Jury's reasoning Ørjan Matre is one of our most successful young composers, and from the very beginning has claimed the large format; the symphony orchestra. His Clarinet Concerto, written for Rolf Borch and premiered with the Bergen Philharmonic Orchestra in 2011, clearly shows a composer who handles the large orchestral apparatus with striking naturalness. The work is "irritatingly […]
/ 31/03/2014 / codexØrjan Matre is one of our most successful young composers, and from the very beginning has claimed the large format; the symphony orchestra. His clarinet concerto, written for Rolf Borch and premiered with the Bergen Philharmonic Orchestra in 2011, clearly shows a composer who handles the large orchestral apparatus with striking naturalness. The work is “irritatingly well written”, as a member of the Edvard jury humorously put it. From the first, shimmering opening notes we hear a composer who knows how to maintain the tension and let the sound unfold in its own time; there is no rush here. On the other hand, an ability to hold on to secrets a little, and let the work play out in a dynamic span with large, and occasionally undisguised dramatic contrasts. The Edvard jury believes that we are dealing with a work here that will remain in the orchestras’ repertoire.