Dutilleux, Henri : Sonate pour piano
Work Overview
Publication Year:1949
First Publisher:Durand
Instrumentation:Piano Solo
Genre:sonata
Total Playing Time:25 min 00 sec
Copyright:Under Copyright Protection
Commentary (2)
Author : Hirano, Takatoshi
Last Updated: March 12, 2018
[Open]
Author : Hirano, Takatoshi
Henri Dutilleux's piano works. Alongside his smaller pieces for wind instruments, such as the Sonatine for flute and piano (1943), it is one of Dutilleux's most widely disseminated works. It has also been established as an important repertoire piece for 20th-century piano in educational settings, such as music college examinations and competitions. Dutilleux had been active as a composer since the 1930s, notably winning the Grand Prix de Rome in 1938 with his cantata L'Anneau du Roi. However, for him, this Piano Sonata, written in 1947, was his 'Opus 1,' and Dutilleux believed that his own style was established with this work.
Composed of three movements, it is based on traditional sonata form. According to Dutilleux, the structure of the third movement, 'Choral et Variations,' which is often performed independently, is based on the principles of the sonata. Although there is no clear dominant tonality in the work, the functioning of F-sharp and D-flat as core pitches provides a relatively stable sense of tonality. It was dedicated to the pianist Geneviève Joy (1919–2009), who later became Dutilleux's wife. It was premiered by Joy on April 30, 1948, at a concert of the Société Nationale de Musique in Paris, and published by Durand in 1949.
Author : Hirano, Takatoshi
Last Updated: March 12, 2018
[Open]
Author : Hirano, Takatoshi
First Movement: Allegro con moto, Sonata Form
Exposition (Measures 1-111)
The first theme, a smooth melody centered on F-sharp, is presented without an introduction. Following a transitional passage characterized by major sevenths in the right hand and staccato bass in the left hand, the first theme (Musical Example 1) is presented again. After a staccato transitional passage in both hands, the second theme (Musical Example 2) is introduced at the beginning of page 5 (measure 65). Similar to the first theme, a smooth melody emphasizing F-sharp is highlighted. In the codetta, a rapid figure in the high register, marked “bright and crystalline (clair et cristallin)”, descends in one breath to the low register. At the bottom of page 7 (measure 101), there is an instruction to press the keys without producing sound; Dutilleux's interest in “resonances” is one of the elements that characterizes his later piano writing.
Musical Example 1 Musical Example 2
Development (Measures 112-225)
A long, gentle melody is supported by chords. While the melody in the right hand alone suggests C minor, the left-hand accompaniment is based on a tonality close to C-sharp minor. Ornamental figures in sixteenth notes gradually begin to break the static atmosphere, and the melodic motion from the beginning of the development section is emphasized. From the fortissimo at the beginning of page 11 (measure 182) onwards, the focus is on chordal pulsations, but at the beginning of page 12 (measure 206), the eighth-note motion of the first theme returns, preparing for the recapitulation.
Recapitulation (Measures 226-332)
Following the first theme, the second theme is recapitulated in the high register. Once the recapitulation is complete, a supplementary development section based on the second theme ensues, with both hands performing agile octave movements, intertwined with staccato and accents. At the climax, the first theme appears majestically, gradually diminishing in dynamics towards a poco animando coda.
Coda (Measures 333-366)
The first theme is again emphasized with a crescendo, and in contrast to the beginning, it concludes with dry, staccato sounds.
Second Movement: Lied, ABA Form
A (Measures 1-41)
The first theme (Musical Example 3), beginning with a chromatic descending figure, has a D-flat major key signature, while the second theme (Musical Example 4), centered on E natural, has an E major key signature. From the middle to the bottom of page 21 (measures 21-27), the first theme appears in inversion, after which it is recapitulated in its original form.
Musical Example 3 Musical Example 4
B (Measures 42-73)
An improvisatory motion is imparted by the sudden appearance of a series of thirty-sixth notes in the right hand. Eventually, the left hand responds, supporting the right hand's swirling figures.
A (Measures 74-97)
The recapitulation occurs in the order of the second theme, then the first theme. The D-flat major tonic chord appearing at the end suggests the symmetrical structure of this movement.
Third Movement: Chorale and Variations
Chorale (Measures 1-27)
The chorale is clearly presented in the high register. Initially, the high and low registers show extreme contrast, but soon the middle register appears, imitating the figure in the high register. After a brief settling, motion is regained at pianissimo, leading to the first variation via an accelerando.
Variation 1 (Measures 28-150)
A type of fugato. Over a staccato accompaniment in the left hand, the opening figure appears in inversion (bottom of page 32, measure 78), and thereafter develops primarily based on the inverted form. The theme appearing legato in the right hand has a D major key signature.
Variation 2 (Measures 151-403)
Like the first variation, it is rapid, but with less rugged sound, dominated by smooth sixteenth-note figures. From the beginning of page 41 (measure 304) onwards, two-note units derived from the theme propel the music, passing through swirling figures to reach a climax, after which the tempo suddenly drops as if a brake has been applied (bottom of page 42, measure 348). Then, while maintaining pianissimo, it transitions into the next variation.
Variation 3 (Measures 404-429)
This is the only section in the entire movement with an extremely slow tempo. Dutilleux stated that the third movement itself is based on the principles of sonata form. If viewed as such, the third variation would correspond to the slow movement in a sonata. The basic form of the theme appearing in the middle register leads to the inverted form of the theme in the high and low registers. The interplay between the basic and inverted forms of the theme creates a mirror-like effect. The concept of “mirror (miroir)”, along with “resonance”, was an important source of inspiration in Dutilleux's compositions.
Variation 4 (Measures 430-669)
In the final variation, the characteristics of the first and second variations are synthesized, bringing virtuosic elements to the forefront. Against a background of rapid runs in the high register, the inverted form of the theme appears in the middle register. After this pattern is presented three times, the dynamics are temporarily reduced, and the inverted form of the theme emerges clearly, accompanied by a distinctive octave accompaniment in the left hand (page 51, measure 540). Thereafter, the number of notes gradually increases, accelerating continuously towards the climax of the entire movement. The opening chorale returns at poco allargando, and the movement concludes with an F-sharp major tonic chord. F-sharp is the core note of the first movement, and the second movement centers on D-flat, which is the dominant of F-sharp; thus, it can be said that F-sharp plays a central role in this work.