scholarly journals Entretien avec Henri Dutilleux

1895 ◽  
2002 ◽  
Author(s):  
Stéphane Chanudaud
Keyword(s):  
Henri Dutilleux

Henri Dutilleux, haunted by Baudelaire

2021 ◽  
Vol 21 (3) ◽  
pp. 399-417
Author(s):  
Caroline Potter
Keyword(s):  
Song Cycle ◽  
Art Criticism ◽  
Prose Poem ◽  
Early Twenty ◽  
Cello Concerto ◽  
French Composers ◽  
Henri Dutilleux

One of the leading French composers of the twentieth and early twenty-first centuries, Henri Dutilleux (1916-2013) set only one text by Baudelaire, though he said that the poet was the artist in any medium who had the strongest impact on him; indeed, he said that ‘Baudelaire continues to haunt me.’ This article explores how this ‘haunting’ affected Dutilleux’s oeuvre, from his cello concerto Tout un monde lointain… [‘A Far Distant World’] (1967-1970) whose five movements are each preceded by a Baudelaire epigraph, through to his final completed work, the song cycle Le Temps l’horloge [‘Time the Clock’] (2006-2009) which concludes with a setting of Baudelaire’s prose poem Enivrez-vous [‘Be Intoxicated’]. Le Temps l’horloge also features settings of poems by Jean Tardieu and Robert Desnos, and Baudelaire’s poetry and art criticism were centrally important to both these writers. The multiple interrelationships between Baudelaire, Tardieu, Desnos, and Dutilleux are traced in this article, and analysis of ‘Enivrez-vous’ shows it to be the summation of Dutilleux’s output.

REMEMBERING A MUSICAL ERA: HENRI DUTILLEUX IN CONVERSATION

Tempo ◽  
2015 ◽  
Vol 69 (273) ◽  
pp. 12-19
Author(s):  
Janet Obi-Keller
Keyword(s):  
Great Sense ◽  
Poetic Vision ◽  
Henri Dutilleux

Henri Dutilleux was a unique musical figure of the twentieth and twenty-first centuries. His music is defined by his great sense of lyricism and meticulous control, which, over his life as a composer, had undergone much thought and a gradual sense of change. He inevitably acquired a wide mix of contemporary influences, which added to his poetic vision. Dutilleux's music appears to be a sophisticated understatement, yet at the same time there is an expressive depth and mystery that sets his music apart from any one musical movement or group of his time.

Henri Dutilleux

2017 ◽  
Keyword(s):  
Henri Dutilleux

scholarly journals Henri Dutilleux

2017 ◽  
pp. 143-146
Keyword(s):  
Henri Dutilleux

scholarly journals Henri Dutilleux

2018 ◽  
pp. 67-69
Keyword(s):  
Henri Dutilleux

Henri Dutilleux: Music, Mystery and Memory. Conversations with Claude Glayman (review)

Notes ◽  
2004 ◽  
Vol 61 (2) ◽  
pp. 425-428
Author(s):  
Caroline Rae
Keyword(s):  
Henri Dutilleux

Henri-Dutilleux-Tage in Linz

1994 ◽  
Vol 49 (1) ◽  
Author(s):  
R. K.
Keyword(s):  
Henri Dutilleux

Henri Dutilleux: His Life and Works

Notes ◽  
1999 ◽  
Vol 55 (3) ◽  
pp. 678
Author(s):  
Judy Lochhead ◽  
Caroline Potter
Keyword(s):  
Henri Dutilleux

scholarly journals Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?

Tempo ◽  
2000 ◽  
pp. 22-30 ◽  
Author(s):  
Caroline Rae
Keyword(s):  
20Th Century ◽  
Olivier Messiaen ◽  
Exclusion Zone ◽  
French Music ◽  
Pierre Boulez ◽  
Respective Contribution ◽  
The 1960S ◽  
Henri Dutilleux ◽  
Forward Looking

Until recently, the music of Henri Dutilleux and Maurice Ohana was largely overlooked in Britain, despite both composers having achieved widespread recognition beyond our shores. In France they have ranked among the leading composers of their generation since at least the 1960s and have received many of the highest official accolades. In Britain, the view of French music since 1945 has often been synonymous with the music of Olivier Messiaen and Pierre Boulez, to the virtual exclusion of others whose work has long been honoured not only in France and elsewhere in Europe but in the wider international arena. These ‘others’ include Dutilleux and Ohana. Developing an innovative and forward-looking approach, independent from the preoccupations of their contemporaries who congregated at Darmstadt, both Dutilleux and Ohana were excluded from representation at the concerts of the Domaine musical. As a result, their music was neglected in Britain throughout the years when the programming policies of Boulez and Sir William Glock were at their most influential. Undoubtedly, Boulez is one of the most phenomenal figures in music of the last 50 or so years and the position of his erstwhile teacher Messiaen is secure as one of the giants of the 20th century. Yet, however significant their respective contribution, Boulez and Messiaen represent only one facet of French music since 1945.

Dušan Martinček: An Introduction to His Music

Tempo ◽  
1991 ◽  
pp. 23-27
Author(s):  
David Babcock
Keyword(s):  
Gyorgy Kurtag ◽  
Henri Dutilleux

There is a certain type of composer, a type characteristic of the culture of our century, with its unprecedented complexities and contradictions. This is the slow and painstaking composer, who eschews all self–repetition, producing a limited number of works. Each one of these works, however, will be a work of real weight and significance. Henri Dutilleux comes to mind as an example of this type; György Kurtág is another. It can be said that these composers, like Varèse, Webern, Spinner, and Ruggles before them, have given us, in terms of substance, a great deal of music. And so has the Slovak composer Dušan Martinček.

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