Michael Jarrell
Registered as:

© C. Daguet / Editions Henry Lemoine

Jarrell Michael

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 ... Un temps de silence ... - concert for flute 2017 22m
2 Verästelungen (Assonance Ic) 2016 12m
3 Des nuages et des brouillards - concert for violin and orchestra 2016
4 Emergences-Résurgences - concert for viola and orchestra 2016 23m
5 Aquateinte - concert for oboe and orchestra 2016 17m
6 Dornröschen (Nachlese IVb) 2015 13m
7 ... in verästelten Gedanken ... (Nachlese VIIb) - for string-quartet 2015 19m
8 ... aussi peu de nuages ... - concert for violin and orchestra 2015 8m 30s
9 Assonance Ib 2014 12m
10 Reflets - for orchestra and piano 2014 13m
11 Spuren (Nachlese VII) - for string-quartet and orchestra 2014 24m
12 Siegfried, nocturne - for baritone and ensemble 2013 1h 10m
13 Adtende, ubi albescit veritas - for baritone and orchestra 2013 6m
14 Emergences (Nachlese VI) - for cello and orchestra 2012 23m
15 Lied ohne Worte 2012 12m
16 Nachlese Vb - for soprano and ensemble 2012 ~ 25m
17 ... Ombres ... - for orchestra 2011 11m
18 Étude pour piano 2011 9m
19 Liederzyklus (Nachlese V) 2011 17m 30s
20 Paysages avec figures absentes (Nachlese IV) - for violin and orchestra 2010 22m
21 La Chambre aux échos 2010 36m
22 Le Père - Der Vater 2010 55m
23 Staub (Assonance IIIb) - for 7 instruments and video 2009 18m 30s
24 Assonance IVb - for horn 2009 8m
25 ... Le ciel, tout à l'heure encore si limpide, soudain se trouble horriblement ... - for orchestra 2009 ~ 18m
26 Paysages avec figures absentes (Nachlese IV) - for violin and ensemble 2009 18m
27 Cassandre (Spanish version) 2009 54m
28 ... Un temps de silence ... - concert for flute and orchestra 2007 22m
29 ... Nachlese ... III - Es bleibt eine zitternde Bebung 2007 19m
30 ... Nachlese ... II - for violin and violoncello 2007 5m
31 ... Nachlese ... - for soprano and string-quartet 2007 11m
32 Cassandre (English version) 2006 54m
33 ... denn alles muss in Nichts zerfallen ... 2005 28m
34 Galilei - Oper in 12 Szenen 2005 1h 50m
35 Sillages - Congruences II - for flute, oboe, clarinet and orchestra 2005 - 2009 26m
36 Cassandre (Italian version) 2005 54m
37 Abschied II - for piano and ensemble 2004 19m
38 Epigraphe - for accordion and orchestra 2003 18m
39 ... mais les images restent ... - for piano 2003 15m
40 ... car le pensé et l'être sont une même chose ... 2002 12m
41 ... prisme / incidences II ... - for violin and ensemble 2002 16m
42 Abschied - for piano and orchestra 2001 20m
43 Droben Schmettert ein greller Stein - for double bass and ensemble 2001 20m
44 Incipit - for 6 percussion 2001 - 2002 5m 30s
45 Offrande 2001 11m
46 Assonance IX - für Klarinette und Orchester 2000 18m
47 ... more leaves ... 2000 12m
48 Prisme 2000 - 2001 13m
49 Cassandre (Finnish version) 2000 54m
50 Denn dasselbe ist Erkennen und Sein 1999 15m
51 Formes-Fragments IIb - für 4 Solostimmen und Ensemble nach den Texten von Léonardo da Vinci 1999 15m
