Dutilleux’s early works

In March 1993, Dutilleux attended a performance of some of his early works by students of the local Conservatoire at Caen. He was understanding of the young performers’ nervousness on this auspicious occasion, but told me later ‘It was hard for me too’. ¹ Not only does Dutilleux not approve of performances of most of his early works; he almost appears ashamed of them. He even insists that the popular Sonatine for flute and piano (1943) must not be recorded in France, although he admits the piece to his catalogue of works, and he frankly told Maurice Bourgue that he disapproved of his recording the Oboe Sonata (1947). Dutilleux’s attitude towards his unpublished early works is still more dismissive, and no previous study has assessed these pieces, presumably out of deference to the composer. In this chapter, I propose to trace the gradual evolution of his style from a variety of influences and suggest reasons why Dutilleux now refuses to acknowledge his first compositions.