1954 Israel POSTER Premiere JEWISH OPERA DAVID Darius MILHAUD Hebrew DAVRATH

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276061887611 1954 Israel POSTER Premiere JEWISH OPERA DAVID Darius MILHAUD Hebrew DAVRATH.   DESCRIPTION : Up for auc tion is an original EXTREMELY RARE Vintage JEWISH  OPERA POSTER , Presenting and advertising the WORLD PREMIERE of the opera "DAVID" ( Opera in 5 acts )  of the world  acclaimed JEWISH COMPOSER - DARIUS MILHAUD   .  The OPERA PREMIERE took place in 1954 ( Fully dated )  at the EDISON concert hall in JERUSALEM - ERETZ ISRAEL  . The conductor was GEORGE SINGER and the mail role was executed by HEINZ RUHFUSS.  NETANIA DAVRATH was the mail SOPRANO.   Around  25 x 37 " ( Not accurate ) . English and Hebrew.  Very good condition . Folded . Very slight creases. Perfect for framing. ( Pls look at scan for accurate AS IS  images )  Will be sent inside a protective rigid package .    AUTHENTICITY : This is the ORIGINAL 1954 OPERA  premiere POSTER , NOT a reproduction or a reprint  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

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SHIPPMENT : Shipp worldwide via registered airmail is $ 25 . Will be sent in a special protective rigid sealed package.  Handling around 5-10 days after payment. 

Darius Milhaud (French: [daʁjys mijo]; 4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of Les Six—also known as The Group of Six—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. Milhaud is considered one of the key modernist composers.[1] A renowned teacher, he taught many future jazz and classical composers, including Burt Bacharach, Dave Brubeck, Philip Glass, Steve Reich, Karlheinz Stockhausen and Iannis Xenakis among others. Contents 1 Life and career 2 Works 3 Notable students 4 Archival collections 5 Selected filmography 6 Legacy 7 Bibliography 8 References 9 External links Life and career Milhaud was born in Marseille, the son of Sophie (Allatini) and Gad Gabriel Milhaud.[2] His father was from an Ashkenazi Jewish family from Aix-en-Provence, and his mother from a Sephardi Jewish family from Italy.[3][4] Milhaud began as a violinist, later turning to composition instead. Milhaud studied in Paris at the Paris Conservatory where he met his fellow group members Arthur Honegger and Germaine Tailleferre. He studied composition under Charles Widor and harmony and counterpoint with André Gedalge. He also studied privately with Vincent d'Indy. From 1917 to 1919, he served as secretary to Paul Claudel, the eminent poet and dramatist who was then the French ambassador to Brazil, and with whom Milhaud collaborated for many years, setting music for many of Claudel's poems and plays. While in Brazil, they collaborated on a ballet, L'Homme et son désir.[5] On his return to France, Milhaud composed works influenced by the Brazilian popular music he had heard, including compositions of Brazilian pianist and composer Ernesto Nazareth. Le bœuf sur le toit includes melodies by Nazareth and other popular Brazilian composers of the time, and evokes the sounds of Carnaval. Among the melodies is, in fact, a Carnaval tune by the name of "The Bull on the Roof" (in Portuguese, which he translated to French 'Le boeuf sur le toit', known in English as 'The Ox on the Roof'). He also produced Saudades do Brasil, a suite of twelve dances evoking twelve neighborhoods in Rio de Janeiro. Shortly after the original piano version appeared, he orchestrated the suite. Contemporary European influences were also important. Milhaud dedicated his Fifth String Quartet (1920) to Arnold Schoenberg,[6] and the following year conducted both the French and British premieres of Pierrot lunaire after multiple rehearsals.[7] And on a trip to the United States in 1922, Milhaud heard "authentic" jazz for the first time, on the streets of Harlem,[8] which left a great impact on his musical outlook. The following year, he completed his composition La création du monde (The Creation of the World), using ideas and idioms from jazz, cast as a ballet in six continuous dance scenes.[8] In 1925, Milhaud married his cousin, Madeleine (1902–2008), an actress and reciter. In 1930 she gave birth to a son, the painter and sculptor Daniel Milhaud, who was the couple's only child.[9] The invasion of France by Nazi Germany forced the Milhauds to leave France in 1940[10] and emigrate to the United States (his Jewish background made it impossible for Milhaud to return to his native country until after its liberation).[11] He secured a teaching post at Mills College in Oakland, California, where he composed the opera Bolivar (1943) and collaborated with Henri Temianka and the Paganini Quartet. In an extraordinary concert there in 1949, the Budapest Quartet performed the composer's 14th String Quartet, followed by the Paganini Quartet's performance of his 15th; and then both ensembles played the two pieces together as an octet.[12] The following year, these same pieces were performed at the Aspen Music Festival in Colorado, by the Paganini and Juilliard String Quartets.[13] Jazz pianist Dave Brubeck became one of Milhaud's most famous students when Brubeck furthered his music studies at Mills College in the late 1940s. In a February 2010 interview with JazzWax, Brubeck said he attended Mills, a women's college (men were allowed in graduate programs), specifically to study with Milhaud, saying, "Milhaud was an enormously gifted classical composer and teacher who loved jazz and incorporated it into his work. My older brother Howard was his assistant and had taken all of his classes."[14] Brubeck named his first son Darius. In 1947 Milhaud was among the founders of the Music Academy of the West summer conservatory,[15] where popular songwriter Burt Bacharach was among his students.[16] Milhaud told Bacharach, "Don't be afraid of writing something people can remember and whistle. Don't ever feel discomfited by a melody."[17] From 1947 to 1971, he taught alternate years at Mills and the Paris Conservatoire, until poor health, which caused him to use a wheelchair during his later years (beginning in the 1930s), compelled him to retire. He also taught on the faculty of the Aspen Music Festival and School. As well as Brubeck, his students included William Bolcom, Steve Reich, Katharine Mulky Warne, and Regina Hansen Willman. He died in Geneva at the age of 81, and he was buried in the Saint-Pierre Cemetery in Aix-en-Provence.[18] Works See also: List of compositions by Darius Milhaud Suite d'après corrette (0:29) 0:29 Suite for oboe, clarinet and bassoon, Op. 161b (1937); after the incidental music Jules César, Op. 158 (1936) Problems playing this file? See media help. Darius Milhaud was very prolific and composed for a wide range of genres. His opus list ended at 443. Milhaud (like such contemporaries as Hindemith, Malipiero, Henry Cowell, Hovhaness, Martinů, and Villa-Lobos) was an extremely rapid creator, for whom the art of writing music seemed almost as natural as breathing. His most popular works include Le bœuf sur le toit (a ballet that lent its name to the legendary cabaret frequented by Milhaud and other members of Les Six), La création du monde (a ballet for small orchestra with solo saxophone, influenced by jazz), Scaramouche (a suite for two pianos, also for alto saxophone or clarinet and orchestra), and Saudades do Brasil (a dance suite). His autobiography is titled Notes sans musique (Notes Without Music), later revised as Ma vie heureuse (My Happy Life). Notable students For Milhaud's notable students, see List of music students by teacher: K to M § Darius Milhaud. Archival collections There is a Darius Milhaud Collection at Mills College in California. Papers for the Darius Milhaud Society, formed by Milhaud's student Katharine Mulky Warne, are archived at Cleveland State University. There is another Darius Milhaud Collection at the New York Public Library for the Performing Arts in New York City. Seymore Fromer Collection[19] at the Western Jewish History Center of the Judah L. Magnes Museum, in Berkeley, California, has librettos for Milhaud's opera, David, as well as a program for its American premiere, in Los Angeles at the Hollywood Bowl,[20] and photocopies of newspaper coverage in the B'nai B'rith Messenger of Los Angeles of this event (1956). Selected filmography This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2021) (Learn how and when to remove this template message) The Beloved Vagabond (1915) L'Inhumaine (1924) Land Without Bread (1933) Madame Bovary (1934) The Beloved Vagabond (1936) The Citadel of Silence (1937) Rasputin (1938) Mollenard (1938) Espoir: Sierra de Teruel (1945) The Private Affairs of Bel Ami (1947) Dreams That Money Can Buy (1947) Dieu a choisi Paris [fr] (1969) Legacy Writing in his Guide to Twentieth Century Music, critic Mark Morris described Milhaud's work as "one of the unassessed quantities of 20th century music. For as one of its most prolific composers (around 450 works), the quality of his music is so patently uneven that the reputation for the banal and the shallow has masked what is or might be (given the paucity of performances) both inspired and fascinating."