1 	I Gong (1)    (Text By – Rainer Maria Rilke)	1:39
2 	Il Danse Cosmique    (Text By – Prithwindra Mukherjee)	2:28
3 	Interlude - 	0:51
4 	Ill À Slava Et Galina...    (Text By – Alexander Solzhenitsyn)	5:24
5 	IV Gong (2)    (Text By – Rainer Maria Rilke)	2:18
6 	V De Vincent À Théo    (Text By – Vincent van Gogh)	5:48
7 	I Énigme - 	5:50
8 	Il Regard - 	6:15
9 	Ill Houles - 	4:09
10 	IV Miroirs - 	5:33
11 	V Hymne 	4:22
12 	I Les Heures - 	2:52
13 	Il Ariel Maléfique - 	2:26
14 	Ill Mémoire Des Ombres -	5:07
15 	Interlude - 	2:29
16 	IV Vagues De Lumière - 	3:11
17 	V Dominante Bleue ? 	5:26

Art Direction – Merle Kersten
Cello – Anssi Karttunen (tracks: 7 to 11)
Chorus [Boy Soloists] – Maîtrise de Radio France (track: 14)
Conductor – Esa-Pekka Salonen
Orchestra – Orchestre Philharmonique de Radio France
Soprano Vocals – Barbara Hannigan (tracks: 1 to 6)

French composer Henri Dutilleux has had impressive creative longevity, continuing to issue new works well into his nineties. The lead item on this release, Correspondances, was composed in 2003, when he was a mere 87. It is an orchestral song cycle, a genre that Dutilleux had not yet taken up until that time. The work was written for soprano Dawn Upshaw, who sang the premiere but was unable to record it. Dutilleux heard a performance of the work by the present forces and suggested to conductor Esa-Pekka Salonen that he make a recording, even writing a new finale for soprano Barbara Hannigan. So you can be reasonably sure you're getting the composer's vision of the music here. Salonen has been a major champion of Dutilleux's free brand of serialism, which may prove a tough slog for general listeners even though his work is more linked to extramusical content than is the case for most other composers in the serial orbit. The Shadows of Time (1997) includes three boy soloists in a chilling third movement dedicated to the memory of Anne Frank. The title of Correspondances refers both to a Baudelaire poem about synaesthesia and to the fact that two of the songs are settings of letters, one from Vincent van Gogh to his long-suffering brother Theo, and the other from Alexander Solzhenitsyn to cellist Mstislav Rostropovich and his wife, singer Galina Vishnevskaya. These works, and the central and much earlier "Tout un monde lointain," a sort of cello concerto forged from Dutilleux's subtle style, contain unique effects of texture and line that emerge on repeated hearings, and in all, this is probably a good place to start in sampling Dutilleux's difficult late style. ---James Manheim, AllMusic Review

Henri Dutilleux (pronouced ‘Du-ti-e’) is a singular composer. Born in 1916, his most recent work was premiered in 2009 when he was 93 years of age and as far as I am aware, he is still composing. The three works featured on this new album recorded by Esa-Pekka Salonen with the Orchestre Philharmonique de Radio France are terrific examples of this long-lived and loved composer. The Correspondances of 2003 for soprano and orchestra are expressive and large. The Concerto for Cello and Orchestra (1970) though is more contemplative and sparse in texture. The Shadows of Time (1997) are something else again, almost an amalgamation of the two previous works. This is an amazing contemporary music album that should not be missed. Even if you think you’re not a fan of contemporary music, at least give it a listen. It might surprise you. ---Kate Rockstrom, readings.com.au

