Related Research Articles
La Création du monde, Op. 81a, is a 15-minute-long ballet composed by Darius Milhaud in 1922–23 to a libretto by Blaise Cendrars, which outlines the creation of the world based on African folk mythology. The premiere took place on 25 October 1923 at Théâtre des Champs-Élysées in Paris.
The Symphony No. 1, Op. 210, by Darius Milhaud is a work for orchestra composed in France in 1939, during a period of illness and anxiety following the outbreak of World War II. Nearly fifty years old at the time and already a very prolific and mature composer, Milhaud had never attempted a symphony before. In spite of his expressed antipathy toward the "German music" typified by the symphony, he accepted a commission for this work from the Chicago Symphony Orchestra, then approaching its 50th anniversary. Milhaud went on to write twelve more numbered symphonies by 1963.
The Symphony No. 2, Op. 247, is a work for orchestra by French composer Darius Milhaud. It was written in the U.S. in 1944 on a commission from the Koussevitzky Music Foundations in memory of Serge Koussevitzky's second wife Natalie, who had died in 1942. The premiere of the work was played by the Boston Symphony Orchestra in 1946, with the composer himself conducting.
The Symphony No. 3, Op. 271, sub-titled Te Deum, is a work for orchestra and chorus by French composer Darius Milhaud. The piece originated in a 1946 request by Radio France for a Te Deum celebrating the allied victory in World War II. Instead of confining himself to a setting of the liturgical text, Milhaud delivered a four-movement symphony in which the orchestra plays two movements alone. The chorus joins without words in Movement II; only in the finale is the Latin text of the Te Deum sung. This symphony is not to be confused with Milhaud's Chamber Symphony No. 3 "Sérénade," op. 71 (1921).
The Symphony No. 4, Op. 281, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1947 in response to a request by the French minister of education for a composition celebrating the 100th anniversary of the Revolution of 1848. Milhaud wrote this symphony on board a steamship to France from the U.S., where he had lived since 1940. This symphony is not to be confused with Milhaud's Chamber Symphony No. 4, op. 74 (1921).
The Symphony No. 5, Op. 322, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1953 on a commission from Italian Radio. This work is not to be confused with Milhaud's Chamber Symphony No. 5 for Ten Wind Instruments, op. 75 (1922).
The Symphony No. 7, Op. 344, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1955 for a Radio Belge concert in Venice.
The Symphony No. 8, Op. 362, subtitled Rhôdanienne, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1957 on a commission from the University of California. Its four programmatic movements paint a musical landscape of the course of the Rhone River.
The Symphony No. 9, Op. 380, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1959 for the Fort Lauderdale Symphony Orchestra and its conductor Mario di Bonaventura.
The Symphony No. 10, Op. 382, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1960 for the hundredth anniversary of the U.S. state of Oregon.
The Symphony No. 11, Op. 384, nicknamed Romantique, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1960 on a joint commission from the Dallas Symphony Orchestra and the Dallas Public Library, and received its premiere under conductor Paul Kletzki.
The Symphony No. 12, Op. 390, subtitled La Rurale, is a work for orchestra by French composer Darius Milhaud. The piece was written in 1961 for the dedication of the concert hall at the University of California, Davis, a campus historically focused on agricultural studies.
Pacem in terris, Op. 404 is a choral symphony for alto, baritone, chorus and orchestra by French composer Darius Milhaud. Though often identified only by its title and opus number, it is considered Milhaud's thirteenth and last symphony. The piece was written in 1963, incorporating text written by Pope John XXIII. At least a partial recording of this symphony is available on the Musique En Wallonie label, featuring the Brussels Belgian Radio and TV Philharmonic Orchestra conducted by Franz André.
Little (Chamber) Symphony No.4:, Op.74, by Darius Milhaud is a work for 10 string instruments composed in Vienna in 1921. It is not to be confused with Symphony No.4. The music is polytonal and progresses through a variety of contrasting moods. The first two movements employ ostinatos to repeat basic musical ideas. The first movement is marked “Animé”. It is a lively dance in triple meter and stylistically refers back to the baroque period. The second movement is marked “Assez lent” and features multiple double bass solos. The final movement incorporates imitative polyphony in a fugal section.
The Little(Chamber) Symphony No.5, Op.75, also known as the Tentet, is a symphony for wind instruments written by French composer Darius Milhaud in 1922. It is his fifth chamber symphony, which are also referred to as the Petites Symphonies or Chamber Symphonies. The work was commissioned by Italian Radio and is dedicated to Marya Freúnd, a soprano singer and Milhaud's friend, who performed the premiere of Schoenberg's Pierrot Lunaire, conducted by Milhaud. The symphony was first performed at Champs-Elysées, Paris in 1923.
Little (Chamber) Symphony No. 3, Op. 71 by Darius Milhaud is a work for chamber orchestra that was composed in 1921. The work is also known by the title Sérénade. This work is not to be confused with Milhaud's Symphony No. 3, which is known as Te Deum.
Little (Chamber) Symphony No. 6, Op. 79, composed by Darius Milhaud in 1923, is a work for oboe, cello, and wordless chorus. It premiered at the Concert Wiener in Paris in 1924.
The Little (Chamber) SymphonyNo. 2, Op. 49, by Darius Milhaud is a three movement piece written for chamber orchestra, consisting of flute, English horn, bassoon, violin, viola, cello, and double bass. Milhaud composed this piece in 1918, one year after his first chamber symphony. It was fairly early in his composing career, while he was still employed as a secretary to the French ambassador to Brazil. Milhaud wrote this short symphony at sea, during a return voyage to France. Influences of Latin American rhythms and references to South America’s picturesque landscape are present throughout the piece.
The Symphony No. 4, Op. 49, is an orchestral composition by the Finnish composer Aulis Sallinen, who wrote the piece from 1978–79 for a commission from the City of Turku, to celebrate its 750th anniversary. The Turku Philharmonic Orchestra premiered the work on 9 August 1979, under the direction of its principal conductor, Pertti Pekkanen.
The Symphony No. 6, From a New Zealand Diary, Op. 65, is an orchestral composition by the Finnish composer Aulis Sallinen, who wrote the piece from 1989–90. The New Zealand Symphony Orchestra, the commissioning institution, premiered the work on 6 September 1990 in Napier, under the baton of Sallinen's longtime advocate, Okko Kamu. Sallinen and his wife had vacationed in New Zealand the year prior, providing the composer with inspiration for the symphony, which—though properly symphonic in scope and in structure—has been described as involving "tone painting"; indeed, each of the four movements contains a descriptive title, unusual for a Sallinen symphony.
References
- ↑ Schulz, Reinhard. Darius Milhaud Symphonies 5 & 6(CD liner notes). CPO, 2000. pp. 9–11.
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