- Steve Reich Vermont Counterpoint
- Steve Reich Vermont Counterpoint Pdf Merge
- Steve Reich Electric Counterpoint
Piano Phase - Steve Reich. Reich, Steve - Vermont Counterpoint for Flute and Tape. Steve Reich, Philip Glass.pdf. Philip Glass - Etudes No. Subsequently, he attended Mills College in Oakland, California, where he studied with Luciano Berio and Darius Milhaud (1. At Mills, Reich composed Melodica for melodica and tape, which appeared in 1. STEVE REICH, 2011. Eichsteve r (b. 1936) electric counterpoint. (1986) and Vermont Counterpoint (1982). I worked on these arrangements during 2009 and 2010. They are arranged for solo percussion and pre-recorded tape for live performance. Each of these pieces is the first arrangement of their kind in the world. Vermont Counterpoint for amplified flute and tape is a minimalist composition written by the American composer Steve Reich in 1982. It was commissioned and premiered by the flutist Ransom Wilson. Agve eafaegrs argarg arg. Writings on Music - Steve Reich. Writings on Music - Steve Reich. Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire. Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker. And Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted.
Steve Reich Vermont Counterpoint
(Redirected from Dutilleux)
Dutilleux (left) with Régis Campo in 2004
Henri Dutilleux (French: [ɑ̃ʁi dytijø]; 22 January 1916 – 22 May 2013) was a French composer active mainly in the second half of the 20th century. His small body of published work, which garnered international acclaim, followed in the tradition of Maurice Ravel, Claude Debussy, Albert Roussel and Olivier Messiaen, but in an idiosyncratic style.
Some of his notable compositions include a piano sonata, two symphonies, the cello concerto Tout un monde lointain.. (A whole distant world), the violin concerto L'arbre des songes (The tree of dreams), the string quartet Ainsi la nuit (Thus the night) and a sonatine for flute and piano. Some of these are regarded as masterpieces of 20th-century classical music.[1] Works were commissioned from him by such major artists as Charles Munch, George Szell, Mstislav Rostropovich, the Juilliard String Quartet, Isaac Stern, Paul Sacher, Anne-Sophie Mutter, Simon Rattle, Renée Fleming and Seiji Ozawa.
Writing in the New York Times, Paul Griffiths said: 'Mr Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. .. But his voice, marked by sensuously handled harmony and color, was his own.'[2]
Volvo vida 2012a rapidshare files. Dutilleux was awarded several major prizes throughout his career, notably the Grand Prix de Rome (1938), International Music Council's International Rostrum of Composers (1955), the Grand-Croix de la Légion d'honneur (2004), the Ernst von Siemens Music Prize (2005), the Gold Medal of the Royal Philharmonic Society (2008) and the Kravis Prize (2011).
In addition to his activities as a composer, he worked as the Head of Music Production for Radio France for 18 years. He also taught at the École Normale de Musique de Paris, at the Conservatoire National Supérieur de Musique and was twice composer in residence at the Tanglewood music centre in Lenox and Stockbridge, Massachusetts.
- 4Works
- 5Early works
![Reich Reich](/uploads/1/2/6/4/126411736/724274295.png)
Life[edit]
Henri Dutilleux was born on 22 January 1916 in Angers, Maine-et-Loire. He was the great-grandson of the painter Constant Dutilleux and grandson of the composer Julien Koszul. He was also a cousin of the mathematician Jean-Louis Koszul. As a young man he studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Conservatoire de Paris. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint, in which he won joint first prize with the cellist Paul Tortelier),[3]Henri Büsser (composition) and Maurice Emmanuel (history of music). He studied music at the Conservatoire in the same class as Maurice Baquet, Henri Betti, Paul Bonneau and Louiguy.[citation needed]
Dutilleux won the Prix de Rome in 1938 for his cantataL'anneau du roi but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In 1942 he conducted the choir of the Paris Opera.
Dutilleux worked as Head of Music Production for Radio France from 1945 to 1963. He served as Professor of Composition at the École Normale de Musique de Paris from 1961 to 1970. He was appointed to the staff of the Conservatoire National Supérieur de Musique in 1970 and was composer in residence at Tanglewood in 1995 and 1998. His students included the French composers Gérard Grisey and Francis Bayer, the Canadian composers Alain Gagnon and Jacques Hétu, the British composer Kenneth Hesketh, and many others. Invited by Walter Fink, he was the 16th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2006.
For many years, Dutilleux had a studio on Île Saint-Louis, which was the heart of his existence.[4] He died on 22 May 2013 in Paris, aged 97[5] and was buried in Montparnasse Cemetery, in the same grave as Geneviève, his wife who pre-deceased him in 2009.[6] His tombstone is made from grey granite and bears the epitaph 'Compositeur'.[6]
Influences and style[edit]
Dutilleux's music extends the legacies of earlier French composers such as Debussy and Ravel but is also clearly influenced by Béla Bartók and Igor Stravinsky. Among his favourite pieces, he mentioned Beethoven's late string quartets and Debussy's Pelléas et Mélisande.[7]
His attitude toward serialism was more ambiguous. While he always paid attention to the developments of contemporary music and incorporated some serialist techniques into his own compositions,[8] he also criticized the more radical and intolerant aspects of the movement: 'What I reject is the dogma and the authoritarianism which manifested themselves in that period'.[9] As an independent composer, Dutilleux always refused to be associated with any school.[10] Rather, his works merge the traditions of earlier composers and post-World War II innovations and translate them into his own idiosyncratic style. His music also contains distant echoes of jazz as can be heard in the plucked double bass strings at the very beginning of his First Symphony and his frequent use of syncopated rhythms. His frequent use of Robinson mutes in brass section seems to indicate the influence of Big band music.
