Overview
Darius Milhaud (1892-1974) was a prolific French composer, a member of the famous group Les Six, known for his eclectic style and innovative use of polytonality. Originally from Provence and steeped in diverse influences, he incorporated elements of jazz, Brazilian music and Provençal folklore into his music.
Musical characteristics
Polytonality: Milhaud superimposes several keys simultaneously, giving a bold harmonic colour.
Jazz and Latin influences: After a stay in Brazil as a cultural attaché (1917-1918), he was inspired by Brazilian rhythms, particularly in ‘Le Bœuf sur le toit’. He also discovered jazz in the United States and incorporated it into his compositions.
Eclecticism: his work covers all genres: symphonic music, chamber music, opera, choral music and music for the stage.
Famous works
‘Le Bœuf sur le toit’ (1919) – Fantasia for orchestra, influenced by Brazilian music.
‘La Création du monde‘ (1923) – A ballet inspired by jazz, with an instrumentation reminiscent of big bands.
‘Suite provençale’ (1936) – An orchestral work with the folk colours of the south of France.
‘Saudades do Brasil’ (1920-1921) – A suite of dances inspired by his stay in Brazil.
‘Scaramouche‘ (1937) – A virtuoso and joyful piece for saxophone (or clarinet) and piano.
‘Les Choéphores’ (1915-1916) – A musical drama based on Aeschylus, illustrating his taste for antiquity.
Influence and legacy
Milhaud taught generations of composers in the United States (including Dave Brubeck) and helped introduce polytonality and jazz to classical music. His prolific oeuvre, comprising more than 400 compositions, makes him one of the most prolific composers of the 20th century.
History
Darius Milhaud was born in 1892 in Aix-en-Provence into a Jewish family with deep roots in the region. From a very young age, he was immersed in the music and culture of Provence, which would influence his style throughout his life. Trained as a violinist, he soon entered the Paris Conservatoire, where he studied with masters such as Paul Dukas and André Gedalge. It was there that he met Arthur Honegger and Francis Poulenc, with whom he would later form the group Les Six, a collective of young composers seeking to break with Romanticism and Impressionism.
But Milhaud’s true musical revelation came when he went to Brazil in 1917 as secretary to the poet Paul Claudel, then French ambassador. This stay had a profound impact on his musical imagination: he discovered Brazilian rhythms, exuberant percussion and the vitality of local popular music. He brought back an emblematic work, ‘Le Bœuf sur le toit’, a fantasy combining Brazilian melodies and Parisian spirit.
Back in France, he became one of the central figures of the Roaring Twenties in Paris. He associated with Cocteau, Picasso and Stravinsky, and developed a passion for jazz, which he discovered in 1920 during a trip to the United States. Fascinated by this music, he composed the ballet ‘La Création du monde’ in 1923, an avant-garde work in which the syncopated rhythms of jazz blend into a classical orchestration.
Despite the success, the rise of Nazism plunged his life into chaos. Because of his Jewish origins, he was forced to flee France in 1940. He went into exile in the United States, where he taught at Mills College in California. Among his students was a certain Dave Brubeck, who would become a jazz legend and always testify to Milhaud’s influence on his work.
After the war, he returned to France, but illness forced him to lead a more sedentary life: suffering from rheumatoid arthritis, he had to use a wheelchair. This did not prevent him from continuing to compose tirelessly. His catalogue exceeds 400 works, exploring all genres, from ballet to chamber music, including opera and sacred music.
Until the end of his life, Milhaud remained a curious man, always in search of new sounds and deeply attached to his Provençal roots. He died in 1974, leaving behind an abundant body of work, marked by a love of rhythm, colour and musical diversity.
Chronology
1892 – Born in Aix-en-Provence
Darius Milhaud was born on 4 September 1892 into a Provençal Jewish family that had been living in the region for centuries.
1902-1909 – First steps in music
He began playing the violin as a child, but quickly developed a passion for composition.
1909-1914 – Studies at the Paris Conservatoire
He enrolled at the Paris Conservatoire, where he studied with Paul Dukas, Charles-Marie Widor and Vincent d’Indy. There he met Arthur Honegger and Germaine Tailleferre, future members of Les Six.
