Henri Paul Julien Dutilleux (; 22 January 1916 – 22 May 2013) was a French composer of late 20th-century classical music. Among the leading French composers of his time, his work was rooted in the Impressionistic style of Debussy and Ravel, but in an idiosyncratic, individual style. Among his best-known works are his early Flute Sonatine and Piano Sonata; concertos for cello, Tout un monde lointain... ("A whole distant world") and violin, L'arbre des songes ("The tree of dreams"); a string quartet known as Ainsi la nuit ("Thus the night"); and two symphonies: No. 1 (1951) and No. 2 Le Double (1959).
Works were commissioned from him by such major artists as Charles Munch, George Szell, Mstislav Rostropovich, the Juilliard String Quartet, Isaac Stern, Paul Sacher, Anne-Sophie Mutter, Simon Rattle, Renée Fleming, and Seiji Ozawa. In addition to composing, he worked as the Head of Music Production for Radio France for 18 years. He also taught at the École Normale de Musique de Paris and at the Conservatoire National Supérieur de Musique, and was twice composer in residence at the Tanglewood Music Center in Lenox, Massachusetts.
Among Dutilleux's many awards and honours were the Grand Prix de Rome (1938) and the Ernst von Siemens Music Prize (2005). When describing him, the music critic Paul Griffiths wrote that "Mr. Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. But his voice, marked by sensuously handled harmony and color, was his own."
Life Henri Dutilleux was born on 22 January 1916 in Angers, Maine-et-Loire. He was the great-grandson of the painter Constant Dutilleux and grandson of the composer Julien Koszul. He was also a cousin of the mathematician Jean-Louis Koszul. He studied harmony, counterpoint, and piano with Victor Gallois at the before leaving for the Conservatoire de Paris. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint, in which he won joint first prize with the cellist Paul Tortelier), Henri Büsser (composition) and Maurice Emmanuel (history of music).
Dutilleux won the Prix de Rome in 1938 for his cantata L'anneau du roi but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In 1942, he conducted the choir of the Paris Opera.
Dutilleux worked as Head of Music Production for Radio France from 1945 to 1963. He served as professor of composition at the École Normale de Musique de Paris from 1961 to 1970. He was appointed to the staff of the Conservatoire National Supérieur de Musique in 1970 and was composer-in-residence at Tanglewood in 1995 and 1998. His students included Gérard Grisey, Francis Bayer, Alain Gagnon, Jacques Hétu, and Kenneth Hesketh. Invited by Walter Fink, in 2006 he was the 16th composer featured in the Rheingau Musik Festival's annual Komponistenporträt.
For many years, Dutilleux had a studio on Île Saint-Louis. He died on 22 May 2013 in Paris, aged 97, and was buried in Montparnasse Cemetery, in the same grave as Geneviève, his wife who died in 2009. His tombstone is made of grey granite and bears the epitaph "Compositeur".
Influences and style Dutilleux's music extends the legacies of French composers such as Debussy and Ravel but is also clearly influenced by Béla Bartók and Igor Stravinsky. Among his favourite pieces, he mentioned Beethoven's late string quartets and Debussy's Pelléas et Mélisande.
His attitude toward serialism was ambiguous. While he always paid attention to developments in contemporary music and incorporated some serialist techniques into his work,"'Obsessionnel', the third movement of Métaboles, uses a note row. ..." he 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." Dutilleux refused to be associated with any school.
Dutilleux's music contains distant echoes of jazz, as can be heard in the plucked double bass strings at the beginning of his First Symphony and his frequent use of syncopated rhythms. He often calls for Ray Robinson-style cup mutes in the brass section, which seems to indicate the influence of big band music. Dutilleux was greatly enamoured of vocalists, especially the jazz singer Sarah Vaughan and the great French chanson singers.
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", whereby a theme is revealed gradually, appearing in its complete form only after a few partial, tentative expositions.BBC Philharmonic website, "Latest Concerts from the Manchester Student Music Network" Saturday 25 November (undated) (accessed 19 June 2008). His music also displays a strong sense of structure and symmetry. This is particularly obvious from an "external" point of view, in 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). According to Stuart Jefferies, "A passage may be conceived as a symmetrical shape of notes on paper and only later given musical substance. He loves symmetrical musical figures such as palindromes or fan-shaped phrases".Jeffries, Stuart. 28 April 2005. "Contentious, moi?" The Guardian
Dutilleux's music was influenced by art and literature, such as the works of Vincent van Gogh,"A great lover of painting, Dutilleux claimed to have van Gogh's La Nuit étoilée always in mind when writing Timbres, espace, mouvement, and later added the title of the painting as a subtitle to his work." Charles Baudelaire"Baudelaire's poetry inspired the cello concerto Tout un monde lointain...; all five movements feature a Baudelaire epigraph at the head of the score." and Marcel Proust."It is especially the ideas of time and memory, more specifically involuntary memory that the internationally acclaimed French composer Henri Dutilleux finds attractive. Dutilleux often refers to Proust's influence on his music. Furthermore, they both believe in direct experience and communication as the essential function of the work of art" It also shows a concern for the concepts of time and memory, both in its use of quotations (notably from Bartók, Benjamin 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.
