Professional Documents
Culture Documents
arrival in Paris he had been more or less cut off from recent
developments in music. Now he discovered the music of, among
others, Faur, Ravel, Koechlin, Satie, Bloch, Magnard (I really
believe that [the music of] Magnard helped me to find my own
path), Roussel and Wagner (which repelled him from the start),
and also Boris Godunov (a score he kept next to Pellas),
Petrushka and The Rite of Spring (which he analysed in 1914 with
Koechlin). He was fascinated, if puzzled, in 1910 by Schoenbergs
piano pieces op.11 and a few years later by the op.19 pieces.
Milhaud described his first meeting with Paul Claudel in 1912 as
the great stroke of luck in my life. Though 24 years older, the poet,
playwright, diplomat and fervent Roman Catholic was to become
not only a frequent source of texts but also a close personal friend.
Gide was also an important, if passing influence: Gides prose has
an enchanting rhythm that is highly attractive for a composer, he
later remarked, and he set extracts from Gides novel La porte
troite as a kind of song cycle, Alissa (1913). One of the themes of
the novel, the desire for purity through so much suffering and
sacrifice had deeply impressed him, as had the themes of adultery
and forgiveness in Jammess La brebis gare. These Christian
preoccupations are, too, a surprising but constant feature of his
correspondence with Latil and Lunel at this time. As he matured
such ideas lost their importance, yet they reflect a truly catholic
spirit that led him to write several works of specifically Christian
inspiration, such as the Te Deum in the Third Symphony, the
Cantate de la croix de charit, Pacem in terris (a papal encyclical)
and many works with texts by Claudel, including Christophe
Colomb.
At the outbreak of World War I Milhaud was unable for medical
reasons to join the armed services, and found work helping Belgian
refugees. In 1915 came the shattering news of the death of Lo
Latil at the front. In 1916 Milhaud took up a job in the propaganda
department of the foreign ministry. With the turmoil of war and the
loss of such a close friend, his world was thoroughly shaken, so
when Claudel, as newly appointed minister to Brazil, offered him
the post of attach in charge of propaganda, he accepted with
alacrity. In early January 1917 he embarked at Lisbon, conscious
of leaving behind him his little habits, his little fads, his little flat full
of little objects from the 1830s. In Brazil he discovered the tropical
forest, the sounds of which were ever after to haunt his music, and
Brazilian popular music, whose rhythms had a wonderfully
liberating effect on his works. His official duties consisted of
translating coded messages and accompanying Claudel on his
travels, but he also organized concerts and lectures in aid of the
Red Cross. Leaving Brazil on 23 November 1918, he returned via
the West Indies and New York, and arrived in Paris on 14 February
1919.
Though in Brazil he had not been completely cut off from French
musical life, for Ansermet, Artur Rubinstein, Nizhinsky and the
Ballets Russes had visited Rio, he now plunged into the postwar
effervescence of Paris. This was the period of the Bar Gaya, soon
to be renamed Le boeuf sur le toit after Milhauds Brazilian potpourri, the Cirque Mdrano with the Fratellini brothers, Les Six (not
that this is of any importance for his music), the Winer concerts
and the Saturday evenings in Milhauds flat when poets, artists and
musicians would share their latest work. It was a time of renewing
old acquaintances (with Koechlin, Honegger and Poulenc among
others) and especially of making new friendships, including that of
Satie. During the 1920s he also made journeys that were crucial to
him as man and composer: to London in 1920 (bringing the
revelation of jazz) and Vienna in 1921 (he went with Poulenc and
Marya Freund to meet Schoenberg, Berg and Webern), and
concert tours of the USA (1922 and 1927) and USSR (1926, with
his cousin Madeleine Milhaud, whom he had married in 1925, and
Jean Winer). Throughout the decade, compositions flowed with
unfailing regularity and growing success. As a pianist he gave
numerous concerts, mainly of his own works, while his most
notable achievement as conductor was the French premire of
Pierrot lunaire on 15 December 1921 (first part only) and 12
January 1922 (complete). He also wrote music criticism regularly
for the Courrier musical from 1920 to 1924; some articles of this
period, including Polytonality and Atonality, are crucial to an
understanding of his musical aesthetics. (His Notes sur la musique
includes a representative selection.) By the end of the decade he
had established himself as a major composer, especially with the
remarkable success of his multimedia opera Christophe Colomb in
Berlin in 1930.
