Import Hybrid-SACD pressing.

The camber music works performed here cover the whole of Henri Dutilleux's career. They precede it even, if we take into account that the earliest of them were rejected by the composer himself as not yet being ''his'' music. Indeed, Dutilleux considered his Sonata for Piano to be his opus 1. Nonetheless, it has to be said that though he thoug it regrettable, these pieces composed while he was still relatively young have continued to be played whilst the Sonatina for flute was even to become his most recorded work. It is highly probable that Dutilleux's maturity as a composer was delayed as a result of the War, since several key 20th century composers were banned at thetime. He also had to find his own voice: I had dto disentangle myself from certain influences. In my earlier works there's also an influence of Faure - his music made a great impression on me when I was young. He'd also been a fellow student at the Ecole Niedermeyer with my grandfather, Julien Koszul. As well as Faure, one observes the influence notably of Ravel, though also of Poulenc, noticeable in th epieces fo rlfute and oboe, an influence Dutilleux had some difficulty breaking away from and that he deplored as being an easy solution, particularly in the finale of the oboe sonata.

This album is part of the 25-disc box set Un siècle de musique fracaise, which explores French music from the mid-19th to the mid-20th century. This disc profiles French composer Henri Dutilleux, and include his famous Symphonie no. 1, Tour un monde lointain, and La nuit etoilee.

This new release is the third volume in the Seattle Symphony Orchestra’s Grammy Award-winning Dutilleux cycle. Especially notable on this installment, is the inclusion of a live performance of Dutilleux’s masterpiece “Timbres, espace, mouvement.” German-born violinist Augustin Hadelich is featured on this recording of “Sur le meme accord.” He performs on the 1723 Kiesewetter Stradivarius violin, provided by the Stradivari Society of Chicago.

Classical Music

Recorded in: New Broadcasting House, Manchester 16-17 December 1992 Producer(s) Ralph Couzens Sound Engineer(s) Don Hartridge

Recently released recordings of Mozart's concertos, of three contemporary works for flute and orchestra and of a programme for solo flute have earned Sharon Bezaly epithets such as 'God's gift to the flute', 'an amazingly talented performer' and 'a First Lady among equals'. Here she has turned to some of the central works for flute and piano, and with Ronald Brautigam, familiar from many BIS releases, gives her interpretations of three master-pieces of the 1940s flanking Schubert's great Trockne Blumen variations, composed some 120 years earlier. Though written in the span of two years, Prokofiev's Sonata, Dutilleux's Sonatine and Jolivet's Chant de Linos each show the flute in a different light. Prokofiev was preoccupied with clarity of style and found the instrument a perfect vehicle: 'The sonata should be played with a bright, transparent, classical tone', he wrote. (David Oistrakh later convinced the composer to create a violin version, which quickly became very popular.) A distinctly different approach was taken by Jolivet, who wrote his Chant inspired by the ancient Greek concept of 'linos', a ritual lament punctuated by cries and dancing. It is thus based on musical material associated with Greek modes and explores the extremes of expression. Dutilleux, finally, composed his Sonatine as a set piece for the flute competitions of the Paris Conservatoire. But these academic-sounding origins are belied by the by turns atmospheric and spirited writing, so typical of the multi-faceted Dutilleux. Sharon Bezaly and Ronald Brautigam have previously collaborated on BIS-CD-1439, with violist Nobuko Imai. Upon its release this disc received a number of distinctions and highly favourable reviews, not least because of the superb ensemble playing.

Classical Music

Henri Dutilleux, named the “van Gogh of classical music” (Die Welt), was a maverick, a dreamy and stubborn man searching for his own style between tradition and modernism, oriented toward his great paragons Paul Dukas, Maurice Ravel and Albert Roussel. “I compose colors,” he would always point out, admitting to his great reverence for van Gogh. His colorful music finally found for him much late success, especially the orchestral works. This CD offers the rarely performed First Symphony, two almost unknown orchestral songs set to poems of Jean Cassou and finally the far better known Métaboles.

Henri Dutilleux' Symphony No. 1 is an early work and the composer’s first piece for orchestra. It is in four movements, but these do not all conform to traditional types. (SSM)

Henri Dutilleaux's perfectionism resulted in a distinctive and individual musical language of rare poetry and invention. The interplay of stereophonic and polyrhythmic effects and jazzy brass writing in Symphony No. 2 "Le Double" forms, in the composer's own words, 'a musical play of mirrors and of contrasting colours', while Timbres, espaces, mouvement is Dutilleux's response to Vincent van Gogh's Starry Night, a 'longing for the infinity of nature'. The series of snapshots in Mystère de l'instant evokes fleeting and almost magical moments in time, its cumulative power indicative of a consummate composer at the height of his powers.

