• Duration: 25'
• Instrumentation: double tr solo-3333-3431-batt (5esec)-archi
• Year: 2010

Agata Zubel in an interview with Ewa Szczecińska said about work: It is important for me to break from what has been imposed on us for example, that a symphony must have four movements. Rather, I try to go back to the original definition of a symphony, and open my imagination in this direction.I try to go back to the original definition of a symphony, and open my imagination in this direction. Symphony No. 3 is for solo trumpet and orchestra, despite my calling it a symphony. It has some concerto elements, of course, because there is a trumpet concertante, but for me it is a symphony in one movement for a microtonal trumpet, written for the great Dutch trumpeter Marco Blaauw. I wrote it in a comfortable setting. I received a Rockefeller Foundation scholarship to stay in Belaggio a magnificent resort in Italy. It is a little spit of land on a lake, surrounded by the Alps with scenery of unearthly beauty. And there is a retreat for artists where they can compose music in isolation from the hustle and bustle. I wish everyone had such a place to compose. However, the Symphony No. 3 in fact has little to do with an idyllic climate and dreaminess. For me it is a strange piece. I generally like it when my pieces surprise me, but it really is unique in this respect. The foundations - again - are colour and rhythm; these are the form-giving elements. The symphony begins with a marvelous canon formed between groups of instruments, a canon which is based on the colours and rhythms without pitches. http://issuu.com/pwmedition/docs/1620_quarta3_web/1