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01. Petit Air À Dormir Debout    [0:01:42.00]
02. Piano Sonata - I. Allegro Con Moto    [0:07:40.24]
03. II. Lied    [0:06:07.40]
04. III. Choral Et Variations    [0:10:43.55]
05. Au Gré Des Ondes - I. Prélude En Berceuse    [0:03:36.00]
06. III. Improvisation    [0:01:35.61]
07. Blackbird    [0:01:34.50]
08. Tous Les Chemins ... Mènent À Rome    [0:01:36.70]
09. Résonances - Résonances    [0:02:14.18]
10. Figures De Résonances - I    [0:01:42.37]
11. II    [0:01:46.10]
12. III    [0:02:32.70]
13. IV    [0:02:32.22]
14. Mini-Prélude En Éventail    [0:00:45.71]
15. 3. Préludes Pour Piano - I. D'ombre Et De Silence    [0:03:42.03]
16. II. Sur Un Même Accord    [0:03:37.33]
17. III. Le Jeu Des Contraires    [0:07:42.62]
18. Bergerie    [0:01:12.60]
19. Au Gré Des Ondes - I. Prélude En Berceuse    [0:03:36.08]
20. II. Claquettes    [0:01:08.48]
21. III. Improvisation    [0:01:32.49]
22. IV. Mouvement Perpetuel    [0:01:54.01]
23. V. Hommage À Bach    [0:03:24.16]
24. VI. Étude    [0:01:24.61]

Robert Levin – piano
Ya-Fei Chuang – piano (tracks: 10-13)

Many who know of pianist Robert Levin will readily link his name with that of Mozart, not only as an interpreter but as an expert Mozart editor indentified with his controversial take on Mozart's Requiem. However, one aspect of Levin's career that is a little less well known is as one of Nadia Boulanger's former students; as she went into her final illness, Boulanger named Levin to instruct in her stead at the Conservatoire américain in Fontainebleau. There Levin first met Henri Dutilleux and immediately fell under the spell of the older composer's piano music and has ever since wanted to record an album of Dutilleux. In D'ombre et de silence, ECM New Series has afforded Levin the opportunity and the timing is appropriate given the passing of Dutilleux's own authoritative interpreter at the piano -- his wife, Geneviève Joy -- in 2009. Levin presses his own spouse, pianist Ya-Fei Chuang, into the service of Dutilleux's four-hand Figures de résonances (1970-1976).

The selection spans Dutilleux's practically entire career and even includes little miniatures that Dutilleux wrote for student pianists such as Blackbird (1950). Dutilleux's Piano Sonata (1946-1948) is given prominent placement, right after the tiny Petit air à dormer debout (1981), which opens the disc and this makes sense, as it is the work that Dutilleux himself considers his own "Opus 1" despite the existence of a whole range of compositions that precede it, and it remains his major keyboard work; only the Préludes (1973-1988) come close to emulating its stature in his output. Levin's interpretations of Dutilleux's music are right on target; shimmering, colorful, and sensitive at one end of his spectrum and cold, metallic, spatial, and clangorous at the other, and ECM's recording is very realistic, loud, and crisp. About the only thing that doesn't seem to work here is the front cover image, a photograph of Jean Marc Dellac so conceptual that it may reaffirm for some Americans the myth that Dutilleux's music is hard and unapproachable. Overall, it is not, though some of the thundering chords in Figures de résonances have lost little of their shock value since Dutilleux wrote them down in the '70s. Otherwise he is much an acolyte of the keyboard school of Debussy as anyone can imagine among composers active after World War II, a quality Dutilleux shares with his slightly older contemporary Olivier Messiaen. Dutilleux remains kind of antsy about having pre-piano sonata era works recorded, so Levin has placed the earliest pieces at the end, though two of the Au gré des ondes (1946) show up also earlier in the program; these do not seem to be the same recordings as the later ones.

There are other full disc surveys of Dutilleux's slim output for piano that are noteworthy, for example those by Anne Queffélec, John Chen, and of course, Geneviève Joy. Levin's contribution represents a fresh perspective on this music and should please both newcomers and experienced listeners alike; as far as that goes, the more the merrier. --- Uncle Dave Lewis, Rovi

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