Overview
A free spirit of French music
Georges Auric (1899-1983) was a multifaceted French composer, a member of the Group of Six, a prolific film music composer and an influential figure in the musical landscape of the 20th century. His artistic career was characterised by an assumed eclecticism, a rare ability to adapt and a desire to break with academic conventions while remaining accessible.
Youth and influences (1899-1920)
Born in Lodève, Auric was a prodigy who entered the Paris Conservatoire at a very young age. From his adolescence, he associated with major figures of the artistic avant-garde, notably Jean Cocteau, who became a friend and an essential collaborator. He was also influenced by Satie, whose irreverent spirit and melodic simplicity left their mark on his style.
In 1920, he became a member of the Group of Six, alongside Poulenc, Milhaud, Honegger, Tailleferre and Durey. This group rejected Wagnerian romanticism and Debussy’s impressionism, favouring clear, direct music rooted in everyday life.
Elegant and accessible music (1920-1940)
During the 1920s and 1930s, Auric composed light works, sometimes tinged with humour and jazz influences. In particular, he wrote ballets such as Les Fâcheux (1924) and Phèdre (1950), in which he expressed a simple but refined melodic style.
But it was above all his link with Jean Cocteau that propelled him to fame. He composed the music for the film Le Sang d’un poète (1930), an experimental work in which his refined style served the dreamlike atmosphere of the film.
The golden age of film music (1940-1960)
Georges Auric became one of the most sought-after composers for the cinema, writing the music for numerous masterpieces:
Moulin Rouge (1952) by John Huston → Music that contributes to the flamboyant atmosphere of the film.
Roman Holiday (1953) by William Wyler → Auric exports himself to Hollywood with elegance.
His film music, both expressive and accessible, has a lasting influence on the genre and ensures its worldwide popularity.
Recognition and the end of his career (1960-1983)
In his final years, Auric abandoned composition to take on institutional roles, notably as director of the Paris Opera and president of SACEM. He nevertheless continued to write chamber music and works for orchestra, but his legacy remains above all marked by his work for the cinema.
He died in 1983, leaving behind a body of work that elegantly traversed genres, always characterised by a spirit of freedom and musical clarity.
Conclusion: A chameleon of a composer
Georges Auric was neither a revolutionary nor a theorist, but a pragmatic musician, capable of adapting to many styles without ever denying his taste for melodic simplicity and expressive effectiveness. Between the Group of Six, ballet music and cinema, he was able to inscribe his name among the major figures of 20th-century French music.
History
Georges Auric was a man of many facets. Born in 1899 in Lodève, in the south of France, he showed exceptional talent for music from a very early age. A child prodigy, he quickly entered the Paris Conservatoire, where he was immersed in a vibrant musical environment. At a very young age, he attracted the attention of major figures of the avant-garde, notably Erik Satie, who instilled in him his spirit of independence and his taste for simplicity, and Jean Cocteau, who would become his friend and special collaborator.
In the post-war period, when the musical world was struggling between the legacy of romanticism and modernist experimentation, Auric found his place within the Group of Six, a collective of young composers brought together under the aegis of Cocteau and Satie. With Francis Poulenc, Darius Milhaud, Arthur Honegger, Germaine Tailleferre and Louis Durey, he participated in a movement that rejected the excesses of the past and advocated lighter music, rooted in everyday life and humour. However, Auric, like the other members of the group, did not remain confined to this aesthetic and followed his own path.
His style, initially characterised by a certain irony and melodic simplicity, evolved over time. He found a new freedom in ballet music and collaborations with Jean Cocteau, notably for the film Blood of a Poet in 1930. But it was really after the Second World War that his name became unavoidable, when he devoted himself fully to film music. Auric was a chameleon, able to adapt his writing to the images without ever losing his identity. He composed some of the most memorable soundtracks in cinema, notably for Beauty and the Beast (1946), Orpheus (1950) and Moulin Rouge (1952).