Steve Reich Vermont Counterpoint Pdf Merge
Dutilleux was greatly enamoured of vocalists, especially the jazz singer Sarah Vaughan and the great French chanson singers.[11]
Some of Dutilleux's trademarks include very refined orchestral textures; complex rhythms; a preference for atonality and modality over tonality; the use of pedal points that serve as atonal pitch centers;[12] and 'reverse variation,' by which a theme is not exposed immediately but rather revealed gradually, appearing in its complete form only after a few partial, tentative expositions.[13] His music also displays a very strong sense of structure and symmetry. This is particularly obvious from an 'external' point of view, in the overall organisation of the different movements or the spatial distribution of the various instruments, but is also apparent in the music itself (themes, harmonies and rhythms mirroring, complementing or opposing each other). According to Stuart Jefferies, 'A passage may be conceived as a symmetrical shape of notes on paper and only later given musical substance. He loves symmetrical musical figures such as palindromes or fan-shaped phrases..'[14][15]
Dutilleux's music was often influenced by art and literature, such as the works of Vincent van Gogh,[16]Charles Baudelaire[17] and Marcel Proust.[18] It also shows a concern for the concepts of time and memory, both in its use of quotations (notably from Béla Bartók, Benjamin Britten and Jehan Alain), and in short interludes that recall material used in earlier movements and/or introduce ideas that will be fully developed later.
A perfectionist with a strong sense of artistic integrity, he allowed only a small number of his works to be published; what he did publish he often repeatedly revised. In his own words:
I always doubt my work. I always have regrets. That's why I revise my work so much and, at the same time, I regret not being more prolific. But the reason I am not more prolific is because I doubt my work and spend a lot of time changing it. It's paradoxical, isn't it?[19]
Compositions[edit]
Dutilleux numbered as Op. 1 his Piano Sonata (1946–1948), written for the pianist Geneviève Joy, whom he had married in 1946. He renounced most of the works he composed before it because he did not believe them to be representative of his mature standards, considering many of them to be too derivative to have merit.[20]
After the Piano Sonata, Dutilleux started working on his First Symphony (1951). It consists of four monothematic movements and has a perfectly symmetrical structure: music slowly emerges from silence (first movement—a passacaglia) and builds towards a fast climax (second—a scherzo and moto perpetuo), keeps its momentum (third—'a continuous melodic line that never goes back on itself'), and finally slowly fades out (fourth—a theme and variations).[21]
In 1953, Dutilleux wrote the music for the ballet Le loup ('The Wolf').
In his Second Symphony, titled Le double (1959), the orchestra is divided into two groups: a small one at the front with instruments taken from the various sections (brass, woodwind, strings and percussion) and a bigger one at the back consisting of the rest of the orchestra. Although this brings to mind the Baroque concerto grosso, the approach is different: in this piece, the smaller ensemble acts as a mirror or ghost of the bigger one, sometimes playing similar or complementary lines, sometimes contrasting ones.[22]
His next work, Métaboles (for orchestra, 1965) explores the idea of metamorphosis, how a series of subtle and gradual changes can radically transform a structure. A different section of the orchestra dominates each of the first four movements before the fifth brings them all together for the finale. As a result, it can be considered as a concerto for orchestra.[23] It quickly achieved celebrity and, following its première by George Szell and the Cleveland Orchestra, was performed in several North American cities, then in France.[24]Métaboles is now one of his most often performed works.[25]
In the 1960s, Dutilleux met Mstislav Rostropovich, who commissioned him to write a cello concerto. Rostropovich premièred the work, titled Tout un monde lointain.. [A whole distant world], in 1970. It is one of the most important additions to the cello repertoire of the second half of the 20th century[26][27] and is considered one of the composer's major achievements.[28]
After the cello concerto, Dutilleux turned to chamber music for the first time in more than 20 years and wrote the string quartetAinsi la nuit (1976). It consists of seven movements, some of which are linked by short 'parentheses'. The function of these parentheses is to recall material that has already been heard and to introduce fragments that will be fully developed later.[29] It is based on a hexachord (C♯-G♯-F-G-C-D) which highlights the intervals of fifth and major second.[30] Each movement emphasizes various special effects (pizzicato, glissandi, harmonics, extreme registers, contrasting dynamics..) resulting in a difficult and elaborate work[29] which has been called 'one of the treasures of the 20th century quartet repertoire'.[31] He also published various works for piano (3 Préludes, Figures de résonances) and 3 strophes sur le nom de Sacher (1976–1982) for solo cello. The latter work was originally composed on the occasion of Paul Sacher's 70th birthday in 1976, on a request by the Russian cellist Mstislav Rostropovich to write compositions for cello solo using his name spelt out in musical notes as the theme eS-A-C-H-E-Re (Es is E-flat in German, H is B-natural in German, and Re is D in French; see Sacher hexachord).
