Q&A: Composer Eric Tanguy talks music, paying homage to Henri Dutilleux
French composer Eric Tanguy is a guest lecturer of a composition seminar at the Herb Alpert School of Music. The UCLA Philharmonia will perform Tanguy’s homage to composer Henri Dutilleux, “Affettuoso,” Thursday.
(Max Himmelrich/Daily Bruin)
By Emily McCormick
Dec. 11, 2014 12:23 a.m.
Eric Tanguy’s catalog of more than 100 musical compositions has resonated with audiences in more than 25 countries at major venues like Carnegie Hall and earned him designation as “Composer of the Year” twice in France.
This fall quarter, the French composer added another title to his resume as a guest lecturer at UCLA in the department of music for the seminar in composition course.
On Thursday, the UCLA Philharmonia orchestra under conductor Neal Stulberg will perform Tanguy’s “Affettuoso,” which was written in homage to fellow composer and friend, Henri Dutilleux. Dutilleux was a major 20th century modernist whose works “Symphony No. 2: Le Double” and “Three Strophes on the Name of Sacher” will also be featured as part of the Philharmonia’s program.
In advance of the Philharmonia’s concert, the Daily Bruin’s Emily McCormick spoke with Tanguy about his career as an internationally recognized composer and his friendship with the late Dutilleux.
Daily Bruin: To start with, could you tell me a little about your beginnings as a composer? When did you know you wanted to dedicate your life to music?
Eric Tanguy: I’d always wanted to be a composer as far as I remember. In my childhood, I just wanted to write music. I began playing piano when I was very young, like 5 years old, then violin, maybe when I was 6 or 7, and I was very happy playing classical music for a while. But bit by bit, I started thinking, “Well, I like the music that I’m playing, but I want to play my own music.”
DB: Your piece “Affettuoso” was first performed in January of this year in Paris. What is it like to first hear one of your compositions performed by live instruments?
ET: I have a good inner ear so there is not a lot of difference between what I write and what I hear. But what is really fantastic is (hearing the music) being performed by someone who has understood your music, and who gives personality to your music. This is the magical thing in an artistic collaboration, when you have a performer who is so involved and who brings out a lot in your music – that is the biggest joy to me.
DB: The Philharmonia’s upcoming concert is going to feature Henri Dutilleux’s works as well as your piece dedicated to him, “Affettuoso.” What was your friendship like with Dutilleux, and when did you first meet him?
ET: I was at the Villa Medici, (a center for art-making in Italy), in ’93 or ’94. One morning, I remember so well, I was drinking my coffee, and I received a phone call, and I heard his voice saying “Hello, this is Henri Dutilleux,” and I thought it was a joke. I couldn’t imagine that such an important man would call me … but, bit by bit, I realized it really was Henri Dutilleux. He said to me, “I heard one of your pieces, and I wanted to say that I liked it very much, and I would be very happy to meet you in Paris sometime.”
After that, I spent so many wonderful times with him, especially at Tanglewood, (a major American music academy), in ’95. He was a giant of music but he was so friendly with young musicians and young composers … He would call me or I would call him or we would meet at his place or a restaurant and just speak about music.
DB: In “Affettuoso,” what characteristics of Dutilleux were you trying to capture and what inspired the name of the piece itself?
ET: The name of the piece is in Italian, and it is a direct reference to our first contact because I was in Italy when he called me. Musically, well, I love (Dutilleux’s) music but I try to work in my own field. So (“Affettuoso”) is not a musical tribute, it’s something more human … I thought, “What reminds me of Dutilleux?” and the word was, affection. He was so nice, so kind. So then that word came to my mind – “Affettuoso.”
DB: What do you hope audiences here will get from hearing “Affettuoso?”
ET: I hope, of course, that they will understand my music. But to me, the most important thing with “Affettuoso” is that I want to thank Dutilleux … to say, “Thank you for what you were, and what you gave to me and to other composers.” Also, maybe by playing Dutilleux’s Second Symphony in the same concert, it will show some link in French music from older composers like Debussy and Ravel, to younger generations of today like me.
Compiled by Emily McCormick, A&E; contributor.