The next ten years were marked by an increasing amount of film
and incidental music (from which he was able to recuperate a
number of concert works: Scaramouche, Suite provenale, etc.).
Indeed, from 1935 to 1938 he composed little else. He continued
his activity as a music critic for the daily Le jour (19337) and
occasionally other publications. Unhappily, during this decade his
paralysing attacks of rheumatoid arthritis became increasingly
severe and frequent: by 1948 he would be permanently confined to
a wheelchair.
Knowing that his name was on the Germans wanted list of
prominent Jewish artists, Milhaud was obliged, after the fall of
France in 1940, to emigrate to the USA. During the crossing he
received a telegram from Mills College, Oakland, offering him a
teaching post, which he accepted. Later he also taught at the
summer school in Aspen, Colorado, and from 1948 to 1951 he was
honorary director of the Music Academy of the West in Santa
Barbara. In 1947 he made his first return to France and became
professor of composition at the Paris Conservatoire. Since he only
gave up his Mills post in 1971, the latter part of his life was divided
between the two countries. With the constant round of concerts,
this all meant a lot of travel, yet despite his handicap, he relished it:
Travel is one of the most necessary things for my imagination . I
during the war. In the 1940s Milhaud also wrote extensively for the
standard symphony orchestra, having started his series of 12 fully
fledged symphonies in 1939.
Then in the course of the 1950s emerged what might be called his
final style. Counterpoint returned to his music, as did lighter
textures, more supple rhythms and a particularly mordant harmonic
language. This development can be seen by comparing the operas
David and Fiesta (with a libretto by Boris Vian), though it comes out
especially in the chamber music which, in his late years, he
produced abundantly. His 18 string quartets (191250) were
followed by the four extraordinary string quintets, a sextet and a
septet (one of his most acidulous and spikily refreshing chamber
compositions).
Vocal music had again become an important constant in his output;
examples include one of his most beautiful song cycles, Tristesses
(a sign that Jammes was still part of his universe), as well as the
splendid Adieu (one of two works on texts by Rimbaud). Choral
music was another important genre, either a cappella or with
orchestral accompaniment. His symphonies continued under the
guise of the Music for series, and in 1964 he produced his one
real operatic failure, La mre coupable, a work full of bustle and
commotion and very little inspiration that completes a
Beaumarchais trilogy with Il barbiere di Siviglia and Le nozze di
Figaro. Yet the 1960s saw too a further refinement and purification
of his style, especially in his chamber music, and from his last
years come two of his finest achievements: an opera-oratorio,
Saint Louis, roi de France, notable for its astonishing long-breathed
lyricism, and the cantata Ani maamin which succeeds despite
Wiesels interminably lachrymose text. That Milhauds inspiration
was not failing him is clear also from Les momies dEgypte, a lively
romp for vocal quartet and mime or dance with a Commedia
dellarte text by Regnard in an amusing mix of French and Italian,
and the Etudes sur des thmes liturgiques du Comtat venaissin,
the composers final work in a form he had so assiduously
cultivated, and his last homage to his Judaic roots. The chief glory
of Milhauds later works are the superb slow movements.
Sometimes funereal in character, they are all (whether in
symphonic, chamber or operatic works) of extraordinary beauty
and intensity, often exploiting the extreme high register as never
before. There is a distillation of melody in these later works,
articulated across fluctuating modes, transparent textures and
subtly shifting instrumental colour.
