"Mirrors" starts with harp and marimba, which welcome the cello, resulting in a three-way conversation. The third, "Surges", does indeed display the restlessness of an active seascape in its volatile rhythms and orchestral emphases. The second movement, "Gaze", starts stately and continues with measured, constrained intensity. Things get more energetic, with the cello and orchestra more in chamber-music dialogue than in concerto opposition. In the first movement, "Enigma", sound of cymbals and the cello emerge from the depths of the night - as the composer says, "like glow-worms in a nocturnal landscape". These poems are reproduced in full, though only in French, in the booklet giving, at least to Francophone readers, a sense of the Symbolist cultural world in which Dutilleux worked and created this piece. Along with the title, each of the five movements is inspired, and the scores headed by, quotations from Baudelaire's poetry.
It has received recordings by Rostropovich, as well as Marc Coppey, Lynn Harrell ( also here), Xavier Phillips, Arto Noras, Truls Mørk and Anssi Karttunen. The cellist had commissioned and premiered the concertante work Tout un monde lointain (A whole distant world). It is a rewarding work, but an uneasy one: skittering, volatile and brooding under the surface.ĭutilleux met Sacher through the mediation of Mstislav Rostropovich. The set of notes E flat, A, C, B, E, D render Sacher's name, if one creatively mixes French and German nomenclature. Trois Strophes sur le nom de Sacher (Three Strophes or Stanzas on the name Sacher) is one of several works Dutilleux wrote in appreciation of Paul Sacher, who helped the composer not only through commissions, but also through funding a corneal graft operation to restore his sight damaged through shingles. This opportunity to experience and appraise his work casts him as among the most significant French composers of the late twentieth century. Esa-Pekka Salonen recorded his Correspondances with the Orchestre Philharmonique de Radio France, and Ludovic Morlot has recorded both his symphonies, as well as other works, as the new conductor of the Seattle Symphony ( review ~ review). Henri Dutilleux's work has been gaining attention through a number of significant recent recordings. Teldex Studio, Berlin, December 2014 (Trois Strophes and Sonata), Kultur- und Kongresszentrum de Lucerne, November 2014 (Tout un monde lointain) Lucerne Symphony Orchestra/James Gaffigan (Tout un monde lointain) Poltéra is here given expert support by the ORF Vienna Radio Symphony Orchestra conducted by Jac van Steen.Support us financially by purchasing this from his tone is lovely, technique lively, and he is able to sell this music like no others I have heard.'. A review in Gramophone likened Poltéra's 'inspirational intensity' in Martin's Concerto with that of the celebrated Du Pré/Barbirolli recording of the Elgar Concerto, while the reviewer of the Honegger disc in Fanfare described Poltéra as 'a resounding smash. While Dutilleux's music is concerned with echoing the abiding strangeness of the poet's ambiguous, erotic symbols and images, Lutoslawski's concerto offers musical drama of a very different kind: here the orchestra is much more adversarial, while the soloist might represent an independent-minded artist, determined to resist social conformity at all costs, and emerging from a titanic conflict at the end, bloody but unbowed.' These important scores, and the two solo pieces, are here performed by the Swiss cellist Christian Poltéra, who on three recent, highly acclaimed BIS releases has presented concertos and chamber works by Frank Martin, Arthur Honegger and Othmar Schoeck. In Dutilleux's case, the hypnotic atmosphere, characteristic intensity and allusive expressiveness of his best compositions owe much to French literature, and it was his fascination with the poetry of Charles Baudelaire that led him to chose the title Tout un monde lointain from a poem which speaks of an utterly remote world of exotic places and sensations.
Quoting from the authoritative liner notes by the musicologist Arnold Whittal 'Lutoslawski and Dutilleux are near-contemporaries whose most characteristic music sounds very different.
#3 strophes sur le nom sacher series
and Witold Lutoslawski's Cello Concerto, in 1970 Rostropovich gave the first performances of both works, and six years later he was instrumental in commissioning a series of short seventieth-birthday tributes to the Swiss conductor and music patron Paul Sacher, to which both composers contributed. As the dedicatee of Henri Dutilleux's Tout un monde lointain. All four works on this disc share Mstislav Rostropovich as a common denominator.
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