3 strophes sur le nom de sacher henri dutilleux analysis

#3 strophes sur le nom de sacher henri dutilleux analysis serial

In his many writings and interviews, Elliott Carter frequently stresses the connection between human experiences of opposition and conflict and the opposition he composes into his musical interactions.

#3 strophes sur le nom de sacher henri dutilleux analysis serial

It will be understood that Dutilleux gives place to the serial techniques, although his overall approach in this composition remains within the free atonality. This will enable to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70's through exposing the similarities and differences in handling of the musical material by technical and aesthetic aspects. It is intended the analysis also to provide a basis for the further comparative analyses with the other works of the project. In this article, the 1 st movement of the work has been analyzed, and thus the technical and aesthetical approaches which Dutilleux demonstrates in the composition have been studied. Among these twelve works, which are then called 12 Hommages à Paul Sacher, is Henri Dutilleux's Trois Strophes sur le nom de Sacher. These works had been based on Sacher's last name, in other words, they had been composed according to the letters in his name which correspond to the note names in European languages forming a row of six notes. In 1976, with the call of the famous cellist Mstislav Rostropovich, twelve composers had composed works in honor of Swiss conductor, patron and impresario Paul Sacher's 70 th birthday. Görülecektir ki, dizisel tekniklere de yer veren Dutilleux'nin eserdeki genel tutumu daha çok serbest atonalite içinde kalmaktadır. Böylelikle on iki bestecinin müzikal malzemeyi ele alışındaki teknik ve estetik farklılıklarla beraber benzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyon anlayışlarına, hem de 70'lerin ikinci yarısında Avrupa'daki müzikal beklenti ve arayışlara ışık tutulması mümkün olacaktır. Analiz ayrıca projede yer alan diğer eserlerle yapılacak karşılaştırmalı analizlere de zemin oluşturacaktır. Bu makalede söz konusu eserin birinci bölümü analiz edilmiş, bu yolla Dutilleux'nin kompozisyonda ortaya koyduğu teknik ve estetik yaklaşımlar incelenmiştir.

Daha sonra 12 Hommages à Paul Sacher olarak anılan bu eserlerden biri de Henri Dutilleux'nin Trois Strophes sur le nom de Sacher isimli eseridir.

Bu eserler Sacher'in soyadı üzerine, yani bu ismi oluşturan harflerin Avrupa dillerinde karşılık geldiği nota isimlerinin oluşturduğu altı perdelik dizi üzerine bestelenmişlerdir. The work is also interesting that it clearly reveals some important characteristic features of Lutoslawski's music.ġ976 yılında on iki besteci, ünlü çellist Mstislav Rostropoviç'in çağrısıyla İsviçreli orkestra şefi, maddi destekçi ve emprezaryo Paul Sacher'in 70. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization. It is intended the analysis also to provide a basis for the further comparative analyses of the works from '12 Hommages à Paul Sacher', which will make it possible to shed light on the approach of each of the composers and also on the musical expectations and quests of Europe in the second half of the 70's through exposing the similarities and differences in the handling of the musical material by technical and aesthetic aspects. This article discusses Witold Lutoslawski's 'Sacher Variation' of 1975, one of the in honour of Paul Sacher's 70th birthday composed works called '12 Hommages à Paul Sacher', from the point of compositional technique and explains the principles used in the pitch organization and formal construction.