Michael Jarrell how did you choose this title, Reflections?
The period during which I created this work was quite difficult for me, as it was marked by the death of Eric Daubresse. He was a very discreet man, with a great rigour but mild temperament, and a strong sense of ethics. He was also a composer.
For me, it was an obvious choice to invite him to join the composition department when I was appointed professor at the Haute Ecole de Musique de Genève. He was a very committed, valuable colleague, but above all, he was a friend.
This concerto is dedicated to him.
I wanted this score to be an echo, a reflection of some of my thoughts and feelings. It is an image of this very special, intelligent and empathetic person. For the title, I chose English, because in this language, the meaning is less marked than in French. There is a reflection, but also reflection, in terms of thoughts and considerations.
I am delighted that Bertrand Chamayou and the ’OSR are part of this creation.
How did you write for the orchestra?
Two or three hundred years ago, orchestras were smaller in size and left more room for soloists to perform. In the past century, the orchestra has evolved enormously: concert halls have become bigger, capacities have increased, and more sound is needed. For me this is part of the 21st century; but at the same time, it means that you have to be very careful with the presence of the soloist, it's a delicate task.
Working with a large orchestra allows many different colours. One becomes a painter who plays with colours, light, and shadow... it's magical!
Je suis curieux d'entendre la manière dont l'Orchestre de la Suisse Romande, toujours avec Bertrand Chamayou, va prendre le relais de l'Orchestre Philharmonique de Radio France.
I am curious to hear how the Orchestre de la Suisse Romande, also with Bertrand Chamayou, is going to take the baton from the Orchestre Philharmonique de Radio France.