Henri Dutilleux

Henri Dutilleux

born on 22/1/1916 in Angers, Pays de la Loire, France

died on 22/5/2013 in Paris, Île-de-France, France

Henri Dutilleux

From Wikipedia, the free encyclopedia.

Henri Dutilleux (French pronunciation: [i dytijø]; 22 January 1916  22 May 2013) was a French composer active mainly in the second half of the 20th century. His work, which garnered international acclaim, followed in the tradition of Maurice Ravel, Claude Debussy, and Albert Roussel, 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) and the string quartet Ainsi la nuit (Thus the night). 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. Dutilleuxs 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]

Dutilleux was awarded several major prizes throughout his career, notably the Grand Prix de Rome (1938), UNESCO'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.


Henri Dutilleux was born on 22 January 1916 in Angers, Maine-et-Loire. He was the great-grandson of the painter Constant Dutilleux and 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 Paris Conservatoire. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri Büsser (composition) and Maurice Emmanuel (history of music).

Dutilleux won the Prix de Rome in 1938 for his cantata L'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 the American composers Derek Bermel and David S. Sampson. Invited by Walter Fink, he was the 16th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2006.

Dutilleux died on 22 May 2013 in Paris.[3]

Influences and style

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.[4]

His attitude towards serialism is more ambiguous. While he always paid attention to the developments of contemporary music and incorporated some serialist techniques into his own compositions,[5] 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".[6] As an independent composer, Dutilleux always refused to be associated with any school.[7] 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.

Dutilleux was greatly enamoured of vocalists, especially the jazz singer Sarah Vaughan and the great French chanson singers.[8]

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;[9] 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.[10] His music also displays a very strong sense of structure and symmetry. This is particularly obvious from an "external" point of view i.e., 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..."[11][12]

Dutilleux's music was often influenced by art and literature, such as the works of Vincent van Gogh,[13] Charles Baudelaire[14] and Marcel Proust.[15] 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.


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.[16]

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 (1st movementa passacaglia) and builds towards a fast climax (2nda scherzo and moto perpetuo), keeps its momentum (3rd"a continuous melodic line that never goes back on itself"), and finally slowly fades out (4tha theme and variations).[17]

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.[18]

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.[19] 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.[20] Métaboles is now one of his most often performed works.[21]

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[22][23] and is considered one of the composer's major achievements.[24]

After the cello concerto, Dutilleux turned to chamber music for the first time in more than 20 years and wrote the string quartet Ainsi 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.[25] It is based on a hexachord (C-G-F-G-C-D) which highlights the intervals of fifth and major second.[26] Each movement emphasizes various special effects (pizzicato, glissandi, harmonics, extreme registers, contrasting dynamics...) resulting in a difficult and elaborate work.[25] 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.[25]

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."[27]

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.[28]

His last major work was a song-cycle entitled Le temps l'horloge,[29] 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.[30] The complete work was unveiled on 7 May 2009 at the Théâtre des Champs-Elysées in Paris.[31][32]

In 2010, Dutilleux added a third movement to his chamber work Les Citations.[33] The expanded version was premiered at the Festival dAuvers-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.[34]

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.[35] Dutilleux talked several times about his projects and expressed the wish to write more chamber music,[36] notably a second string quartet, a piece for clarinet and ensemble, one for solo double bass as well as some additional piano préludes.[17][37][38] He long considered composing an opera but abandoned that project because he could not find a libretto that appealed to him.[17][37]

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).


Dutilleux disowned many of the compositions he wrote before his Piano Sonata (1948). They are listed separately under Early works.


  • Symphony No. 1 (1951)
  • Symphony No. 2 Le double (1959)
  • Métaboles (1964)
  • Timbres, espace, mouvement ou la nuit etoilée (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)


  • 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)


  • 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)


  • Tous les chemins mènent à Rome [All roads lead to Rome] (1947)
  • Bergerie (1947)
  • Sonata for piano (194748):
    • I Allegro con moto
    • II Lent
    • 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 oppposites] (1988)
  • Petit air à dormir debout [Little nonsensical air] (1981)


  • Deux sonnets de Jean Cassou, for baritone and piano or baritone and orchestra (1954)
  • 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)


  • Le loup (1953)


  • Choral, cadence et fugato for trombone and symphonic band (1995 same as the chamber work, orchestrated by Claude Pichaureau)

Early works

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.


  • 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)


  • 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)


  • 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

Stature and tributes

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".[39]

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. Theres some kind of sadness in his music which I find very touching and arresting."[40]

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".[41]

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."[42]

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."[43]

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 seemedin its scalemore German than French."

However, The Daily Telegraphs critic Philip Hensher described Dutilleux as "the Laura Ashley of music; tasteful, unfaultable, but hardly ever daring ... Personally," Hensher admitted, "I cant stick him."[44]

In June 2013 Rob Cowan, a BBC Radio 3 presenter, recalled his interview with Dutilleux, in which he had named his personal favourite of his own work as Tout un monde lointain.[45]

Awards and prizes

  • 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
  • Gold Medal of the Royal Philharmonic Society 2008
  • Kravis Prize 2011


  •  : Commander of the Order of Saint-Charles (13 May 1998)[46]


