‘

Kaija Saariaho

@ä
Semafor
'
for eight instruments

Full Score

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Chester Music
 Kaija Saariaho’s Semafor was co—commissioned by Carnegie Hall —
generously underwritten
by Sarah Billinghurst Solomon and Howard Solomon in honour of
Ara Guzelimian — and the
Santa Fe Chamber Music Festival, in celebration of their 50th Anniversary.

The World Premiere was

given by Ensemble Connect in Weill Recital Hall, New York, on
ll April 2022.
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Duration: c. 14 minutes
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Orchestral parts are available on hire from the

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© 2020 Chester Music Ltd
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Published in Great Britain by Chester Music Limited '
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Head office: i/
14—15, Berners Street, [
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United Kingdom &‘ x j

Tel +44 (0)20 7612 7400 '\.—

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All Rights Reserved
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No part of this publication may be copied or reproduced
in any form or by any means without the ‘
‘ prior permission
of Chester Music Limited. ,
Instrumentation
Flute (doubling Piccolo)
Clarinet in Bb (doubling Clarinet in Eb)
Bassoon

Piano (doubling Celesta)

Violin
Viola
Violoncello
Double Bass

The score is transposed

Notation
General
Accidentals apply throughout the bar to notes in the same octave and the same stave
Trills should always be played up a semitone, unless otherwise specified

Tremolo should always be as dense as possible.

—> change very gradually from one sound or one way of playing (etc.) to another.
diminuendo al niente

crescendo dal niente

quarter tone, between natural and sharp

quarter tone, between natural and flat
When vibrato markings are not specified, players can use their usual vibrato.
“Molto vibrato” always means
a rapid and quite narrow vibrato, unless otherwise specified.
/\/ slow, wide vibrato for the entire duration of the note

1.V. laissez vibrer (allow to sound as long as possible)

All glissandi should start immediately at the beginning of the note value.

Piano / Celesta
If pedalling is not specified, use the pedal lightly according the nature of the textures.

Strings
S.P. always estremamente sul ponticello
S.T. sul tasto
N. normal (used with S.P. and S.T., otherwise 0rd.)
%
\ä
the final note of a glissando is not to be played separately
ü‘w a trill produced by alternating the finger pressure between normal ( o) and light (harmonic, o ),
(or vice versa, depending on whether the main note is normal or harmonic); the result should be
alternating normal and harmonic sounds. This trill can be played slightly slower than normal trills, to
allow both pitches to be heard.

a trill between two harmonics: alternate between the two harmonics by lifting the fingers in turn to
allow the individual harmonics to be heard; this trill can be played slightly slower than normal trills.

a trill produced between two artificial harmonics: alternate the harmonic by moving the upper finger(s)
so that both harmonics can be heard in turn; this trill can be played slower than normal trills.
increase bow pressure into scratch tone

When playing long sustained notes, the bow changes should always be imperceptible and made independently of
the other players. During long slurs which include several long sustained notes a change of note should preferably
not coincide with a change of bow.
 To Ara

Transposed score
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