Michael Jarrell - ...prisme/incidences... (2007) (B000SSPLM6)

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Michael Jarrell - ...prisme/incidences...

20th/21st Century Classical - Contemporary | 2007 | Aeon

Orchestre de la Suisse Romande - Pascal Rophé, conductor

Emmanuel Pahud, flute - Paul Meyer, clarinet - François Leleux, oboe

Hae-Sun Kang, violin - Marino Formenti, piano

TRACKS

01. ...prisme / incidences... (1998), for violin and orchestra [15:02]

02. Sillages (2005), for flute, clarinet, oboe and orchestra [17:06]

Trois Etudes de Debussy (1992), for voice and piano [12:49]:

03. Pour les notes répétées (orchestration)

04. Pour les sonorités opposées (orchestration)

05. Pour les accords (orchestration)

06. Abschied (2001), for voices and ensemble [19:05]

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...PRISME/INCIDENCES...: 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 to use an extra-musical concept," Jarrell points out, "whether from the visuel or literary sphere." It was with the fullness of drawing that an artist such as Giacometti sought "this incredible means [...] of seeing clearly like no one else." Similarly, it is again with the fullness of the melodic pattern that Jarrell seeks contradictory or complementary angulations, the moment when the instrumental ensemble falls back on the violin, for example, like a facetted crystal, a prism that transforms the score into an object. As for the notion of incidence, it must be understood in the architectonic sense of the term. With Jarrell, there is a dialectical desire that consists of working sound masses by line and inversely so that the instrumental ensemble refracts the attributions of the solo violin, creating singular, independent volumes.

SILLAGES: 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 occur therein." As a child, Michael Jarrell was as keen on drawing as he was on music. and although the latter eventually won out, visuel, graphie or geometric inspiration have never completely left the Geneva-born composer. In his sound universe, sillages become undulations, waves, backwash or eddies whilst also suggesting the idea of passage or widening.

TROIS ETUDES DE DEBUSSY: 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. Among the most important historical forerunners of compositions exploiting intervallic relationships are the late piano works of Claude Debussy. In his Douze Etudes for piano (1915), Debussy frees himself from tonal relations by concentrating the examination of individual intervals.

Jarrell scored three of the twelve etudes for a fairly small orchestra, avoiding instruments which would not have been available to Debussy himself. In his orchestration of the etudes Pour les notes répétées, Pour les sonorités opposées and Pour les accords, his aim was to prolong the style of Debussy's somewhat austere late orchestral music with the greatest possible authenticity. Jarrell treated Debussy's etudes as previously existing materiel.

Jarrell sees his compositional output as constituting an arborescent system in which similar forms can blossom in various fashions on different branches. This results in unusually close interconnections between his works - and even between his original compositions and his orchestrations.

ABSCHIED: The initial idea was that of a spiral developing almost infinitely. A chain of notes, beginning in the highest register, undergoes a constant filtering process to reach a momentarily stable form before undergoing a new filtering process. These mutations occur rapidly and have direct consequences on the music which is fast and of an energetic virtuosity.

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