52 Assonance VIII - for bass-flute and percussion 1999 16m
53 ... some leaves ... - for violoncello 1999 10m
54 ... prisme / incidences ... - for violin and orchestra 1998 17m
55 ... un long fracas somptueux de rapide céleste ... - for percussion and orchestra 1998 18m
56 ... some leaves II ... - for viola 1998 9m
57 Zeitfragmente - für Streichquartett 1997 - 1998 20m
58 Emergences - for orchestra 1997 10m
59 Résurgences - für Saxophon und Ensemble 1996 14m
60 Mémoires - für Chor und Ensemble 1996 15m
61 Wolken 1996 7m
62 Kassandra (German version) 1996 54m
63 Music for a while - für Ensemble 1995 19m
64 Bebung - für Klarinette, Violoncello und Ensemble 1995 18m
65 Aus Bebung 1995 18m
66 Eco III 1994 10m
67 Rhizomes (Assonance VIIb) - für 2 Schlagzeuger, 2 Klaviere und Live-Elektronik 1993 15m
68 Cassandre (French version) 1993 - 1994 54m
69 Eco IIb 1993 9m
70 Trois Etudes - (Claude Debussy "Drei Klavieretüden"), Orchestration 1992 12m
71 Assonance VII - fpr percussion 1992 11m
72 Passages - für großes Orchester 1992 15m
73 Assonance VI - für 8 Instrumente 1991 8m
74 Des nuages et des brouillards - für Schlagzeug, Harfe, Klavier und Streicher 1991 - 1992 13m
75 From the leaves of shadow - für Bratsche und Orchester 1991 15m
76 Harold et Maud - Ballett für Orchester 1991 1h
77 ... d'ombres lointaines ... - für Sopran und großes Orchester 1990 20m
78 Assonance IV - für Tuba, Bratsche und Live-Elektronik 1990 10m
79 Assonance V ... chaque jour n'est qu'une trêve entre deux nuits ... ... chaque nuit n'est qu'une trêve entre deux jours ... - für Violoncello und 4 Instrumentalgruppen 1990 15m
80 Formes-Fragments II - für 6 Stimmen und Instrumentalensemble 1990 15m
81 Assonance II - für Baßklarinette solo 1989 10m
82 Der Schatten, das Band, das uns an die Erde bindet - (L'ombre, cette bande qui nous relie à la terre). Ballett für großes Orchester 1989 20m
83 Assonance III - für Baßklarinette, Cello und Klavier 1989 13m
84 Conversions - for harp and string-orchestra 1988 15m
85 Eco II - für Stimme und Kammerensemble 1988 - 1989 10m
86 Congruences - für Midi-Flöte, Oboe, Ensemble und Live-Elektronik 1988 - 1989 18m
87 Modifications - for piano and 6 instruments 1987 ~ 16m
88 Formes-Fragments - for 6 voices and instrumental-ensemble 1987 15m
89 Eco - for soprano and piano 1986 10m
90 Essaims-crimbles - chamber-ballet for bass-clarinet and ensemble 1986 20m
91 Anagrammes - wind-quintet 1986 13m
92 Instantanés - for grand orchestra 1985 16m
93 Lysistrata - stage-music for 3 percussionists for the same-titled piece by Aristophanes 1985 2h
94 Trace-écart - for soprano, alto and ensemble 1984 17m
95 Assonance - for clarinet solo 1983 10m
96 In te, anime meus, tempora metior - for string-trio 1982 28m
97 Trei II - for soprano and 5 instruments 1982 - 1983 15m
98 Dérives - chamber-opera 1980 - 1985 1h
99 Aber der Wissende 1980 - 1981 15m