1917-1918 – Stay in Brazil
He is sent to Rio de Janeiro as an attaché to Paul Claudel, then French ambassador. He discovers Brazilian music, which will profoundly influence his later works, notably ‘Le Bœuf sur le toit’.
1919 – Return to France and rise to fame
On his return, he composed ‘Le Bœuf sur le toit’, an exuberant work inspired by Brazil, which became a symbol of the Roaring Twenties in Paris.
1920 – Creation of the Group of Six
With Francis Poulenc, Arthur Honegger, Georges Auric, Germaine Tailleferre and Louis Durey, he formed Les Six, a group of composers advocating a new, light and anti-romantic music.
1923 – Influence of jazz and ‘La Création du monde’
After a trip to the United States, he discovered jazz, which inspired him to compose ‘La Création du monde’, a ballet in an innovative style.
1930-1939 – International success and recognition
He composed operas, symphonies and chamber music while travelling in Europe and the United States. He taught at the Paris Conservatoire and gained international recognition.
1940 – Exile in the United States
Due to the Nazi occupation and his Jewish origins, Milhaud fled France and settled in California, where he taught at Mills College. His students included Dave Brubeck, who was influenced by his music.
1947 – Return to France
After the war, he returned to France, while continuing to teach and compose in the United States.
1950-1960 – Last major works
Despite poor health and severe rheumatic pain, he continued to compose prolifically, reaching a total of over 400 works.
1974 – Death in Geneva
Darius Milhaud died on 22 June 1974 in Geneva, leaving behind an immense body of work and a major musical legacy.
Characteristics of the music
Darius Milhaud’s music is characterised by an eclectic, bold and colourful style, blending multiple influences, from Provençal folklore to jazz, via Brazilian music and Antiquity. The main characteristics of his musical language are as follows:
1. Polytonality and innovative harmony
One of Milhaud’s signatures is the use of polytonality, i.e. the superimposition of several tonalities simultaneously. This technique gives his music a unique harmonic richness, sometimes perceived as dissonant, but always fluid and expressive. Striking examples can be found in ‘Saudades do Brasil’ or ‘La Création du monde’.
2. Influence of Jazz
Milhaud was one of the first classical composers to integrate jazz into his music, having discovered this aesthetic during a trip to the United States in 1920. He adopted syncopation, lively rhythms, the typical timbres of big bands and a great freedom in melodic phrasing. The ballet ‘The Creation of the World’ (1923) is a perfect example, with an orchestration that imitates the jazz ensembles of the time.
3. Brazilian Rhythms and Popular Music
His stay in Brazil (1917-1918) profoundly influenced his music. He drew inspiration from Brazilian folk dances and percussion, as in ‘Le Bœuf sur le toit’ (1919), an exuberant fantasy based on Brazilian melodies, or in ‘Saudades do Brasil’, a series of pieces inspired by samba and maxixe rhythms.
4. Clarity and melodic simplicity
Although his writing is sometimes harmonically complex, Milhaud always seeks melodic clarity. His themes are often simple, lilting, even naïve, influenced by the folklore of Provence, his native region. This melodic simplicity can be found in ‘Suite provençale’ (1936).
5. Exuberance and Playfulness
In contrast to Debussy’s impressionism or the seriousness of romanticism, Milhaud often adopted a light-hearted and humorous tone. Many of his works, such as ‘Scaramouche’ (1937) or ‘Divertissement’ (1929), play on a mischievous and carefree spirit.
6. A taste for Antiquity and the Jewish Heritage
Born into a Jewish family from Provence, Milhaud composed several works inspired by the Hebrew tradition, such as ‘Service sacré’ (1947) for choir and orchestra. He was also fascinated by Greek and Latin Antiquity, as evidenced by his operas inspired by Aeschylus, notably ‘Les Choéphores’ (1916).
7. An Abundant and Varied Production
Milhaud composed more than 400 works covering all genres: symphonic music, chamber music, opera, ballet, choral music, etc. His style remained consistent despite this diversity, always driven by rhythmic energy and a taste for innovation.
In short, Milhaud is a composer who is both modern and accessible, a sound explorer who mixes cultures and styles with total freedom. His work, abundant and unclassifiable, reflects a communicative joie de vivre and a deep attachment to his roots.