Milhaud, Darius
WORKS
operas
ballets
other dramatic works
orchestral
choral
solo vocal
songs
chamber
solo instrumental
childrens works
electro-acoustic
arrangements
Milhaud, Darius: Works
operas
La brebis gare (3, F. Jammes), op.4, 191014; Paris, OC (Favart), Dec 1923
Les eumnides (3, P. Claudel after Aeschylus), op.41, 191723; [Brussels, Belgian
Radio, 1949]
Les malheurs dOrphe (chbr op, 3, A. Lunel), op.85, 1925; Brussels, Monnaie, 7
May 1926
Esther de Carpentras (comic op, 2, Lunel), op.89, 19256; Paris, Radio Rennes,
1937; stage, Paris, OC (Favart), 1 Feb 1938
Le pauvre matelot (complainte, 3, J. Cocteau), op.92, 1926; Paris, OC (Favart), 16
Dec 1927
Lenlvement dEurope (1, H. Hoppenot), op.94, 1927; Baden-Baden, July 1927 [pt
1 of trilogy]
Labandon dAriane (1, Hoppenot), op.98, 1927; Wiesbaden, April 1928 [pt 2 of
trilogy]
La dlivrance de Thse (1, Hoppenot), op.99, 1927; Wiesbaden, April 1928 [pt 3 of
trilogy]
Christophe Colomb (2 pts, Claudel), op.102, 1928; Berlin, Staatsoper, 5 May 1930;
rev. version, Graz, Oper, 27 June 1968
Maximilien (3, R.S. Hoffman, after F. Werfel), op.110, 1930; Paris, Opra, 5 Jan
1932
Mde (1, M. Milhaud), op.191, 1938; Antwerp, Opra Flamand, 7 Oct 1939
Bolivar (3, M. Milhaud, after J. Supervielle), op.236, 1943; Paris, Opra, 12 May
1950
David (5, Lunel), op.320, 19523; concert perf., Jerusalem, 1 June 1954; stage,
Milan, La Scala, 2 Feb 1955
Fiesta (1, B. Vian), op.370, 1958; Berlin, Stdtische Oper, 3 Oct 1958
La mre coupable (3, M. Milhaud, after P.-A. Beaumarchais), op.412, 19645;
Geneva, Grand, 13 June 1966
Saint Louis, roi de France (op-orat, 2 pts, Claudel, H. Doublier), 1970; RAI, 18
March 1972; stage, Rio de Janeiro, Municipal, 14 April 1972
Milhaud, Darius: Works
ballets
Lhomme et son dsir (Claudel), op.48, 1918
Le boeuf sur le toit (Cocteau), op.58, 1919
La cration du monde (B. Cendrars), op.81, 1923
Salade (A. Flament), op.83, 1924
Le train bleu (Cocteau), op.84, 1924
Polka for Lventail de Jeanne (Y. Franck, A. Bourgat), op.95, 1927
La bien-aime, op.101, Pleyela (player pf), orch, 1928 [after Schubert and Liszt]
Les songes (A. Derain), op.124, 1933
otages (dir. Bernard), op.196, 1938; Islands (dir. A. Cavalcanti), op.198, 1939;
Espoir (A. Malraux), op.202, 1939; Cavalcade damour (dir. Bernard), op.204
[collab. Honegger]; Gulf Stream (dir. Alexeiev), op.208, 1939; The Private Affairs of
Bel Ami (dir. A. Lewin, after G. de Maupassant), op.272, 1946; Dreams that Money
can Buy (dir. Richter), op.273, 1947 [Man Ray sequence only]; Gauguin (dir. A.
Resnais), op.299, 1950; La vie commence demain (dir. N. Vedres), op.304, 1950;
Ils taient tous des volontaires, op.336, 1954; Celle qui ntait plus (Histoire dune
folle) (dir. G. Colpi), op.364, 1957; Pron et Evita (TV score), op.372, 1958; Burma
Road (TV score), op.375, 1959; Paul Claudel (dir. A. Gillet), op.427, 1968
Radio scores, unpubd: Voyage au pays du rve (J. Ravenne), op.203, 1939; Le
grand testament (N. Franck), op.282, 1948; La fin du monde (Cendrars), op.297,
1949; Le repos du septime jour (Claudel), op.301, 1950; Samal (A. Spire),
op.321, 1953; Le dibbouk (C. Anski), op.329, 1953
Miscellanea: Les maris de la tour Eiffel (ballet-show, Cocteau), Marche nuptiale
and Fugue du massacre only, op.70, 1921, rev. 1971; La sagesse (stage spectacle,
Claudel), op.141, 1935; Fte de la musique (light and water spectacle, Claudel),
op.159, 1937; Vzelay, la colline ternelle (son et lumire, M. Druon), op.423, 1967
Milhaud, Darius: Works
orchestral
Syms.: no.1, op.210, 1939; no.2, op.247, 1944; no.4, op.281, 1947; no.5, op.322,
1953; no.6, op.343, 1955; no.7, op.344, 1955; no.8 Rhodanienne, op.362, 1957;
no.9, op.380, 1959; no.10, op.382, 1960; no.11 Romantique, op.384, 1960; no.12
Rurale, op.399, 1962; see also choral[Sym. no.3, op.271]
Concs.: Vn Conc. no.1, op.93, 1927; Va Conc. no.1, op.108, 1929; Conc., op.109,
perc, chbr orch, 192930; Pf Conc. no.1, op.127, 1933; Vc Conc. no.1, op.136,
1934; Conc., op.197, fl, vn, orch, 19389; Pf Conc. no.2, op.225, 1941; Conc.
