ABSTRACT
The attraction of the solo concerto – which pits the individual against the mass, exploring issues of dramatic conflict, dialogue and resolution – seems undiminished in its appeal; this is a genre that quite directly 'speaks' to its audience, by evoking extra-musical associations. Musical conflicts so central to the genre are paradoxically the result of a concerted effort: combining forces with the soloist to discover new possibilities. Duality in the actual composition arises from dialogue in the act of composition. As duality gives way to dialogue, this proves to be a decisive turning point, paving the way for the final violin cadenza that replaces virtuosic assertiveness with contemplative lyricism. The relationship between spatial duality and temporal dialogue is fundamental to Kaija Saariaho's engagement with the concerto genre and Notes on Light illustrates this well. A carefully worked balance between potentially opposing elements – instrumental forces, textures and timbre, section lengths, dynamics, metres – lies at the root of this concerto.
