JEWISH Composer DARIUS MILHAUD Hand SIGNED AUTOGRAPH LETTER + PHOTO + MAT - ALS for Sale

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JEWISH Composer DARIUS MILHAUD Hand SIGNED AUTOGRAPH LETTER + PHOTO + MAT - ALS For Sale

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JEWISH Composer DARIUS MILHAUD Hand SIGNED AUTOGRAPH LETTER + PHOTO + MAT - ALS:
$325.00

DESCRIPTION : Up for sale is a vintage BEAUTIFULY HAND WRITTEN & SIGNED AUTOGRAPHED LETTER , Being an autographed letter signed - ALS ( Witha blue pen ) of the Jewish - French composer DARIUS MILHAUD which is beautifuly and professionaly matted beneath his reproduction photo . The original HAND WRITTEN & SIGNED AUTOGRAPHED letter in French and the reproduction PHOTO arenicely matted together , Suitable for immediate framing or display . ( An imageof a suggested framing is presented - The frame is not a part of this sale - An excellent framing - Buyer\'s choice is possible for extra $80). The size of the mat is around 16.0 x 10.5\" .The size of the reproduction photo is around 5 x 7 \" . Thesize of the original autographed letter is around 5.5 x 8.0 \" . Very goodcondition of the Autographed letter ALS , The reproduction photo and the decorative mat . ( Pls look at scan for accurate AS IS images)Authenticityguaranteed.Will be sent inside a protective rigidpackaging .
PAYMENTS : Payment method accepted : Paypal& All credit cards.
SHIPPMENT :SHIPP worldwide via registered airmail is $29 .Will be sent inside a protective packaging. Handling around5-10 days after payment.
Darius Milhaud (French: [daʁjys mijo]; 4 September 1892 – 22 June 1974) was a French composer 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 make use of polytonality. Darius Milhaud is to be counted among the modernist composers.[1] Born in Marseilles to a Jewish family from Aix-en-Provence, 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.[2]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. The recurring theme 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. Shortly after the original piano version appeared, he orchestrated the suite.On a trip to the United States in 1922, Darius Milhaud heard \"authentic\" jazz for the first time, on the streets of Harlem, [3] 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.[3]In 1925, Milhaud married his cousin, Madeleine (1902–2008), an actress and reciter. In 1930 she bore him a son, the painter and sculptor Daniel Milhaud, who was the couple\'s only child.[4]The rise of Nazism forced the Milhauds to leave France in 1940 and emigrate to the United States (his Jewish background made it impossible for Milhaud to return to his native country until after its liberation).[5] 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.[6] The following year, these same pieces were performed at the Aspen Music Festival in Colorado, by the Paganini and Juilliard String Quartets.[7]The 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.\"[8] Brubeck named his first son Darius.Milhaud\'s former students also include popular songwriter Burt Bacharach.[9] Milhaud told Bacharach, \"Don\'t be afraid of writing something people can remember and whistle. Don\'t ever feel discomfited by a melody\".[10]Milhaud (like his contemporaries Paul Hindemith, Gian Francesco Malipiero, Alan Hovhaness, Bohuslav Martinů and Heitor 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 which 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 (for saxophone and piano, also for two pianos), and Saudades do Brasil (dance suite). His autobiography is titled Notes sans musique (Notes Without Music), later revised as Ma vie heureuse (My Happy Life).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 died in Geneva at the age of 81, and he was buried in the Saint-Pierre Cemetery in Aix-en-Provence.[11]WorksDarius Milhaud was very prolific and composed for a wide range of genres. His opus list ended at 443.Notable studentsMain article: List of music students by teacher § Darius MilhaudArchival collectionsThere is a Darius Milhaud Collection at Mills College in California.There is another Darius Milhaud Collection at the New York Public Library for the Performing Arts in New York City.