Lutosławski thought so highly of Francis Bayer that he gave him the autographed manuscript of his Second Symphony (1962–1967). Bayer also knew Lutosławski and had contact with him over a period of many years. The term ‘progressive growth’ was originally coined by Dutilleux's pupil, the composer and analytical musicologist, Francis Bayer (1938–2004). Henri Dutilleux: Music-mystery and memory, conversations with Claude Glayman, Edited by: Nichols, Roger.
Gide, 1948, cited in Dutilleux, 2003 Dutilleux, H. Gide's original expression is ‘levain de l'étranger’. For Dutilleux's comments on his dislike of the term ‘independent’, see Dutilleux, 2003 Dutilleux, H.
Dutilleux's orchestral work Timbres, espace, mouvement (1976–1978, rev.1990) was inspired by Van Gogh's painting La nuit étoilée. Henri Dutilleux: His life and works, Aldershot: Ashgate. His connection with the visual arts in France has a long family tradition his great-grandfather, the eminent nineteenth-century painter Constant Dutilleux, was a close friend of Corot and Delacroix (see Potter, 1997 Potter, C. He admires the writings of Bergson, Michaux and Pierre Teilhard de Chardin. Dutilleux has drawn on the writings of Baudelaire, Proust and Desnos as well as, most recently, Tardieu in his work for soprano and orchestra Le temps l'horloge (2006–2009). A popular recording, especially of the companion works, this disc has remained in wide circulation, being re-released in 1991 and again in 2002 (EMI Classics CDM 7639452). He prohibits concert performances of his ballet Le Loup (1953) which, although indicative of his subsequent compositional development, shares certain orchestrational features with Poulenc and was recorded in 1961 for Voix de son maître by the Orchestre des concerts du Conservatoire under Georges Prêtre together with Poulenc's Les biches and Milhaud's La création du monde. Revealing a certain kinship with the music of his pre-war compatriots, they are works from which Dutilleux has distanced himself as he considers them unrepresentative, although he has not prohibited their performance. Dutilleux's conservatoire test pieces of the 1940s, the Sarabande et Cortège for bassoon and piano (1942), Sonatine for flute and piano (1943) and Sonata for oboe and piano (1947) remain among his most frequently performed works.
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