Last year I posted an interview with Ekmeles director Jeffrey Gavett, which included a clip of a recording made by Ekmeles of the first movement of Kaija Saariaho’s From the Grammar of Dreams. A reader promptly emailed me to ask why I hadn’t gone into any detail about the Saariaho piece, as it was a challenging listen for her. Well, here’s my very belated response to that reader!

Background info: Kaija Saariaho is an internationally acclaimed Finnish composer, born in 1952; you can get a quick rundown of her life and work on her wiki page. From what I can gather on Google–and please, readers, correct me if I get something wrong here–From the Grammar of Dreams began as a five movement work for two sopranos, written in 1988 (you can see a page of the score here). It has since developed into a sort of mini-opera, with the original five movement work at the heart of a larger work that also involves instruments and electronics (see this track listing for example).

Back to the original 1988 work. The texts come from Sylvia Plath’s novel The Bell Jar as well as her poem Paralytic; Saariaho has fragmented these texts and distributed the fragments between the two soprano lines in an arcane manner.

Yes, Meg, but why does it sound like that? my reader seems to ask. Well, without having studied the score, I can say from listening to Grammar that it seems like Saariaho is channeling the troubled mind of her author, Sylvia Plath, in two ways: 1. Fragmentation: I especially like that she’s not only fragmented the text, but she’s fragmented the voice itself by splitting the text between two different sopranos, and 2. Extended Techniques: Saariaho is exploring the capabilities of the human voice beyond what is traditionally considered “singing.” My guess is that Saariaho, as a composer, wanted to challenge herself and the performers to come up with some unique sounds, and that the Plath texts served as a kind of springboard for this challenge. The extended vocal techniques Saariaho uses in this piece definitely bring to my mind the oppressive psychoses that Esther endures in Bell Jar.

Enough of my speculation, what do you think? Here’s the clip again:

By the way, you can hear Ekmeles perform live at NYU on Feb. 4  They are definitely worth the trip.