24-25 Program Book - Flipbook - Page 79
Scaramouche, Op. 165 (1937)
DARIUS MILHAUD
(September 4, 1892-June 22, 1974)
Born in Marseilles and raised in Aix-enProvence, France, Milhaud was strongly
influenced early on by local songs, the
countryside, and provocative conversations
on music and aesthetics with friends.
His parents were amateur musicians and
supportive of his talent. In 1909, he went
to Paris to study at the Conservatoire, and
immersed himself in the music of Ravel,
Fauré, Satie, and others. For medical
reasons, he was not able to serve in the armed forces in World War I, so he took
a job as an aide to diplomat Paul Claudel. A diplomatic trip to Rio de Janiero
in 1917-1918 exposed him to Brazilian popular music which led to works such
as Saudades do Brazil. A visit to Harlem in 1922 inspired Milhaud to include jazz
styles in his music.
Scaramouche is a suite based on incidental music Milhaud wrote for two theatrical
productions. It was originally composed as a piano duo, and premiered at the
1937 Exposition internationale des arts. The suite was later arranged for various
ensembles, including versions for solo alto saxophone with orchestra and, at the
request of clarinetist Benny Goodman, solo clarinet with orchestra.
The first movement presents several melodies, some of which sound like
folksongs, others like nursery rhymes, which alternate in a “lively and joyous”
(per the movement title) romp. This playful music features a deceptively difficult
solo part, in almost perpetual motion throughout. The second movement begins
with an understated melody. This gives way to a lyrical idea with more forward
motion. This gradually winds its way through different harmonies in the orchestra,
gaining momentum and developing a more upbeat character led by the soloist.
The final movement, Brazileira, uses syncopation and Brazilian samba rhythms
to create a light dance-like mood. The party intensifies and the piece ends at the
peak of the celebration.
CLASSICAL SERIES FRENCH CONNECTIONS WITH BRANFORD MARSALIS 79
