For me, Dutilleux was among the greatest composers of the late 20th century. As with Harry Birtwistle, I feel very lucky to have met and worked with him, performing his music.
Dutilleux had great elegance and charm, of a kind that I associate with the generation raised before World War II: cultured, sophisticated, deeply knowledgeable in literature, poetry, art, film and a genial, welcoming presence in person. In his manner and conversation, he made the pursuit of music and art seem utterly worthwhile and an honourable occupation for life. He made everyone feel welcome, listened carefully and focussed on whoever he was speaking to — his eyes did not jump around the room searching for someone more important to talk to. Nor did I ever hear him disparage anyone’s work, boast or name-drop, which he certainly could have. He always found something complimentary to say about the work of his contemporaries.
And, his music: such incredibly attractive and beguiling pieces. Not only sonically beautiful, imaginative and deeply expressive but composed of arresting patterns and constructions that are deeply integrated without being schematic and containing the most subtle mastery of instrumentation. All of his works repay repeated listenings and close study, the benchmark that art of enduring value possesses.