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  • Category / Instrument
    Concerto for viola and orchestra
    3.2(+ca).2(+clB).2(+cbn) / 4.3.3.1 / timb / 3perc / hp / pno / strings
  • Duration
    23'
  • Commissioned by
    Orchestre National des Pays de la Loire, Utah Symphony, Konzerthaus Berlin, Orchestre de la Suisse Romande, Wiener Symphoniker et Wiener Konzerthaus, avec le soutien de la Ernst von Siemens Musikstiftung
  • Dedication
    for Tabea
  • Published
    24/07/2016
  • Premiere
    01/10/16
    Strasbourg
    Festival Musica, Palais de la musique et des congrès, Salle Schweitzer
    Tabea Zimmermann (viola), Orchestre National des Pays de la Loire, Pascal Rophé (conductor)
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Michael Jarrell's works are published by Editions Henry Lemoine :

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

Works

Emergences-Résurgences

Note

The viola concerto entitled émergences-résurgences is in direct reference to the pictorial art of Henri Michaux.
Curves, colours, chiaroscuro, or emphasized lines; I tried to integrate a pictorial dimension into the scheme of this piece and in its realization. At the same time, I do not believe that this turns it into a contemplative work. Music, which is essentially an art of time, uses in this case, every dynamic possibility, with the energy of the solo line being highly present from the beginning.
Particularly sensitive to the continuity of listening, I tried to shape the musical phrases as I imagine a writer would shape language, remaining as attentive to the greater arch as to smaller inflections.
The use of pivot notes, fixed points toward which characteristic figures are attracted or repelled, is present from the very start of the piece.
The figures stretch, multiply, refract, or tighten, including types of shimmering and sequences sometimes based on echoes, resonances, bifurcations or sudden contradictions.
The processes always unfold within a given framework and links exist between the work's various sections. Certain figurations are broken apart, occasionally being used in the form of fragments. In some way, I tried to write a kind of music that separates the depth of the past from the abyss of the future.

The piece is dedicated to Tabea Zimmermann.

Michael Jarrell (September 2016)

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