A perfectionist with a strong sense of artistic integrity, he allowed only a small number of his works to be published; what he did publish he often repeatedly revised. In his own words:
Compositional history
Dutilleux numbered as Op. 1 his Piano Sonata (1946–1948), written for the pianist Geneviève Joy, whom he married in 1946. He 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.The Living Composers Project: "Henri Dutilleux" (accessed 19 June 2008), paragraph 2.
After the Piano Sonata, Dutilleux started working on his First Symphony (1951). It consists of four monothematic movements and has a perfectly symmetrical structure: music slowly emerges from silence (first movement—a passacaglia) and builds towards a fast climax (second—a scherzo and moto perpetuo), keeps its momentum (third—"a continuous melodic line that never goes back on itself"), and finally slowly fades out (fourth—a theme and variations).
In 1953, Dutilleux wrote the music for the ballet Le loup ("The Wolf").
In his Second Symphony, titled Le double (1959), the orchestra is divided into two groups: a small one at the front with instruments taken from the various sections (brass, woodwind, strings and percussion) and a bigger one at the back consisting of the rest of the orchestra. Although this brings to mind the Baroque concerto grosso, the approach is different: in this piece, the smaller ensemble acts as a mirror or ghost of the bigger one, sometimes playing similar or complementary lines, sometimes contrasting ones.Seen and Heard International: Glyn Pursglove, "Concert Review: Dutilleux, Bartok" , accessed 26 May 2013
His next work, Métaboles for orchestra (1965) explores the idea of metamorphosis, how a series of subtle and gradual changes can radically transform a structure. A different section of the orchestra dominates each of the first four movements before the fifth brings them all together. As a result, it can be considered as a concerto for orchestra. It quickly achieved celebrity and, following its première by George Szell and the Cleveland Orchestra, was performed in several North American cities, then in France.CIRM – Centre National de Création Musicale, 2006 "Les Métaboles furent commandées en 1959 par le chef George Szell à Henri Dutilleux à l'occasion du quarantième anniversaire de l'Orchestre de Cleveland, qui en assura la création le 14 janvier 1965 sous la direction du commanditaire. L'œuvre connut rapidement la célébrité et fut reprise dans les grandes villes nord-américaines puis en France." Métaboles , accessed 26 May 2013 Métaboles is one of his most often performed works.
In the 1960s, Dutilleux met Mstislav Rostropovich, who commissioned a cello concerto from him. Rostropovich premièred the work, Tout un monde lointain… (A whole distant world...), in 1970. It is considered one of Dutilleux's major achievements."The great Russian cellist Mstislav Rostropovich commissioned Dutilleux to write Tout un monde lointain, now an important work in the cello repertoire." "Tout un monde lointain... un des plus beaux concertos pour violoncelle de la seconde moitié du XXe siècle qui... s'est trouvé hissé au premier rang, celui des concertos de Chostakovitch, Penderecki, Britten..." "In the meantime other cellists had Dutilleux's concerto in their repertoire and several other recordings are now available. Tout un monde lointain... is a splendid work and probably one of the composer's finest achievements"
After the cello concerto, Dutilleux turned to chamber music for the first time in more than 20 years and wrote the string quartet Ainsi la nuit (1976). It consists of seven movements, some of which are linked by short "parentheses". The parentheses' function is to recall material that has already been heard and to introduce fragments that will be fully developed later.Simon Marin's liner notes (Erato CD 0630-14068-2) It is based on a hexachord (C–G–F–G–C–D) that highlights the intervals of fifth and major second. Each movement emphasizes various special effects (pizzicato, glissandi, harmonics, extreme registers, contrasting dynamics...), resulting in a difficult, elaborate work.
Dutilleux also published various works for piano (3 Préludes, Figures de résonances) and 3 strophes sur le nom de Sacher (1976–1982) for solo cello. The latter was originally composed on the occasion of Paul Sacher's 70th birthday in 1976, on a request by Rostropovich to write compositions for cello solo using his name spelt out in musical notes as the theme eS-A-C-H-E-Re (Es is E in German, H is B in German, and Re is D in French; see Sacher hexachord). He then returned to orchestral works in 1978 with Timbres, espace, mouvement ou la nuit étoilée, inspired by Van Gogh's The Starry Night. In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement the painting conveys. It employs a string section of only lower-register instruments: cellos and basses, no violins or violas.