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.