I would imagine Ludovic Morlot and Karl-Heinz Steffens are thrilled – in a Gore Vidal ‘a little part of me dying when a friend succeeds’ sort of a way – that their. Henri Dutilleux. Métaboles, for orchestra. Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on. facebook · twitter · tumblr. Find album reviews, stream songs, credits and award information for Dutilleux: Métaboles; Sur le même accord; Symphonie No. 1 – Paavo Järvi, Orchestre de.

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By using this site, you agree to the Terms of Use and Privacy Policy. In the early s, Dutilleux wanted to move away from traditional musical forms and develop new structures that changed according to the internal logic of a particular piece. Drinking Hanging Out In Love.

DUTILLEUX Métaboles |

Views Read Edit View history. AllMusic relies heavily on JavaScript. Retrieved 22 January The remainder of the movement opposes freer melodies on the clarinet, mwtaboles, and trumpet to the E naturals. Tout un monde lontain; Metaboles; Mystere de l’instant. The music itself is slow and nocturnal, with Dutilleux ‘s marvelous ear for timbres providing some gorgeous sounds. Ainsi la nuit Sonatine for Flute and Piano.

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Retrieved from ” https: Sexy Trippy All Moods. The Cambridge Companion to the Orchestra. Compositions by Henri Dutilleux compositions Compositions for symphony orchestra Music commissioned by the Cleveland Orchestra Classical composition stubs.


After all the instruments have entered playing characteristic music from the first four movements, the winds play duti,leux E natural chords from the first movement. From Wikipedia, the free encyclopedia.

Dutilleux: Métaboles; Sur le même accord; Symphonie No. 1

The E natural becomes a pivotal point for the entire work. The Harvard Biographical Dictionary of Music. Rainy Day Relaxation Road Trip.

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The piece is cast in five overlapping movements that are played without pause. Throughout the movement, there is only one prominent melodic line at a time, which gives it a “linear” feel. In other words, throughout the work, various melodic, harmonic, and rhythmic ideas are presented and then gradually modified to the point that they transform into something radically different and undergo a complete change of nature.

This article about a classical composition is a stub.

Similarly, an idea presented in a double bass solo becomes the seed for the third movement, which is dominated by brass instruments and in the fourth movement, percussions outline a slowed-down reminiscence of the preceding section.

Jazz Latin New Age. The work is in five linked movements. In Dutilleux ‘s piece, the word describes the structure of the work, as each of the five brief meetaboles movements is a transformation of the movement that succeeds it, and the final movement combines all that has come before.

Henri Dutilleux

This new idea then serves as the basis for the next series of metamorphosis. In the djtilleux own words:. The last movement is marked “Flamboyant,” and it brings all the instruments together. This page was last edited on 2 Septemberat It combines various melodic, harmonic, and rhythmic elements from the first four sections before reinstating the E natural chords heard at the very beginning and then rushing to an exhilarating coda.


Dutilleux ‘s use of percussion is highly inventive in using motion to suggest a lack of motion. Please enable JavaScript in your browser to use the site fully. You can help Wikipedia by expanding it.

After Henri Dutilleux completed this work, which was commissioned by the Cleveland Orchestra under George Szellhe looked up all the words beginning with the prefix “meta-” in the dictionary to find a title for it. Introspection Late Night Partying. The whole orchestra then rushes headlong into a rousing coda.

Share on facebook twitter tumblr. Duyilleux indicates that “towards the end of each piece, a new motif appears as a filigree under eutilleux symphonic texture and mdtaboles the dutillsux for the next piece, and so on The strings only have the melody for a brief period in “Incantatoire,” and that brief melody becomes the basis for the second movement, “Lineaire,” written solely for the strings. Correspondances Deux sonnets de Jean Cassou Le temps l’horloge.

It opens with a series of chords played by the woodwinds and centered on E natural, with short interjections by pizzicato strings and harp.