KAIJA SAAHIAHO Start to recite the text slowly and calmly but with a well audible voice (if

possible by heart, eyes towards the audience). While speaking lilt the llute
very slowly towards the lips (reaching them at the point marked) and
LACONISME DE L'AILE change your voice gradually from speaking into forced whispering. The
or solo flute (1982)
f
fingers should be kept ready in position for the first sound (d1). The tempo
with optional electronics
should slow down and the speaking become successively less understand-
dedicated to Anne Raitio able, the words should gradually be bound together to form a single line.

lento (J = 48 - 60)

1
",'..t JJll-
r----t
- Ig - no - rants
-
lllJl-!J
ig - no-rants de
r
leur
'._T
{
(h) [f om -
ti---------------r
bre et ne sa
iRl
tra 3o?o

r--i--_____r
'-v
- chan! de mon de mort que ce qui s'en con - sume d'im - mor - tel au
lRl 3oo --
Ea -

volce
passent nous

E 3ovo--
6-
til A 40vo

instrument on lips p (sempre)

(accel.)

tempo I (.0 =- 60)

I
"ffi ,tw sempre legatissimo
YP PP

forte possibile
[al rsozi-
@1or.'

iO Jasemusiikki ' *) click any keys, not changing the written pirch:
t)ipeset by Henn ir is intended that the clicks produce a kind of. :L..rL\
 ---------) -------->
,_ _ .:; <>>-
_o_
l-Rl
E] ( 60Vo- 20Vo 60o

IRi (qozo)-

tempo II t.lt SOI

-
l0P

tempo II
ffi r--<nf (lg)

L- - J.-J espr. 5

l zsn 40Vo-' - - - ->-25Vo

@s
ri=>-o

@ psr"1 25Vo_< 50Vo 40Vo - -

I eg at o
------------5,.

')

frl
,---l
govo) - -
ril a
 --l

>{

r,r J-l vorce

25vo_ _ _
l,:f
l':r'l':"Y' :"1'Tcl'ipi:h
@ nro

@ tzsz,)

@ zst"

1 rc<o t
l-\l \4J /s/

"tr

u3)

I-Rl
E 2OVa

dolce
tempo I
o
nw- dolcet__ -=h-
-j $4il
(ilsjp6sci ils pas.....(crc.)
1)tp =,rcpcat as quickly as poss.

tRl 25Vo 507o

ill a"

tempo I tempo II
) r_J_-___r

voice L::-
i)

E oE - 70Vo - -

*) choose 3 clearly different fingerings (different colours) for the given pitch - and change progressively between them e/hile playing.
 4
dolce
tempo I
r_J __-_---_r

-o ru ,tr
- -(a)- - - - r
@ zsEo
@a l0Oo 20q"

calmato
3
cttLntttto
,tw
-
-rury
,"J,,F,
..^:-^Ll_ [
1(ao_iro)
"fP
___)
141 i;ozr
l]\a o 807o

sempre legaro
^^affi

-a
wh rsper
- ff > ffl-. fff>. _rrr)oro _ 1'
into orr"!.
lnstr.l'(ssss...)
o
m-t
|f
'70Vo 30o - -
lxl a- 1007o - -
( legato)
p1fuolce possibile

Ial rgoz,r
tr
as slowly as possible

") choose 3 clearly differenl lingerings (different colours) for the given pitch
when playing do progressive changes between fingerings.
'") glissando wilh voice
 5

{-

131 1+Oz,;

f YP
=--

60Vo 40Va----

--\_--

60Vo 407o 60Vo

poco a poco ritardanrio

w - ,tw

--_________-__

L- -2,?" I r -2,5" I

@ eoz, 40Vo 60%

rit. (sempre pochissinto) -

EP *f

L- -2.5" I

'70Vo 307o

- 3,0" I - 3,5" t

T1 '109a 3OVo 70?o 30Vo

:.,]

-
 6

@ :oz, 7}Vo 20Eo

@ zoz"

ru ,nl

-3" I long as possible

@ 1zo-soz,y

whistle tones

ru -nw

as loog as possible

-o
acceL. -
fltzo-soz,) --.-' @a
@A sOvo

as long as possible

{zo-aoz,)
ij )% iv"7a
Paris, 25.3.1982

-
 lgnorants de leur ombre, et ne sachant de morl que ce qui s'en consume d'immoftel au bruit lointain des
grandes eaux, ils passent, nous laissant, et nous ne sommes plus les mmes. lls sont I'espace travers d'une
seule pense S-J. perse

NOTATION
.rl key slap
)t.
the given notes are repeated in a free order (as quickly as poss.)

