Henri Dutilleux: D'ombre et de silence

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Album Name Length Format Sample Rate Price
Henri Dutilleux: D'ombre et de silence 1:16:15 $11.98
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# Track Title Length Format Sample Rate Price
1 Petit air a dormir debout 1:44 $1.49 Buy
2 Sonate (1946-48): I. Allegro con moto 7:42 44.1/16 Album only
3 Sonate (1946-48): II. Lied 6:10 $1.49 Buy
4 Sonate (1946-48): III. Choral et variations 10:46 44.1/16 Album only
5 Au gre des ondes (1946): I. Prelude en berceuse 3:38 $1.49 Buy
6 Au gre des ondes (1946): III. Improvisation 1:38 $1.49 Buy
7 Blackbird (1950) 1:37 $1.49 Buy
8 Tous les chemins . menent a Rome (1961) 1:39 $1.49 Buy
9 Resonances (1965) 2:16 $1.49 Buy
10 Figures de resonances (1970/76) : I 1:44 $1.49 Buy
11 Figures de resonances (1970/76) : II 1:48 $1.49 Buy
12 Figures de resonances (1970/76) : III 2:35 $1.49 Buy
13 Figures de resonances (1970/76) : IV 2:34 $1.49 Buy
14 Mini-prelude en eventail (1987) 0:48 $1.49 Buy
15 Preludes: I. D'ombre et de silence (1973) 3:44 $1.49 Buy
16 Preludes: II. Sur un meme accord (1977) 3:39 $1.49 Buy
17 Preludes: III. Le jeu des contraires (1988) 7:45 44.1/16 Album only
18 Bergerie (1946) 1:15 $1.49 Buy
19 Au gre des ondes (1946): I. Prelude en berceuse 3:38 $1.49 Buy
20 Au gre des ondes (1946): II. Claquettes 1:11 $1.49 Buy
21 Au gre des ondes (1946): III. Improvisation 1:35 $1.49 Buy
22 Au gre des ondes (1946): IV. Mouvement perpetuel 1:56 $1.49 Buy
23 Au gre des ondes (1946): V. Hommage a Bach 3:26 $1.49 Buy
24 Au gre des ondes (1946): VI. Etude 1:27 $1.49 Buy

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The first ECM release dedicated exclusively to music by the doyen among French contemporary composers (born 1916). “De l’ombre et de silence” offers a comprehensive overview of Dutilleux’s highly original and energetic work for one and two pianos (“Figures de Resonances”). American pianist Robert Levin, not least known as a long-standing musical partner to violist Kim Kashkashian, a noted theorist and professor of humanities at Harvard, approaches the repertoire with great sonic subtlety and utmost technical brilliance. Levin met the composer during his season as Director in Residence at Nadia Boulanger’s Conservatoire Américain at Fontainebleau in 1979 and has since been his close friend. In his liner notes to the present recording Levin writes: “Dutilleux has always kept a discreet profile, composing with painstaking perfectionism, subjecting his works to relentless revision before, and sometimes after, they have been presented to the public”. The programme opens with Dutilleux’s path-breaking piano sonata of 1946–48, a three-movement work that is marked by a personal synthesis of French Impressionism and the clear-cut rhythmic contours characteristic of Soviet music of the same period. The shorter pieces – radiant, playful and highly sophiticated music condensed to its very essence – “document Duteilleux’s trajectory from extended tonality to a sound world totally of his own invention, in which harmonies of dazzling iridescence inflect brilliant rhythmic and melodic gestures” (Robert Levin).