[21] For a composer of acknowledged influence and significance, a number of his pieces lack contemporary professional recordings, such as the second Viola Concerto - a consequence perhaps of his prolific and uneven output. Lycée intercommunal Darius-Milhaud near Paris is named after him. ****** Below is a list of compositions by Darius Milhaud sorted by category. Contents 1 Operas 2 Ballets 3 Orchestral 4 Concertante 5 Chamber and instrumental 6 Keyboard 7 Works for children 8 Choral 9 Vocal 10 Incidental music 11 Miscellaneous stage works 12 Film scores 13 Radio scores 14 Electroacoustic music 15 Collaborations Operas La brebis égarée, Op. 4 (1910–1914); 3 acts, 20 scenes; libretto by Francis Jammes; premiere 1923 Les euménides, Op. 41 (1917–1923); L'Orestie d'Eschyle (Orestiean Trilogy No. 3); 3 acts; libretto by Paul Claudel after Aeschylus Les malheurs d'Orphée, Op. 85 (1924); chamber opera in 3 acts; libretto by Armand Lunel; premiere 1926 Esther de Carpentras, Op. 89 (1925–1926); opera buffa in 2 acts; libretto by Armand Lunel; premiere 1937 Le pauvre matelot, Op. 92 (1926); 'complainte' in 3 acts; libretto by Jean Cocteau; premiere 1927 3 Opéras-minutes L'enlèvement d'Europe, Op. 94 (1927); 1 act, 8 scenes; libretto by Henri Hoppenot L'abandon d'Ariane, Op. 98 (1927); 1 act, 5 scenes; libretto by Henri Hoppenot La délivrance de Thésée, Op. 99 (1927); 1 act, 6 scenes; libretto by Henri Hoppenot Christophe Colomb, Op. 102 (1928, revised 1968); 2 parts, 27 scenes; libretto by Paul Claudel Maximilien, Op. 110 (1930); historic opera in 3 acts, 9 scenes; libretto by R.S. Hoffman after "Juarez et Maximilien" by Franz Werfel; premiere 1932 L'opéra du gueux, Op. 171 (1937); ballad opera in 3 acts; libretto by Henri Fluchère after John Gay's The Beggar's Opera (1728) Médée, Op. 191 (1938); 1 act, 3 scenes; libretto by Madeleine Milhaud (his cousin and wife); premiere 1939 Bolivar, Op. 236 (1943); 3 acts, 11 scenes; libretto by Madeleine Milhaud after Jules Supervielle David, Op. 320 (1952–1953); 2 parts, 5 acts; libretto by Armand Lunel; concert performance in Jerusalem in 1954; staged at La Scala in 1955 Fiesta, Op. 370 (1958); 1 act; libretto by Boris Vian La mère coupable, Op. 412 (1964–1965); 3 acts; libretto by Madeleine Milhaud after Beaumarchais' play; premiere 1966 Saint-Louis, roi de France, Op. 434 (1970); opera-oratorio in 2 parts; libretto by Henri Daublier and Paul Claudel; premiere 1972 Ballets L'homme et son désir, Op. 48 (1918), for four wordless singers, solo wind, percussion and strings; scenario by Paul Claudel Le bœuf sur le toit, Op. 58 (1919); scenario by Jean Cocteau Les mariés de la tour Eiffel: Marche nuptiale and Fugue du massacre only, Op. 70 (1921, revised 1971); ballet-show; scenario by Jean Cocteau La création du monde, Op. 81a (1923); for small orchestra; scenario by Blaise Cendrars Salade (A. Flament), Op. 83 (1924); ballet chanté in 2 acts; scenario by Albert Flament Le Train Bleu, Op. 84 (1924); opérette dansée; scenario by Jean Cocteau L'éventail de Jeanne: Polka only, Op. 95 (1927); for a children's ballet to which ten French composers each contributed a dance La bien-aimée, Op. 101 (1928); pleyela (player piano) and orchestra after music of Schubert and Liszt; 1 act; scenario by Alexandre Benois Les songes, Op. 124 (1933); scenario by André Derain Moyen âge fleuri (Suite provençale), Op. 152d (1936) Moïse, Op. 219 (1940); ballet symphonique; also for orchestra: Opus Americanum No. 2, Op. 219b Jeux de printemps, Op. 243b (1944); after the orchestra work Suite française, Op. 254 (1945); original version for band, Op. 248 (1944) Les cloches (The Bells), Op. 259 (1946); after the poem by Edgar Allan Poe ’Adame Miroir, Op. 283 (1948); for 16 solo instruments; scenario by Jean Genet La cueillette des citrons, Op. 298b (1949–1950); intermède provençal Vendanges, Op. 317 (1952); scenario by Philippe de Rothschild La rose des vents, Op. 367 (1957); scenario by Albert Vidalie La branche des oiseaux, Op. 374 (1958–1959); scenario by André Chamson Orchestral Suite symphonique No. 1, Op. 12 (1913–1914); after the opera La brebis égarée, Op. 4 (1910–1914) Symphonie de chambre (Little Symphony) No. 1 "Le printemps", Op. 43 (1917) Symphonie de chambre (Little Symphony) No. 2 "Pastorale", Op. 49 (1918) Suite symphonique No. 2, Op. 57 (1919); after the incidental music Protée, Op. 17 (1913–1919) Sérénade en trois parties, Op. 62 (1920–1921) Saudades do Brasil, Op. 67b (1920–1921); original for piano Symphonie de chambre (Little Symphony) No. 3 "Sérénade", Op. 71 (1921) Symphonie de chambre (Little Symphony) No. 4 "Dixtour", Op. 74 (1921) Symphonie de chambre (Little Symphony) No. 5 "Dixtuor d'instruments à vent", Op. 75 (1922) 3 Rag Caprices, Op. 78 (1922); original for piano Symphonie de chambre (Little Symphony) No. 6, Op. 79 (1923) 2 Hymnes, Op. 88b (1925) Suite provençale, Op. 152c (1936); after the incidental music Bertran de Born Le carnaval de Londres, Op. 172 (1937) L'oiseau, Op. 181 (1937) Cortège funèbre, Op. 202 (1939); from the film score Espoir Fanfare, Op. 209 (1939) Symphony No. 1, Op. 210 (1939) Indicatif et marche pour les bons d'armement, Op. 212 (1940) Opus Americanum No. 2, Op. 219b (1940); after the ballet Moïse, Op. 219 (1940) Introduction et allegro, Op. 220 (1940); after Couperin: La sultane 4 Ésquisses (4 Sketches), Op. 227 (1941); original for piano Fanfare de la liberté, Op. 235 (1942) Jeux de printemps, Op. 243 (1944); also a ballet La muse ménagère, Op. 245 (1945); original for piano Symphony No. 2, Op. 247 (1944) Le bal martiniquais, Op. 249 (1944); also for 2 pianos 7 Danses sur des airs palestiniens, Op. 267 (1946–1947) Symphony No. 3 "Te Deum" for chorus and orchestra, Op. 271 (1946) Symphony No. 4 "Composée á l'occasion de Centenaire de la Révolution de 1848", Op. 281 (1947) Paris, Op. 284 (1948); also for 4 pianos Kentuckiana-Divertissement, Op. 287 (1948); also for 2 pianos Symphony No. 5, Op. 322 (1953) Suite campagnarde, Op. 329 (1953) Ouverture méditerranéenne, Op. 330 (1953) Symphony No. 6, Op. 343 (1955) Symphony No. 7, Op. 344 (1955) La couronne de Marguerite (Valse en forme de rondo), Op. 353 (1956; his contribution to Variations sur le nom de Marguerite Long); original for piano Le globe-trotter, Op. 358 (1956–1957); original for piano Les charmes de la vie (Hommage à Watteau), Op. 360 (1957); original for piano Aspen sérénade for chamber orchestra, Op. 361 (1957) Symphony No. 8 "Rhodanienne", Op. 362 (1957) Symphony No. 9, Op. 380 (1959) Symphony No. 10, Op. 382 (1960) Symphony No. 11 "Romantique", Op. 384 (1960) Les funérailles de Phocion (Hommage à Poussin), Op. 385 (1960) Aubade, Op. 387 (1960) Symphony No. 12 "Rurale", Op. 390 (1961) Ouverture philharmonique, Op. 397 (1962) A Frenchman in New York, Op. 399 (1962) Meurtre d'un grand chef d'état, Op. 405 (1963); dedicated to John F. Kennedy Ode pour les morts des guerres, Op. 406 (1963) Music for Boston, Op. 414 (1965) Musique pour Prague, Op. 415 (1965) Musique pour l'Indiana, Op. 418 (1966) Musique pour Lisbonne, Op. 420 (1966) Musique pour la Nouvelle-Orléans, Op. 422 (1966) Promenade concert, Op. 424 (1967) Symphonie pour l'univers claudélien, Op. 427 (1968) Musique pour Graz, Op. 429 (1968–1969) Suite en G, Op. 431 (1969) Musique pour Ars Nova, Op. 432 (1969) Musique pour San Francisco, Op. 436 (1971) Ode pour Jérusalem, Op. 440 (1972) String orchestra Mills Fanfare, Op. 224 (1941) Pensée amicale, Op. 342 (1955) Symphoniette, Op. 363 (1957) Wind ensemble Suite française, Op. 248 (1944); also for orchestra; adapted as a ballet, Op. 254 (1945) Normandie Bretagne Île de France Alsace-Lorraine Provençe 2 Marches pour la libération , Op. 260 (1945–1946) In memoriam; dedicated to the victims of Pearl Harbor Gloria victoribus; World War II victory march West Point Suite, Op. 313 (1954) Musique de théâtre, Op. 334b (1954–1970); after the incidental music Saül, Op. 334 Fanfare for brass ensemble (4 horns, 3 trumpets, 3 trombones and tuba), Op. 396 (1962) Introduction et Marche funèbre Concertante Piano Poème sur un cantique de Camargue for piano and orchestra, Op. 13 (1913) Ballade for piano and orchestra, Op. 61 (1920) 5 Études for piano and orchestra, Op. 63 (1920) 3 Rag Caprices for piano and small orchestra, Op. 78 (1922); also for piano solo Le carnaval d'Aix, Fantasy for piano and orchestra, Op. 83b (1926); after the ballet Salade, Op. 83 Concerto No. 1 for piano and orchestra, Op. 127 (1933) Fantaisie pastorale for piano and orchestra, Op. 188 (1938) Concerto No. 2 for piano and orchestra, Op. 225 (1941) Concerto No. 1 for 2 pianos and orchestra, Op. 228 (1941) Concerto No. 3 for piano and orchestra, Op. 270 (1946) Suite concertante for piano and orchestra, Op. 278a (1952); after the Concerto for marimba, vibraphone and orchestra, Op. 278 (1947) Concerto No. 4 for piano and orchestra, Op. 295 (1949) Suite for 2 pianos and orchestra, Op. 300 (1950) Concertino d'automne for 2 pianos and 8 instruments, Op. 309 (1951) Concerto No. 5 for piano and orchestra, Op. 346 (1955) Concert de chambre for piano and chamber orchestra (wind quintet and string quintet), Op. 389 (1961) Concerto No. 2 for 2 pianos and 4 percussionists, Op. 394 (1961) Violin Cinéma fantaisie for violin and chamber orchestra, Op. 58b (1919); also for violin and piano; after Le Bœuf sur le toit Concerto No. 1 for violin and orchestra, Op. 93 (1927) Concertino de printemps for