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Pages De Jeunesse - Youthful Pages - Early Works Of Henri Dutilleux / Trenel, Lucas, Bresynski, Gattet


Release Date: 12/18/2007 
Label:  Indesens   Catalog #: 4   Spars Code: n/a 
Composer:  Henri Dutilleux
Performer:  Daniel BresynskiPascal GodartVincent LucasMarc Trenel,   ... 
Number of Discs: 1 
Recorded in: Stereo 
Back Order: Usually ships in 2 to 3 weeks.  

Notes and Editorial Reviews

Aside from school compositions, and the 1938 Prize of Rome for the cantata L’anneau du roi, Henri Dutilleux’s first pieces date back to beginning of World War II. In 1941, just as he was demobilized, he was appointed choir leader at the Paris Opera. During that period, he composed a piece called Sarabande pour orchestre belonging to Symphonie de danses that remains unfinished, including Danse fantastique. In 1942, he also composed a piece for the bassoon called Sarabande et cortège, for the “Conservatoire de Paris’” entrance exam. In terms of chamber music, this piece was followed by three more scores for winds and piano, between 1943 and 1950: la Sonatine for flute and piano (1943), la Sonate for oboe and piano (1947), as well as Read more Choral, Cadence et Fugato (1950) for trombone and piano. Furthermore, Dutilleux distinguished himself by composing a Sonate for piano (1946-1948), which he often considers as his first determining score.

The four pieces composed for winds and piano, were upon the request of Claude Delvincourt, who was the Conservatory director at the time, as well as Dutilleux’s Resistance companion. Delvincourt “had a double challenge : to push young composers in perfecting their instrumental technique: "one cannot compose nonsense for young players and thereby forcing the students to study new scores full of traps, and technical difficulties,” (as Henri Dutilleux said (interview with Claude Glayman.) It is best to consider these four pieces as belonging to the same unit; first of all because of their common destination, and secondly because of their similar stylistic characteristics. The qualities of these pieces, lie not only in their technical aspects, two of them compensate an empty space in their respective repertory; but also because they belong to an esthetic field linked to the neo-classical movement that was still in vogue at the time. The Sarabande, Aria, Choral, and Fugato are the stylistic symbols of this. The Sonate for Oboe also reflects the 19th and 20th century French music such as Cesar Franck, Paul Dukas up to Alfred Desenclos, contemporaneous with Dutilleux, traditionally built in a triptych format Aria, Scherzo, and Finale as well as Chorale, Cadence and Fugato. Many musical idioms (modal and polymodal figures, written ornaments, stylistic bass, ad libitum cadences, cantus firmus melodies, swivel notes, echoes, perpetuum mobile, variations, fugatos) foreshadow his future works.

- ( Translated from the French liner notes.)
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Works on This Recording

1.
Choral, cadence and Fugato for Trombone and Piano by Henri Dutilleux
Performer:  Daniel Bresynski (Trombone), Pascal Godart (Piano)
Period: 20th Century 
Written: 1950; France 
2.
Sonatine for Flute and Piano by Henri Dutilleux
Performer:  Pascal Godart (Piano), Vincent Lucas (Flute)
Period: 20th Century 
Written: 1942; France 
3.
Sarabande et cortčge for Bassoon and Piano by Henri Dutilleux
Performer:  Pascal Godart (Piano), Marc Trenel (Bassoon)
Period: 20th Century 
Written: 1942; France 
4.
Sonata for Oboe and Piano by Henri Dutilleux
Performer:  Pascal Godart (Piano), Alexandre Gattet (Oboe)
Period: 20th Century 
Written: 1947; France 
5.
Sonata for Piano by Henri Dutilleux
Performer:  Pascal Godart (Piano)
Period: 20th Century 
Written: 1947; France 

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