Unlike other composers of his time, Auric was not a theorist or a revolutionary. He composed above all with a keen sense of effectiveness and emotion, always favouring clarity and elegance. Over time, he gradually moved away from composition to take up important positions in French musical institutions, notably as director of the Paris Opera. Yet even in these official capacities, he retained the independent spirit that had characterised his entire life.
He died in 1983, leaving behind an immense and varied body of work, reflecting his career. Although he did not seek to revolutionise music, he knew how to make it lively, fluid and deeply rooted in his time. He is remembered as a free musician whose music continues to accompany dreams and images far beyond his time.
Chronology
1899 – Birth and first steps in music
Georges Auric was born on 15 February 1899 in Lodève, a small town in the south of France. He showed exceptional talent for music from a very early age and began composing at the age of 10.
1913-1918 – Studies and decisive encounters
While still a teenager, he enrolled at the Paris Conservatoire and also took classes at the Schola Cantorum, where he studied with Vincent d’Indy. He quickly formed relationships with figures of the artistic avant-garde, notably Erik Satie, who influenced him with his spirit of independence, and Jean Cocteau, who became his friend and future collaborator.
1920 – The Group of Six and the Parisian avant-garde
Auric joined the Group of Six, a collective of young composers centred around Jean Cocteau and Erik Satie, including Francis Poulenc, Darius Milhaud, Arthur Honegger, Germaine Tailleferre and Louis Durey. This group rejected Wagnerian Romanticism and Debussy’s Impressionism in favour of simpler, more direct music, sometimes tinged with humour.
1920-1930 – First successes and collaboration with Cocteau
Auric composed several orchestral and chamber music works, while developing a taste for ballet and stage music. He wrote for the Ballets Suédois, and in 1930 he composed the music for Jean Cocteau’s experimental film, Blood of a Poet, marking the beginning of a long collaboration with the filmmaker.
1930-1940 – A career between classical and popular music
During this decade, Auric tried his hand at several styles, composing both orchestral works and light music. He became one of the most eclectic composers of his time, oscillating between modernity and accessibility.
1940-1950 – The rise of film music and recognition
After the Second World War, Auric devoted himself increasingly to film music, becoming one of the most sought-after composers in the genre. He wrote soundtracks for cinematic masterpieces, including:
Beauty and the Beast (1946) by Jean Cocteau
Orpheus (1950) by Cocteau
Moulin Rouge (1952) by John Huston
Roman Holiday (1953) by William Wyler
His lyrical and accessible style appealed to Hollywood and European studios.
1960-1970 – Institutional involvement
Auric gradually reduced his activity as a composer and held several important posts in the French music world:
Georges Auric died on 23 July 1983 in Paris. He left behind an immense body of work, ranging from symphonic music to popular songs, as well as ballet and film music. His name is particularly associated with film music, where he left his mark on his era with his melodic sense and unique expressiveness.
Characteristics of the music
Georges Auric (1899-1983) was a French composer associated with the Group of Six, a collective of artists who rejected the influence of Wagner and Debussy in favour of simpler and more accessible music, inspired by neoclassicism and popular music. Here are some key characteristics of his musical style:
1. Clarity and simplicity
Auric favoured a direct and refined style of writing, avoiding the harmonic and orchestral excesses of late Romanticism.
His musical language often relies on melodious melodies and simple harmonies.
2. Influence of popular music
He incorporated elements of jazz, cabaret and French chanson, particularly in his film and stage music.
It has a strong, catchy rhythmic side, sometimes similar to dance music.
He is best known for his many soundtracks, particularly those for the films of Jean Cocteau (Beauty and the Beast, Orpheus), in which he develops a dreamlike and expressive atmosphere.
His film music is both discreet and evocative, perfectly complementing the images.
5. Neoclassical elegance
He retains a classical influence in his formal structuring and economy of means, while remaining modern and accessible.
In short, Georges Auric’s music is characterised by a sober elegance, great clarity and a balance between tradition and modernity. He is in the tradition of a neoclassical Stravinsky, while having a typically French touch, close to Poulenc or Milhaud.