He then returned to orchestral works in 1978 with Timbres, espace, mouvement ou la nuit etoilée, inspired by Vincent van Gogh's The Starry Night. In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement conveyed by the painting. The work employs a string section of only lower-register instruments: cellos and double basses, no violins or violas.[29]
In 1985, Isaac Stern premiered L'arbre des songes [The Tree of Dreams], a violin concerto that he had commissioned Dutilleux to write. Like its cello counterpart, it is an important addition to the instrument's 20th century repertoire. According to the composer, it is based on a process of continual growth and renewal (hence the title): 'All in all the piece grows somewhat like a tree, for the constant multiplication and renewal of its branches is the lyrical essence of the tree. This symbolic image, as well as the notion of a seasonal cycle, inspired my choice of 'L'arbre des songes' as the title of the piece.'[32]
Dutilleux later wrote Mystère de l'instant (for cymbalum, string orchestra and percussion, 1989), Les Citations (for oboe, harpsichord, double bass and percussion, 1991), The Shadows of Time (for orchestra and children voices, 1997), Slava's Fanfare (for Rostropovich's 70th birthday, 1997) and Sur le même accord (for violin and orchestra, 2002 – dedicated to Anne-Sophie Mutter).
In 2003, he completed Correspondances, a song-cycle for soprano and orchestra inspired by poems and letters by Prithwindra Mukherjee, Rainer Maria Rilke, Aleksandr Solzhenitsyn and Vincent van Gogh. This work has received a very enthusiastic reception and has been programmed several times since its première.[33]
His last major work was a song-cycle entitled Le temps l'horloge,[10] written for American soprano Renée Fleming. It consists of four pieces and an instrumental interlude on two poems by Jean Tardieu, one by Robert Desnos and one by Charles Baudelaire. The first three songs were premièred at the Saito Kinen Festival Matsumoto, Japan in September 2007. The American première of this partial version took place in November 2007 with the Boston Symphony Orchestra.[34] The complete work was unveiled on 7 May 2009 at the Théâtre des Champs-Elysées in Paris.[35][36]
In 2010, Dutilleux added a third movement to his chamber work Les Citations.[37] The expanded version was premiered at the Festival d’Auvers-sur-Oise.
In 2011, Pascal Gallois transcribed with Dutilleux's approval three of his early vocal works for bassoon and piano: Regards sur l'Infini (from the early cycle for voice and piano Quatre mélodies) and Deux sonnets de Jean Cassou (originally for baritone and piano). He played them in a concert at the Hôtel de Lauzun in presence of the composer.[38] Naruto shippuden dragon blade chronicles wii pal game.
While Dutilleux allowed only a small number of his works to be published, he actually wrote a lot of music but kept only a small fraction of it.[39] Dutilleux talked several times about his projects and expressed the wish to write more chamber music,[40] notably a second string quartet, a piece for clarinet and ensemble, one for solo double bass as well as some additional piano préludes.[21][41][42][43] He long considered composing an opera but abandoned that project because he could not find a libretto that appealed to him.[21][41]
Those who commissioned works from Dutilleux included Charles Munch (Symphony No. 2, Le double), George Szell (Métaboles), Mstislav Rostropovich (Tout un monde lointain and Timbres, espace, mouvement), Isaac Stern (L'arbre des songes), Anne-Sophie Mutter (Sur le même accord) and Seiji Ozawa (The Shadows of Time and Le temps l'horloge).
Works[edit]
Dutilleux disowned many of the compositions he wrote before his Piano Sonata (1948). They are listed separately under Early works.
Orchestral[edit]
- Symphony No. 1 (1951)
- Sérénades (1956; his contribution to Variations sur le nom de Marguerite Long)
- Symphony No. 2 Le double (1959)
- Métaboles (1964)
- Timbres, espace, mouvement (1978)
- Mystère de l'instant (1989)
- The Shadows of Time, for three children's voices and orchestra (1997)
- Slava's Fanfare for spatial ensemble (1997)
Concertante[edit]
- Cello Concerto – Tout un monde lointain.. [A whole distant world] (1970)
- Violin Concerto – L'arbre des songes [The Tree of Dreams] (1985)
- Nocturne for violin and orchestra Sur le même accord [On just one chord] (2002)
Chamber/instrumental[edit]
- String Quartet – Ainsi la nuit [Thus the night] (1976)
- Trois strophes sur le nom de Sacher [Three stanzas on the name Sacher] for solo cello (1976–1982)
- Les citations for oboe, harpsichord, double bass and percussion (1985/1991/2010)
- Regards sur l'Infini and Deux sonnets de Jean Cassou for bassoon and piano (1943/2011 and 1954/2011 – transcription of the vocal works)
Piano[edit]
- Tous les chemins mènent à Rome [All roads lead to Rome] (1947)
- Bergerie (1947)
- Piano Sonata (1947–48):
- I Allegro con moto
- II Lied
- III Choral et variations
- Blackbird (1950)
- Résonances (1965)
- Figures de résonances (1970) for two pianos
- Trois Préludes (1973–1988):
- D'ombre et de silence [In shadow and silence] (1973)
- Sur un même accord [On one chord] (1977)
- Le jeu des contraires [The game of opposites] (1988)
- Petit air à dormir debout [Little nonsensical air] (1981)
Vocal[edit]
- Chansons de bord, for three children's voices (1952)
- Deux sonnets de Jean Cassou, for baritone and piano or baritone and orchestra (1954)
- Éloignez-vous for baritone and orchestra (1956)
- San Francisco Night, for voice and piano (1963)
