Henri Dutilleux’nün Besteciliğine Bir Bakış: L’arbre Des Songes’da Perde Organizasyonu

Abstract

Henri Dutilleux, who can be said to have an ever-changing and difficult to define compositional approach, draws attention as one of the important figures in the history of music, when considering the works he produced during his composition life, which lasted from the middle of the twentieth century to the beginning of the twenty-first century. The diversity in the pitch organization processes, which is one of the factors that make it difficult to define the composer's language, and the craft underlying this diversity represent a starting point for this study. This artwork report, in which the violin concerto L'arbre des songes is investigated by focusing on the pitch relations, aims to reveal the ways Dutilleux followed regarding the pitch organization in the piece. In the first part of the study, in order to have an idea about the composer's compositional tendencies, a review is made on the works he composed until 1985, when L'arbre des songes was composed, and the concepts related to the composer's music are discussed. In the second part, each movement of the piece is examined separately and the methods and tools used by the composer for pitch selections in each part are investigated. As a result of the analyses made, it is discovered that the composer made use of many different pitch materials from diatonic modes to twelve-tone rows during the pitch selections in the piece. In addition to these, it is seen that some musical cells, which are closely related to the phenomenon that Francis Bayer calls progressive growth, which defines the musical network that lasts from the beginning to the end of the work, are also effectively utilized in the processing of these pitch materials.