[no.1], op.228, 2 pf, orch, 1941; Cl Conc., op.230, 1941; Vc Conc. no.2, op.255,
1945; Vn Conc. no.2, op.263, 1946; Pf Conc. no.3, op.270, 1946; Conc., op.278,
mar, vib, orch, 1947; Pf Conc. no.4, op.295, 1949; Hp Conc., op.323, 1953; Va
Conc. no.2, op.340, 19545; Pf Conc. no.5, op.346, 1955; Ob Conc., op.365, 1957;
Vn Conc. no.3 (Concert royal), op.373, 1958; Conc. no.2, op.394, 2 pf, 4 perc,
1961; Hpd Conc., op.407, 1964
Other concertante: Pome sur un cantique de Camargue, op.13, pf, orch, 1913;
Ballade, op.61, pf, orch, 1920; 5 tudes, op.63, pf, orch, 1920; Le carnaval dAix,
op.83b, pf, orch, 1926 [after ballet Salade, op.83]; Concertino de printemps, op.135,
vn, chbr orch, 1934; Fantaisie pastorale, op.188, pf, orch, 1938; Suite anglaise,
op.234, harmonica/vn, orch, 1942; Air, op.242, va, orch, 1944 [after Va Sonata no.1,
op.240]; Suite concertante, op.278a, pf, orch, 1952 [after Conc., op. 278]; Suite,
op.300, 2 pf, orch, 1950; Concertino dautomne, op.309, 2 pf, 8 insts, 1951;
Concertino dt, op.311, va, chbr orch, 1951; Concertino dhiver, op.327, trbn, str,
1953; Suite cisalpine, op.332, vc, orch, 1954; Symphonie concertante, op.376, bn,
hn, tpt, db, orch, 1959
Other: Suite symphonique no.1, op.12, 19134 [from op La brebis gare, op.4];
Symphonie de chambre no.1 Le printemps, op.43, 1917; Symphonie de chambre
no.2 Pastorale, op.49, 1918; Suite symphonique no.2, op.57, 1919 [from incid
music Prote, op.17]; Serenade, op.62, 192021; Saudades do Brasil, op.67b,
192021; Symphonie de chambre no.3 (Srnade), op.71, 1921; Symphonie de
chambre no.4, op.74, 1921; Symphonie de chambre no.5, op.75, 1922; Symphonie
de chambre no.6, op.79, 1923
2 hymnes, op.88b, 1925; Suite provenale, op.152c, 1936; Le carnaval de Londres,
op.172, 1937; Loiseau, op.181, 1937; Cortge funbre, op.202, 1939 [after film
score Espoir]; Fanfare, op.209, 1939; Sym. no.1, op.210, 1939; Indicatif et marche
pour les bons darmement, op.212, 1940; Introduction et allegro, op.220, 1940 [after
Couperin: La sultane]; Mills Fanfare, op.224, str, 1941; Fanfare de la libert, op.235,
1942; 2 marches, op.260, 19456; 7 danses sur des airs palestiniens, op.267,
19467; Kentuckiana, op.287, 1948
Suite campagnarde, op.329, 1953; Ouverture mditerranenne, op.330, 1953;
Pense amicale, op.342, str, 1955; Les charmes de la vie (Hommage Watteau),
op.360, 1957; Aspen Serenade, op.361, 1957; Symphoniette, op.363, str, 1957; Les
funrailles de Phocion (Hommage Poussin), op.385, 1960; Aubade, op.387, 1960;
Ouverture philharmonique, op.397, 1962; A Frenchman in New York, op.399, 1962;
Meurtre dun grand chef dtat, op.405, 1963; Ode pour les morts des guerres,