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, and photocopies of newspaper coverage in the B\'nai B\'rith Messenger of Los Angeles, of this event (1956) [WJHC Collection Number 1970.002]. Darius Milhaud, (born Sept. 4, 1892, Aix-en-Provence, France—died June 22, 1974, Geneva, Switz.), a principal French composer of the 20th century known especially for his development of polytonality (simultaneous use of different keys).Born of a Provençal Jewish family, Milhaud studied under Paul Dukas and Vincent d’Indy at the Paris Conservatory. He was grouped by the critic Henri Collet with the young composers whom Collet called Les Six. In 1940 he became professor at Mills College, Oakland, Calif. After 1947 he taught at the Paris Conservatory. In his later years he suffered from crippling arthritis, but he continued to compose and conduct. Milhaud’s bold, individual style is especially exemplified in the ballets L’Homme et son désir (1918; Man and His Desire; scenario, Paul Claudel), Le Boeuf sur le toit (1919; The Nothing-Doing Bar; scenario, Jean Cocteau), and La Création du monde (1923; The Creation of the World; scenario, Blaise Cendrars). He composed the incidental music for Claudel’s Protée (1920) and for Claudel’s translations of the Aeschylean tragedies Agamemnon (1913), Choéphores (1915), and Les Euménides (1917–22). Whips and hammers are introduced into the orchestration of this trilogy, a work of great dramatic force, in which the chorus is required to groan, whistle, and shriek. His other operas include Christophe Colomb (1930; text by Claudel); Le Pauvre Matelot (1926; The Poor Sailor; text by Cocteau), David (1954), and Médée (1939).From about 1913, Milhaud’s music is characterized by his use of bitonality and polychords. He was the first to analyze (though not the first to use) polytonality and to develop that technique consistently. An example of his use of polytonality is Saudades do Brasil (1921), a set of dance suites. His style became simplified in later years, but its harmonic basis remained mostly polytonal. The effect of his polytonality is that of simultaneous movement of different planes of sound. Although dissonant, his music retains a lyrical quality.A prolific composer, Milhaud wrote more than 400 works, including radio and motion-picture scores, a setting of the Jewish Sabbath Morning Service (1947), symphonies (eight for large orchestra, five for small orchestra), choral works, and the two-piano suite Scaramouche (1936; later arranged for saxophone or clarinet and orchestra). His chamber music includes a suite for violin, clarinet, and piano (1936), and 18 string quartets (1912–50). Among his songs are settings of poems by Claudel, Christina Rossetti, and Stéphane Mallarmé. He wrote an autobiography, My Happy Life (1995, trans. by Donald Evans). DARIUS MILHAUD Born into a Jewish family in the southern French city of Aix-en-Provence, Darius Milhaud was trained at the Paris Conservatoire; originally a violinist, he turned to composition. He enjoyed a close association with the diplomat-poet Paul Claudel, whom he accompanied to Brazil as secretary when Claudel was appointed 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 Second World War in the United States, where he taught, combining this position with a similar post at the Paris Conservatoire after 1947.Stage Works 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 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 (‘The Creation of the World’). These represent only a small fraction of his dramatic work.Orchestral Music Milhaud was equally prolific as a composer of orchestral music of all kinds, including 12 symphonies and a variety of concertos, some of which reflect the influence of his native Provence.Vocal and Choral MusicMilhaud also contributed widely to the repertoire of French song. His settings (both choral and solo voice with piano) are of texts from a great variety of sources, including Rabindranath Tagore, André Gide, and the words of Pope John XXIII (the last in a choral symphony Pacem in terris). He contributed to Cocteau’s Les Mariés de la tour Eiffel and, as a gesture, set to music an agricultural appliance catalogue. Other works reflect his Jewish background.Chamber MusicMilhaud wrote 18 string quartets and provided useful additions to duo sonata repertoire, not least for the viola. His Quatre Visages of 1943 for viola and piano comprises musical representations of four different kinds of girls. For wind quintet he composed the charming suite La Cheminée du Roi René, and for oboe, clarinet and bassoon he wrote the attractive Pastorale. The works show his characteristically French adroitness in writing for woodwind instruments.Piano MusicTwo 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 Médécin volant, is a lively jeu d’esprit, in the spirit of the commedia dell’arte character of the title. La Muse ménagère (‘The Domestic Muse’) reflects the necessary wartime attempts at house-keeping by his actress wife. 2392