- Hommage à Nadia Boulanger, for soprano, 3 violas, clarinet, percussion and zither (1967)
- Correspondances, for soprano and orchestra (2003)
- Le temps l'horloge, for soprano and orchestra (2007–2009)
Ballet[edit]
- Le loup (1953)
Film scores[edit]
- La Fille du diable) [fr], by Henri Decoin (1946)
- Six Hours to Lose, by Alex Joffé and Jean Lévitte (1947)
- Le Café du Cadran [fr], by Jean Gehret (1947)
- Le Crime des justes [fr], by Jean Gehret (1950)
- L'Amour d'une femme [fr], by Jean Grémillon (1953)
- Under the Sun of Satan, by Maurice Pialat (1987)
Arrangements[edit]
- Choral, cadence et fugato for trombone and symphonic band (1995 – same as the chamber work, orchestrated by Claude Pichaureau)
- Au gré des ondes, 6 petites pièces pour orchestre (2014 - orchestrated by Kenneth Hesketh, published by Leduc)
- San Francisco Night, for voice and orchestra (2014 - orchestrated by Kenneth Hesketh, published by Leduc)
- Blackbird (1950) scored for Les Citations (instrumentation: oboe, harpsichord, percussion, double bass) by Kenneth Hesketh (2014, published by Billaudot)
- Mini-prélude en éventail (1987) scored for Les Citations (instrumentation: oboe, harpsichord, percussion, double bass) by Kenneth Hesketh (2016, unpublished)
Early works[edit]
Dutilleux disowned most of these pieces, written before his Piano Sonata of 1948. Some of them are nonetheless played and recorded regularly, in particular the Sonatine for Flute and Piano.
Chamber/instrumental[edit]
- Four Exam Pieces for the Paris Conservatoire (1942–1950)
- Sarabande et cortège for bassoon and piano (1942)
- Sonatine for Flute and Piano (1943)
- Oboe Sonata (1947)
- Choral, cadence et fugato for trombone and piano (1950)
Vocal[edit]
- Barque d'or [The Golden Boat] for soprano and piano (1937)
- Cantata L'anneau du roi [The King's Ring] (1938)
- Quatre mélodies [Four Melodies] for voice and piano (1943)
- La geôle [The Prison] for voice and orchestra (1944)
Piano[edit]
- Au gré des ondes, 6 petites pièces pour piano (1946) [Along the waves]:
- I Prélude en berceuse
- II Claquettes
- III Improvisation
- IV Mouvement perpétuel
- V Hommage à Bach
- VI Étude
Steve Reich Electric Counterpoint
Stature and tributes[edit]
Following Dutilleux's death, the composer and conductor Laurent Petitgirard paid tribute to him as 'one of the very rare contemporary composers' whose music became part of the repertoire in his lifetime, predicting that '[h]is work will remain intensely present after his death'.[44]
Several major musicians and conductors championed Dutilleux's works notably Charles Munch, George Szell, Mstislav Rostropovich, the Juilliard String Quartet, Isaac Stern, Paul Sacher, Anne-Sophie Mutter, Simon Rattle, Renee Fleming and Seiji Ozawa.
The conductor and composer Esa-Pekka Salonen said of his music: 'His production is rather small but every note has been weighed with golden scales.. It's just perfect – very haunting, very beautiful. There’s some kind of sadness in his music which I find very touching and arresting.'[45]
The critic Tom Service, writing for the BBC, said: 'Dutilleux's exquisite catalogue of pieces is becoming, rightly, ever more popular with performers and listeners all over the world'.[46]
An obituary in Gramophone commented that 'Dutilleux represented a generation of musicians with roots almost back into the 19th century; certainly his music can be seen in a direct line from that of his great predecessors Debussy and Ravel.'[47]
Roger Nichols, in an obituary in The Guardian, described him as 'the outstanding French composer between Messiaen and Boulez', adding that he 'achieved a wholly individual synthesis of ear-catching colours and harmonies with formal rigour.'[48]
The Daily Telegraph said: 'Because Dutilleux was a perfectionist and self-critical to a fault, his output was small. He wrote barely a dozen major works in his career, destroyed much of his early music and often revised what he had written. His early work was clearly derivative of Ravel, Debussy and Roussel; but his later music, though influenced by Bartok and Stravinsky, was entirely original and often seemed—in its scale—more German than French.'
However, The Daily Telegraph’s critic Philip Hensher described Dutilleux as 'the Laura Ashley of music; tasteful, unfaultable, but hardly ever daring .. Personally,' Hensher admitted, 'I can’t stick him.'[49]
Solutions grade 6 ebook readers. Download excel file using ajax. Rob Cowan, the BBC Radio 3 presenter and critic, recalled in June 2013 an interview with Dutilleux in which the composer had told Cowan that his personal favourite among his own works was Tout un monde lointain.[50]
Awards and prizes[edit]
- Grand Prix de Rome (for his cantata L'Anneau du Roi) – 1938
- UNESCO's International Rostrum of Composers (for Symphony No. 1) – 1955
- Grand Prix National de Musique (for his entire oeuvre) – 1967
- Praemium Imperiale (Japan – for his entire oeuvre) – 1994
- Prix MIDEM Classique de Cannes (for The Shadows of Time) – 1999
- Grand-Croix de la Légion d'honneur – 2004
- Ernst von Siemens Music Prize (for his entire oeuvre) – 2005
- Prix MIDEM Classique de Cannes (for his entire oeuvre) – 2007
- Cardiff University Honorary Fellowship (for his entire oeuvre) – 2008[51]
- Gold Medal of the Royal Philharmonic Society – 2008
- Kravis Prize – 2011
Honours[edit]
- Monaco : Commander of the Order of Saint-Charles (13 May 1998)[52]
- France : Grand'Croix of the Légion d'honneur (31 Dec 2003)[53]
Notes[edit]
- ^'Henri Dutilleux | Biography, Albums, & Streaming Radio'. AllMusic. Retrieved 16 November 2015.
- ^Paul Griffiths (23 May 2013). 'Henri Dutilleux, Modernist Composer, Dies at 97'. The New York Times. Retrieved 24 May 2013.
- ^Blum, David; Tortelier, Paul (1984). Paul Tortelier: a self-portrait, in conversation with David Blum (1 ed.). London: Heinemann. p. 53. ISBN0-434-78860-0.
- ^Roger Nichols (21 January 2013). 'Henri Dutilleux obituary | Music'. The Guardian. Retrieved 16 November 2015.
- ^Pierre Gervasoni (22 May 2013). 'Le compositeur français Henri Dutilleux est mort'. Le Monde. Retrieved 22 May 2013.
- ^ abSarka-SPIP, Collectif. 'DUTILLEUX Henri (1916-2013) - Cimetières de France et d'ailleurs'. www.landrucimetieres.fr. Retrieved 11 June 2017.
- ^'Mezzo Voce interview'. Youtube.com. 2010. Retrieved 16 November 2015.
- ^'Obsessionnel', the third movement of Métaboles, uses a note row. . . .' (Potter 2001); Nichols and Dutilleux 1994, 87.
- ^Nichols and Dutilleux 1994, 87.
- ^ ab[1]Archived 9 June 2011 at the Wayback Machine
- ^Henri Dutilleux; Claude Glayman (2003). Henri Dutilleux: Music—mystery and Memory : Conversations with Claude Glayman. Ashgate Publishing, Ltd. pp. 110–1. ISBN978-0-7546-0899-8. Retrieved 26 May 2013.
- ^'This use of pivot chords (or pivot notes) is a constant of Dutilleux's mature style, and provides a point of reference for the listener within an essentially atonal context' (Potter 2007, 53).
- ^Potter 2001, also quoted on Ensemble Sospeso websiteArchived 25 May 2006 at the Wayback Machine (5th paragraph). BBC Philharmonic website, 'Latest Concerts from the Manchester Student Music Network' Saturday 25 November (undated) (accessed 19 June 2008). Swart ?2007[dead link].
- ^Jeffries 2005.
- ^'Dutilleux pousse plus avant encore que Bartók les symétries de tout type, rétrogrades (par exemple au début du quatuor Ainsi la nuit, 1974–1976) ou en miroir' (Amblard 2007Archived 24 October 2007 at the Wayback Machine).
- ^'A great lover of painting, Dutilleux claimed to have van Gogh's La nuit etoilee always in mind when writing Timbres, espace, mouvement, and later added the title of the painting as a subtitle to his work' (Potter 2001Archived 25 May 2006 at the Wayback Machine)
- ^'Baudelaire's poetry inspired the cello concerto Tout un monde lointain..; all five movements feature a Baudelaire epigraph at the head of the score' (Potter 2001Archived 25 May 2006 at the Wayback Machine).
- ^'It is especially the ideas of time and memory, more specifically involuntary memory that the internationally acclaimed French composer Henri Dutilleux finds attractive. Dutilleux often refers to Proust's influence on his music. Furthermore, they both believe in direct experience and communication as the essential function of the work of art' (Swart and Spies 2007Archived 26 August 2009 at the Wayback Machine).
- ^'Work of the week - Henri Dutilleux: Le temps l'horloge'. Schott-music.com. Archived from the original on 19 December 2014. Retrieved 16 November 2015.
- ^The Living Composers Project: 'Henri Dutilleux' (accessed 19 June 2008), paragraph 2.
- ^ abcHenri Dutilleux; Claude Glayman (2003). Henri Dutilleux: Music—mystery and Memory: Conversations with Claude Glayman. Ashgate Publishing, Ltd. pp. 33–34. ISBN978-0-7546-0899-8. Retrieved 26 May 2013.
- ^Seen and Heard International: Glyn Pursglove, 'Concert Review: Dutilleux, Bartok', accessed 26 May 2013
- ^Henri Dutilleux; Claude Glayman (2003). Henri Dutilleux: Music—mystery and Memory: Conversations with Claude Glayman. Ashgate Publishing, Ltd. p. 58. ISBN978-0-7546-0899-8. Retrieved 26 May 2013.
- ^CIRM – Centre National de Création Musicale, 2006 'Les Métaboles furent commandées en 1959 par le chef George Szell à Henri Dutilleux à l'occasion du quarantième anniversaire de l'Orchestre de Cleveland, qui en assura la création le 14 janvier 1965 sous la direction du commanditaire. L'œuvre connut rapidement la célébrité et fut reprise dans les grandes villes nord-américaines puis en France.' Métaboles, accessed 26 May 2013
- ^'Wasselin 2007'. Archived from the original on 16 July 2011. Retrieved 27 August 2008.CS1 maint: BOT: original-url status unknown (link)
- ^'The great Russian cellist Mstislav Rostropovich commissioned Dutilleux to write Tout un monde lointain, now an important work in the cello repertoire.' 'London Symphony Orchestra – 2009'. Archived from the original on 20 December 2010. Retrieved 1 July 2013.
- ^'Tout un monde lointain.. un des plus beaux concertos pour violoncelle de la seconde moitié du XXe siècle qui.. s'est trouvé hissé au premier rang, celui des concertos de Chostakovitch, Penderecki, Britten..' (Peters 2007Archived 3 December 2013 at the Wayback Machine).
- ^'In the meantime other cellists had Dutilleux's concerto in their repertoire and several other recordings are now available. Tout un monde lointain.. is a splendid work and probably one of the composer's finest achievements'(Culot 2008).
- ^ abcSimon Marin's liner notes (Erato CD 0630-14068-2)
- ^'Henri Dutilleux : Entree de cristal.'(PDF). Symetrie.com. Retrieved 25 November 2017.
- ^'50ish Essential String Quartets for Fun and Profit'. Rate Your Music. Archived from the original on 24 November 2014. Retrieved 16 November 2015.
- ^Robert Adelson (5 November 1985). 'L'arbre des songes, concerto for… | Details'. AllMusic. Retrieved 16 November 2015.
- ^'Correspondances.. Je suis heureux que cette œuvre soit beaucoup jouée en ce moment, vingt fois dans le monde!' (Costantino 2006Archived 25 November 2008 at the Wayback Machine).
- ^Eichler 2007. Boston.com (30 November 2007).
- ^'The Classical Music Network'. ConcertoNet.com. Retrieved 16 November 2015.
- ^'' Le Temps l'horloge ' de Dutilleux, enfin complet'. LeMonde.fr. Retrieved 16 November 2015.
- ^Paulino, Romain (27 June 2010). 'Henri Dutilleux fêté au Festival d'Auvers-sur-Oise'. ResMusica. Retrieved 26 May 2013.
- ^'Pascal Gallois'. Pascal Gallois. Archived from the original on 17 November 2015. Retrieved 16 November 2015.
- ^'This modest output—modest in quantity, though not in quality—is nonetheless deceptive. His biographer Caroline Potter reports, 'Dutilleux has said that, contrary to what may be assumed by glancing at his catalogue, he actually writes a great deal, but uses only a small percentage of the material.'' (The Marie-Josée Kravis Prize for New Music at the New York Philharmonic 2011)
- ^'.. je voudrais combler les lacunes de mon œuvre ; ce que je n’ai pas fait ou trop peu. Par exemple, j’ai peu d’oeuvres de musique de chambre' (Costantino 2006Archived 25 November 2008 at the Wayback Machine).
- ^ abBruno Serrou. 'Classique d'aujourd'hui, blog d'actualité de la musique classique et contemporaine: Le grand compositeur français Henri Dutilleux est mort'. Brunoserrou.blogspot.be. Retrieved 16 November 2015.
- ^'Nor is the cycle meant as a swan song—the composer has expressed interest in returning to the string quartet genre' ('May 2007'(PDF). Archived from the original(PDF) on 19 July 2011. Retrieved 14 April 2009.)
- ^'La Chronique d'Altamusica'. Altamusica.com. 23 May 2013. Retrieved 16 November 2015.
- ^'Famed French composer Dutilleux dies aged 97'. google.com. 2013. Retrieved 22 May 2013.
- ^Brian Wise (22 May 2013). 'Henri Dutilleux, Leading French composer, Dies at Age 97'. wqxr.org. Retrieved 23 May 2013.
- ^Tom Service (22 May 2013). 'Henri Dutilleux, French composer, dies aged 97'. bbc.co.uk. Retrieved 22 May 2013.
- ^Obituary: Henri Dutilleux – composer. gramophone.co.uk (22 January 1916).
- ^Henri Dutilleux obituary | Music. The Guardian (22 January 1916).
- ^'Henri Dutilleux'. The Daily Telegraph. 22 May 2013. Retrieved 23 May 2013.
- ^'A novelist, a botanist, a TV writer, a missionary and a composer'. bbc.co.uk. 9 June 2013. Retrieved 9 June 2013.
- ^'Dutilleux centenary on BBC Radio 3'. Retrieved 11 June 2017.
- ^Nomination by Sovereign Ordonnance n° 13454 of 13 May 1998 (French)
- ^'Archived copy'. Archived from the original on 6 August 2016. Retrieved 8 June 2016.CS1 maint: Archived copy as title (link)
References[edit]
- Amblard, Jacques. 2007. 'Parcours de l'oeuvre de Henri Dutilleux (1916)'. BRAHMS: Base de documentation sur la musique contemporaine. Paris: Ircam—Centre Pompidou (2 October).
- Costantino, Cédric. 2006. 'Applaudir: Entretien avec Henri Dutilleux'. Classiquenews.com (11 May). (Accessed 19 June 2008)
- Culot, Hubert. 2008. 'CD Review Dutilleux – Caplet Works for cello' MusicWeb International (September).
- Dutilleux, Henri, and Claude Glayman. 1993. Henri Dutilleux, Mystère et Mémoire des Sons: Entretiens avec Claude Glayman. Paris: Belfond. ISBN2-7144-2971-8. English edition, as Henri Dutilleux: Music—Mystery and Memory: Conversations with Claude Glayman, translated by Roger Nichols. Aldershot (Hants) and Burlington (VT): Ashgate, 2003. ISBN0-7546-0899-9.
- Eichler, Jeremy. 2007. 'Henri Dutilleux's Search for Lost Time (and the Clock)'. The Boston Globe (30 November).
- Jeffries, Stuart. 2005. 'Contentious, moi?' The Guardian (28 April 2005).
- May, Thomas. 2007. 'Henri Dutilleux: 'Le Temps l’Horloge,' for Soprano and Orchestra' at the Wayback Machine (archived 19 July 2011) [program notes]. Boston: Boston Symphony Orchestra (29 November) (archive from 19 July 2011).
- Nichols, Roger, and Henri Dutilleux. 1994. 'Progressive Growth: Roger Nichols Talks to Henri Dutilleux about His Life and Music'. The Musical Times 135, no. 1812 (February): 87–90.
- Peters, Jean-François. 2007. 'Henri Dutilleux, Tout un monde lointain.. , concerto pour violoncelle en présence du compositeur'. Classiquenews.com (10 January 2007).
- Potter, Caroline. 2001. 'Dutilleux, Henri'. The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell, 7:770–77. London: Macmillan.
- Potter, Caroline. 1997. Henri Dutilleux: His Life and Works. Aldershot (UK) and Brookfield (Vermont, USA): Ashgate Publishing Company. ISBN1-85928-330-6.
- Potter, Caroline. 2006. 'Dutilleux at 90'. Musical Times 147, no.1894 (Spring): 51–58.
- Rae, Caroline. 2000. 'Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?' Tempo, new series, 212 (April): 22–30.
- Serrou, Bruno. 1995. [2]. Entretien avec Henri Dutilleux. Paris (19 December 1995).
- Swart, Bernarda. [2007]. 'Proust's memory concept in Dutilleux's Sonata for Oboe and Piano (1947)[permanent dead link]' Brigham Young University Hawaii: Fine Arts website (accessed 19 June 2008).
- Swart, Bernarda, and Bertha Spies. 2007. 'Om te onthou: Marcel Proust en Henri Dutilleux'. Tydskrif vir Geesteswetenskappe 47, no. 2:243–58.
- Wasselin, Christian. 2007. 'Portrait: L’humble fierté d’Henri Dutilleux' at the Wayback Machine (archived 16 July 2011). Scenesmagazine.com (July) (archive from 16 July 2011).
External links[edit]
Wikimedia Commons has media related to Henri Dutilleux. |
- Henri Dutilleux on IMDb
- Henri Dutilleux on The Living Composers Project
- Henri Dutilleux's page on the Schott Music website
- Dutilleux Centenary Website of the 'Dutilleux Centenary', 2016
- 'Henri Dutilleux biography' (in French). IRCAM.
- 'Barque d'or'—an early Dutilleux song rediscovered Janet Obi-Keller, 2005
- Dutilleux at 90 Caroline Potter in Musical Times, 2006
- Henri Dutilleux classicalsource, articles on Dutilleux and CD and concert reviews
- Dutilleux awarded prestigious RPS Gold Medal Schott news, 2008
- Sidelined, But Not Forgotten LISTEN Magazine Spring 2010
- Excerpts from sound archives of Dutilleux's works.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Henri_Dutilleux&oldid=905185626'
(Redirected from Steve Reich/Piano Phase)
Piano Phase is a minimalist composition by American composer Steve Reich, written in 1967 for two pianos (or piano and tape). It is one of his first attempts at applying his 'phasing' technique, which he had previously used in the tape pieces It's Gonna Rain (1965) and Come Out (1966), to live performance.
Reich further developed this technique in pieces like Violin Phase (also 1967), Phase Patterns (1970), and Drumming (1971).
- 2Composition
History[edit]
Piano Phase represents Steve Reich's first attempt to apply his 'phasing' technique. Reich had earlier used tape loops in It's Gonna Rain (1965) and Come Out (1966), but wanted to apply the technique to live performance.[1] Reich carried out a hybrid test with Reed Phase (1966), combining an instrument (a soprano saxophone) and a magnetic tape.
Not having two pianos at his disposal, Reich experimented by first recording a piano part on tape, and then trying to play mostly in sync with the recording, albeit with slight shifts, or phases, with occasional re-alignments of the twelve successive notes against each other. Reich found the experience satisfying,[2] showing that a musician can phase with concentration.
With the premiere of Reed Phase at Fairleigh Dickinson University in early 1967, Reich and a musician friend, Arthur Murphy, had the opportunity to attempt Piano Phase with two pianos in live concert. Reich discovered that it was possible to dispense with tape and phase without mechanical assistance. Reich experimented phasing with several versions, including a version for four electric pianos titled Four Pianos dating from March 1967, before settling on a final version of the piece written for two pianos.[2] The creation of the version for four pianos was conducted March 17, 1967 at the Park Place Gallery, with Art Murphy, James Tenney, Philip Corner, and Reich himself.[3]
Composition[edit]
Reich's phasing works generally have two identical lines of music, which begin by playing synchronously, but slowly become out of phase with one another when one of them slightly speeds up. In Piano Phase, Reich subdivides the work (in 32 measures) into three sections, with each section taking the same basic pattern, played rapidly by both pianists. The music is made up, therefore, of the results of applying the phasing process to the initial twelve-note melody—as such, it is a piece of process music. The composition typically lasts around 15 minutes.
First section[edit]
First motive: 12 semiquavers grouped 4x3
The section begins by both pianists playing a rapid twelve-note melodic figure over and over again in unison (E4 F♯4 B4 C♯5 D5 F♯4 E4 C♯5 B4 F♯4 D5 C♯5). The pattern consists only of 5 distinct pitch classes.
After a while, one pianist begins to play slightly faster than the other. When this pianist is playing the second note of the figure at the same time the other pianist is playing the first note, the two pianists play at the same tempo again. The process is repeated until the process has gone full circle, and the two pianists are playing in perfect unison.
Second section[edit]
Second motive: 8 semiquavers grouped 2x4
The second pianist then fades out, leaving the first playing the original twelve-note melody. The first pianist adjusts the bottom part to a four-note motif, which changes the pattern to an 8-note repeating pattern. The second pianist re-enters, but with a distinct 8-note pattern. The phasing process begins again; after the full eight cycles, the first pianist fades out, leaving one eight-note melody playing. The section ends at measure 26.
Third section[edit]
Third motive: 4 semiquavers grouped 2x2
The last section introduces the simplest pattern, now in 4/8 meter, built from final four notes of the melody from the previous section,[4] and having only four distinct pitch classes. The other pianist re-enters, the phasing process restarts, and ends when both pianists return to unison. The phase cycle is repeated ad libitum from eight to sixty times according to the score.
Analysis[edit]
Piano Phase is an example of 'music as a gradual process,' as Reich stated in his essay from 1968.[5] In it, Reich described his interest in using processes to generate music, particularly noting how the process is perceived by the listener. (Processes are deterministic: a description of the process can describe an entire whole composition.[5] In other words, once the basic pattern and the phase process have been defined, the music consists itself.)
Reich called the unexpected ways change occurred via the process 'by-products', formed by the superimposition of patterns. The superimpositions form sub-melodies, often spontaneously due to echo, resonance, dynamics, and tempo, and the general perception of the listener.[6]
According to musicologist Keith Potter, Piano Phase led to several breakthroughs that would mark Reich's future compositions. The first is the discovery of using simple but flexible harmonic material, which produces remarkable musical results when phasing occurs.[4] The use of 12-note or 12-division patterns in Piano Phase proved to be successful, and Reich would re-use it in Clapping Music and Music for 18 Musicians. Another novelty is the appearance of rhythmic ambiguity during phasing of a basic pattern. The rhythmic perception during phasing can vary considerably, from being very simple (in-phase), to complex and intricate.[6]
The first section of Piano Phase has been the section studied most by musicologists. A property of the first section of phase cycle is that it is symmetric, which results in identical patterns half-way through the phase cycle.[6]
Performance[edit]
Peter Aidu plays Piano Phase on two pianos
![Steve reich vermont counterpoint pdf merger Steve reich vermont counterpoint pdf merger](/uploads/1/2/6/4/126411736/679718755.jpg)
The piece is played by two pianists without breaks at any stage. A typical performance may last around fifteen to twenty minutes. Reich later adapted the piece for two marimbas, typically played an octave lower than the original.
In 2004, a college student named Rob Kovacs gave the first solo performance of the piece at the Baldwin Wallace Conservatory of Music. Kovacs played both piano parts at the same time on two different pianos. Reich was in the audience for this world premiere performance.[7][8] Others, including Peter Aidu, Leszek Możdżer,[9] and Rachel Flowers[10] have also given solo performances of this piece.In 2016, a concert given by Mahan Esfahani was disrupted by the audience, which started clapping and shouting during the first minutes of the performance.[11]
References[edit]
- ^'Maximum Reich: Introductions'. WQXR.
- ^ abPotter (2000), p.182
- ^Potter (2000), p.195
- ^ abPotter (2000), p.181-188.
- ^ abSteve Reich, 'Music as a Gradual Process', in Writings on Music 1965–2000, Oxford and New York: Oxford University Press, 2002, pp. 34–36.
- ^ abcPaul Epstein, Pattern Structure and Process in Steve Reich's Piano Phase, Oxford University Press, The Musical Quarterly 1986 LXXII(4):494-502.
- ^https://www.youtube.com/watch?v=AnQdP03iYIo Video recording of the performance
- ^https://web.archive.org/web/20110719154841/http://moe.bw.edu/~sgreen/expon/archives/20040331/CL33104.pdf An article from Baldwin-Wallace's newspaper, The Exponent, documenting the performance (page 7)
- ^.Handzlik T. (2011). Finał Sacrum Profanum: Muzyczne i laserowe fajerwerki. Gazeta Wyborcza. <accessed 2011-12-02> - review of the final concert of the Sacrum Profanum Festival, Cracow, 11-17/09/2011, including Steve Reich in audience and on stage. In Polish.
- ^https://www.youtube.com/watch?v=jG0eKE1LVgE
- ^'Cologne ′stunned′ by audience catcalls at Iranian harpsichordist′s concert - News - DW.COM - 01.03.2016'. DW.COM.
External links[edit]
- Solo performance by Peter Aidu, October 2006
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Piano_Phase&oldid=909393441'