A rush of tone colour
Although Henri Dutilleux was a contemporary and a colleague of avant-garde composer Pierre Boulez, he always found the latter’s style too dogmatic. Dutilleux was drawn to the »scent« of music and the wealth of colour that he had in common with his fellow Frenchman Debussy. With his Second Symphony of 1959, Dutilleux wrote a work vaguely reminiscent of 18th century music.
From Dutilleux idol Debussy and his »Ariettes oubliées« for soprano and orchestra, we move on after the interval to Russia, a country that Debussy travelled to several times, familiarising himself with Russian music. However, he did not get to meet the grand master of instrumentation, Nikolai Rimsky-Korsakov. Nonetheless, all the delicate and splendid tone colour with which Rimsky-Korsakov embellished his Oriental fairy tale »Scheherazade« was to have a strong influence on the French composer.
conductor Alain Altinoglu
Sinfonie Nr. 2 »Le Double«
Ariettes oubliées / Bearbeitung für Sopran und Orchester von Brett Dean
– Interval –
Scheherazade / Sinfonische Suite op. 35
Elbphilharmonie for Connoisseurs