op.406, 1963
Music for Boston, op.414, 1965; Musique pour Prague, op.415, 1965; Musique pour
lIndiana, op.418, 1966; Musique pour Lisbonne, op.420, 1966; Musique pour la
Nouvelle-Orleans, op.422, 1966; Promenade concert, op.424, 1967; Symphonie
pour lunivers claudlien, op.427, 1968; Musique pour Graz, op.429, 19689;
Stanford Serenade, op.430, chbr orch, 1969; Suite, G, op.431, 1969; Musique pour
Ars Nova, op.432, 1969; Musique pour San Francisco, op.436, 1971; Ode pour
Jrusalem, op.440, 1972
Brass band: Suite franaise, op.248, 1944 [also for orch, additional movts for ballet,
op.254, 1945]; West Point Suite, op.313, 1951; Fanfare, op.396, 4 hn, 3 tpt, 3 trbn,
tuba, 1962; Fanfare, op.400, 2 tpt, trbn, 1962; Musique de thtre, op.334b, 1954
70 [after incid music Sal, op.334]
Also orchs of pf works
Milhaud, Darius: Works
choral
Psalm cxxxvi (trans. Claudel), op.53 no.1, Bar, chorus, orch, 1918
Psalm cxxvi (trans. Claudel), op.72, male vv, 1921
Cantate pour louer le Seigneur (Pss cxvii, cxxi, cxxiii, cl), op.103, solo vv, chorus,
org, orch, 1928
Deux pomes extraits de lanthologie ngre (Cendrars), op.113, chorus, vocal qt,
1932
La mort du tyran (Lampride, trans. D. Diderot), op.116, chorus, wind, perc, 1932
Devant sa main nue (M. Raval, op.122), female vv/vocal qt, 1933
Adages, op.120c (Richaud), vocal qt, chorus, small orch, 1932
Les amours de Ronsard, op.132, chorus/vocal qt, small orch, 1934
Cantique du Rhne (Claudel), op.155, chorus/vocal qt, 1936
Cantate de la paix (Claudel), op.166, childrens vv, male vv, 1937
Main tendue tous (C. Vildrac), op.169, unacc., 1937
Les deux cits (Claudel), op.170, unacc., 1937
Quatre chants populaires de Provence: Magali, Se canto, LAntoni, Le mal damour,
op.194, chorus, orch, 1938
Incantations (Aztec poems, A. Carpentier), op.201, male vv, 1939
Quatrains valaisans (R.M. Rilke), op.206, unacc., 1939
Cantate de la guerre (Claudel), op.213, unacc., 1940
Borechou schema Isral, op.239, 1v, chorus, org, 1944
Kaddisch (Prire pour les morts), op.250, 1v, chorus ad lib, org, 1945
Pledge to Mills (G. Hedley), op.261, chorus, pf, 1945
6 sonnets composs au secret (J. Cassou), op.266, vocal qt/chorus, 1946
A. Gide), op.9, S, pf, 1913, rev. 1930; 3 pomes de Lucile de Chateaubriand, op.10,
1913; 3 pomes romantiques, set 1, op.11, 191314, set 2, op.19, 1914; 4 pomes
de Lo Latil, op.20, 1914; Le chteau (Lunel), op.21, 1914; Pome de Gitanjali
(Tagore), op.22, 1914; Notre Dame de Sarrance (Jammes), op.29, 1v, 1915; 4
pomes pour baryton (Claudel), op.26, 191517
Dun cahier indit du journal d'Eugne de Gurin, op.27, 1915; Larbre exotique (C.
