Darius Milhaud (1892–1974) was a prolific French composer and teacher, renowned for his distinct style that integrated diverse musical elements from jazz to Brazilian music and polytonality. He was a member of Les Six, a group of French composers in the early 20th century who sought to break away from the conventions of Romanticism and the influences of Richard Wagner and impressionist composers such as Claude Debussy and Maurice Ravel.
Early life and education
Milhaud was born on September 4, 1892, in Aix-en-Provence, France, into a prosperous Jewish family from the south of France. He began his musical studies at an early age and showed considerable promise. When he was 17, he moved to Paris to study at the Paris Conservatory. There, he studied composition under Charles Widor and harmony and counterpoint with André Gedalge. Additionally, he studied privately with Vincent d’Indy. Milhaud was also a violist, which gave him valuable orchestral experience.
Career and contributions
Milhaud’s early compositions, including his first symphony, were heavily influenced by the impressionism of Debussy and Ravel. But soon, he started forging his own musical path. After the First World War, he was one of the founding members of Les Six, which also included Georges Auric, Louis Durey, Arthur Honegger, Francis Poulenc, and Germaine Tailleferre. They were brought together, in part, by the influential French music critic and composer Jean Cocteau, and their music was often seen as a reaction against the prevailing musical trends of the time.
In 1917, Milhaud served as an attaché to Paul Claudel, the French ambassador in Rio de Janeiro, which had a profound impact on his music. The Brazilian folk music he encountered there influenced several of his compositions, including his ballets “L’Homme et son désir” and “Le Boeuf sur le toit”.
Milhaud was also one of the first 20th-century composers to integrate jazz influences into his work, following a 1922 trip to the United States. His “La création du monde”, composed in 1923, reflects the influence of the jazz he heard in Harlem.
A defining feature of Milhaud’s music is his use of polytonality – the use of two or more keys played simultaneously. This is a technique that he employed throughout his career to create complex and often dissonant harmonies.
During the 1930s and 40s, Milhaud composed a series of symphonies and string quartets that further solidified his reputation as a leading modernist composer. However, the rise of the Nazi regime in Germany and its antisemitic policies forced Milhaud to flee Europe. He moved to the United States in 1940.
Later life and legacy
In the United States, Milhaud secured a teaching position at Mills College in Oakland, California, where he taught for many years. His students included notable composers such as Dave Brubeck, Burt Bacharach, and Philip Glass.
Despite suffering from severe rheumatoid arthritis, which left him wheelchair-bound in his later years, Milhaud remained incredibly productive. He continued to compose prolifically, with his output including chamber music, choral works, film scores, symphonies, and operas. He also wrote a number of pedagogical works, including his memoirs, “Notes Without Music”, which provide valuable insights into his compositional approach and his views on contemporary music.
Milhaud returned to France regularly after the Second World War, but he remained based in the United States for the rest of his life. He died in Geneva, Switzerland, on June 22, 1974.
Milhaud’s legacy is that of one of the 20th century’s most inventive and versatile composers. His exploration of diverse musical styles and forms, and his innovative use of polytonality, make him a significant figure in the history of Western music. His compositional techniques and approaches continue to influence and inspire composers today.
Darius Milhaud (1892 – 1974)
Darius Milhaud (1892–1974) was a prolific French composer and teacher, renowned for his distinct style that integrated diverse musical elements from jazz to Brazilian music and polytonality. He was a member of Les Six, a group of French composers in the early 20th century who sought to break away from the conventions of Romanticism and the influences of Richard Wagner and impressionist composers such as Claude Debussy and Maurice Ravel.
Early life and education
Milhaud was born on September 4, 1892, in Aix-en-Provence, France, into a prosperous Jewish family from the south of France. He began his musical studies at an early age and showed considerable promise. When he was 17, he moved to Paris to study at the Paris Conservatory. There, he studied composition under Charles Widor and harmony and counterpoint with André Gedalge. Additionally, he studied privately with Vincent d’Indy. Milhaud was also a violist, which gave him valuable orchestral experience.
Career and contributions
Milhaud’s early compositions, including his first symphony, were heavily influenced by the impressionism of Debussy and Ravel. But soon, he started forging his own musical path. After the First World War, he was one of the founding members of Les Six, which also included Georges Auric, Louis Durey, Arthur Honegger, Francis Poulenc, and Germaine Tailleferre. They were brought together, in part, by the influential French music critic and composer Jean Cocteau, and their music was often seen as a reaction against the prevailing musical trends of the time.
In 1917, Milhaud served as an attaché to Paul Claudel, the French ambassador in Rio de Janeiro, which had a profound impact on his music. The Brazilian folk music he encountered there influenced several of his compositions, including his ballets “L’Homme et son désir” and “Le Boeuf sur le toit”.
Milhaud was also one of the first 20th-century composers to integrate jazz influences into his work, following a 1922 trip to the United States. His “La création du monde”, composed in 1923, reflects the influence of the jazz he heard in Harlem.
A defining feature of Milhaud’s music is his use of polytonality – the use of two or more keys played simultaneously. This is a technique that he employed throughout his career to create complex and often dissonant harmonies.
During the 1930s and 40s, Milhaud composed a series of symphonies and string quartets that further solidified his reputation as a leading modernist composer. However, the rise of the Nazi regime in Germany and its antisemitic policies forced Milhaud to flee Europe. He moved to the United States in 1940.
Later life and legacy
In the United States, Milhaud secured a teaching position at Mills College in Oakland, California, where he taught for many years. His students included notable composers such as Dave Brubeck, Burt Bacharach, and Philip Glass.
Despite suffering from severe rheumatoid arthritis, which left him wheelchair-bound in his later years, Milhaud remained incredibly productive. He continued to compose prolifically, with his output including chamber music, choral works, film scores, symphonies, and operas. He also wrote a number of pedagogical works, including his memoirs, “Notes Without Music”, which provide valuable insights into his compositional approach and his views on contemporary music.
Milhaud returned to France regularly after the Second World War, but he remained based in the United States for the rest of his life. He died in Geneva, Switzerland, on June 22, 1974.
Milhaud’s legacy is that of one of the 20th century’s most inventive and versatile composers. His exploration of diverse musical styles and forms, and his innovative use of polytonality, make him a significant figure in the history of Western music. His compositional techniques and approaches continue to influence and inspire composers today.
Discography
Colores del sur
Femke IJlstra
Celia García-García