Jablonski, Marek (Michael)

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other works

Stage: Notre Dame de Paris (ballet, after V. Hugo), 1964; Ruiselle (radio op); Les filles du feu (ballet); Le prince de Hambourg (incid music, H. Kleist), 1951

Orch: Armida, 1953; Mouvements en relief, 1954; Mobile, vn, orch, 1961; Passacaille à la mémoire d'Arthur Honegger, 1964

Principal publisher: Salabert


Jarrell, Michael

(b Geneva, 8 Oct 1958). Swiss composer. Jarrell began to study composition as part of his training as a pianist. He was equally interested in the visual arts and music before entering the Geneva Conservatoire, where he found Eric Gaudibert's courses in composition techniques particularly valuable. He went on to study composition at the Staatliche Hochschule für Musik, Freiburg with Klaus Huber, whom he later acknowledged as having taught him a completely professional approach to composition. He took the course in musical computer science at IRCAM (1986–8), then spent a year in Rome (at the Villa Medici and the Istituto Svizzero, 1988–9) in order to continue the series of Assonancesthat he had started in 1983. He became a professor of composition at the Hochschule für Musik, Vienna, in 1993.

Though he has tackled a wide range of genres (opera, monodrama, ballet, large orchestral works, vocal music, chamber music) it seems that composition, for Jarrell, often comes back to recomposition, as in the case of the series of eight Assonances, which he describes as a sketchbook. He is fascinated by artists like Giacometti or Varèse, who incessantly rework the same idea. Clockwork mechanisms form one of the threads running through his work, from the ‘Rituel’ of Trei II to the section of Rhizomes entitled ‘Clockwork’. Another recurrent motif is the urgency generated by note-repetition. It is doubtless no accident that Pour les notes répétées is among the three Debussy's Etudes that Jarrell has orchestrated.


(selective list)

Dérives (chbr op), 1980–85; Trei II, S, fl, cl, vn, vc, pf, 1982–3; Assonance [I], cl, 1983; Trace-Ecart, S, C, ens, 1984; Instantanés, orch, 1985–6; Essaims-Cribles (chbr ballet), b, cl, ens, 1986–8, ‘… d'ombres lointaines …’, S, orch; Modifications, pf, 6 insts, 1987; Congruences, fl, ob, ens, elecs, 1988–9; Assonance II, b cl, 1989; Assonance III, b cl, vc, pf, 1989; Assonance IV, va, tuba, elec, 1990; Assonance V, ‘… chaque jour n'est qu'une trêve entre deux nuits…’, vc, 4 inst groups, 1990; Eco, vn, pf, 1990; Assonance VI, ens, 1991; Harold et Maude (ballet), orch, 1991; Assonance VII, perc, 1992; Rhizomes (Assonance VIIb), 2 pf, 2 perc, elecs, 1992; 3 études de Debussy, orchd 1992; Passages, orch, 1992–3; Cassandre (monodrame), actress, ens, elec, 1993–4; Bebung, cl, vc, ens, 1995; Aus Bebung, cl, vc, 1996; Mémoires, chorus, ens, 1996; Résurgences, sax, ens, 1996

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