Gosse), op.28, 1915; 2 pomes damour (Tagore), op.30, 1915; 2 pomes de
Coventry Patmore (trans. Claudel), op.31, 1915; Pomes juifs, op.34, 1916; Child
Poems (Tagore), op.36, 1916; 3 pomes (C. Rossetti, A. Meynell), 1v, pf/small orch,
1916; Chanson bas (S. Mallarm), op.44, 1917; Dans les rues de Rio (2 versos
cariocas de Paul Claudel), op.44a, 1917; 2 pomes de Rimbaud, op.45, 1917;
Pomes de Francis Jammes, op.50, 1918; 2 petits airs (Mallarm), op.51, 1918;
Machines agricoles, op.56, 1v, 7 insts, 1919; Pomes de Francis Thompson (trans.
Claudel), op.54, 1919
Ps cxxix (trans. Claudel), op.53/2, Bar, orch, 1919; Les soires de Ptrograd
(Chalupt), op.55, 1919; 3 pomes de Jean Cocteau, op.59, 1920; Catalogue de
fleurs (L. Daudet), op.60, 1v, pf/7 insts, 1920; Feuilles de temprature (P. Morand),
op.65, 1920; Cocktail (Larsen), op.69, 1v, 3 cl, 1920; Pome du journal intime de
Lo Latil, op.73, 1921; 4 pomes de Catulle, op.80, 1v, vn, 1923; 6 chants
populaires hbraques, op.86, 1v, pf/orch, 1925; Pice de circonstance (Cocteau),
op.90, 1926; Prires journalires lusage des juifs du Comtat Venaissin, op.96,
1927; Vocalise, op.105, 1928; Quatrain (Jammes), op.106, 1929; A Flower Given to
my Child (J. Joyce), 1930; Le funeste retour (anon.), op.123, 1933
Liturgie comtadine, op.125, 1v, pf/small orch, 1933; 2 chansons (G. Flaubert),
op.128d, 1933; 3 chansons de ngresse (Supervielle), op.148b, 19356; 6
chansons de thtre (various), op.151b, 1936; 3 chansons de troubadour (ValmyBaisse), op.152b, 1936; Cantate nuptial (after Bible: Song of Solomon), op.168, 1v,
orch, 1937; 5 chansons (C. Vildrac), op.167, 1937; Chanson du capitaine (Java de
la femme) (J.-R. Bloch), op.173b, 1937; Rondeau (P. Corneille), op.178, 1937;
Holem tsuadi Gam hayom (Palestinian folksong), op.179, 1937; Quatrain
(Mallarm), op.180, 1937; Cantate de lenfant et de la mre (M. Carme), op.185,
spkr, 5 insts, 1938
Couronne de gloire (Hebrew, trans. M. Venture and Lunel), op.211, 1v, pf/(str qt, fl,
tpt), 1940; Le voyage dt (C. Paliard), op.216, 1940; 4 chansons de Ronsard,
op.223, 1v, pf/orch, 1940; 5 prires (Latin texts, adapted Claudel), op.231c, 1v,
org/pf, 1942; Rves (anon. 20th-century), op.233, 1942; Cain et Abel (Bible:
Genesis), op.241, reciter, orch, 1944; La libration des Antilles (Hoppenot), op.246,
1944; Printemps lointain (Jammes), op.253, 1944; Chants de misre (Paliard),
op.265, 1946; 3 pomes (Supervielle), op.276, 1947; Ballade nocturne (L. de
Vilmorin), op.296, 1949
Les temps faciles (Marsan), op.305, 1950; Petites lgendes (Carme), op.319,
1952; Fontaines et sources (Jammes), op.352, 1v, pf/orch, 1956; Tristesses
(Jammes), op.355, 1956; Ecoutez mes enfants, op.359, 1v, org, 1957; Neige sur la
fleuve (Tsang Yuang), op.391, 1v, 7 insts, 1961; Suite de quatrains (Jammes),
op.398, reciter, 8 insts, 1962; Prparatif la mort en allgorie maritime (A.
