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Wilhelmina Smith provides an excellent opportunity to learn more about Esa-Pekka Salonen's approach to chamber music / The Rehearsal Studio

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This past March Ondine released an album of works for solo cello performed by Wilhelmina Smith. Ondine is based in Helsinki, but Smith is one of the crop of rising American talents. It should therefore be no surprise that the repertoire she prepared for this release was divided between Finnish composers Esa-Pekka Salonen and Kaija Saariaho. Those who follow this site regularly probably know by now that I have an interest in the works of both of these composers. I

Readers may recall that much of my interest in Saariaho arises from her decision to pursue research into the nature of sound itself by working in Paris at IRCAM (Institut de Recherche et Coordination Acoustique/Musique, or "Institute for Research and Coordination in Acoustics/Music" in English). Similarly, I have enjoyed a number of opportunities to appreciate Salonen's approaches to composition in both chamber and orchestral settings. 

As a result, I am not yet as adequately prepared to discuss the theory and practice behind Salonen's work as I am with Saariaho. Nevertheless, Smith has provided me with an excellent opportunity to learn more about Salonen's approaches to chamber music. I intend to take advantage of that opportunity.

 

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