A Most Savory Cocktail:
Milhaud’s Scaramouche as an
Assemblage of Compositional Techniques
Matthew James
MUMH 6540
August 8, 1997
A Most Savory Cocktail:
Milhaud’s Scaramouche as an
Assemblage of Compositional Techniques
As a young instrument patented by Adolphe Sax in 1846, the saxophone
possesses a solo repertoire that includes only a few compositions that are considered
standard works; Glazounov’s Concerto, Ibert’s Concertino da Camera and Creston’s
Sonata are most commonly performed. Many studies have unearthed information that
facilitates intelligent performances of these works. Liley, Seligson and Ronkin have
provided performers with invaluable observations regarding a few important pieces
written for saxophone.
Milhaud’s Scaramouche (1937) is another composition for alto saxophone and
orchestra (with piano reduction) that is considered a staple of the repertoire. Recordings
have been made by many saxophonists, including Foley, Ramsay, Jackson and Londeix.
The work is an integral part of university saxophone studio repertoire around the world,
and has been taught by respected virtuosi, including Rousseau, Hemke and Teal. Even
Benny Goodman is said to have preferred the clarinet arrangement of Scaramouche over
Milhaud’s Concerto for Clarinet, which was written for Goodman.1
Paradoxically, a review of general and specialized references reveals that little
investigation has been completed with regard to the often-performed work. As stated by
Marcel Mule, the “father” of classical saxophone performance and longtime professor of
saxophone at the Paris Conservatoire, “Certain facts about this piece are not known. I
suppose it is true that most performers do not possess a great deal of intellectual
curiosity.”2
Haydon’s dissertation offers analysis of Milhaud’s Creation du Monde(1923) and
Mackenzie, Laughton and Petrella have all researched Milhaud’s solo and chamber
literature for woodwinds, but no sources furnish detailed information regarding
Scaramouche. Despite Perloff’s thorough investigation into Milhaud’s musical
assimilation of foreign music and his association with Les Six in Art and the Everyday:
Popular Entertainment and the Circle of Erik Satie, Scaramouche is left out of the
dialogue. In his memoirs even Milhaud makes only passing reference to the work.3
In Berler’s “Basic Saxophone Skills” articles that discuss Scaramouche, the
author uses the piece as as an example to young readers regarding the general
interpretation of music.4 Berler does not answer the issues regarding the interpretation
of Scaramouche; rather the questions are left for his readers to pursue.
In light of the popularity of Scaramouche, a summary of the musical ingredients
and influences that shape the work would give greater insight into what is considered by
many to be an integral part of the saxophone repertoire, and deserving of further
attention. In addition, an analysis of the saxophone score as compared to the clarinet and
piano duo versions might clarify Milhaud’s understanding of the then adolescent
saxophone.
It is the goal of this document, then, to fill a gap in the literature with regard to
Scaramouche. First, biographical information regarding Milhaud and his influences will
be scrutinized to place into context the three stylistically distinct movements of
Scaramouche. Second, information as to the origins of Scaramouche and Milhaud’s
intention to use portions of the suite for alternative purposes will be discussed. Finally, a
musical analysis and comparison with the piano and clarinet editions of the work will be
provided in order to gain insight into Milhaud’s writing for saxophone. It is hoped that,
armed with this insight into Milhaud’s striking composition, performers will appreciate
Scaramouche as a small-scale representation of Milhaud’s broader compositional
leanings.
Darius Milhaud (1892-1974) was a French composer born in Aix-en-Provence
and educated at the Paris Conservatoire, initially in violin performance but later in
composition. As one of the most prolific composers of the 20th century, Milhaud
produced more than 400 opus numbers in many genres, including opera, ballet, incidental
music, film and radio scores, orchestral and vocal works, chamber music, keyboard
works, instrumental works and compositions for children.
The nine-minute Scaramouche may seem trivial in light of this output, but as
stated above it holds a significant place in the saxophone repertoire, and analysis will
illustrate that it serves as a cross-section of Milhaud’s seemingly divergent compositional
techniques. Other than Scaramouche, Milhaud’s only other composition for solo
saxophone with piano is Danse, written May 2, 1954. This infrequently performed
composition is included in the collection Le Saxophone, edited by F. Oubradous and
published by Billaudot.5 The one-movement work exhibits a slight jazz influence in its
use of dotted rhythms. Danse is a work of only moderate difficulty for saxophone. As
with Scaramouche, there has been little written discussion of Danse. Further
investigation into the origins of this piece could prove useful.