dAubign), op.403, 1963; Adieu (cant., A. Rimbaud), op.410, 1v, fl, va, hp, 1964;
Lamour chant (various), op.409, 1964; Cantate de psaumes (trans. Claudel),
op.425, Bar, orch, 1967 [incl. Pss cxxix and cxxxvi, op.53]
Milhaud, Darius: Works
chamber
Str qts: no.1, op.5, 1912; no.2, op.16, 191415; no.3 (Latil), op.32, 1v, str qt, 1916;
no.4, op.46, 1918; no.5, op.64, 1920; no.6, op.77, 1922; no.7, op.87, 1925; no.8,
op.121, 1932; no.9, op.140, 1935; no.10, op.218, 1940; no.11, op.232, 1942; no.12,
op.252, 1945; no.13, op.268, 1946; nos.1415, op.291, 19489 [playable
separately or together as octet]; no.16, op.303, 1950; no.17, op.307, 1950; no.18,
op.308, 1950
Other works for 4 or more insts: Sonata, op.47, fl, ob, cl, pf, 1918; La chemine du
roi Ren, suite, op.205, wind qnt, 1939; La reine de Saba, op.207, str qt, 1939;
Lapothose de Molire, suite, op.286, fl, ob, cl, bn, hpd, str, 1948; Paris, op.284, 4
pf, 1948, orchd; Les rves de Jacob, dance suite, op.294, ob, str trio, db, 1949; Qnt
no.1, op.312, pf qnt, 1951; Qnt no.2, op.316, str qt, db, 1952; Qnt no.3, op.325, va,
str qt, 1953; Qnt no.4, op.350, vc, str qt, 1956; Divertissement, op.299b, wind qnt,
1958 [after film score Gauguin, op.299]; Str Sextet, op.368, 2 vn, 2 va, 2 vc, 1958;
Concert de chambre, op.389, pf, wind qnt, str qnt, 1961; Str Septet, op.408, 2 vn, 2
va, 2 vc, db, 1964; Pf Qt, op.417, 1966; Pf Trio, op.428, 1968; Stanford Serenade,
op.430, chamber orch, 1969; Hommage Igor Stravinsky, op.435, str qt, 1971;
Etudes, op.442, str qt, 1973; Wind Qnt, op.443, 1973
Trio: Pastorale, op.147, ob, cl, bn, 1935; Suite, op.157b, cl, vn, pf, 1936; Suite
daprs Corrette, op.161, ob, cl, bn, 1937 [after incid music Jules Csar]; Sonatine
3, op.221b, str trio, 1940; Str Trio, op.274, 1947; Pf Trio, op.428, 1968
Duo: Sonata no.1, op.3, vn, pf, 1911; Sonata, op.15, 2 vn, pf, 1914; Le printemps,
op.18, vn, pf, 1914; Sonata no.2, op.40, vn, pf, 1917; Sonatina, op.76, fl, pf, 1922;
Impromptu, op.91, vn, pf, 1926; 3 caprices de Paganini, op.97, vn, pf, 1927;
Sonatina, op.100, cl, pf, 1927; Scaramouche, op.165b, 2 pf, 1937 [after incid music
Le mdcin volant]; Sonatina, op.221, 2 vn, 1940; Sonatina, op.226, vn, va, 1941;
Les songes, op.237, 2 pf, 1943; 4 visages, op.238, va, pf, 1943; Sonata no.1,
op.240, va, pf, 1944; Sonata no.2, op.244, va, pf, 1944; Le bal martiniquais, op.249,
2 pf, 1944, orchd; Elgie, op.251, va, pf, 1945; Danses de Jacaremirim, op.256, vn,
pf, 1945; Sonata, op.257, vn, hpd, 1945; Duo, op.258, 2 vn, 1945; Farandoleurs,
op.262, vn, pf, 1946; Carnaval la Nouvelle-Orlans, op.275, 2 pf, 1947;
Kentuckiana, op.287, 2 pf, 1948, orchd; Sonatina, op.324, vn, vc, 1953; Caprice,
Danse, Eglogue, op.335, cl/sax/fl, pf, 1954; Sonatina, op.337, ob, pf, 1954; Duo
concertante, op.351, cl, pf, 1956; Sonata, op.377, vc, pf, 1959; Sonatina, op.378,
va, pf, 1959; 6 danses en 3 mouvements, op.433, 196970, also for solo pf
Milhaud, Darius: Works
solo instrumental
Pf: Suite, op.8, 1913; Mazurka, 1914 [pubd in Album des Six, 1920]; Variations sur
un thme de Cliquet, op.23, 1915; Printemps [I], op.25, 191519; Sonata no.1,
op.33, 1916; Printemps [II], op.66, 1920; Saudades do Brasil, op.67, 192021, arr.
