Dutilleux Sonatine
Ashley Harris
Professor Kantner
Flute Literature
13 December 2012
Henry Dutilleux Sonatine Program Notes
Music of the twentieth century seems to be one of exploration and experimentation of sound and technique. Composers of this time period examined new musical languages particular to each instrument (or voice), some even rejecting the tonal language all together, and others expanding upon the boundaries of traditional tonality. Then there were also those that looked at experimentation of new sounds, new ways of structuring pieces, as well as influences stretching across history (time and location) to both work and manipulate with traditional form or against the musical tradition of their predecessors. However, there were some composers who did not dive into the new found techniques instruments were finding to be capable of. Instead of partaking in the new norm of the twentieth century, some composers traversed impressionistic styles to generate emotions from the audiences as well as explore the realms of the newly risen popularity in improvisation and the jazz idea. Such a magnificent composer of these styles of twentieth – century music was Henry Dutilleux, a Frenchman born on January 22, 1916. In a composition for flute and piano, Henry Dutilleux combined elements of impressionism, inspired by leading composer Claude Debussy, and jazz to create a significant piece of the century, Sonatine. Henry Dutilleux was born and raised in the music world. His parents even sent him to a local French conservatory at a young age. During secondary school, at the age of 17, he transferred and then attended the Paris Conservatory from 1933 to 1938, studying with, among others, Phillpe Gaubert, famous flutist and conductor of the Paris Opera. At the end of his time at the Paris Conservatory, he went on to win the prestigious Prix de Rome in 1938 at the age of 22 and since then enjoyed a variety of high profile positions, including professorship of composition at
Professor Kantner
Flute Literature
13 December 2012
Henry Dutilleux Sonatine Program Notes
Music of the twentieth century seems to be one of exploration and experimentation of sound and technique. Composers of this time period examined new musical languages particular to each instrument (or voice), some even rejecting the tonal language all together, and others expanding upon the boundaries of traditional tonality. Then there were also those that looked at experimentation of new sounds, new ways of structuring pieces, as well as influences stretching across history (time and location) to both work and manipulate with traditional form or against the musical tradition of their predecessors. However, there were some composers who did not dive into the new found techniques instruments were finding to be capable of. Instead of partaking in the new norm of the twentieth century, some composers traversed impressionistic styles to generate emotions from the audiences as well as explore the realms of the newly risen popularity in improvisation and the jazz idea. Such a magnificent composer of these styles of twentieth – century music was Henry Dutilleux, a Frenchman born on January 22, 1916. In a composition for flute and piano, Henry Dutilleux combined elements of impressionism, inspired by leading composer Claude Debussy, and jazz to create a significant piece of the century, Sonatine. Henry Dutilleux was born and raised in the music world. His parents even sent him to a local French conservatory at a young age. During secondary school, at the age of 17, he transferred and then attended the Paris Conservatory from 1933 to 1938, studying with, among others, Phillpe Gaubert, famous flutist and conductor of the Paris Opera. At the end of his time at the Paris Conservatory, he went on to win the prestigious Prix de Rome in 1938 at the age of 22 and since then enjoyed a variety of high profile positions, including professorship of composition at