You will not hear an ugly sound in these five movements, yet the beauty is not indulgent. The title, from Baudelaire, speaks of "a far-off world, absent, almost dead," and indeed, this music's pursuit of sensuous beauty as pure art is distinct from the musical violence and depression of so many of Henri Dutilleux's 20th-century colleagues.
Maybe it's the sense of serenity, a calm that not even the music's busier moments can ruffle. " for cello, and "L'Arbre des Songes" for violin  it is the cello work that I keep returning to. OF the two concertos here  "Tout un Monde Lointain. , ' 'L'Arbre des Songes,' 'Trois Strophes sur le Nom de Sacher' Truls Mork, cellist Renaud Capuçon, violinist Orchestre Philharmonique de Radio France, conducted by Myung-Whun Chung. Poltéra is here given expert support by the ORF Vienna Radio Symphony Orchestra conducted by Jac van Steen.Henri Dutilleux: 'Tout un Monde Lointain. his tone is lovely, technique lively, and he is able to sell this music like no others I have heard.'. A review in Gramophone likened Poltéra's 'inspirational intensity' in Martin's Concerto with that of the celebrated Du Pré/Barbirolli recording of the Elgar Concerto, while the reviewer of the Honegger disc in Fanfare described Poltéra as 'a resounding smash. While Dutilleux's music is concerned with echoing the abiding strangeness of the poet's ambiguous, erotic symbols and images, Lutoslawski's concerto offers musical drama of a very different kind: here the orchestra is much more adversarial, while the soloist might represent an independent-minded artist, determined to resist social conformity at all costs, and emerging from a titanic conflict at the end, bloody but unbowed.' These important scores, and the two solo pieces, are here performed by the Swiss cellist Christian Poltéra, who on three recent, highly acclaimed BIS releases has presented concertos and chamber works by Frank Martin, Arthur Honegger and Othmar Schoeck.
In Dutilleux's case, the hypnotic atmosphere, characteristic intensity and allusive expressiveness of his best compositions owe much to French literature, and it was his fascination with the poetry of Charles Baudelaire that led him to chose the title Tout un monde lointain from a poem which speaks of an utterly remote world of exotic places and sensations. Quoting from the authoritative liner notes by the musicologist Arnold Whittal 'Lutoslawski and Dutilleux are near-contemporaries whose most characteristic music sounds very different.
#DUTILLEUX STROPHES SERIES#
and Witold Lutoslawski's Cello Concerto, in 1970 Rostropovich gave the first performances of both works, and six years later he was instrumental in commissioning a series of short seventieth-birthday tributes to the Swiss conductor and music patron Paul Sacher, to which both composers contributed. As the dedicatee of Henri Dutilleux's Tout un monde lointain. All four works on this disc share Mstislav Rostropovich as a common denominator.
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