Īfter the Piano Sonata, Dutilleux started working on his First Symphony (1951). He has renounced most of the works he composed before it because he did not believe them to be representative of his mature standards, considering many of them to be too derivative to have merit. 1 his Piano Sonata (1946–1948), written for pianist Geneviève Joy whom he had married in 1946. It also shows a concern for the concepts of time and memory, both in its use of quotations (notably from Bartók, Britten and Jehan Alain), and in short interludes that recall material used in earlier movements and/or introduce ideas that will be fully developed later.Ī perfectionist with a strong sense of artistic integrity, he has allowed only a small number of his works to be published, and what he does publish he often revises and adjusts many times subsequently. He loves symmetrical musical figures such as palindromes or fan-shaped phrases." ĭutilleux's music has often been influenced by art and literature, such as the works of Vincent van Gogh, Charles Baudelaire, and Marcel Proust. "A passage may be conceived as a symmetrical shape of notes on paper and only later given musical substance. This is particularly obvious from an "external" point of view i.e., the overall organisation of the different movements or the spatial distribution of the various instruments, but is also apparent in the music itself (themes, harmonies and rhythms mirroring, complementing or opposing each other). His music also displays a very strong sense of structure and symmetry. Some of Dutilleux's trademarks include very refined orchestral textures complex rhythms a preference for atonality and modality over tonality the use of pedal points that serve as atonal pitch centers and "reverse variation," by which a theme is not exposed immediately but rather revealed gradually, appearing in its complete form only after a few partial, tentative expositions. His music also contains echoes of jazz as can be heard in the double bass introduction to his First Symphony and his frequent use of syncopated rhythms. Rather, his works merge the traditions of earlier composers and post-World War II innovations and translate them into his own idiosyncratic style. As an independent composer, Dutilleux has always refused to be associated with any school. While he has always paid attention to the developments of contemporary music and has incorporated some serialist techniques into his own compositions, he has also criticized the more radical and intolerant aspects of the movement ("What I reject is the dogma and the authoritarianism which manifested themselves in that period"). His attitude towards Serialism is more problematic. ![]() Influences and styleĭutilleux's music extends the legacies of earlier French composers such as Debussy and Ravel but is also clearly influenced by Béla Bartók and Igor Stravinsky. Invited by Walter Fink, he was the 16th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2006. ![]() His students include French composers Gérard Grisey and Francis Bayer, Canadian composers Alain Gagnon and Jacques Hétu, British composers Kenneth Hesketh and Andrew McBirnie, and American composers Derek Bermel and David S. He was appointed to the staff of the Paris Conservatoire in 1970 and was composer in residence at Tanglewood in 19. He served as Professor of Composition at the École Normale de Musique de Paris from 1961 to 1970. ![]() He worked for a year as a medical orderly in the army and then came back to Paris in 1940 where he worked as a pianist, arranger and music teacher and in 1942 conducted the choir of the Paris Opera.ĭutilleux worked as Head of Music Production for French Radio from 1945 to 1963. ![]() There from 1933 to 1938 he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri Büsser (composition) and Maurice Emmanuel (history of music) at the Paris Conservatoire.ĭutilleux won the Prix de Rome in 1938 for his cantata L'anneau du roi but did not complete the entire residency in Rome due to the outbreak of World War II. As a young man, Dutilleux studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for Paris.
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