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  • Category / Instrument
    Clarinet and cello
  • Duration
    18'
  • Dedication
    to Walter Grimmer and Armand Angster
  • Published
    01/01/1995
  • Premiere
    06/02/1996
    Radiostudio Zürich
    Armand Angster (cl), Walter Grimmer (cello)
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Contact

Michael Jarrell's works are published by Editions Henry Lemoine :

27, boulevard Beaumarchais
75004 PARIS
France
Tel. : +33 (0)1 56 68 86 74
www.henry-lemoine.com

Works

Aus Bebung

Note

Composed in 1995, the same year as Bebung (for clarinet, cello and instrumental ensemble), from which it is drawn, Aus Bebung is a long duo for clarinet and cello. It introduces, in different ways, the notion of rocking or balance that prevailed over its writing: the successive use of different fingerings for the same note, resu1ting in nuances of pitch or timbres, as well as, for example, the repeated use of suggestive rhythmic figures in the cello. as is almost always the case with Jarrell, the piece alternates passages in which predominate the exploration of instrumental colours, calm, voluptuous lines mingled, and moments when the synchronous virtuosity of the musicians is required, with a strong rhythmic armature, nuances and fast tempi. At the mid-point is a cello "cadenza" round which the four other parts are organised symmetrically.

Antoine Gindt,
Extract from CD booklet Eco (Accord)

Recordings

1 CD Accord, Eco
Assonance III - Eco IIb - Aus bebung - Trei II - Essaims-cribles
Ensemble Accroche Note, Jean-Philippe Wurtz


1 CD aeon, AE1754, ...Mais les images restent...
Aus Bebung - Assonance lll - ...mais les images restent... - ...Es bleibt eine zitternde Bebung... (Nachlese lll)
Ernesto Molinari (clarinet)
Thomas Demenga (cello)
Marino Formenti (piano)
WDR Sinfonieorchester
Peter Rundel (conductor)


Die Technik der Bebung stand am Ursprung dieses Stückes. Die Bebung ist eine Art Vibrato, die der Technik und der Machart des Clavichordes eigen ist. Sie wird durch die Veränderung des Fingerdrucks auf der Taste des Instrumentes erzielt, was eine leichte Variation der Tonhöhe hervorruft. Eine einfache Anwendung dieses Prinzips in meinem Stück entsteht zum Beispiel dadurch, dass einer der Instrumentalisten einen Ton anschlägt, den der andere übernimmt und "moduliert".

Michael Jarrell

Works index
© Michael Jarrell