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Kari Kriikku photo: Marco Borggreve

Kari Kriikku photo: Marco Borggreve

Juanjo Mena ©Michal Novak

Juanjo Mena ©Michal Novak

September 17, 2021

Juanjo Mena, conductor

Orquestra de la Comunitat Valenciana


Juanjo Mena, conductor
Kari Kriikku, clarinet

Kaija Saariaho (1952) Circle Map (2012) 24’

Morning Wind
Walls closing
Days are Sieves
Day and Night, Music

Kaija Saariaho (1952) D’om le vrai sens (2010) 35’

La Vue
Le Toucher
Le Goût
A mon seul Désir 

Circle map (2012) is a piece based on poems by Rūmī, the 13th century persian mystic. The abstraction and suggestion of the texts fits well with the search for an atmospheric, dark and fragile sound, common in Saariaho's language. The first text, "Morning Wind" begins by talking about how the smell of that morning wind "expands". The orchestra traces that sway but also the threat of the ephemeral, because the poem concludes by saying: "breathe before it goes": Does it refer to the wind or to life itself? The metaphorical character is also found in her work in the third movement, “Circles”: the sound itself seems to rotate on itself, thus marking the center –as the poem suggests–. The second movement and poem “Walls closing” is the boycott of the initial melody in the brass wind: a creation of the claustrophobia that the verses hide (“if I don't see you, I feel that the walls are closing”). The fourth movement turns the orchestra into a kaleidoscope, into the "sieve of the spirit": the light sneaks into the darkness only occasionally. The sound mass seems to suggest pointillism in the fifth movement: it is a mirage. The small is gradually subsumed by the enormous. The work ends like the poem itself. It dissolves, little by little, like threads of a loom that we are pulling little by little: again, how in life itself?

Fabrics are back: medieval tapestries The Lady and the Unicorn, woven in the 16th century, bring D’om le vrai sens to life. There are six tapestries focused on the five sensory senses and the sixth sense, described as “To my only wish”, whose interpretation is still a matter of debate, since the question is whether there would be something that is not captured neither sensually nor rationally. The clarinet is related to the orchestra, thus obeying what is suggested in each of the tapestries. In the first movement (listen) the clarinet tries to emerge, to be heard, both in the composition and in the space itself. As if to ensure its role, the second movement starts from the opposite: the orchestra barely tries to "be seen" behind the soloist. The third movement tries to be as volatile and overwhelming as the smell, hence the sound layers that rapidly mutate, something that is worked on again in "Taste", although with more peaks of intensity. The fourth movement is explicit with the sound of the matter of the instruments: it is a way of making us "touch" the sound. The latest movement is as enigmatic as its reference. Saariaho confesses that he thinks of the clarinet player as a unicorn: it is the sound outside itself, an apparition of the extraordinary.

Marina Hervás


09/17/2021  20:00hPalau de les Arts AuditoriumConcerts '21

Precios: Tickets 15, 20 and 25 euros

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culturarts generalitat valenciana

© Institut Valencià de Cultura

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