Wydawnictwo: Herissons
Nr katalogowy: LH 15
Nośnik: 1 CD
Data wydania: maj 2017
EAN: 3770002538104
Dostępność: na zamówienie

52,00 zł
Zamów LH 15
Zamów

Nasze kategorie wyszukiwania

Epoka muzyczna: współczesna
Obszar (język): francuski
Rodzaj: sonata

Zobacz także:

  • BRIDG 9482
  • ONYX 4173
  • CHAN 9504
  • ACD 22759
  • ACD 22755
  • GEN 16550

Dutilleux: Musique de Chambre

Herissons - LH 15
Kompozytor
Henri Dutilleux
Wykonawcy
Sebastien Vichard, piano
Mathieu Dupouy, harpsichord
Magali Mosnier, flute
Nora Cismondi, oboe
Emmanuel Curt, percussion
Fany Maselli, bassoon
Axel Salles, double bass
Alexis Descharmes, cello
Jonathan Reith, trombone
Nagrody i rekomendacje
 
Diapason 5
 
Sarabande et cortege, pour basson et piano
Sonatine, pour flute et piano
Sonate, pour hautbois et piano
Choral, cadence et fugato, pour trombone et piano
Trois Strophes sur le nom de SACHER
Les Citations, diptyque pour hautbois, clavecin, contrebasse et percussion
The chamber 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 (1948) to be his opus 1. Nonetheless, it has to be said that though he thought 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 the time. He also had to find his own voice: I had to disentangle myself from certain influences. In my earlier works there’s also an influence of Fauré – 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 Fauré, one observes the influence notably of Ravel, though also of Poulenc, noticeable in the pieces for flute 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. But let us return to these works that were initially intended to serve as test pieces for the Paris Conservatoire examinations.