Relationships
Georges Auric had many relationships with composers, performers, orchestras and influential personalities of his time. Here is an overview of his most significant connections:
1. Relationships with other composers
The Six (Milhaud, Poulenc, Honegger, Tailleferre, Durey)
Auric was part of the Group of Six, a collective founded around Jean Cocteau and Erik Satie, which advocated light, anti-romantic music influenced by popular music. His relations with the other members were friendly, although each developed a personal style after the informal dissolution of the group.
Erik Satie
Although older, Satie was a kind of mentor and inspiration to the Group of Six. His humour and his rejection of romantic sentimentality influenced Auric.
Igor Stravinsky
Stravinsky, particularly in his neoclassical period, influenced Auric, especially in his use of clear forms and strong rhythms.
2. Collaborations with filmmakers and writers
Jean Cocteau
One of his greatest collaborators. Auric composed the music for iconic films such as Beauty and the Beast (1946) and Orpheus (1950). He shared with Cocteau an artistic sensibility characterised by dreaminess and modernity.
Jean Anouilh
Auric composed for Anouilh’s theatre, contributing to several of his productions.
Max Jacob, Paul Éluard
He rubbed shoulders with these poets, sharing a taste for the literary and artistic avant-garde.
3. Relations with performers and orchestras
Francis Poulenc and Arthur Honegger (members of Les Six) often conducted or performed his works.
Orchestre National de France
As a composer of film and ballet music, his works have been performed by major French ensembles.
Jean Wiener
Pianist and composer, he often performed Auric’s works and shared his taste for jazz and popular music.
4. Institutional role and political influence
Director of SACEM (Société des Auteurs, Compositeurs et Éditeurs de Musique)
Auric played an important role in the protection of composers’ rights and actively defended contemporary music.
Director of the Paris Opera (1962-1968)
During this period, he encouraged modern productions and supported contemporary creation.
5. Relationships with personalities outside the musical world
Pablo Picasso
As a friend of Cocteau and the Parisian avant-garde, Auric met Picasso, who worked on sets and costumes for ballets and operas with which Auric was associated.
Serge Diaghilev
He had links with the founder of the Ballets Russes, even if he did not compose directly for him like Stravinsky or Poulenc.
Georges Auric was therefore a central figure in the artistic world of the 20th century, spanning music, cinema and the visual arts, with influential relationships that shaped his career and his work.
Similar composers
If you enjoy the music of Georges Auric, you might like the works of several composers with similar styles and influences. Here are a few names that share common stylistic traits with him:
1. Composers of the Group of Six
The composers of the Group of Six, of which Auric was a member, each developed a personal style, but they shared a general aesthetic marked by clarity, the influence of popular music and a rejection of excessive romanticism.
Francis Poulenc (1899-1963)
One of the most famous of the group, Poulenc combined lightness and depth. His style oscillated between irony, lyricism and great expressiveness (e.g. Concerto for Two Pianos, Gloria, Les Mamelles de Tirésias).
Darius Milhaud (1892-1974)
Influenced by jazz and the popular music of Brazil and the United States, he often used polytonality (Le Bœuf sur le toit, Scaramouche).
Arthur Honegger (1892-1955)
More dramatic and powerful than the other members of Les Six, he composed striking orchestral works (Pacific 231, Jeanne d’Arc au bûcher).
Germaine Tailleferre (1892-1983)
His style is elegant and luminous, with an often light and delicate writing (Piano Concerto, Suite burlesque).
Louis Durey (1888-1979)
Less well known, he was the most politically committed and often distanced himself from the group.
2. Neoclassical and modernist French composers
Apart from the Six, several 20th-century French composers shared Auric’s taste for neoclassicism and a certain clear and elegant aesthetic.
Jean Françaix (1912-1997)
The spiritual heir of the Six, he composed music full of humour, vivacity and lightness (Concertino for piano, L’Horloge de Flore).
Henri Sauguet (1901-1989)
A friend of Auric, he composed ballets and film music in a refined and accessible style (Les Forains).