Relations
Darius Milhaud, a central figure in 20th-century music, had many relationships with composers, performers, writers, artists and cultural institutions. His exchanges reflect his eclecticism and his openness to the artistic trends of his time.
1. Relationships with other composers
The Six (Group of French composers)
Milhaud was part of the Group of Six, alongside Francis Poulenc, Arthur Honegger, Georges Auric, Germaine Tailleferre and Louis Durey. This group, influenced by Jean Cocteau and Érik Satie, advocated light, spontaneous music far removed from Romanticism and Impressionism. Milhaud was, however, more open to outside influences (jazz, world music) than some of his colleagues.
Igor Stravinsky
Milhaud deeply admired Stravinsky and was influenced by ‘The Soldier’s Tale’ (1918), which foreshadowed the use of jazz in classical music. Stravinsky, in return, respected Milhaud, even if he sometimes criticised his polytonal approach.
Paul Hindemith
Milhaud shared with Hindemith an affinity for contrapuntal writing and a certain taste for neoclassical music. They were both important figures in modern European music.
Olivier Messiaen
Although their styles were very different, Milhaud and Messiaen had a cordial relationship. Messiaen appreciated Milhaud’s openness to non-European music.
2. Relations with performers and orchestras
Conductors Serge Koussevitzky and Leopold Stokowski
Koussevitzky and Stokowski, two influential 20th-century conductors, often programmed Milhaud’s works in the United States. Koussevitzky conducted several premieres of his works, contributing to his international reputation.
Jascha Heifetz (violinist)
The famous violinist Jascha Heifetz commissioned and performed some of Milhaud’s works.
Marcel Mule (saxophonist)
Milhaud dedicated his ‘Scaramouche’ and his ‘Concertino da camera’ to Marcel Mule, a pioneer of the classical saxophone.
Marguerite Long (pianist)
She was one of the first performers of Milhaud’s Piano Concerto No. 1 and promoted his music in the French piano repertoire.
3. Relationships with writers and artists
Paul Claudel (writer and diplomat)
The meeting with Paul Claudel in 1913 was decisive. Milhaud became his secretary when he was ambassador to Brazil (1917-1918). They collaborated on several works, notably the opera ‘Christopher Columbus’ and the incidental music for ‘Proteus’.
Jean Cocteau (poet and artist)
Close to the Group of Six, Cocteau influenced Milhaud through his aesthetic and his taste for multidisciplinary art. He played a key role in the creation of ‘Le Bœuf sur le toit’, originally conceived as a burlesque film score.
Fernand Léger (Cubist painter)
Milhaud collaborated with Fernand Léger on the ballet ‘La Création du monde’ (1923). Léger created the sets and costumes, bringing a cubist touch to this jazz-influenced work.
4. Relations with political and intellectual figures
Paul Valéry (writer and poet)
Valéry and Milhaud shared a mutual admiration. The composer set some of his texts to music.
André Malraux (minister and writer)
Malraux supported Milhaud when he returned to France after the Second World War and promoted the recognition of his work.
5. Relations with institutions and students
Mills College (California, USA)
When he fled France in 1940 because of the Nazi occupation, Milhaud found refuge at Mills College, where he taught composition. He influenced a generation of American composers.
Dave Brubeck (jazz pianist, Milhaud’s student)
One of his most famous students is the jazzman Dave Brubeck, who later said that Milhaud encouraged him to integrate classical elements into jazz and to explore polytonality.
Pierre Boulez (composer, Milhaud’s student)
Milhaud also taught Pierre Boulez, but the latter would later oppose his style, which he considered too conservative in the face of the Darmstadt avant-garde.
Conclusion
Darius Milhaud forged a vast network of relationships in the 20th-century musical and artistic world. His openness to diverse influences and his collaborative spirit led him to rub shoulders with renowned composers, performers, writers and intellectuals. His ability to integrate different musical cultures makes him a unique and cosmopolitan figure of the last century.
Similar composers
Darius Milhaud was an eclectic composer, sharing affinities with several musicians of different styles. Here are a few composers whose music has similarities with that of Milhaud, whether in the use of polytonality, an interest in jazz, an attraction to world music, or the playful and exuberant nature of their writing.