violin and chamber orchestra, Op. 135 (1934) Concerto No. 2 for violin and orchestra, Op. 263 (1946) Concerto No. 3 "Concert royal" for violin and orchestra, Op. 373 (1958) Music for Boston for violin and chamber orchestra, Op. 414 (1965) Viola Concerto No. 1 for viola and orchestra, Op. 108 (1929) Air for viola and orchestra, Op. 242 (1944); after the Viola Sonata No. 1, Op. 240 Concertino d'été for viola and chamber orchestra, Op. 311 (1951) Concerto No. 2 for viola and orchestra, Op. 340 (1954–1955) Cello Concerto No. 1 for cello and orchestra, Op. 136 (1934) Concerto No. 2 for cello and orchestra, Op. 255 (1945) Suite cisalpine sur des airs populaires piémontais for cello and orchestra, Op. 332 (1954) Other Concerto for percussion and small orchestra, Op. 109 (1929–1930) Scaramouche, Suite for alto saxophone and orchestra, Op. 165c (1939), or for clarinet and orchestra, Op. 165d (1941); also for 2 pianos, Op. 165b; after the incidental music Le médécin volant, Op. 165 (1937) Vif et joyeux Modéré Brazileira Concerto for flute, violin and orchestra, Op. 197 (1938–1939) Concerto for clarinet and orchestra, Op. 230 (1941) Suite anglaise for harmonica (or violin) and orchestra, Op. 234 (1942) Concerto for marimba, vibraphone and orchestra, Op. 278 (1947) L'apothéose de Molière, Suite for harpsichord with flute, oboe, clarinet, bassoon and string orchestra, Op. 286 (1948) Concerto for harp and orchestra, Op. 323 (1953) Concertino d'hiver for trombone and string orchestra, Op. 327 (1953) Concerto for oboe and orchestra, Op. 365 (1957) Symphonie concertante for bassoon, horn, trumpet, double bass and orchestra, Op. 376 (1959) Concerto for harpsichord and orchestra, Op. 407 (1964) Stanford sérénade for oboe solo and 11 instruments, Op. 430 (1969) Chamber and instrumental Violin Sonata No. 1 for violin and piano, Op. 3 (1911) Le printemps for violin and piano, Op. 18 (1914) Sonata No. 2 for violin and piano, Op. 40 (1917) Cinéma fantaisie for violin and piano, Op. 58b (1919); also for violin and chamber orchestra; after Le bœuf sur le toit Impromptu for violin and piano, Op. 91 (1926) 3 Caprices de Paganini for violin and piano, Op. 97 (1927) Dixième sonate de Baptist Anet in D Major, Op. 144 (1935); free transcription for violin and harpsichord Sonatina for 2 violins, Op. 221 (1940) Danses de Jacaremirim for violin and piano, Op. 256 (1945); 3 pieces Sonata for violin and harpsichord, Op. 257 (1945) Duo for 2 violins, Op. 258 (1945) Farandoleurs for violin and piano, Op. 262 (1946) Sonatina pastorale for violin solo, Op. 383 (1960) Viola 4 Visages for viola and piano, Op. 238 (1943) Sonata No. 1 sur des thèmes inédits et anonymes de XVIIIe siècle, for viola and piano, Op. 240 (1944) Sonata No. 2 for viola and piano, Op. 244 (1944) Élégie for viola and piano, Op. 251 (1945) Élégie pour Pierre for viola, timpani and 2 percussionists, Op. 416 (1965) Cello Élégie for cello and piano, Op. 251 (1945) Sonata for cello and piano, Op. 377 (1959) Guitar Ségoviana, Op. 366 (1957) Harp Sonata, Op. 437 (1971) Winds Sonatina for flute and piano, Op. 76 (1922) Sonatina for clarinet and piano, Op. 100 (1927) Exercice musical for pipeau, Op. 134 (1934) 2 Ésquisses for clarinet and piano, Op. 227 (1941) Caprice, Danse, Églogue for clarinet (or saxophone, or flute) and piano, Op. 335 (1954) Sonatina for oboe and piano, Op. 337 (1954) Duo Concertante for clarinet and piano, Op. 351 (1956) Duo Suite for Ondes Martenot and piano (arr. of music from Le château des papes) (1933) Sonatina for violin and viola, Op. 226 (1941) Sonatina for violin and cello, Op. 324 (1953) Sonatina for viola and cello, Op. 378 (1959) Trio Sonata for two violins and piano, Op. 15 (1914) Pastorale for oboe, clarinet and bassoon, Op. 147 (1935) Suite for violin, clarinet and piano, Op. 157b (1936); after the incidental music Le voyageur sans bagage, Op. 157 Suite d'après Corrette for oboe, clarinet and bassoon, Op. 161b (1937); after the incidental music Roméo et Juliette, Op. 161 (1937) 0:29 Sonatine à 3 for string trio, Op. 221b (1940) String Trio, Op. 274 (1947) Fanfare for 2 trumpets and trombone, Op. 400 (1962) Piano Trio, Op. 428 (1968) Quartets String Quartet No. 1, Op. 5 (1912) String Quartet No. 2, Op. 16 (1914–1915) String Quartet No. 3 with solo voice, Op. 32 (1916); poem by Léo Latil String Quartet No. 4, Op. 46 (1918) Sonata for flute, oboe, clarinet and piano, Op. 47 (1918) String Quartet No. 5, Op. 64 (1920) String Quartet No. 6, Op. 77 (1922) String Quartet No. 7, Op. 87 (1925) String Quartet No. 8, Op. 121 (1932) String Quartet No. 9, Op. 140 (1935) La reine de Saba for string quartet, Op. 207 (1939) String Quartet No. 10 Anniversaire ("Birthday Quartet"), Op. 218 (1940) String Quartet No. 11, Op. 232 (1942) String Quartet No. 12, Op. 252 (1945) String Quartet No. 13, Op. 268 (1946) String Quartet No. 14, Op. 291 No. 1 (1948–1949); The 14th and 15th string quartets can be performed separately as well as simultaneously as a string octet. String Quartet No. 15, Op. 291 No. 2 (1948–1949); For another example of a composer writing works for simultaneous performance, see 19th century composer Pietro Raimondi. String Quartet No. 16, Op. 303 (1950) String Quartet No. 17, Op. 307 (1950) String Quartet No. 18, Op. 308 (1950) Fanfare (150 mesures pour les 150 ans de la maison Heugel) for 2 trumpets and 2 trombones, Op. 400 (1962) Piano Quartet, Op. 417 (1966) Homage à Igor Stravinsky for string quartet, Op. 435 (1971) 3 Études sur des thèmes du Comtat Venaissin for string quartet, Op. 442 (1973) Quintets La création du monde, Op. 81b (1923) for piano and string quartet (arrangement by the composer of the ballet) La cheminée du roi René, Suite for wind quintet, Op. 205 (1939); 7 pieces 4 Ésquisses (4 Sketches) for wind quintet, Op. 227b (1941); original for piano Les rêves de Jacob, Dance Suite for oboe, violin, viola, cello and double bass, Op. 294 (1949) Divertissement for wind quintet, Op. 299b (1958); after the film score Gauguin, Op. 299 Quintet No. 1 for 2 violins, viola, cello and piano, Op. 312 (1950) Quintet No. 2 for 2 violins, viola, cello and double bass, Op. 316 (1952) Quintet No. 3 for 2 violins, 2 violas and cello, Op. 325 (1953–1954) Quintet No. 4 for 2 violins, viola and 2 cellos, Op. 350 (1956) Wind Quintet, Op. 443 (1973) Sextets and septets String Sextet, Op. 368 (1958) String Septet for 2 violins, 2 violas, 2 cellos and double bass, Op. 408 (1964); The second movement of the septet, entitled 'Etude in controlled chance' is a rare example of Milhaud embracing aleatoric compositional devices. Keyboard Organ Sonata, Op. 112 (1931) Pastorale, Op. 229 (1941) 9 Préludes, Op. 231b (1942); after the incidental music L'annonce faite à Marie, Op. 231 Petite suite, Op. 348 (1955) Piano Suite, Op. 8 (1913) Mazurka (1914); published in L'Album des Six (1920) Variations sur un thème de Cliquet, Op. 23 (1915) Printemps, Book I, Op. 25 (1915–1919) Sonata No. 1, Op. 33 (1916) Printemps, Book II, Op. 66 (1919–1920) Saudades do Brasil, Op. 67 (1920–1921); 12 pieces; also orchestrated Caramel Mou, Op. 68 (1920); also arranged for voice and jazz band 3 Rag-Caprices, Op. 78 (1922); also orchestrated Choral, Op. 111 (1930) L'automne, Op. 115 (1932); 3 pieces L'album de Madame Bovary, Op. 128b (1933); after the film music Madame Bovary, Op. 128 3 Valses, Op. 128c (1933); after the film music Madame Bovary, Op. 128 4 Romances sans paroles, Op. 129 (1933) Promenade (Le tour de l'exposition), Op. 162 (1933, revised 1937) Touches blanches, Easy Pieces, Op. 222 No. 1 (1941) Touches noires, Easy Pieces, Op. 222 No. 2 (1941) Choral (Hommage à Paderewski) (1941) 4 Ésquisses (4 Sketches), Op. 227 (1941); also orchestrated and for wind quintet La libertadora, Op. 236 (1943); also for 2 pianos La muse ménagère, Op. 245 (1944); 15 pieces; also orchestrated Une journée, Op. 269 (1946); 5 pieces Méditation, Op. 277 (1947) L'enfant aime, Suite "A Child Loves", Op. 289 (1948); 5 pieces Sonata No. 2, Op. 293 (1949) Jeu, Op. 302 (c.1950); published in the album Les contemporains Le candélabre à sept branches, Op. 315 (1951); 7 pieces Accueil amical, 17 Pieces for Children, Op. 326 (1944–1948) Hymne de glorification, Op. 331 (1953–1954) La couronne de Marguerite (Valse en forme de rondo), Op. 353 (1956); orchestrated for the suite Variations sur le nom de Marguerite Long Sonatina, Op. 354 (1956), 1956; Le globe-trotter, Op. 358 (1956); 6 pieces; also orchestrated Les charmes de la vie (Hommage à Watteau), Op. 360 (1957); also orchestrated Six danses en trois mouvements, Op. 433 (1969–1970); also for 2 pianos Piano 4-Hands Enfantines, Suite after 3 poèmes de Jean Cocteau, Op. 59a (1920); 3 pieces 2 Pianos Le bœuf sur le toit, Op. 58a (1919); after the ballet Scaramouche, Suite, Op. 165b (1937); after the incidental music Le médécin volant, Op. 165 La libertadora, Op. 236a (1943); 5 pieces; also for piano Les songes, Op. 237 (1943); 3 pieces; after the ballet, Op. 124 (1933) Le bal martiniquais, Op. 249 (1944); 2 pieces; also orchestrated Carnaval à la Nouvelle-Orléans, Op. 275 (1947); 4 pieces Kentuckiana, divertissement sur 20 airs du Kentucky, Op. 287 (1948); also orchestrated Six danses en trois mouvements, Op. 433 (1969–1970); also for piano 4 Pianos Paris for 4 pianos, Op. 284 (1948); also orchestrated Works