Dutilleux, Henri. (1916–2013). 1938 Prix de Rome Luncheon and Concert Program from the 22-year-old Composer - Signed by Dutilleux and His First Composition Teachers. A remarkable and likely unique signed program from a celebratory luncheon and concert given at the Salle Gothique de l'Hotel de Ville in the composer's childhood home of Douai. 24 July, 1938. 2 pp (recto/verso), the front featuring the printed full luncheon menu and illustration of the Douai bell tower, the verso featuring the afternoon concert program by the faculty and students of the Conservatoire de Musique de Douai, the sheet contained in its original brown folder. The program inscribed by the composer to the proprietors of the restaurant "A Monsieur + Madam Gillet avec toute ma reconnaisance et mon affection / H. Dutilleux" and signed additionally by Dutilleux's composition teacher at the Paris Conservatoire, the composer/conductor Henri Busser (1872 - 1973), as well as by Dutilleux's first piano and harmony/counterpoint teacher from Douai, Victor Gallois, and by one unidentified signer who signs also with his title of "Procures générale." Small tears and creases to margins, overall fine. 13 x 9 cm.
As a young man, Dutilleux studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Paris Conservatoire. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri Büsser (composition) and Maurice Emmanuel (history of music). Dutilleux won the Prix de Rome in 1938 for his cantata "L'anneau du roi" but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In the composer's New York Times obituary, Paul Griffiths wrote that "Mr. Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. .. But his voice, marked by sensuously handled harmony and color, was his own."
As a young man, Dutilleux studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Paris Conservatoire. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri Büsser (composition) and Maurice Emmanuel (history of music). Dutilleux won the Prix de Rome in 1938 for his cantata "L'anneau du roi" but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In the composer's New York Times obituary, Paul Griffiths wrote that "Mr. Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. .. But his voice, marked by sensuously handled harmony and color, was his own."
Dutilleux, Henri. (1916–2013). 1938 Prix de Rome Luncheon and Concert Program from the 22-year-old Composer - Signed by Dutilleux and His First Composition Teachers. A remarkable and likely unique signed program from a celebratory luncheon and concert given at the Salle Gothique de l'Hotel de Ville in the composer's childhood home of Douai. 24 July, 1938. 2 pp (recto/verso), the front featuring the printed full luncheon menu and illustration of the Douai bell tower, the verso featuring the afternoon concert program by the faculty and students of the Conservatoire de Musique de Douai, the sheet contained in its original brown folder. The program inscribed by the composer to the proprietors of the restaurant "A Monsieur + Madam Gillet avec toute ma reconnaisance et mon affection / H. Dutilleux" and signed additionally by Dutilleux's composition teacher at the Paris Conservatoire, the composer/conductor Henri Busser (1872 - 1973), as well as by Dutilleux's first piano and harmony/counterpoint teacher from Douai, Victor Gallois, and by one unidentified signer who signs also with his title of "Procures générale." Small tears and creases to margins, overall fine. 13 x 9 cm.
As a young man, Dutilleux studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Paris Conservatoire. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri Büsser (composition) and Maurice Emmanuel (history of music). Dutilleux won the Prix de Rome in 1938 for his cantata "L'anneau du roi" but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In the composer's New York Times obituary, Paul Griffiths wrote that "Mr. Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. .. But his voice, marked by sensuously handled harmony and color, was his own."
As a young man, Dutilleux studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Paris Conservatoire. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint), Henri Büsser (composition) and Maurice Emmanuel (history of music). Dutilleux won the Prix de Rome in 1938 for his cantata "L'anneau du roi" but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In the composer's New York Times obituary, Paul Griffiths wrote that "Mr. Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. .. But his voice, marked by sensuously handled harmony and color, was his own."