1. Francis Poulenc (1899-1963) – Spirit of the Six and melodious melodies
Francis Poulenc, a member of the Group of Six, shares with Milhaud a taste for melodic clarity, a certain lightness and a touch of humour in his music. Like Milhaud, he composed for both the concert hall and the stage and explored various genres. However, Poulenc was often more lyrical and tender, while Milhaud was more daring in his harmonies.
🔹 Works to listen to:
Concert champêtre (1928) – for harpsichord and orchestra
Les Biches (1923) – a sparkling and carefree ballet
Concerto for Two Pianos (1932) – influenced by jazz, like some of Milhaud’s works
2. Igor Stravinsky (1882-1971) – Rhythm, modernity and jazz
Stravinsky and Milhaud share a very distinctive rhythmic approach and a curiosity for popular music. Stravinsky’s ‘The Soldier’s Tale’ (1918) foreshadows the use of jazz in art music, an approach that Milhaud takes even further in ‘The Creation of the World’. Both experiment with lively, percussive orchestrations, and sometimes adopt an ironic tone.
🔹 Works to listen to:
The Soldier’s Tale (1918) – fusion of popular and classical music
Ragtime (1918) – Stravinsky explores jazz as Milhaud does
Pulcinella (1920) – a neoclassical reinterpretation of baroque music
3. Manuel de Falla (1876-1946) – Mediterranean colours and Hispanic rhythms
Like Milhaud with Provence, Manuel de Falla was deeply attached to the music of his native region, Spain. They share the same desire to integrate popular elements into scholarly writing and a dazzling orchestral palette.
🔹 Works to listen to:
El sombrero de tres picos (1919) – a ballet with dazzling colours and dance rhythms
Concerto for harpsichord (1926) – original and inspired by early music
Nights in the Gardens of Spain (1915) – impressionist colours and popular influences
4. Paul Hindemith (1895-1963) – Rigorous counterpoint and rhythmic energy
Milhaud and Hindemith share a polytonal approach and a taste for energetic counterpoint. Their music can sometimes appear mechanical or deliberately angular, but it is always full of vitality.
🔹 Works to listen to:
Mathis der Maler (1934) – a great orchestral fresco
Suite ‘1922’ – inspired by folk dances, a parallel with Milhaud and jazz
Kammermusik – a series of chamber music works with original instrumental combinations
5. Heitor Villa-Lobos (1887-1959) – Fusion of cultures and orchestral exuberance
Just as Milhaud integrated elements of Provençal folklore and jazz, Villa-Lobos fused classical music and Brazilian rhythms. Their approach to the orchestra is often colourful and exuberant.
🔹 Works to listen to:
Bachianas Brasileiras (1930-1945) – a blend of Bach and Brazilian music
Choros No. 10 – an exploration of Brazilian folk rhythms
Rudepoema – a piano style close to the rhythmic verve of Milhaud
6. Kurt Weill (1900-1950) – Musical theatre and jazz
Both Weill and Milhaud incorporated elements of cabaret, jazz and popular music into their work. Weill, known for his collaborations with Bertolt Brecht (The Threepenny Opera), shared Milhaud’s often ironic and energetic approach to music.
🔹 Works to listen to:
The Threepenny Opera (1928) – musical theatre influenced by jazz
Mahagonny Songspiel (1927) – a brilliant and rhythmic orchestration
Symphony No. 2 (1933) – at the crossroads of jazz and European orchestral music
7. Bohuslav Martinů (1890-1959) – Polytonality and popular influences
This Czech composer shares with Milhaud a polytonal approach, an energetic rhythmic style and a curiosity for popular music.
🔹 Works to listen to:
Concerto for harpsichord – a dynamic similar to Milhaud’s works
Sinfonietta La Jolla (1950) – a work commissioned in the United States, with a lightness similar to Milhaud’s style
Divertimento – close to the light and witty style of the Group of Six
Conclusion
Darius Milhaud stands at the crossroads of several musical worlds: neoclassical, polytonal, influenced by jazz and popular music, but also profoundly Mediterranean in his inspiration. The composers mentioned share these distinctive features with him, but each in his own way. Milhaud remains unique, however, due to the variety of his influences and the diversity of his output, which ranges from chamber music to large orchestral frescoes.