for children À propos de bottes, Musical Story for Children, for voice, mixed chorus and piano (or violin and cello), Op. 118 (1932); words by René Chalupt Un petit peu de musique, Musical Play for children's chorus and piano, Op. 119 (1932); words by Armand Lunel Un petit peu d'exercice, Musical Play for children's chorus and piano, Op. 133 (1934); words by Armand Lunel Récréation, 4 children's songs for voice and piano, Op. 195 (1938); words by Jacqueline Kriéger Sornettes, Op. 214 (1940); words by Frédéric Mistral Deux chansons d'enfants (2 Children's Songs) for children's chorus and piano, Op. 217 (1940); words by Henri Fluchère Cours de solfège Papillon, papillonette! Touches noirs, touches blanches for piano, Op. 222 (1941) Acceuil amical (Friendly Welcome) for piano, Op. 326 (1944–1948) Une journée for piano, Op. 269 (1946) L'enfant aime (A Child Loves), 5 pieces for piano, Op. 289 (1948) Service pour la veille du sabbat for children's chorus and organ, Op. 345 (1955); Biblical text Choral Psaume 136 for baritone, chorus and orchestra, Op. 53 No. 1 (1918); translation by Paul Claudel Psaume 121 (a.k.a. Psaume 126 [Vulgata 126]) for male chorus a cappella, Op. 72 (1921); translation by Paul Claudel; written for the Harvard Glee Club after their 1921 tour of Europe Cantate pour louer le Seigneur for soloists, chorus, children's chorus, organ and orchestra, Op. 103 (1928); text: Psalms 117, 121, 123, 150 2 Poèmes extraits de l'anthologie nègre de Blaise Cendrars for vocal quartet or chorus and chamber orchestra, Op. 113 (1932); text by Blaise Cendrars 2 Élégies romaines for female vocal quartet or female chorus, Op. 114 (1932); text by Johann Wolfgang von Goethe La mort du tyran for mixed chorus, flute, clarinet, tuba and percussion, Op. 116 (1932); text by Lampride, translation by D. Diderot Adages, 16 songs for vocal quartet, chorus and chamber orchestra (or piano), Op. 120c (1932); words by André de Richaud Devant sa main nue for female chorus or vocal quartet, Op. 122 (1933); words by Marcel Raval Pan et la Syrinx, Cantata for soprano, baritone, mixed chorus, flute, oboe, alto saxophone, bassoon and piano, Op. 130 (1934); words principally by Paul Claudel Les amours de Ronsard, 4 songs for mixed chorus or vocal quartet and chamber orchestra, Op. 132 (1934) Cantique du Rhône, 4 songs for chorus or vocal quartet, Op. 155 (1936); words by Paul Claudel Cantate de la paix for male chorus and children's chorus, Op. 166 (1937); words by Paul Claudel Main tendue à tous for mixed chorus a cappella, Op. 169 (1937); words by Charles Vildrac Les deux cités, Cantata for mixed chorus a cappella, Op. 170 (1937); words by Paul Claudel Quatre chants populaires de Provence for mixed chorus and orchestra, Op. 194 (1938) 3 Incantations for male chorus a cappella, Op. 201 (1939); Aztec poems by Alejo Carpentier Quatrains valaisans for mixed chorus a cappella, Op. 206 (1939); words by Rainer Maria Rilke Cantate de la guerre for mixed chorus a cappella, Op. 213 (1940); words by Paul Claudel Borechou – Schema Israël (Bless Ye the Lord – O Hear, Israel) for cantor, chorus and organ, Op. 239 (1944); Biblical text Kaddish (Prière pour les morts) for cantor, chorus and organ, Op. 250 (1945); Biblical text Pledge to Mills for unison mixed chorus and piano, Op. 261 (1945); words by George Percy Hedley 6 Sonnets composés au secret for chorus or vocal quartet, Op. 266 (1946); text by Jean Cassou Symphony No. 3 "Te Deum" for chorus and orchestra, Op. 271 (1946) Service sacré pour le samedi matin for baritone, reciter, chorus and orchestra or organ, Op. 279 (1947); Biblical text Lekha Dodi (L'choh dodi) for cantor, chorus and organ, Op. 290 (1948); text from the Jewish Sabbath evening liturgy Naissance de Vénus, Cantata for mixed chorus a cappella, Op. 292 (1949); words by Jules Supervielle Barba Garibo, Cantata for mixed chorus and orchestra, Op. 298 (1949–1950); words by Armand Lunel Cantate des proverbes for female chorus, oboe, cello and harpsichord, Op. 310 (1950); Biblical text Les miracles de la foi, Cantata for tenor, chorus and orchestra, Op. 314 (1951); Biblical text from Daniel Le château de feu, Cantata for chorus and orchestra, Op. 338 (1954); text by Jean Cassou; written in memory of Jews killed during the war by the Nazis 3 Psaumes de David for mixed chorus a cappella, Op. 339 (1954) 2 Poèmes de Louise de Vilmorin for chorus or vocal quartet, Op. 347 (1955); words by Louise Leveque de Vilmorin Le mariage de la feuille et du cliché for soloists, chorus, orchestra and tape, Op. 357 (1956); text by Max Gérard, musique concrète by Pierre Henry La tragédie humaine for chorus and orchestra, Op. 369 (1958); text by Agrippa d'Aubigné 8 Poèmes de Jorge Guillén for mixed chorus a cappella, Op. 371 (1958); words by Jorge Guillén Cantate de la croix de Charité for soloists, chorus, children's chorus and orchestra, Op. 381 (1959–1960); text by Loys Masson Cantate sur des textes de Chaucer for chorus and orchestra, Op. 386 (1960); text by Geoffrey Chaucer Cantate de l'initiation for mixed chorus and orchestra (or organ), Op. 388 (1960); Hebrew and French liturgical text Traversée for mixed chorus, Op. 393 (1961); words by Paul Verlaine Invocation à l'ange Raphaël, Cantata for double female chorus and orchestra, Op. 395 (1962); words by Paul Claudel Caroles, Cantata for chorus and 4 instrumental groups, Op. 402 (1963); text by Charles d'Orléans Pacem in terris, Choral Symphony for alto, baritone, chorus and orchestra, Op. 404 (1963); text by Pope John XXIII Cantate de Job (Cantata from Job) for baritone, chorus and organ, Op. 413 (1965); Biblical text Promesse de Dieu for mixed chorus a cappella, Op. 438 (1971–1972); Biblical text Les momies d'Égypte, Choral Comedy for mixed chorus a cappella, Op. 439 (1972); text by Jean-François Regnard Ani maamin, un chant perdu et retrouvé for soprano, 4 reciter, chorus and orchestra, Op. 441 (1972); text by Elie Wiesel Vocal Solo voice Cantique de Notre-Dame de Sarrance, Op. 29 (1915); words by Francis Jammes Voice and organ 5 Prières for voice and organ (or piano), Op. 231c (1942); Latin liturgical texts adapted by Paul Claudel Ecoutez mes enfants for voice and organ, Op. 359 (1957) Voice and piano Désespoir (1909); words by Armand Lunel Poèmes de Francis Jammes, 2 Sets, Op. 1 (1910–1912); words by Francis Jammes 3 Poèmes de Léo Latil, Op. 2 (1910–1916); words by Léo Latil Poèmes de Francis Jammes, Set 3, Op. 6 (1912); words by Francis Jammes 7 Poèmes de La connaissance de l'est, Op. 7 (1912–1913); words by Paul Claudel Alissa, Song Cycle for soprano and piano, Op. 9 (1913, revised 1930); words by André Gide 3 Poèmes en prose de Lucile de Chateaubriand, Op. 10 (1913); words by Lucile de Chateaubriand 3 Poèmes romantiques, set 1, Op. 11 (1913–1914) 3 Poèmes romantiques, set 2, Op. 19 (1914) 4 Poèmes de Léo Latil, Op. 20 (1914); words by Léo Latil Le château, Op. 21 (1914); cycle of 8 songs; words by Armand Lunel Poème de Gitanjali, Op. 22 (1914); words by Rabindranath Tagore; translation by André Gide 4 Poèmes de Paul Claudel for baritone and piano, Op. 26 (1915–1917); words by Paul Claudel D'un cahier inédit du journal d'Eugénie de Guérin, Op. 27 (1915); cycle of 3 songs; words by Eugénie de Guérin L'arbre exotique, Op. 28 (1915); words by Chevalier Gosse 2 Poèmes d'amour, Op. 30 (1915); words by Rabindranath Tagore 2 Poèmes de Coventry Patmore, Op. 31 (1915); original English words by Coventry Patmore; translation by Paul Claudel Poèmes juifs, Op. 34 (1916); 8 songs Child Poems, Op. 36 (1916); 5 songs; words by Rabindranath Tagore 3 Poèmes, Op. 37 (1916); also with chamber orchestra; words by Christina Rossetti and Alice Meynell Chanson bas, Op. 44 (1917); 8 songs; words by Stéphane Mallarmé Dans les rues de Rio (2 versos cariocas de Paul Claudel), Op. 44a (1917); words by Paul Claudel 2 Poèmes de Rimbaud, Op. 45 (1917); words by Arthur Rimbaud À la Toussaint (1911); words by Baronne de Grand Maison 4 Poèmes de Francis Jammes, Set 4, Op. 50 (1918); words by Francis Jammes 2 Petits airs, Op. 51 (1918); words by Stéphane Mallarmé Poèmes de Francis Thompson, Op. 54 (1919); words by Francis Thompson; translation by Paul Claudel Les soirées de Pétrograd, Op. 55 (1919); 12 songs; words by René Chalupt 3 Poèmes de Jean Cocteau, Op. 59 (1920); words by Jean Cocteau Catalogue de fleurs for voice and piano or 7 instruments, Op. 60 (1920); words by Lucien Daudet Feuilles de température, Op. 65 (1920); 3 songs; words by Paul Morand Poème du journal intime de Léo Latil for baritone and piano, Op. 73 (1921); words by Léo Latil 6 Chants populaires hébraïques for voice and piano or orchestra, Op. 86 (1925) Pièce de circonstance, Op. 90 (1926); words by Jean Cocteau Impromptu, Op. 91 (1926); words by Jean Cocteau Prières journalières à l'usage des juifs du Comtat Venaissin, Op. 96 (1927); 3 songs; Biblical text Vocalise, Op. 105 (1928) Quatrain à Albert Roussel, Op. 106 (1929); words by Francis Jammes A Flower Given to My Child (1930); words by James Joyce Le funeste retour (Chanson de marin sur un texte canadien du XVIIè siècle), Op. 123 (1933) Liturgie comtadine: chants de Rosch Haschanah, 5 songs for voice and piano or chamber orchestra, Op. 125 (1933) 2 Chansons de Madame Bovary, Op. 128d (1933); words by Gustave Flaubert Le cygne, Op. 142 (1935); 2 versions; words by Paul Claudel Quatrain, Op. 143 (1935); words by Albert Flament 3 Chansons de négresse for voice and orchestra or piano, Op. 148b (1935–1936); words by Jules Supervielle Chansons de théâtre, Op. 151b (1936); 6 songs; words by Jules Supervielle, R. Lenormand, G. Pitoeff 3 Chansons de troubadour, Op. 152b (1936); words by Jean Valmy-Baisse 5 Chansons de Charles Vildrac for voice and piano or chamber orchestra, Op. 167 (1937); words by Charles Vildrac Rondeau, Op. 178 (1937); words by Pierre Corneille Airs populaires palestiniens, Op. 179 (1937) Holem tsuadi Gam hayom Quatrain, Op. 180 (1937); words by Stéphane Mallarmé La couronne de gloire, Cantata for voice and chamber ensemble (flute, trumpet, string quartet) or piano, Op. 211 (1940); words by Solomon ibn Gabirol, Armand Lunel Le voyage d'été, Op. 216 (1940); words by Camille Paliard 4 Chansons de Ronsard for voice and orchestra or piano, Op. 223 (1940); words by Pierre de Ronsard 5 Prières for voice and organ (or piano), Op. 231c (1942); Latin liturgical texts adapted by Paul Claudel Rêves, Op. 233 (1942); anonymous 20th-century text La libération des Antilles, Op. 246 (1944); words by Henri Hoppenot Printemps lointain, Op. 253 (1944); words by Francis Jammes Chants de misère, Op. 265 (1946); words by Camille Paliard 3 Poèmes, Op. 276 (1947); words by Jules Supervielle Ballade nocturne, Op. 296 (1949); a movement from a collaborative work entitled Mouvements du cœur: Un hommage à la mémoire de Frédéric Chopin, 1849–1949; words by Louise de Vilmorin Les temps faciles, Op. 305 (1950); words by Marsan Petites légendes, Op. 319 (1952); words by Maurice Carême Fontaines et sources for voice and orchestra or piano, Op. 352 (1956); 6 songs; words by Francis Jammes Tristesses, Op. 355 (1956); cycle of 24 songs; words by Francis Jammes Préparatif à la mort en allégorie maritime, Op. 403 (1963); words by Agrippa d'Aubigné L'amour chanté, Op. 409 (1964); 9 songs Voice (or reciter) and ensemble 3 Poèmes, Op. 37 (1916); also with piano; words by Christina Rossetti and Alice Meynell Le retour de l'enfant prodigue, cantata for 5 voices and chamber ensemble or 2 pianos, Op. 42 (1917); words by André Gide Psaumes 136 et 129 for baritone and orchestra, Op. 53 (1918–1919); translation by Paul Claudel Machines agricoles, 6 Pastorales for voice and chamber ensemble, Op. 56 (1919); Texts taken out of a catalogue for agricultural machines. Catalogue de fleurs for voice and chamber ensemble (or piano), Op. 60 (1920); words by Lucien Daudet Cocktail for voice and 3 clarinets, Op. 69 (1920); words by Larsen 4 Poèmes de Catulle for voice and violin, Op. 80 (1923); words by Catullus 6 Chants populaires hébraïques for voice and piano or orchestra, Op. 86 (1925) 3 Chansons de négresse for voice and orchestra or piano, Op. 148b (1935–1936); words by Jules Supervielle Liturgie comtadine: chants de Rosch Haschanah, 5 songs for voice and piano or chamber orchestra, Op. 125 (1933) 5 Chansons de Charles Vildrac for voice and piano or chamber orchestra, Op. 167 (1937); words by Charles Vildrac Cantate nuptial for voice and orchestra, Op. 168 (1937); Biblical text from Song of Solomon Cantate de l'enfant et de la mère for narrator, string quartet and piano, Op. 185 (1938); story by Maurice Carême Les quatre éléments, Cantata for soprano and orchestra, Op. 189 (1938, revised 1956); words by Robert Desnos La couronne de gloire, Cantata for voice and chamber ensemble (flute, trumpet, string quartet) or piano, Op. 211 (1940); words by Solomon ibn Gabirol, Armand Lunel 4 Chansons de Ronsard for voice and orchestra or piano, Op. 223 (1940); words by Pierre de Ronsard Caïn et Abel for reciter and orchestra, Op. 241 (1944); Biblical text from Genesis Fontaines et sources, 6 songs for voice and orchestra or piano, Op. 352 (1956); words by Francis Jammes Neige sur la fleuve for voice and chamber ensemble, Op. 391 (1961); words by Tsang Yung Suite de quatrains, 18 poems for reciter and chamber ensemble, Op. 398 (1962); words by Francis Jammes Adieu, Cantata for voice, flute, viola and harp, Op. 410 (1964); words by Arthur Rimbaud Cantate de psaumes for baritone and orchestra, Op. 425 (1967); Psalms 129, 146, 147, 128, 127, 136 (Psalms 129 and 136 from Op. 53); translation by Paul Claudel 2 or more voices 2 Poèmes for vocal quartet, Op. 39 (1916–1918); text by Saint Léger, René Chalupt 2 Poèmes tupis, Op. 52 (1918); 4 female voices and hand-clapping; American Indian text 2 Élégies romaines, Op. 114 (1932); for 2 sopranos and 2 altos or female chorus; text by Johann Wolfgang von Goethe Adam for soprano, 2 tenors and 2 baritones, Op. 411 (1964); text by Jean Cocteau 2 or more voices and piano 2 Poèmes du Gardener, Op. 35 (1916–1917); for 2 voices and piano; words by Rabindranath Tagore and Elisabeth Sainte-Marie Perrin No. 34 de L'église habillée de feuilles, Op. 38 (1916); for vocal quartet and piano 6-hands; words by Francis Jammes 2 or more voices and ensemble Pan et la Syrinx for soprano, baritone, vocal quartet and wind quartet and piano, Op. 130 (1934); words by Pierre-Antoine-Augustin de Piis, Paul Claudel Cantate de l'Homme for vocal quartet, reciter and chamber ensemble, Op. 164 (1937); words by Robert Desnos Prends cette rose for soprano, tenor and orchestra, Op. 183 (1937); words by Pierre de Ronsard 3 Élégies for soprano, tenor and string orchestra, Op. 199 (1939); words by Francis Jammes Suite de sonnets, Cantata on 16th century verses for vocal quartet and chamber ensemble, Op. 401 (1963) Hommage à Comenius, Cantata for soprano, baritone and orchestra, Op. 421 (1966); text by John Amos Comenius Incidental music Agamemnon, Op. 14 (1913–1914); L'Orestie d'Eschyle (Orestiean Trilogy No. 1) for soprano, male chorus and orchestra; Paul Claudel translation of the drama by Aeschylus; premiere 1927 Protée, Op. 17 (1913–1919); for chorus and orchestra; play by Paul Claudel; 2nd version, Op. 341 Les Choéphores, Op. 24 (1915); L'Orestie d'Eschyle (Orestiean Trilogy No. 2); Paul Claudel translation of the drama by Aeschylus; premiere 1919 L'Ours et la Lune (1918); play by Paul Claudel L'annonce faite à Marie, Op. 117 (1932); for 4 voices and chamber orchestra; play by Paul Claudel; 2nd version, Op. 231 Le château des papes, Op. 120 (1932); for orchestra; play by André de Richaud Se plaire sur la même fleur, Op. 131 (1934) for voice and piano; play by Moreno, translation by Casa Fuerte Le cycle de la création, Op. 139 (1935); for voice, chorus and orchestra; play by Sturzo Le faiseur, Op. 145 (1935) for flute, clarinet, saxophone and percussion; play by Honoré de Balzac Bolivar, Op. 148 (1935–1936); for voice, chorus and chamber orchestra; play by Jules Supervielle La folle du ciel, Op. 149 (1936); play by Henri-René Lenormand Tu ne m'échapperas jamais, Op. 151 (1936); play by Margaret Kennedy Bertran de Born, Op. 152a (1936); for soloists, chorus and orchestra; play by Valmy-Baisse Le trompeur de Séville, Op. 152e (1937); play by André Obey Le quatorze juillet, Op. 153 (1936); Introduction and Marche funèbre for finale of Act 1 only; play by Romain Rolland Le conquérant, Op. 154 (1936); for chamber orchestra; play by Jean Mistler Amal, ou La lettre du roi, Op. 156 (1936); for piano, violin and clarinet; play by Rabindranath Tagore and André Gide Le voyageur sans bagage (The Traveller without Luggage), Op. 157 (1936); for piano, violin and clarinet; play by Jean Anouilh Jules César, Op. 158 (1936); for flute, clarinet (or saxophone), trumpet, tuba and percussion; play by William Shakespeare La duchesse d'Amalfi, Op. 160 (1937); for oboe, clarinet and bassoon; Henri Fluchère after John Webster Roméo et Juliette, Op. 161 (1937); for oboe, clarinet and bassoon; Simone Jollivet play after Pierre Jean Jouve and William Shakespeare Liberté, Op. 163 (1937); Overture and Interlude only Le médecin volant, Op. 165 (1937); for piano and clarinet (or saxophone); play by Charles Vildrac after Molière Naissance d'une cité, Op. 173 (1937); 2 songs for voice and piano (or orchestra); words by Jean Richard Bloch Chanson du capitaine Java de la femme Macbeth, Op. 175 (1937); for flute, clarinet, bassoon, violin, cello, trumpet and percussion; play by William Shakespeare Hécube, Op. 177 (1937); for flute, clarinet, bassoon, trumpet and percussion; André de Richaud translation of the drama by Euripides Plutus, Op. 186 (1938); for voice and orchestra; Simone Jollivet translation of the drama by Aristophanes Tricolore, Op. 190 (1938); play by Pierre Lestringuez Le bal des voleurs, Op. 192 (1938); for clarinet and saxophone; play by Jean Anouilh La première famille, Op. 193 (1938); play by Jules Supervielle Hamlet, Op. 200 (1939); play by Jules Laforgue Un petit ange de rien du tout, Op. 215 (1940); play by Claude-André Puget L'annonce faite à Marie, Op. 231 (1942); 2nd version of Op. 117; play by Paul Claudel Lidoire, Op. 264 (1946); play by Georges Courteline La maison de Bernarda Alba, Op. 280 (1947); play by Federico García Lorca Shéhérazade, Op. 285 (1948); play by Jules Supervielle Le jeu de Robin et Marion, Op. 288 (1948); for voice, flute, clarinet, saxophone, violin and cello; adapted from Adam de la Halle Le conte d'hiver, Op. 306 (1950); Claude-André Puget translation of the Shakespeare play Christophe Colomb, Op. 318 (1952); for