Michael Jarrell

It is From the Leaves of Shadow (1991) that gave birth to ...some leaves II... for solo viola. The presence of e 'mother-note' (D) confers on the piece some auditory landmarks, especially as this sort...

As with Prisme (2001), Offrande for solo harp is taken from a concertante work for harp and string orchestra entitled Conversions* (1988), but is further distant from its origins. While the cadenza fo...

The word 'rhizome' is a botanical term referring to the underground travelling stem. From one end grow new branches and new leaves, while the other end withers. As is demonstrated by its etymology, it...

Back to painting, with Leonard de Vinci, in ...d'ombres lointaines.... 'You will portray landscapes beneath wind and water, at down and at dusk. You will portray wind over land and over water, you wil...

Composition works like an arborescent structure. At each ramification you choose a path, which depends on the whole dynamic of the whole piece. Doing this, you leave quite a lot of ideas and fragments...

Musik existiert eigentlich nur im Konzert. Ein Komponist, der so denkt, steht vermutlich auch dem Abschluss eines eigenen Werkes kritisch gegenüber. Tatsächlich reklamiert Michael Jarrell schon seit d...

The Geneva-born composer Michael Jarrell writes music based on the idea of dialogue. Most of his recent works for large ensemble place one or more soloists in relation to a massed orchestral sound, ei...

Sillage (Wakes): 'the trace that a ship leaves behind it on the surface of waters,' says the dictionary. But also: 'Part of a fluid (liquid, air) left behind a body in motion - perturbations that occu...

The piano concerto Abschied was a commission of the Salzburg Festival and had its premiere there on the 8th of august 2001. The initial idea was that of a spiral developing almost infinitely. A chain...

The notion of prism applied to a whole instrumental ensemble, which Jarrell makes explicit in the title of his work, condenses and crystallises the hidden side of the solo violin. 'I frequently like t...

His Instantanés are thus his way of saying, like Augustine: 'Present time cries that it cannot last long'. Here, the same figures unravel, each claiming its Present: in the first piece, in the urgency...

The harmonic language of Michael Jarrell's works is marked by a subtle sounding out of intervallic relationships: chords derive their characteristics from the specific arrangement of their intervals....

The basic idea for the opening of the work was to start with a short and powerful 'primal explosion' that would reappear throughout the piece in different forms, more or less regularly. This 'art of p...

...Le ciel, tout à l'heure encore si limpide, soudain se trouble horriblement...(...The sky, recently so clear, suddenly becomes horribly murky...) On the nature... of musicality Michael Jarrell, born...

The literary text, present in ...car le pensé et l'être sont une même chose... as in Formes-fragments IIb, nonetheless seems to enjoy a slightly-different status in the later piece. Though no great my...

Rather than adopting the well-known practice in certain 16th-century polyphonic music of superimposing temporal planes, this work aims to superimpose or overprint various semantic planes to be found b...