![]() ![]() Boulez's ''Derive 1'' as well as ''Anthemes'' - offered illuminating perspective. The music in between - Olivier Messiaen's ''Merle Noir,'' Henri Dutilleux's ''Trois Strophes sur le Nom de Sacher'' and Mr. Dalbavie's rich sonic and musical imagination keeps the movements' basic similarity of structure from palling. This work, too, begins from basics in each of its five movements, sparking an organic growth that ultimately turns back on itself. Dalbavie the odd title composer-in-association. ![]() Dalbavie's ''Tactus'' (1996), which closed the program, had been performed just three nights before by the Cleveland Orchestra, which recently gave Mr. Boulez's ''Anthemes,'' of 1992, showed that composer in a surprisingly mellow, if not wholly tonal, frame of mind.) (And it became easier to imagine later, when Mr. Boulez's idiom and that of Steve Reich, if such a merger can be imagined. Dalbavie's ''In Advance of the Broken Time'' (1993), which opened the program, seemed a sort of cross between Mr. ![]() But he came with formidable credentials, as a protege of Pierre Boulez, whose music was also presented here, by Ensemble Sospeso, along with that of other French composers obviously influential on Mr. Dalbavie is not as young, to be sure: all of 37. Meanwhile, a great young hope of French music, Marc-Andre Dalbavie, passed quietly through the Miller Theater at Columbia University on Thursday evening with a dazzling display of his wares presented in a fascinating context. The great young hope of English music, Thomas Ades, holds the spotlight in New York just now, with his acclaimed opera, ''Powder Her Face,'' about to be presented in Brooklyn. ![]()
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