chorus and orchestra; play by Paul Claudel Saül, Op. 334 (1954); play by André Gide Protée, Op. 341 (1955); 2nd version of Op. 17; play by Paul Claudel Juanito, Op. 349 (1955); play by Pierre Humblot Mother Courage, Op. 379 (1959); play by Bertolt Brecht Judith , Op. 392 (1961); play by Jean Giraudoux Jérusalem à Carpentras, Op. 419 (1966); play by Armand Lunel L'histoire de Tobie et Sarah, Op. 426 (1968); play by Paul Claudel Miscellaneous stage works La sagesse, Stage Spectacle for 4 voices, reciter, mixed chorus and orchestra, Op. 141 (1935); words by Paul Claudel Fête de la musique, Light and Water Spectacle, Op. 159 (1937); words by Paul Claudel Vézelay, la colline éternelle, Op. 423 (1967) Film scores The Beloved Vagabond (1915) Le roi de Camargue (1921); music also by Henri Sauguet; directed by André Hugon L'Inhumaine (1924); directed by Marcel L'Herbier Actualités, Op. 104 (1928) La p'tite Lilie, Op. 107 (1929); directed by Alberto Cavalcanti Las Hurdes: Tierra Sin Pan (1932); directed by Luis Buñuel Hallo Everybody, Op. 126 (1933); Dutch documentary short; directed by Hans Richter Madame Bovary, Op. 128 (1933); directed by Jean Renoir L'hippocampe, Op. 137 (1934); directed by Jean Painlevé Tartarin de Tarascon, Op. 138 (1934); based on the novel by Alphonse Daudet; directed by Raymond Bernard Voix d'enfants, Op. 146 (1935); directed by Reynaud Le vagabond bien-aimé (The Beloved Vagabond), Op. 150 (1936); directed by Curtis Bernhardt Mollenard, Op. 174 (composed 1937); film released in 1938; directed by Robert Siodmak La citadelle du silence (The Citadel of Silence), Op. 176 (1937); collaboration with Arthur Honegger; directed by Marcel L'Herbier Grands feux, Op. 182 (1937); directed by Alexandre Alexeieff La conquête du ciel, Op. 184 (1937); directed by Hans Richter La tragédie impériale (a.k.a. Rasputin), Op. 187 (1938); directed by Marcel L'Herbier Les otages (The Mayor's Dilemma), Op. 196 (1938); directed by Raymond Bernard The Islanders, Op. 198 (1939); directed by Maurice Harvey L'espoir (Days of Hope or Man's Hope), Op. 202 (1939); written and directed by André Malraux and Boris Peskine Cavalcade d'amour (Love Cavalcade), Op. 204 (1939); collaboration with Arthur Honegger; directed by Raymond Bernard Gulf Stream, Op. 208 (1939); directed by Alexandre Alexeieff The Private Affairs of Bel Ami, Op. 272 (1946); directed by Albert Lewin Dreams That Money Can Buy, Op. 273 (1947); Ruth, Roses and Revolvers sequence only; directed by Hans Richter Gauguin, Op. 299 (1950); directed by Alain Resnais; used in Pictura (1951), co-directed by Resnais La vie commence demain (Life Begins Tomorrow), Op. 304 (1950); music also by Manuel Rosenthal; written and directed by Nicole Védrès Ils étaient tous des volontaires, Op. 336 (1954) Rentrée des classes (1956); film short; directed by Jacques Rozier Celle qui n'était plus (Histoire d'une folle), Op. 364 (1957); directed by G. Colpi Péron et Evita, Op. 372 (1958); historical TV documentary narrated by Walter Cronkite Burma Road and the Hump, Op. 375 (1959); historical TV documentary narrated by Walter Cronkite Paul Claudel, Op. 427 (1968); directed by A. Gillet Radio scores Voyage au pays du rêve, Op. 203 (1939) Le grand testament, Op. 282 (1948) La fin du monde, Op. 297 (1949); by Blaise Cendrars Le repos du septième jour, Op. 301 (1950); by Paul Claudel Samaël, Op. 321 (1953); by André Spire Le dibbouk, Op. 329 (1953); by S. Ansky Electroacoustic music Étude poétique, Op. 333 (1954) La rivière endormie (1954) **** Darius Milhaud, one of the 20th century’s most prolific composers, with an opera comprising nearly 450 works, belongs historically to the coterie of French intellectuals and composers who, loosely bonded by their initial embrace of Jean Cocteau’s antisentimental aesthetic ideas, as well as by their allegiance to composer Erik Satie’s spiritual-musical tutelage, were known as Les Six. That group also included Francis Poulenc, Arthur Honegger, Georges Auric, Germaine Tailleferre, and Louis Durey. But Milhaud belongs as well to the significant number of European Jewish émigré composers who took refuge in the United States during the 1930s and 1940s from the Fascist-inspired anti-Jewish persecution that emanated from Germany and culminated in the Holocaust. Milhaud was born in Marseilles but grew up in Aix-en-Provence, which he regarded as his true ancestral city. His was a long-established Jewish family of the Comtat Venaissin—a secluded region of Provence—with roots traceable there at least to the 15th century. On his father’s side, Milhaud’s Jewish lineage was thus neither Ashkenazi nor Sephardi (i.e., stemming neither from medieval German-Rhineland nor from pre-16th-century Spanish/Iberian Jewry), but rather, specifically Provençal—dating to Jewish settlement in that part of southern France as early as the first centuries of the Common Era. His paternal great-grandfather, Joseph Milhaud, was one of the founders of the synagogue at Aix, and he wrote exegetical works on the Torah and conducted the census of Jews who had returned to France after the Revolution. Like its Ashkenazi and Sephardi counterparts, Provençal Jewry had a distinct musical tradition that developed over many centuries. Milhaud’s mother, however, was partly Sephardi on her father’s side. This may have lent an additional perspective to his internalized Jewish musical sensibilities. Both parents came from middle-class families who had been engaged successfully in respected business enterprises for generations, and both were musicians as well. Darius began violin studies at the age of seven and began composing even as a child. In 1909 he commenced studies at the Paris Conservatoire, where one of his teachers, Xavier Leroux, immediately recognized that his student had discovered a harmonic language of his own. His other teachers included Vincent d’Indy, Paul Dukas, and André Gedalge, whom Milhaud later credited as his greatest influence. In his memoirs Milhaud wrote that when he first began to compose, he was already aware of the path of Impressionism, which he viewed as the end of an artistic current whose mawkishness he found unappealing. He became profoundly affected as a composer by literature, as well as by Satie’s commitment to a concept of artistic totality, exploring and including the various art forms in complementary expression. From 1917 to 1919 Milhaud held a secretarial post at the French Consular Mission in Brazil, where he developed an interest in native folk rhythms and ethnic music traditions. He later applied these influences to some of his pieces, and his first two ballet scores drew directly upon the Brazilian experience. In the 1920s Milhaud began his association with Cocteau, whose seminal aesthetic attack on the contemporary direction of “serious” music and its high-flown “romantic bombast” made a significant impression on him. Encouraged by Satie and his own musical models, Milhaud—together with the other composers who formed Les Six—embraced aspects of this aesthetic principle, especially with regard to simplicity, directness, avoidance of excess sentimentality, sounds related to nature and everyday life, and, perhaps above all, that attribute so prized by certain French poets of a previous era: la clarité—clarity. For Milhaud, perhaps more so than for the others of his circle, Satie’s love of the music hall, the circus, and other unelevated forms of entertainment was in tune with his own adoption of popular material—French folksong, Latin American dance rhythms, Jewish secular and sacred melodies, and one of his most important discoveries: jazz. Milhaud first encountered jazz in London in the early 1920s, and he visited Harlem dance halls when he made a concert tour of the United States in 1922–23. He was instantly engaged by the syncopated rhythms, the improvisatory freedom, the authentic character, and even the purity of the music, and he created a bit of a stir when he was quoted as saying that jazz was “the American music”—according it the same validity as classical repertoire. Thereafter he turned to jazz elements for his works on quite a few occasions. Later he was quoted as observing that jazz could only have sprung from the experience of an oppressed people. After the installation of the Nazi puppet Vichy regime in France and his escape to America as a Jewish refugee—as well as the German murder of more than twenty of his cousins—that can only have had additional significance for him. It is no accident that, notwithstanding several prewar Jewish-related works, it was in his American period and afterward that he turned even more frequently to his Jewish roots for musical sources. In 1940, Milhaud’s one-act opera Médée (to a text by his wife, Madeleine) had just reached the stage of the Paris Opera when the German invasion resulted quickly in France’s surrender and the creation of the Vichy government. The occupation of Paris was a clear sign to Milhaud and his wife that it was time to leave with their son while they still could. The Chicago Symphony had invited him to conduct a new work it had commissioned, and that invitation enabled him to receive exit visas from the consulate in Marseilles for himself and his family. Their friend, the French-Jewish conductor Pierre Monteux, then conducting the