Maurice Jaubert (1900-1940)
A film music composer, he was close to Auric in his sober and expressive style (L’Atalante, Quai des brumes).
André Jolivet (1905-1974)
More experimental, he explored new sounds while remaining accessible (Concerto for Trumpet, Mana).
3. Film and ballet music composers
Georges Auric is best known for his film and ballet music. Several composers have had a similar approach in this field:
Nino Rota (1911-1979)
Famous for his film music (La Strada, The Godfather), he shares with Auric a taste for melody and poetic evocation.
Michel Legrand (1932-2019)
Strongly influenced by Auric, he mixes jazz, chanson and orchestral music (The Umbrellas of Cherbourg).
Bernard Herrmann (1911-1975)
Best known for his film scores (Psycho, Vertigo), he has a sense of atmosphere and narrative close to Auric.
Arthur Bliss (1891-1975)
British composer who worked with filmmakers such as H.G. Wells (Things to Come), his style is sometimes reminiscent of Auric’s.
4. European composers with a similar aesthetic
Some composers from outside France have developed a style close to that of Auric, between neoclassicism, humour and accessibility:
Manuel de Falla (1876-1946)
His clear style, influenced by Spanish music, recalls Auric’s taste for clarity (Le Tricorne, Nuits dans les jardins d’Espagne).
Bohuslav Martinů (1890-1959)
Czech composer influenced by neoclassicism and jazz (Sinfonietta La Jolla, Julietta).
Kurt Weill (1900-1950)
His blend of popular and classical music, particularly in his works for the theatre (The Threepenny Opera), is in line with Auric’s aesthetic.
Conclusion
If you like Georges Auric, you should explore Poulenc and Françaix for their mischievous side, Sauguet and Jaubert for their film music, and Nino Rota for a comparable lyricism. For a more international approach, Martinů and Weill also offer a nice continuity.
Famous works for solo piano
Georges Auric is best known for his film scores, ballets and a few orchestral and vocal works. Here are his most famous works, categorised:
1. Film scores (his most famous field)
Auric was one of the most influential composers in French and international cinema. He collaborated with great directors, including Jean Cocteau and René Clair.
Beauty and the Beast (1946) – Enchanting music for Jean Cocteau’s masterpiece.
Orpheus (1950) – Dreamlike music for this legendary film by Cocteau.
Blood of a Poet (1930) – An experimental film by Cocteau, in which Auric creates a mysterious atmosphere.
Moulin Rouge (1952) – A film about Toulouse-Lautrec, with elegant and expressive music.
Roman Holiday (1953) – One of his Hollywood successes, with Audrey Hepburn and Gregory Peck.
The Lavender Hill Mob (1951) – A British comedy, with sparkling and light music.
Les Parents terribles (1948) – Adapted from the play by Cocteau.
2. Ballets
Auric composed several ballets, often influenced by neoclassicism and popular music.
Les Matelots (1925) – A ballet with a cheerful style, influenced by popular music.
Phaedra (1950) – A dramatic ballet inspired by the classical tragedy.
The Competition (1932) – Created for the Swedish Ballet.
3. Orchestral and vocal works
Auric also composed for orchestra, often with French and neoclassical influences.
Overture for a Comic Opera (1938) – A lively and colourful orchestral piece.
Eight Bagatelles for Orchestra (1927) – Orchestral miniatures typical of his clear and refined style.
Chansons de Ronsard (1934) – A cycle of melodies based on the poems of Pierre de Ronsard.
Cantate sur le Narcisse (1938) – A vocal work influenced by mythology.
4. Chamber music
Although less well known for this repertoire, Auric wrote some interesting pieces:
Trio pour hautbois, clarinette et basson (1938) – A witty piece with light sounds.
Wind Quintet (1924) – In the spirit of the Group of Six, a blend of humour and elegance.
Conclusion
Georges Auric remains above all a master of film music, but his contribution to ballet and orchestral music is also noteworthy. His works are characterised by clarity of writing, a touch of irony and neoclassical elegance.
(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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