General Information

Year of Birth:  1958
Date of Birth:  8. October 1958
Place of Birth:  Geneva
Country of Birth: 
Nationality: 

 

Michael Jarrell was born in Geneva in 1958 and studied composition under Eric Gaudibert at the Geneva Conservatory and in the US (Tanglewood, 1979). He completed his education at the University for Music in Freiburg/Breisgau with Klaus Huber.
Between 1986 and 1988 he lived in the Cité des Arts in Paris and participated in the development of computer music classes at IRCAM. In 1988-89 he lived in the Villa Medicis in Rome, from 1989-1990 he was at the Istituto Svizzero di Roma. From October 1991 until June 1993 he was "Composer in Residence" with the Orchestre de Lyon. Since 1993 he has been a professor of composition at the University of Vienna. In 1996 he was the "Composer in Residence" for the Lucerne Festival. In 2001 he was commissiond to compose a concert at the Salzburger Festspiele. In the same year the Republic of France named him Chevalier des Arts et Letters. In 2004 he was made professor for composition at the Geneva Conservatory of Music. His opera "Galilei" about the life of Galileo (a commission from the Grand Théâtre de Genève) was premiered in 2006.

 

Award Acanthes (1983), Beethoven-Award from the City of Bonn (1986), Marescotti-Award (1986), Gaudeamus and Henriette Renié (1988), Promotional Award from the Siemens-Foundation (1990): Since 1982 his works have received numerous awards.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

Geneva Conservatory of Music: composition and music-theory (Eric Gaudibert)

composition

music theory (Peter Förtig)

courses in computer music

several seminars and music-workshops in the USA (Tanglewood etc.)

Activities

PeriodActivityOrganisationLocation
1986 - 1988

Cité des Arts: composer in residence

1988 - 1989

Académie de France, Villa Medicis: composer in residence

1989 - 1990

Istituto Svizzero di Roma: membership

1991 - 1993

Orchestre de Lyon: composer in residence

1993

ever since professor of composition and sound-engineering

1996

composer in residence

2004

ever since professor of composition at the Geneva Conservatory of Music

2015 - 2016

fellow at the Wissenschaftskolleg Berlin (Institute for Advanced Study, WiKo)

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1984

Aspen Festival

1986

Salle Ansermet

1989
1992

Conservatoire Liége: Ancienne salle

1994

Théâtre du Châtelet, world premiere

1998
2006

Grand Théâtre de Genève, world premiere

Awards

PeriodAwardCompositionAwarding Organisation
1983

Centre Acanthes: compositional award

1986

City of Bonn: Beethoven-Award

1986

Marescotti-Award

1988

Académie des Beaux Arts: Henriette-Renié-Award

1988

First Prize at the international composers' contest

1990

promotional award

2000

award

2001

Ministry of Culture France: Chevalier des Arts et Letters

2010

Music Award

Description of Style

For me, music is the interplay of two elements: the acoustic material and the spiritual idea. It is both means of expression, as well as a trade subject to daily work. The acoustic material requires preparation, structure and also selection to support the spiritual idea. While the majority of the acoustic material in classical music has been incorporated in a kind of general awareness, which facilitated its access, the increase of material in the 20th century, as well as a lack of a generally acknowledged system leads to essential problems in perception. Furthermore, linguistic structures play a key role in music as a non-significant art. When I compose, I have to systematically decide for a particular range, which governs the sequence of events and the series of form. Once the decision is made, there is no return. In this sense, composition resembles a tree-like system: a motif, a shape can develop in most different ways. Certain elements of a composition may become the seed of another. My work method is tied to psycho-acoustic phenomena and to the search for a language; a formulation comprehensible to the listener, a satisfactory analogy between language and perception is intended, based on the use of recognisable elements, such as motifs, "frozen" pitches or musical gestures. I do not want to start from scratch when I start composing, nor do I intend to make a clean sweep with the past. On the contrary; what I feel is important is the developing work on elements, which I become better and better at, to reach a certain smooth process and create a typical continuity between the individual pieces. I perceive my own development as some kind of "auto analysis", as I am fascinated by artists, such as Giacometti or Varèse, who continuously work on one and the same idea.

 

Michael Jarrell (quoted from the CD-booklet "Musikprotokoll '90", 1990)

Contact, Links

Language:  German, French
Links: