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Henri Dutilleux (1916-2013) was not prolific, but the quality of his small body of works is very high. He is a quintessentially French composer, obviously continuing in the vein of Debussy and Ravel with luscious orchestral textures and recurrent nocturnes with gauzy, oblique, fluid, drifting constructions. Dutilleux is a moderate modernist, maintaining continuity with the early 20th century and always maintaining a flowing, lyrical quality, reflecting his mystic vision of nature, even as he moves outside standard tonality.
This WEA/Elatus disc brings together three excellent recordings of orchestral works by Henri Dutilleux (b. 1916), the elder statesman of French music today:
The Shadows of Time (1997 -- 20'48)
This is the superb original recording by the Boston Symphony Orchestra, led by Seiji Ozawa, from March 1998. The piece was commissioned by Ozawa and the BSO, and is dedicated to Ozawa.
Tout un monde lontain (A Whole World Distant) for cello and orchestra (1967-70 -- 26'50)
This recording features Arto Noras with the Finnish Radio Symphony Orchestra, led by Jukka-Pekka Saraste, from August 1991.
Metaboles (1964 -- 15'52)
This is a July 1982 recording by the Orchestre National de France, led by Mstislav Rostropovich.
What these disparate Dutilleux recordings have in common is excellent performance and recording -- they are all crisp and dynamic -- the best or among the best recordings of these pieces. And the programming is well done, with the tour de force for cello preceded and followed by excellent orchestral works.
I have not heard the Chandos recording of "Shadows of Time," but this original one is clearly superior to the later recording by Hans Graf for Arte Nova, much more forceful and energetic. According to the composer,
"Throughout the five linked episodes that make up 'The Shadows of Time', I have remained true to the principle of unity -- the unity of time and place -- that dominates most of my works and that takes the form of allusions to timeless images or distant events whose intensity, in spite of the imprint of time, has never ceased to haunt me. 'The Hours,' 'Evil Ariel,' 'Memory of Shadows,' 'Waves of Light,' and 'Blue Dominant?' are the subtitles of the individual sections of the score, at whose heart -- following the third episode -- is an interlude that includes the fleeting appearance of three children's voices. Headed 'Memory of Shadows', this episode is punctuated by the simple words 'Why us? Why the star?' -- an allusion to the tragedy of Anne Frank. The section of the score is dedicated 'to all the world's children, in all their innocence.'"
These recordings of the cello concerto, orginally written for Slava Rostropovich, and "Metaboles," one of Dutilleux's most radical scores, are both excellent, as good or better than those found on the complete orchestral sets on Chandos or Arte Nova.
This disc is essential for any serious fan of Henri Dutilleux, though, especially for this benchmark recording of "The Shadows of Time," one of his major compositions.
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