchestra (2006)
I. Translucent, Secret
II. On Fire [4:47]
III. Awakening [8:09]
IV. Eclipse [16:01]
V. Heart of Light [20:40]
Anssi Karttunen, cello
Orchestre de Paris
Christoph Eschenbach
On the last page of the score Saariaho has included a quote from T. S. Eliot’s poem The Waste Land:
... I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Kaija Saariaho’s works are not narrative in the sense that they would describe a specific event or tell a story. Nevertheless, through the musical textures and also through their titles they tend to evoke the listener’s imagination and provoke emotions. The title of the cello concerto, Notes on Light, gives a visual stimulus which is emphasized by the headings of the five movements. The piece starts ’Translucent, secret’ and the imaginary journey ends with ’Heart of Light’. The only direct litetary reference in the work is the quotation from T.S. Eliot’s The Waste Land on last page of the score, as the composer’s guiding post scriptum after the music has finished.
It is more fruitful to see Notes on Light in the context of Kaija Saariaho’s own œuvre than in the historical line of the concerto tradition. Before starting to write she studied the cello concerto repertoire, especially the conertos of Elgar, Dvorák and Schumann, but finally there is practically nothing that has been filtered to Notes on Light. The key elements of the great romantic concertos, virtuosic cello writing and expressive melodic lines on the A string, are absent in Saariaho’s aesthetics.
Kaija Saariaho’s music is born from a contact with musicians. Of her two previous concertos the first, Graal théâtre, 1994, was written for Gidon Kremer, whose playing inspired her to dedicate a work for him. Camilla Hoitenga was the solist designed for the flute concerto, Aile du songe in 2001.
If one would name one performer who has accompanied Kaija Saariaho most faithfully throughout her career, it is Anssi Karttunen, who has worked very closely with her since the last 25 years or so. According to the composer, it is Karttunen’s personality that inspires her most while writing for the cello. ”Through his playing, Anssi can create magical atmospheres like no one else” she confirms, and adds that in fact, the collaboration most often starts only when the piece is written. Then, Anssi may propose technical adjustments to certain details after trying them out. For Karttunen Kaija Saariaho is able to write very delicate, even fragmentary textures, yet he is able to make the music carry up to the audience.
Although Notes on Light is Saariaho’s first cello concerto in the traditional sense of the word, she has proposed other works where cello plays a central role, like ...à la fumée (1990) for flute, cello, orchestra and electronics, and Amers (1992) for cello, chamber ensemble and electronics, both naturally for Karttunen. Notes on Light is clearly a synthesis of all the music for cello Kaija Saariaho has written so far, both musically and technically.
As regards the form, Notes on Light may mark an endpoint in Saariaho’s production. The two previous concertos were divided into two main movements, whereas the most recent one is set in five separate parts. The pieces that have followed the concerto, Mirage (2007) for soprano, cello (again!) and orchestra and Laterna magica (2008) for orchestra, to be premiered by the Berliner Philharmoniker in 2009, are in one continuous movement. In Notes on Light the five movements allow the composer to play on contrasting elements, juxtaposing different characters abrubtly. The material from where the music derives from is, as Anssi Karttunen analyzes in his note, seemingly simple, but Kaija Saariaho is able to put it in different guises and to light it from different angles, showing the richness of the underlying structure.
The orchestra, deprived of other brass instruments except the horns, is always transparent, leaving the cello to be heard even in the very quiet passages. Energy is not created through making a lot of noice but through more subtle means. Yet, at times, especially in the second movement, the music achieves an almost violent driving force. The relationship of cello and orchestra is not as if a hero was having a battle with a crowd, as in the traditional concerto, but more a picture of an object seen in different lights. Every turn of the kaleidoscope gives a new image, another note on light. When you come to the end, all that is left is silence, the other side of sound. Or darkness, the heart of light. Risto Nieminen
Art by Santiago Rusiñol Kaija Saariaho - Notes on Light](https://i.ytimg.com/vi/buy2VZlctsA/mqdefault.jpg)
![Miriam Gideon - Symphonia Brevis
Symphonia Brevis (1953)
I. Allegro energico
II. Andante (Scherzo)—Chorale [3:14]
Radio Orchestra of Zurich
Jacques Monod
George Perle, a composer and colleague of Miriam Gideon, once wrote: “I recall a conversation between her and a fellow composer who was complaining about the composer’s situation in the world today—a world, he felt, in which it was impossible for a serious composer to find any motivation for composing music. Miss Gideon replied, ‘If you can relate tones to each other in such a way that they belong together, that’s enough of a reason for composing.’ The answer tells us us a good deal about her, as a person and as a composer.”
Miriam Gideon is an American composer by birth and training. Born in Colorado, her musical studies took place mainly in the East. In addition to an opera, Fortunato based on a play by the Quintero brothers, she has written a string quartet, a sonata for viola and piano, five piano suites, settings for solo voice and chamber group of Sonnets from Shakespeare, the Hound of Heaven (Francis Thompson), Sonnets from Fatal Interview (Edna St. Vincent Millay) and numerous songs, choruses and shorter chamber works. Her music has been performed by leading orchestras, chamber groups and soloists in the United States, Europe and South America.
The Symphonia Brevis was written in 1953 for the Orchestra of the College of the City of New York. The first performance was conducted by Fritz Jahoda in May 1953. The work is divided into two movements marked Allegro energico and Andante (Scherzo) Chorale respectively. In spite of its brevity, the Symphonia has the proportions and emotional range of a symphony. Each movement is terse and highly charged. D. Jennings
Art by Sead Kazanxhiu Miriam Gideon - Symphonia Brevis](https://i.ytimg.com/vi/c7Qp6w8wyjw/mqdefault.jpg)