Following the Seattle Symphony’s first Grammy®-nominated Henri Dutilleux disc comes the second installment in the Symphony’s venture to record a complete survey of the orchestral music of this late, great, long-lived, and most important French composer whose music has been authoritatively described as “sumptuous… fastidious… rigorous… seductive… non-dogmatic…” – Guardian. This time Ludovic Morlot and his musicians turn their attention to Dutilleux’s most well-known and exciting orchestral work – Métaboles. Augustin Hadelich joins for a performance of the violin concerto, L’arbre des songes, with the disc completed by a performance of the composer’s Second Symphony (“Le Double”), the recordings realized within the spectacular acoustics of Seattle’s Benaroya Hall, and, in the cases of Métaboles and the Symphony No. 2, recorded live in concert. Founded in 1903, the Seattle Symphony continues to be one of America’s leading symphony orchestras. Music Director Ludovic Morlot has been leader of the orchestra since September 2011. Constantly astonishing audiences with his phenomenal technique, poetic sensitivity and gorgeous tone, violinist Augustin Hadelich’s remarkable consistency throughout the repertoire, from Beethoven to Thomas Adès, is seldom encountered in a single artist.

A fiercely independent composer, Henri Dutilleux wrote music that is refined, colorful and scrupulously crafted. Symphony No 1, his first purely orchestral score, established his international reputation. Structurally unconventional- it opens, unusually, with a passacaglia- it illustrates his principle of ‘progressive growth’ through its sustained lyricism and towering, chorale-like statements. Metaboles was inspired by the virtuosity of the woodwind section of George Szell’s Cleveland Orchestra. Distinctive instrumentation for each movement allows for deep expression, jazzy rhythms and moments of irony. The enigmatic diptych Les Citations quotes from fellow composers Benjamin Britten and Jehan Alain. After over 40 years at the head of the Orchestre National de Lille (ONL), of which he was the founder, Jean-Claude Casadesus enjoys an international career that has brought seasons in Germany, Russia, Japan, Latvia, and in Lille. His 30 albums with the orchestra have won critical and public acclaim and as a guest conductor he has appeared in Moscow, Singapore, Montreal, Baltimore, Seoul, St. Petersburg and Berlin. He is an enthusiastic champion of contemporary music and set up residences for composers with the Lille orchestra.

The music in this album spans a forty-year period from 1948 to 1988 and reflects Dutilleux’s stylistic development as a composer. He considered the Sonata to be the first main work in his catalogue and it represents a turning away from tradition and embraces the transformative musical explorations of the day. The Three Préludes are pieces of concentrated atmospheres, ‘a kind of study of timbres’, in the composer’s words, and each are dedicated to a renowned pianist: No. 1 to Arthur Rubinstein, No. 2 to Claude Helffer, and No. 3 to Eugene Istomin. Dutilleux’s lively music for the ballet Le Loup (‘The Wolf’) is heard here in a première recording of the original piano solo version.

REVIEW:

The pianist here is the veteran Jean-Pierre Armengaud, who has recorded a great deal of French piano music and also works as a musicologist. He studied under Geneviève Joy and was also given advice by Dutilleux and, not surprisingly, his performance is much like hers. If it sounds rather more full-blooded that may well be because the excellent new recording is rather better than that provided for Joy in her own recording of 1988 on Erato. Dutilleux also approved of his performances of the Prèludes. His performance of the piano version of Le Loup is sparkling and convincing and sounds like idiomatic piano music. The sleeve notes, in English and French are really helpful and this is a valuable issue.

-- MusicWeb International

In honor of what would have been Henri Dutilleux’s one-hundredth birthday, this commemorative box set is being released by The Seattle Symphony. This three-volume series is a critically acclaimed overview of all of Dutilleux’s major works for orchestra. This is an essential collector’s item for any lover of 20th century French music. The individual releases included in this box set have been nominated for a number of honors, included Grammy Award nominations for Best Orchestral Performance, Best Engineered Album, Classical, and received the Grammy Award for Best Classical Instrumental Solo by Augustin Hadelich.

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REVIEW:

The defining recording project of Ludovic Morlot’s tenure as music director in Seattle, this luscious three-disc set is a compendium of the orchestral canvases of Henri Dutilleux, whose centenary has been celebrated this year. It’s all played with considerable refinement, but there are particularly special results when the poised violinist Augustin Hadelich joins in for “L’arbre des songes” and “Sur le même accord.”

­– New York Times (David Allen)