J-] key slap simullaneously with sound

J-r-i repetition of the same note

tt
vv
aeolian sounds (only breath is audible)
m-] poco rubato, bars not marked

aa breath and sound mixed H diminuendo al niente

I inhale
{I exhale ") CF
crescendo d'al nienle

change very gradually Jrom one sound or way of playing

J
tongue pizzicato
-----> to another; e.g. 5 X._ y t7_
J-
longue pizzicato combined with key slap Flats and sharps are valid one measure and only
in the same octave.
Non-tempered (micro-) intervals: f between ! and f
molto vibrato
ff between f and !
1-:-
da
"underpressure" - not enough air, uncontrolled result

"overpressure" - too much air, producing a turbulent

)) and unpredictable sound

I
as quickly as possible
sing and play
simultaneously f 1

r1
.l I I
speaking, repeat "t"
make glissando with
voice (to d1) while playing
(iu)

(a-oao)

I
whispering

multiphonics

#t,'l 2
1
a
J4

For further iniormaiion about new techniques and fingerings see

1)
Pierre- Yves Artaud / G. Geay: Fltes au prsent / Present day llutes
taken from 1) (Jobert) or Flobert Dick: The Other Flute (OxTord University Press)

ln passages which seemingly are written in two parts, the illusion

*)
ol polyphony should be created as vividly as possible. Trom line 20 on this should be done with the mouth
i-he dynamic markings should be carefully observed. covering the embouchure hole.
Temio I (from page 1 on) is always unmeasured, whereas
empo ll (lrom page 2 on) is always measured. The ditference
balween these two characters should be made as clearly as possible. For inTormation about optional amplilication, see back page.

duration 7'30' - 9'30' This edition has been kindly edited by Camilla Hoitenga.
For the electronic version the following equipment is needed:
- at leasl one microphone for the amplification
- digital reverb with
variable reve lime
- harmonizer fYamaha SPX90 or REVS or other device having a pitch change program)
- at least two loudspeakers
- mixing console

The amplilied sound is sent to both loudspeakers. The amount of the amplitication depends on the
concert space, but should not cover the acouslic sound of lhe instrument. The general level should
not grow enormously when the the degree ol ellects is added; here the straight amplified sound can
be set slightly down. Nevertheless, no abrupt changes in the sound image should be made.

Harmonizer
The harmonizer should be set to produce microtonal pitch shirting, the transposition being about 50
cents (=1/4 step) on both sides of lhe input signal. lf only one lransposition channel is available, the
transposition should be senl one 1/4 step upwards.

Reverb
lf several reverb programs are available, one should select a bright reverberation without any other
eftects. The reverb time is set in the beginning to about 2.5 seconds (depending on the hall), and
possible lilterings and oiher manipulations are made to obtain a clear and bright sound. ll the concert
space is very dry the instrumental sound can be slightly reverbed lhroughout the piece.
lf the changing ol reverberation time causes any clicks, it is better to choose a stable reverberation and
accentuate the changes of reverb time by changing the amount of reverb.
Generally: ralhertoo little than too much revel

Notation of the electronics

The two effects are marked with H (reverb) and H (harmonizer). The changes in the degrees of the
effects are marked approximately with crescendos
or diminuendos Jrom a previous level to a new level
or dotted lines, which mean that the current level is maintained.

Jasemusiikki Oy
PL 136
FIN-13101 Hmeenlinna
lsMN M-76307-04-6

, IIIIlJIUflI[lI[uUlIlI