1. Saudades do Brasil (1920)
A suite of 12 dances inspired by Brazilian rhythms, written after his stay in Brazil. Each piece is named after a district of Rio de Janeiro and incorporates elements of polytonality and jazz syncopation.
2. Le Bœuf sur le toit (1919) – Transcription for piano
Originally a fantasy for orchestra inspired by Brazilian melodies, Milhaud produced a version for solo piano, retaining its exuberant and rhythmic character.
3. Printemps (Spring) (1915)
An early work in which one can already feel a fresh and free style of writing, with bold harmonies and great liveliness.
4. Trois Rag-Caprices (1922)
Pieces influenced by jazz and ragtime, demonstrating Milhaud’s interest in syncopated rhythms and harmonic experimentation.
5. Scaramouche (1937) – Transcription for solo piano
Originally written for two pianos, this set of three light and festive pieces was transcribed by Milhaud for solo piano. The famous last piece, ‘Brazileira’, is particularly virtuosic and cheerful.
6. Madame Bovary’s Album (1933)
A suite of short pieces written to accompany the silent film Madame Bovary. The writing is evocative and poetic, with an impressionist touch.
7. Suite provençale (1936) – Transcription for piano
Based on popular Provençal melodies, this colourful and lively suite is a tribute to his native region.
8. Sonatina for piano (1937)
A concise and refined work, illustrating the influence of neoclassicism with clarity of writing and great expressiveness.
9. Suite française (1945) – Piano version
Originally written for orchestra, this suite has been adapted for solo piano. It uses popular French melodies in a simple but effective style.
10. Cinéma-fantaisie sur ‘Le Bœuf sur le toit’ (1919)
Expanded version of the famous ballet, integrating the festive and polytonal elements of the original piece.
These works cover a wide stylistic range, from bold polytonality to folk and jazz influences. They perfectly illustrate Milhaud’s inventive genius and diversity in piano writing.
Famous works
Darius Milhaud composed a large number of works in various genres. Here is a selection of his most famous works other than solo piano:
1. Orchestral music
Le Bœuf sur le toit, op. 58 (1919) – A fantasy inspired by Brazilian melodies, full of energy and colour.
Suite provençale, op. 152b (1936) – Based on popular themes from Provence, light and sunny.
The Creation of the World, op. 81a (1923) – Ballet influenced by jazz and African music, written for small orchestra.
Concerto for Percussion and Small Orchestra, op. 109 (1930) – One of the first concertos to feature percussion alone.
Symphonies No. 1 to No. 12 (1940-1961) – A series of twelve symphonies, often short and very diverse in style.
2. Chamber music
Scaramouche, Op. 165b (1937) – A famous suite for two pianos, also transcribed for saxophone and orchestra.
Sonatina for flute and piano, op. 76 (1922) – A delicate and charming work.
Suite for violin, clarinet and piano, op. 157b (1936) – A small, cheerful and humorous piece.
Quintet for piano and strings, op. 81b (1922) – A work rich in colour and daring harmonies.
String Quartets No. 1 to No. 18 (1912-1950s) – An impressive series of quartets, showing his stylistic evolution.
3. Ballets
Le Bœuf sur le toit, op. 58 (1919) – Also conceived as a burlesque ballet with Brazilian music.
La Création du monde, op. 81 (1923) – Inspired by jazz and African mythology.
L’Homme et son désir, op. 48 (1917-1918) – Exotic ballet influenced by his stay in Brazil.
4. Vocal music and operas
Christophe Colomb, op. 102 (1928) – Opera with a libretto by Paul Claudel, focusing on the encounter between Europe and the New World.
Les Choéphores, op. 24 (1915-1916) – Musical tragedy based on Aeschylus, using choirs and powerful orchestration.
Médée, op. 191 (1939) – Dramatic opera based on the myth of Medea.
Cantate de la paix, op. 417 (1973) – Choral work with a message.
5. Concertante music
Violin Concerto No. 1, Op. 93 (1927) – A virtuoso and expressive work.
Clarinet Concerto, Op. 230 (1941) – A dynamic and melodic piece.
Concerto for marimba, vibraphone and orchestra, op. 278 (1947) – One of the first concertos for these instruments.
These works bear witness to Milhaud’s immense diversity, ranging from Provençal folklore to Brazilian influences and jazz, while exploring harmonic modernity and polytonality.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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