Graal théâtre in Bergen’s grand hall
A text by Åsa Osmundsen Opedal from the BIT20 paper
When Kaija Saariaho was pregnant with her first child, Aliisa Neige Barrière, she wrote the piece Graal théâtre. Two decades later Saariaho’s daughter became a student of Peter Herresthal. Several times he had been asked to learn the piece Graal théâtre. Now, with Saariaho’s daughter as his student he felt an even bigger pressure to learn the piece. Today it’s one of the most important pieces in his repertory. In January 2023 Saariaho, Herresthal and Barrière met up in Bergen to record the piece together with BIT20 Ensemble.
The Grieg Concert Hall is booked. During two intensive days the piece Graal théâtre will be recorded. All set in the control room the sound technicians Elaine Maltezos and Jørn Pedersen are all focused with sharpened ears. Producer Elén Amalie Leiren are distributing grapes and other snacks backstage while the musicians are starting to appear.
A few days ago it was confirmed that Saariaho can attend the recording and she has flown in from Paris together with her husband Jean-Baptiste Barrière, also an acknowledged composer. His sister Isabelle Barrière are joining to film the recording. Saariaho’s daughter, Aliisa, has flown in from Finland to conduct and Herresthal is coming from Oslo.
Saariaho is one of the most renowned composers of today and her attendance means a lot to the musicians. Saariaho, her daughter and Herresthal has collaborated closely for several years, and this recording will mark a long-lived collaboration coming to an end.
Saariaho, Herresthal and the Graal
– Graal is one of the big violin concerts from the last 50 years. I had already been asked several times to play it when Aliisa became my student, but never found the time. When Aliisa started I thought, “shit, now I really have to learn it”, says Herresthal.
Aliisa also became Herresthal neighbour at one point and when Saariaho visited her, he got the extra motivation he needed to learn the piece.
– I want to play every work I commit to better than anybody else, so it’s sort of an investment, says Herresthal.
After performing the piece five times at concerts Herresthal finally found the courage to play it for Saariaho and since then they have worked closely together.
Graal théâtre was originally written for full orchestra, inspired by the book of Jacques Roubaud with the same title. Now there exist three versions of Graal théâtre; one for full orchestra, one for sinfonietta and one with text especially written for Herresthal by Saariaho, Herresthal and her son, Alexandre Barrière. Herresthal has played all three versions and is one of the people who know the piece best.
– It’s a very big, fantastic and challenging piece. It’s challenging both to listen to and play because there are so many layers. Even though I played Graal more than thirty times now I still discover new things, says Herresthal.
The presence of the composer
Once the recording starts everyone but the musicians has to be completely quiet. The control room and concert hall is hyper focused. Saariaho’s presence in the concert hall together with the musicians is giving the ensemble and the soloist an extra drive.
– Things are going really well! I’m trying to send my energy to Peter. Maybe he will get it, says Saariaho.
The sought after composer turned 70 in 2022 and her come to Norway to record this means a lot to the musicians.
– This experience feels even more important and special with Kaija being here. I’m really enjoying this process. The arrangements for the strings opens up for a lot of personal sound exploration that I really appreciate. The piece creates so many worlds and textures that I really love, says Callum Jennings on bass.
Herresthal agrees.
– This is a special project to all of us. It's truly magic and so inspiring to have Kaija here. It adds something special to play for her. I’m really going to miss playing Graal, especially with Kaija in the concert hall, says Herresthal.
In December Herresthal played his final concert as a soloist and this will be the last time he plays Graal théâtre. The plan was originally to record the piece with London Sinfonietta, but after the concert BIT20 Ensemble did with Herresthal and Barrière in November this constellation became the natural choice for a recording. Conductor Barrière truly enjoyed playing with the ensemble and felt a great connection.
– We’re bringing the feeling from the concert into the recording, says Herresthal.
During her career Saariaho has gathered a close circle of people she prefers to collaborate with. It’s through those close collaborations over time one can fully understand Saariaho’s music. How is it then to work together as mother and daughter?
– We know each other really well and are confident in each other's work. I’ve played a lot of her music and really know it by heart, says Barrière about working with her mother.
– Aliisa was still in my womb when I wrote this piece, says Saariaho.
Saariaho’s sister in law, Isabelle Barrière, is rigging the camera.
– We’re making a film about Kaija’s music for violin and playing techniques. It might end up as a film for the Norwegian Academy of Music, but it hasn't been decided yet. We did a recording of a conversation between Kaija and Peter in December and this recording will be the perfect illustration for the conversation, says Isabelle Barrière.
After the first day of recording everything has to be rigged down again. Someone is renting the room in between and the producers and sound technicians are taping the entire floor to mark where each chair and microphones are to be placed. Everything has to be placed in exact same positions to make the sound exactly right.
Refuse to be like Ole Bull
Day two. The tape on the floor marks where every chair of the musicians are to be placed. Microphones are rigged in same height and angle as the previous day.
Herresthal’s is about to the Graal for the very last time. Saariaho thinks it’s a bad idea that Herresthal is retiring as a violin soloist.
– This is Peter’s final performance before he goes on to only teach students. I don’t get it, says Saariaho.
– Me neither, but I really respect it, Barrière adds.
Herresthal has had a busy autumn and played more concerts than ever before.
– It’s really though playing at this level. There is a lot of pressure and I want to retire while I’m still on top. My agent is pulling his hair, but that’s good! BIT20 Ensemble was one of the first ones to book me when I was still new in the game. This is a beautiful way to end my career as a soloist. Recording this special piece together with Kaija, Aliisa and BIT20 Ensemble, says Herresthal.
Now he is looking forward to an everyday life dedicated to teaching. All the projects from a busy and eventful season, among this a recording with the American composer Mizzi Mazzoli, has lead to several compelling offers, but Herresthal is confident in his choice.
– I refuse to be like Ole Bull who became famous for all his comebacks. Now I want to use my time implementing my repertory to the next generation.
