This is particularly obvious from an "external" point of view i.e.
His music also displays a very strong sense of structure and symmetry. Some of Dutilleux's trademarks include very refined orchestral textures, fluid and intricate rhythms, a preference for atonality and modality over tonality, the use of pedal points that serve as atonal pitch centers 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. His music also contains echoes of jazz as can be heard in the double bass introduction to his First Symphony and his frequent use of syncopated rhythms. Rather, his works merge the traditions of earlier composers and post-World War II innovations and translate them into his own idiosyncratic style. As an independent composer, Dutilleux always refused to be associated with any school. While he always paid attention to the developments of contemporary music and incorporated some serialist techniques into his own compositions, he also denounced the more radical and intolerant aspects of the movement. His attitude towards Serialism was more problematic.
Henri Dutilleux's music extends the legacies of earlier French composers like Debussy and Ravel but was also clearly influenced by Béla Bartók and Igor Stravinsky. His students include French composers Gérard Grisey and Francis Bayer, Canadian composer Jacques Hétu, British composers Kenneth Hesketh and Andrew McBirnie, and American composers Derek Bermel and David S. He was appointed to the staff of the Paris Conservatoire in 1970 and was composer in residence at Tanglewood in 1995.
He served as Professor of Composition at the École Normale de Musique de Paris from 1961 to 1970. Henri Dutilleux worked as Head of Music Production for French Radio from 1945 to 1963. He worked for a year as a medical orderly in the army and then came back to Paris in 1940 where he worked as a pianist, arranger and music teacher and in 1942 conducted the choir of the Paris Opera. Henri Dutilleux won the Prix de Rome in 1938 for his cantata L'Anneau du Roi but did not complete the entire residency in Rome due to the outbreak of World War II. There from 1933 to 1938 he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri-Paul Busser (composition) and Maurice Emmanuel (history of music) at the Paris Conservatoire. Although his output was relatively small, its high quality and originality won international praise.Īs a young man, Henri Dutilleux studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for Paris. Henri Dutilleux was one of the most important French composers of the second half of the 20 th century, producing work in the tradition of Maurice Ravel, Claude Debussy, and Albert Roussel, but in a style distinctly his own.
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