San Francisco Symphony, organized a teaching position for Milhaud at Mills College in nearby Oakland, California, and beginning in 1951, for twenty years, he also taught every summer at the Aspen Music School and Festival. He is known to have cautioned his students—who included such subsequently celebrated musicians as Dave Brubeck, William Bolcom, Simon Sargon, and Peter Schickele—against what he called “overdevelopment” as a pretension to the profound. “It is false,” he told students, “that the profundity of a work proceeds directly from the boredom it inspires.” Milhaud is often perceived as the champion of polytonality. Although he neither invented that harmonic technique and language nor was the first to employ it, he found ingenious ways to make use of its potential. Perhaps because he so clearly understood its possibilities, it became the harmonic vocabulary most commonly associated with his music. In the 1920s, however, Milhaud was considered a revolutionary and an enfant terrible of the music world. Yet his actual approach owed more to the French composer Charles Koechlin than to Satie, and it built upon a particular concept of polytonality derived from Stravinsky’s early ballets. Ultimately Milhaud believed not in revolution, but in the development and extension of tradition. “Every work is not more than a link in a chain,” he postulated, “and new ideas or techniques only add to a complete past, a musical culture, without which no invention has any validity.” Milhaud’s personal Judaism as well as his family heritage informed a substantial number of his compositions, beginning with his Poèmes Juifs (1916) and followed by several prewar pieces with overt Jewish titles and content. But it was in his later Jewish works that he relied frequently and specifically on the Provençal liturgical tradition that he knew from his youth in Aix-en-Provence. His Judaically related works from the period following his immigration to America include Cain and Abel, for narrator, organ, and orchestra; Candélabre à sept branches; David, an opera written for the Israel Festival; Saul (incidental music); Trois psaumes de David; Cantate de Job; Cantate de psaumes; and—arguably his most significant Judaic work—Service Sacré, an oratorio-like full-length Sabbath morning service (with supplemental settings for Friday evening) for cantor, rabbinical speaker, large chorus, and symphony orchestra, which was commissioned in 1947 and premiered by Temple Emanu-El in San Francisco. This service was first recorded in its entirety by the Milken Archive in 2000. His final work, Ani maamin (subtitled un chant perdu et retrouvé), on a text by Elie Wiesel, received its premiere in 1973 at Carnegie Hall, conducted by Lukas Foss, with soprano Roberta Peters, the Brooklyn Philharmonic, and several narrators, including Wiesel. **** David is a Biblical opera in five acts and twelve scenes by composer Darius Milhaud.[1] The opera uses a Hebrew language libretto by Armand Lunel which is based on the Books of Samuel.[1] The work was commissioned with funds provided by conductor Serge Koussevitzky who died prior to the opera's premiere, and was composed in celebration of the 3,000th anniversary of the founding of the city of Jerusalem by King David; the man who is the subject of the opera.[1] The opera premiered in Jerusalem on June 1, 1954, in a concert version presented as part of the International Society for Contemporary Music's World Music Festival, which while held in Haifa, included the Jerusalem performance of Milhaud's opera.[1] Conductor George Singer led the musical forces for the premiere which was attended by several prominent Israeli figures of the day, including then president Yitzhak Ben-Zvi.[1] The first fully staged production of David was given at La Scala in Milan, Italy, in January 1955 using lavish sets and costumes by Nicola Alexandrovich Benois.[2] Baritone Anselmo Colzani portrayed the tile role in this production which was led by conductor Nino Sanzogno.[2] Others in the cast included Nicola Rossi-Lemeni as Saul, Marcella Pobbe as Bathsheba, and Italo Tajo as Samuel.[2] The United States premiere of the opera was presented on September 23, 1956, at the Hollywood Bowl in Los Angeles, California, with a cast of 400 performers led by conductor Izler Solomon. Baritone Harve Presnell portrayed the title role in this production with Herva Nelli as Bathsheba, Mack Harrell as Saul, and Giorgio Tozzi as Samuel.[3] **** Heinz Julius Rehfuss (25 May 1917 – 27 June 1988) was a Swiss operatic bass-baritone, who later became an American citizen. He was particularly associated with the title roles in Don Giovanni and Boris Godunov, and Golaud in Pelléas et Mélisande. Contents 1 Life 2 Selected recordings 3 Videography 4 Sources 5 External links Life Born in Frankfurt, he was the son of Carl Rehfuss (1885-1946), a baritone, concertist and teacher, and his wife, alto Florentine Rehfuss-Peichert. He spent his youth in Neuchâtel, Switzerland, where his father was teaching at the Conservatory, and was entirely trained by him. He made his debut in 1938 at the Städtebundtheater in Biel-Solothurn, as a choral singer and stage designer, and sang as a soloist in Lucerne during the 1938-39 season. He appeared at the Zurich Opera from 1940 until 1952, where he undertook some 80 roles. From 1952, he made frequent guest appearances in opera houses all over Europe, including La Scala in Milan, Italy, the Opéra National de Paris, the Vienna State Opera, the Liceo in Barcelona, the Munich State Opera, the Monte Carlo Opera, the Maggio Musicale Fiorentino, La Fenice in Venice, the Edinburgh Festival, etc. He went on concert tours in America, Asia, and Africa. With his smooth and mellifluous voice, he was both a skilled lieder and oratorio singer. Not only has Rehfuss both performed and adapted contemporary works by composers such as Stravinsky, Milhaud, Britten, but he is known to have been uniquely adept at adapting the works of Johann Sebastian Bach.[citation needed] Rehfuss took part in the premiere of Nono's opera Intolleranza 1960, in 1961. In later years, Rehfuss taught at the State University of New York in Buffalo, New York, and was a visiting teacher at the Eastman School of Music in Rochester, New York, and at the Conservatoire de musique du Québec à Montréal. He died in Buffalo, New York. His sister was the Swiss singer Eva Rehfuss (1923-2008), who was married to the composer Roger Roger. **** Heinz Rehfuss (Bass-Baritone) Born: May 25, 1917 - Frankfurt am Main, Germany Died: June 27, 1988 - Buffalo, New York, USA The German born, Swiss, and later American bass-baritone, Heinz (Julius) Rehfuss, studied with his father, Carl Rehfuss (1885-1946), a singer and a teacher, and with his mother, Florentine Rehfuss-Peichert, contralto. The family moved to Neuchâtel, and Rehfuss became a naturalized Swiss citizen. Heinz Rehfuss made his professional debut in opera at Biel-Solothurn in 1938. The he sang with the Lucerne Stadttheater (1938-1939) and the Zürich Opera (1940-1952). He subsequently was active mainly in Europe and in America. He became a naturalized American citizen. Heinz Rehfuss taught voice at the Montreal Conservatory in 1961 and in 1965 was on the Faculty of the State University of New York at Buffalo. In 1970 he was a visiting professor at the Eastman School of Music in Rochester, New York. He also toured Asia, giving vocal recitals in India and Indonesia. Heinz Rehfuss was successful mainly in dramatic roles, such as Don Giovanni and Boris Godunov, but he was also a gifted J.S. Bach singer. **** Netania Davrath (Нетания Доврат) (12 August 1931 – 11 April 1987) was a Ukrainian-born Israeli soprano opera and concert singer. Contents 1 Early life and study 2 Career 3 References 4 External links Early life and study In 1948, Davrath moved to Israel with her family. There, she studied in Jerusalem with Edith Boroschek. She subsequently studied in Düsseldorf and later at the Juilliard School in New York with Jennie Tourel, as well as in Italy. Career Davrath's repertoire included both opera and concert pieces. She collaborated with conductors Leonard Bernstein, John Barbirolli, Leopold Stokowski and Zubin Mehta and several orchestras: the New York Philharmonic, Chicago Symphony Orchestra, London Philharmonic, Israel Philharmonic, Lyric Opera of Chicago, and Opera Boston among others. She recorded ten discs under the Vanguard Classics label. Davrath was fluent in eight languages.