orch; Caramel Mou, op.68, 1920, arr. 1v, jazz band; 3 rag caprices, op.78, 1922,
orchd; Choral, op.111, 1930; Lautomne, op.115, 1932; Lalbum de Madame Bovary,
op.128b, 1933; 3 valses, op.128c, 1933; 4 romances sans paroles, op.129, 1933;
Promenade (Le tour de lexposition), 1933, rev. 1937; Choral (Hommage
Paderewski), 1941; 4 Sketches, op.227, 1941, arr. orch/wind qnt; La libertadora,
op.236, 1943, also for 2 pf; La muse mnagre, op.245, 1945, orchd; Mditation,
op.277, 1947; Sonata no.2, op.293, 1949; Jeu, op.302, c1950 [pubd in album Les
contemporains]; Le candlabre sept branches, op.315, 1951; Hymne de
glorification, op.331, 19534; La couronne de Marguerite (Valse en forme de
rondo), op.353, 1956, orchd; Sonatina, op.354, 1956; Le globe trotter, op.358, 1956,
orchd; Les charmes de la vie, op.360, 1957, orchd
Org: Sonata, op.112, 1931; Pastorale, op.229, 1941; 9 Preludes, op.231b, 1942
[after incid music Lannonce faite Marie, op.231; Petite suite, op.348, 1955
Other solo inst: Exercice musical, op.134, pipeau, 1934; Sgoviana, op.366, gui,
1957; Sonatina pastorale, op.383, vn, 1960; Sonata, op.437, hp, 1971
Milhaud, Darius: Works
childrens works
A propos de bottes (Chalupt), op.118, vv, pf/(vns, vcs), 1932; Un petit peu de
musique, op.119 (Lunel), vv, pf/(vns, vcs), 1932; Un petit peu dexercice, op.133, vv,
pf/(vns, vcs), 1934; Rcration (J. Kriger), op.195, 1v, pf, 1938; Sornettes (F.
Mistral), op.214, 2vv, 1940; Cours de solfge; Papillon, papillonette, op.217, vv, pf,
1940; Touches noirs, touches blanches, op.222, pf, 1941; Acceuil amical, op.326,
pf, 19448; Une journe, op.269, pf, 1946; Lenfant aime, op.289, 1948; Service
pour la veille du sabbat, op.345, vv, org, 1955
Milhaud, Darius: Works
electro-acoustic
Etude potique (C. Roy), op.333, 1954
Milhaud, Darius: Works
arrangements
G. Auric: Adieu New York, pf 4 hands
F. Poulenc: Finale from Sonata, pf 4 hands, orch
E. Satie: 5 grimaces, pf; Gymnopdie, vn, pf; Jack-in-the-Box, orch; Relche:
Entracte, pf 4 hands; Suite after 3 morceaux en forme de poire, vn, pf
Principal publishers: Associated, Durand, Elkan-Vogel, Eschig, Heugel, Leeds,
Salabert, Universal
Milhaud, Darius
WRITINGS
Etudes (Paris, 1927)
Notes sans musique (Paris, 1949, 3/1973 as Ma vie heureuse;
Eng. trans., 1952/R) [autobiography]
ed. J. Drake: Notes sur la musique: essais et chroniques (Paris,
1982)
Milhaud, Darius
BIBLIOGRAPHY
G. Augsbourg: La vie de Darius Milhaud en images (Paris, 1935)
P. Collaer: Darius Milhaud (Antwerp, 1947, 2/1982; Eng. trans.,
1988) [incl. catalogue]
G. Beck: Darius Milhaud (Paris, 1949, 2/1956)
Entretiens avec Claude Rostand (Paris, 1952, 2/1992)
J. Petit, ed.: Correspondance Paul ClaudelDarius Milhaud,
Cahiers Paul Claudel, iii (Paris, 1961)
J. Roy: Darius Milhaud (Paris, 1968)
Cahiers Renaud-Barrault, no.88 (1975) [ClaudelMilhaud issue]
N.J. Schneider: Zwischen Polytonalitt und Geruschmusik: Les
chophores von Darius Milhaud, Melos, xlix/4 (1987), 232
J. Drake: The Operas of Darius Milhaud (New York, 1989)