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Retour au point de départ? Les dernières oeuvres de musique de chambre de Darius Milhaud et la notion de 'tardivité'.
Research output: Contribution in Book/Report/Proceedings › Chapter (peer-reviewed)
Forthcoming
Associated organisation
| Translated title of the contribution | Compositional 'full circle'? Milhaud’s final-period chamber music and notions of 'lateness'. |
|---|
| Publication date | 2013 |
|---|---|
| Host publication | Darius Milhaud: Compositeur et expérimentateur |
| Editors | Marie-Noëlle Lavoie, Jacinthe Harbec |
| Place of publication | Paris |
| Publisher | Librairie Vrin |
| Number of pages | 25 |
| Original language | French |
Publication series
| Name | Musicologies |
|---|---|
| Publisher | Librairie Vrin |
Abstract
Although the music of Milhaud’s formative years has received proper attention from Jeremy Drake, Barbara Kelly, myself and others, the late output is still, generally, much less familiar. Furthermore, Milhaud’s fine, versatile and sizeable chamber repertory may be regarded as a reliable indicator of the best of his wider compositional practice. This situation sets up a challenge for change. Thus this article seeks to position and survey Milhaud’s rich but neglected late chamber music, highlighting particular works. My purpose is to establish whether Milhaud was a non-progressive - even retrogressive - composer whose late works constitute a simple instance of going ‘full circle’, or whether there may be a more subtle process of early-late balancing and re-inflection at work.