![]() 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) Written on the occasion of Paul Sacher’s birthday this 3 Strophes Sur Le Nom De Sacher features three Cello pieces composed by Henri Dutilleux and reviewed by Mstislav Rostropovitch.Support us financially by purchasing this from It was first performed in an audition by the latter in 1982. Henri Dutilleux composed the first part of this volume for the celebration and added the final two pieces later in 1976. The whole set requires the lowest strings of the Cello to be turned lower: G string to F sharp and C string to B flat. For upper-advanced / experienced players.Ī quotation from Bartok’s piece 'Music for Strings Percussion and Celesta' can be noticed atthe end of the first verse. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers among many others. ![]() His work also includes 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).In 1983 I was in London and heard that Rostropovich was going to give the UK premiere of Tout un monde lointain. As I knew the piece from the LP recording but had not heard it in concert yet, I decided to go to the dress rehearsal and the concert. After the rehearsal, at the traffic lights outside the Royal Festival Hall, I realised I was standing next to the composer. Shaking with embarrassment, I acted on my instinct and told him how much I loved his piece and that I was also a young cellist. Dutilleux seemed happy that someone spoke to him and treated me as if I was a musician he had known for years, he was quite excited to tell that he had just finished the last two movements of the 3 Strophes sur le nom de SACHER and that he would be happy if I played them. Two years later I had played Tout un monde lointain myself in Helsinki and wanted to leave the recording of the concert discreetly at his mailbox and run away quickly - I had been much too shy to ask him to work with me before that concert. To my shock, at the very moment I was about to drop the cassette in the mailbox he opened the door on his way to the post office. I managed to blurt out some words to the effect that I would love to hear his opinion about the performance. He immediately asked me in and we listened to the recording together. Again, he related to me with all the respect that a person three times my age would have expected, not I. The only criticism he expressed was for the second movement, where the conductor had preferred a slower tempo than what the score indicated. (In the following thirty years of knowing M. Dutilleux I heard countless times his displeasure of people playing his slow movements too slowly.) As I was about to play the piece soon again he invited me to come and play it through with him on the piano in his tiny studio. It was one of those unforgettable moments of which I can recall just one detail, M. Dutilleux stopping every few measures to apologise for playing so badly himself. I have many wonderful memories of traveling together with M.
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