[1] Her childhood years may have influenced her attraction to folk music – first in her native country Ukraine (then part of the Soviet Union), then later in Israel. These influences are reflected in her performance style; a delicate tone, clarity of enunciation, and agility. Her early recording of Joseph Canteloube's Chants d'Auvergne is considered by many to be unsurpassed. Her voice is tender, strong, nasal, arch, shy, abandoned, free from vibrato, pure and clean and distinctly un-operatic. She has that platinum quality of voice that is unsophisticated and girlishly innocent. Going by track record this is not something that can be taught. You either have it or you don't. Davrath's facility in eight languages undoubtedly aids her interpretations which are always intelligent and which do not give the impression of being phonetically acquired. — Rob Barnett, music critic[2] **** Joseph CANTELOUBE (1879-1957) Songs of the Auvergne - series 1-5 New Songs of the Auvergne (orch. Gershon Kingsley) Netania Davrath (sop) orchestra conducted by Pierre de la Roche (Songs); Gershon Kingsley (New Songs) rec. late 1950s/early 1960s VANGUARD CLASSICS SVC-38/39 [68.04+51.29] BUY NOW AmazonUK AmazonUS These two discs remain the reference against which all other recordings are measured. Netania Davrath (1931-1987) grew up with Russian and then Israeli folksong in her artistic veins. This may well account for her avoidance in this context of operatic convention which in other throats so often suffocates these green-fresh songs. There was a time when every operatic diva, actual or presumptive, of the seventies seemed to grasp a selection of the Auvergne songs and stamp their identity into and on them. While de Los Angeles, von Stade, Bayo and Gomez have their moments Davrath stands supreme in any company. The Auvergne songs, first performed in 1924 at the Concerts Colonne in Paris, are in local dialect. Davrath, fluent in eight languages, had six months of study with a language coach to secure an authentic approach to pronunciation. The New Songs are in straightforward French. Sung texts and translations appear side by side in the Vanguard booklet. Davrath was not the first to record these Songs. She was preceded by the great Madeleine Grey and the eleven she recorded in 1930 with Elie Cohen are to be had on Pearl GEM0013. Grey is valuable and it was her 78s through which I came to know the songs when they were broadcast on BBC Radio 3 in the early 1970s. Grey only recorded a double handful while Davrath recorded all five series - 27 songs (and they are all here). She then added fifteen others which are here called New Songs of the Auvergne. These New Songs are largely from collections of folksongs from other French regions: Chants-paysans-Auvergne et Quercy; Chants paysans-Quercy; Chants Paysans-Bearn; Chants du Languedoc; Chants des Pays-Basques (part recorded on Naïve by Maria Bayo who comes closest to the Davrath approach). Canteloube showed a very sure hand when arranging and orchestrating these gems. His skill bears comparison with Grainger's without bring quite so oddball. Certainly when you compare Grainger's handle on Shallow Brown and Brigg Fair with Canteloube's dissections and reconstructions the same genius is at hand. The trick which both composers pull off while using classical apparatus is not to stifle the butterfly, birdsong, mist, escarpments, sun-dazzle, sheep calls and heat-haze of the originals. Canteloube works with an impressionistic palette, making the subtlest intensifying use of piano figures, flute, oboe and clarinet voicings. The lovely balance and touch of the instrumental gauze takes the lightest tincture from Ravel, d'Indy (Symphonie Cévennole), Roussel (Poème de la Forêt) and Bonnal. Who is Pierre de la Roche and why is the orchestra unnamed? Can anyone shed light on this? Davrath's voice has a lambent girlish quality which takes you to a land which has some parallels with the scenes of the novels of Marcel Pagnol (Manon des Sources). She is free from that modern and stultifying sine qua non of the 'great' soprano - vibrato. Her vocal production is pure but infused with warm feeling, endearment, affection, humour and sensuousness. She is elegant without gentility; folk-like, pristine and flamboyant. The tracks to sample are numerous. There is the trilling L'aïo dè rotso, Chut, Chut and the melting sweetness of Lo fiolaire. The heat haze shimmers in Obal, din lo coumbèlo, Pastorale, Baïlèro, Jou l'pount d'o Mirabel and Pastourello. Brilliance and glory in the sun thrill through L'Antouèno and Lou diziou bé. There is a knowing cheeky wink in Hé! Beyla-z-y d'au fé! (with its donkey brays), Pastrouletta, Lou Coucut (with a lubricious cuckoo that would have been unrecognised by Delius's First Cuckoo) and in Malurous qu'o uno fenno. Oï ayaï swoons in Delian sympathy before developing a Gascon swagger. A sing-song comfort reminisces its way through Quand z'eyro petitoune. The zip and vocal bravura of the dog calls in Tè l'co tè! are not to be missed. In the New Songs Davrath frequently darkens her voice and takes on a new persona - less the demoiselle bergère; more the diva; though always steering clear of grand opera suffocation that would flatten these blooms. These songs are not as fine as the five Auvergne sets though Moi j'ai un homme has some of that delightful coquettish playfulness. The Kingsley orchestrations are more treacly than those of Canteloube although Allons, beau rossignol is pretty close and the Delian awakening of Reveillez-vous, belle endormie makes for a lovely effect. Having bought the double LP set on VSD (gatefold sleeve) in circa 1978 I hurried, in the dawn of the CD, to buy a silver disc equivalent. My enthusiasm resulted in my buying two prohibitively expensive Japanese imports on King Vanguard CD K33Y 151 and 152 each sprinkled with Japanese characters and marked ¥3,300. They cost me in total £32.00 and that was in about 1986! I still have those discs. They are laid out differently than these two Vanguards with the fourth song-set split 3:3 across the two discs. The current Vanguard set (which can also be had in SACD format) is in AAD, ultra analog, 20 bit digital sound and sounds superb not once flinching under the stratospheric demands and pure searching poignancy of Davrath's irreplaceable voice. The original 30ips half inch master tapes were made on an Ampex 300 series vacuum tube (valve) tape recorder. Specially designed playback heads were used and greatest attention paid to alignment, signal to noise ratio and frequency response. The results are there for all to judge and revel in. Intriguingly the New Songs (which are miscalled as New Songs of the Auvergne - only one of them is from the Auvergne) sound different suggesting not only Gershon Kingsley's orchestrations rather than Canteloube's but also a different venue and/or microphone placement. Rob Barnett Read more: http://www.musicweb-international.com/classrev/2002/July02/Canteloube_Davrath.htm#ixzz7fnOKFi00 **** NETANIA DAVRATH (1931-87) sings RUSSIAN, YIDDISH, ISRAELI FOLKSONGS 42 songs in orchestral arrangements VANGUARD CLASSICS OVC 8058/9 [70.02+66.08] This is somewhat outside my usual field. I was tempted into this material by Davrath's lissom voice. She is of course the singer the prime and unmissable collection of Canteloube songs (available in a two disc set from Vanguard). Her voice is tender, strong, nasal, arch, shy, abandoned, free from vibrato, pure and clean and distinctly un-operatic. She has that platinum quality of voice that is unsophisticated and girlishly innocent. Going by track record this is not something that can be taught. You either have it or you don't. Davrath's facility in eight languages undoubtedly aids her interpretations which are always intelligent and which do not give the impression of being phonetically acquired. There are 13 Russian songs, 15 Yiddish and 14 Israeli. The origins tie in with the singer's life travels: born in Ukraine, moved to Caucasus, the to Israel. There is too much territory to cover so let me single out The Birch Tree (the theme used in Tchaikovsky 4), Moscow Nights (Dr Zhivago), Chassidic Melody with its catchy refrain, Es Brent, a lament for scorched earth, touching in Reizele and Viglied. Robert deCormier is the conductor and arranger of the Russian and Yiddish folksongs. There are various arrangers for the Israeli songs and a single conductor Josef Leo Gruber. Some of the arrangements are less than sensitive but then again you encounter poetic and far from obvious treatment as in the Hinach Yafa as prepared by Y Admon. The smile in Davrath's voice is in heart-warming evidence in Ad Shefayu'ach Yom. The Russian songs are arranged with accordion and balalaika to the fore. The Yiddish songs make fuller use of the orchestra which as in the case of the peerless Canteloube set remains anonymous - presumably a pick-up band. Perhaps someone can throw some light on the musicians involved in the NYC and Vienna sessions? The tracks were recorded between Nov 1959 and May 1962 in New York City and Vienna. Davrath is intimately balanced as against the instrumentalists. Her voice can stand this very easily. A splendid and generous collection or all admirers of Davrath's art and the crystal stream of folk music. Hearing these songs one is struck again by the tragedy that Davrath did not go on to record Canteloube's voluminous settings of folksongs from all over the world. Maria Bayo has a touch of the Davrath in her voice and I hope that she might be tempted to filling the aching void left by Davrath..[27] ebay 5896 folder 206

  • Condition: Very good condition . Folded . Very slight creases. Perfect for framing. ( Pls look at scan for accurate AS IS images )
  • Industry: Music
  • Size: Around 28 x 38 " ( Not accurate )
  • Original/Reproduction: Original
  • Genre: Classical, Opera & Ballet
  • Country/Region of Manufacture: Israel

PicClick Insights - 1954 Israel POSTER Premiere JEWISH OPERA DAVID Darius MILHAUD Hebrew DAVRATH PicClick Exclusive

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