Born into a Jewish family in the southern French city of Aix-en-Provence, Darius Milhaud was trained at the Paris Conservatoire, originally as a violinist, before turning to composition. He enjoyed a close association with the diplomat-poet Paul Claudel, whom he accompanied to Brazil as secretary, after Claudel's appointment as Minister at the French delegation in Rio de Janeiro. On his return to Paris in 1918, after two years abroad, Milhaud was for a time in the circle of Jean Cocteau and a member of the diverse group of French composers known as Les Six. Extremely prolific as a composer in many genres, Milhaud spent the years of the 1939 war in the United States, where he taught, combining this position with a similar post at the Paris Conservatoire after 1947.
Darius Milhaud wrote a considerable amount of music for the theatre, operas, ballets and incidental music, as well as film and radio scores. Collaboration with Claudel brought the opera Christophe Colombe and a number of compositions of incidental music for plays ranging from those of Shakespeare to the work of contemporaries such as Brecht, Supervielle, Giraudoux and Anouilh. With Cocteau he wrote the ballets Le Boeuf sur le Toit (The Ox on the Roof) and the jazz La Création du Monde, for the Ballets nègres. These represent only a small fraction of his dramatic work.
Milhaud was equally prolific as a composer of orchestral music of all kinds, including twelve symphonies and a variety of concertos, some of which reflect the influence of his native Provence.
Vocal and Choral Music
Milhaud contributed widely also to the repertoire of French song both in choral settings and in songs for solo voice and piano, with texts chosen from a great variety of sources from Rabindranath Tagore and André Gide to the words of Pope John XXIII, the last in a choral symphony Pacem in terris.
Chamber Music
In addition to eighteen string quartets and useful additions to duo sonata repertoire, not least for viola, an instrument used for the Quatre Visages of 1943, representations in music of four different kinds of girls, Milhaud provided for wind quintet the charming suite La Cheminée du Roi René and the attractive Pastorale of 1935 for oboe, clarinet and bassoon. He shows here, as elsewhere, a characteristically French adroitness in writing for woodwind instruments.
Piano Music
Two works in particular have proved attractive additions to repertoire. The first, Saudades do Brasil, a suite for piano, is based on music heard in Brazil during the composer's stay there between 1916 and 1918. Scaramouche, arranged for two pianos from incidental music for Molière's Le Médecin Volant, is a lively jeu d'esprit, in the spirit of the commedia dell'arte character of the title.
