Dutilleux, Henri. (1916-2013). Sonate pour Piano, SIGNED Presentation Copy. Paris: Durand & Cie. . [1949]. First edition. Folio. 1f., 55 pp. [PN] 13402. Original wrappers, a very good copy. With a signed presentation inscription to "Paulette and Pierre who surely welcomed this sonata, the performer and the author during the very first long ago evening of 21 May [19]50..."
The composer considered this sonata his first important work and referred to it always as his Opus 1. It was written for and dedicated to the pianist Geneviève Joy who he later married. A substantial work, which shows his detachment from tonalism, and in which the "musical language is as much modal as tonal." Not in CPM, which has a 1975 edition only.
The composer considered this sonata his first important work and referred to it always as his Opus 1. It was written for and dedicated to the pianist Geneviève Joy who he later married. A substantial work, which shows his detachment from tonalism, and in which the "musical language is as much modal as tonal." Not in CPM, which has a 1975 edition only.
Dutilleux, Henri. (1916-2013). Sonate pour Piano, SIGNED Presentation Copy. Paris: Durand & Cie. . [1949]. First edition. Folio. 1f., 55 pp. [PN] 13402. Original wrappers, a very good copy. With a signed presentation inscription to "Paulette and Pierre who surely welcomed this sonata, the performer and the author during the very first long ago evening of 21 May [19]50..."
The composer considered this sonata his first important work and referred to it always as his Opus 1. It was written for and dedicated to the pianist Geneviève Joy who he later married. A substantial work, which shows his detachment from tonalism, and in which the "musical language is as much modal as tonal." Not in CPM, which has a 1975 edition only.
The composer considered this sonata his first important work and referred to it always as his Opus 1. It was written for and dedicated to the pianist Geneviève Joy who he later married. A substantial work, which shows his detachment from tonalism, and in which the "musical language is as much modal as tonal." Not in CPM, which has a 1975 edition only.