  1. http://www.allmusic.com/artist/henri-dutilleux-mn0001376876
  2. {{#invoke:citation/CS1|citation |CitationClass=web }}
  3. {{#invoke:citation/CS1|citation |CitationClass=web }}
  4. {{#invoke:citation/CS1|citation |CitationClass=web }}
  5. "'Obsessionnel', the third movement of Métaboles, uses a note row. . . ." (Potter 2001), also quoted at Ensemble Sospeso website; Nichols and Dutilleux 1994, 87.
  6. Nichols and Dutilleux 1994, 87.
  7. "Although he belongs to no particular school, Dutilleux is clearly part of a significant lineage of French composers" (May 2007, archive from 19 July 2011).
  8. (2003) Henri Dutilleux: Musicmystery and Memory : Conversations with Claude Glayman, p. 1101, Ashgate Publishing, Ltd.. URL accessed 26 May 2013.
  9. "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).
  10. Potter 2001, also quoted on Ensemble Sospeso website (5th paragraph). BBC Philharmonic website, "Latest Concerts from the Manchester Student Music Network" Saturday 25 November (undated) (accessed 19 June 2008). Swart ?2007.
  11. Jeffries 2005.
  12. "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 2007).
  13. "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 2001)
  14. "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 2001).
  15. "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 2007).
  16. The Living Composers Project: "Henri Dutilleux" (accessed 19 June 2008), paragraph 2.
  17. 17.0 17.1 17.2 (2003) Henri Dutilleux: Musicmystery and Memory: Conversations with Claude Glayman, p. 3334, Ashgate Publishing, Ltd.. URL accessed 26 May 2013.
  18. Seen and Heard International: Glyn Pursglove, "Concert Review: Dutilleux, Bartok", accessed 26 May 2013
  19. (2003) Henri Dutilleux: Musicmystery and Memory: Conversations with Claude Glayman, Ashgate Publishing, Ltd.. URL accessed 26 May 2013.
  20. 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'uvre connut rapidement la célébrité et fut reprise dans les grandes villes nord-américaines puis en France." Métaboles, accessed 26 May 2013
  21. Wasselin 2007.
  22. "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 (archive from 20 December 2010).
  23. "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 2007).
  24. "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).
  25. 25.0 25.1 25.2 Simon Marin's liner notes (Erato CD 0630-14068-2)
  26. [1] Marie-Delcambe Monpoël, La nuit et le temps dans le Quatuor de Dutilleux page 94 in Henri Dutilleux Entre le cristal et la nuée
  27. http://www.allmusic.com/composition/larbre-des-songes-concerto-for-violin-amp-orchestra-mc0002357686
  28. "Correspondances... Je suis heureux que cette uvre soit beaucoup jouée en ce moment, vingt fois dans le monde!" (Costantino 2006).
  29. May 2007.
  30. Eichler 2007. Boston.com (30 November 2007).
  31. ''ConcertoNet'' 2009. Concertonet.com.
  32. "Le Temps l'horloge de Dutilleux, enfin complet", 9 May 2009, accessed 26 May 2013
  33. Paulino, Romain, Henri Dutilleux fêté au Festival dAuvers-sur-Oise, 27 June 2010. URL accessed on 26 May 2013.
  34. Pascal Gallois. Pascal Gallois.
  35. "This modest outputmodest in quantity, though not in qualityis 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)
  36. "... je voudrais combler les lacunes de mon uvre ; ce que je nai pas fait ou trop peu. Par exemple, jai peu doeuvres de musique de chambre" (Costantino 2006).
  37. 37.0 37.1 "Interview of Henri Dutilleux by Bruno Serrou, December 1995" [2]
  38. "Nor is the cycle meant as a swan songthe composer has expressed interest in returning to the string quartet genre" (May 2007)
  39. {{#invoke:citation/CS1|citation |CitationClass=web }}.
  40. {{#invoke:citation/CS1|citation |CitationClass=web }}
  41. {{#invoke:citation/CS1|citation |CitationClass=web }}
  42. Obituary: Henri Dutilleux composer. gramophone.co.uk (22 January 1916).
  43. Henri Dutilleux obituary | Music. The Guardian (22 January 1916).
  44. {{#invoke:citation/CS1|citation |CitationClass=web }}
  45. {{#invoke:citation/CS1|citation |CitationClass=web }}
  46. Nomination by Sovereign Ordonnance n° 13454 of 13 May 1998 (French)


  • Amblard, Jacques. 2007. "Parcours de l'oeuvre de Henri Dutilleux (1916)". BRAHMS: Base de documentation sur la musique contemporaine. Paris: IrcamCentre 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. ISBN 2-7144-2971-8. English edition, as Henri Dutilleux: MusicMystery and Memory: Conversations with Claude Glayman, translated by Roger Nichols. Aldershot (Hants) and Burlington (VT): Ashgate, 2003. ISBN 0-7546-0899-9.
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  • Potter, Caroline. 2006. "Dutilleux at 90". Musical Times 147, no.1894 (Spring): 5158.
  • Rae, Caroline. 2000. "Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?" Tempo, new series, 212 (April): 2230.
  • Serrou, Bruno. 1995. [3]. Entretien avec Henri Dutilleux. Paris (19 December 1995).
  • Swart, Bernarda. [2007]. "Proust's memory concept in Dutilleux's Sonata for Oboe and Piano (1947)" 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. 2:24358.
  • Wasselin, Christian. 2007. "Portrait: Lhumble fierté dHenri Dutilleux". Scenesmagazine.com (July) (archive from 16 July 2011).

External links

Wikimedia Commons has media related to: Henri Dutilleux

  • Henri Dutilleux at the Internet Movie Database
  • Henri Dutilleux on The Living Composers Project
  • Henri Dutilleux on the Schott Music website
  • (French) A biography of Henri Dutilleux, from IRCAM's website.
  • "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
  • Project "eSACHERe"
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