Fortunately, the saxophone can be heard in many of Milhaud’s orchestral works,
including the highly regarded, jazz-influenced ballet La Creation du Monde and five
other works: Le Carnaval de Londres, Cortege Funebre, The Globetrotter Suite, Opus
Americanum No. 2 and Fourth Symphony.
Milhaud’s severe rheumatoid arthritis disabled him so severely that he required a
wheelchair later in life. Despite this handicap, the cosmopolitan composer traveled
extensively throughout his lifetime, including trips to England, Israel, Italy, Germany,
Syria, Austria, Spain, Russia, South America and the United States, where the Milhauds
lived during the years of World War II.
Milhaud’s frequent travel often exposed him to native musical styles that he wove
into his compositions, and Scaramouche is no exception. “Throughout his career,
Milhaud’s style has been determined by the subject matter at hand,” Bauer writes.6 For
instance, Milhaud’s assimilation of American jazz and blues styles into his compositions
has been the topic of much discussion. Both Haydon and Nadashny have produced
investigations into the influence of jazz on Milhaud’s compositional style.
Just as Milhaud used music native to the United States in his compositions, his
year in Brazil had a profound influence on his works, including Scaramouche. Milhaud
spent the years 1917-1918 as a cultural attache to the French Embassy in Brazil, where he
took many trips into the jungle becoming acquainted with the sounds of Brazilian folk
music. As Madeleine Milhaud stated, “I think that after Provence, Brazil is the country
which truly cast a spell on him.” She continues, “Darius was always terribly sensitive to
the sonorities that surrounded him.”7
Back in Paris, those sonorities were becoming all the rage. From 1917 onwards
each new exotic rhythm attracted public approval, and as a result Milhaud’s incorporation
of Brazilian elements was well-known and respected.8
Considerable mention of Milhaud’s Brazilian influence is found in the literature,
including Scheidker, Randles and Palmer, who says Milhaud was “forever haunted by
memories of Latin America.”9 Milhaud’s own statements in Notes Without Music are
insightful:
I was fascinated by the rhythms of this popular
music. There was an imperceptible pause in the
syncopation, a careless catch in the breath, a slight
hiatus that I found difficult to grasp. So I bought a
lot of maxixes and tangos and tried to play them
with their syncopated rhythms, which run from one
hand to the other.10
Equally influential to Milhaud’s incorporation of native sources into such scores
as Scaramouche was his association with the group of French composers known as Les
Six: Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, Francis
Poulenc and Milhaud. As an artistic unit these composers had an anti-Romantic
sentiment that coalesced into a reaction against the sophistication of pre-World War II
music, represented by Debussy, Wagner and Ravel. The group shared these philosophies
for a brief time, but differences in character and style made their cohesion temporary.
With a goal of producing works strictly divergent from the sophisticated output of
earlier 20th-century composers, Les Six often turned to the exotic sounds of foreign
music. Exoticism was manifested in a general trend embraced by Parisian visual artists,
poets and musicians early in the 20th century towards things non-European, especially art
from Africa, the Orient and Central and South America. That intricate blend of nonEuropean idioms and Parisian culture is the subject of Perloff’s book concerning Erik
Satie, the composer who served almost an advisory role for Les Six.. Perloff asserts that
Milhaud’s enthusiasm for juxtaposing music from different countries was “fascinating
rather than discordant” for the composer.11
Another less overt facet of Milhaud’s general compositional style as exemplified
by Scaramouche is the use of polytonality, or the simultaneous performance of more than
two key centers. Milhaud is identified as a composer who employed polytonality to such
and extent that it became an integral component of many of his works.
Be it a result of Milhaud’s time spent in Brazil, his association with the early
20th-century exoticism of Les Six or a combination of both, Scaramouche represents a
cross-section of all the aforementioned compositional techniques and influences. Hall
describes Milhaud as “the concocter of charming musical picture postcards, evocative
equally of his beloved France or of exotic scenery encompassing Harlem, Brazil, the
Antilles or Portugal.”11 Such “postcards” are evident in the three movements of
Scaramouche: the restless, French-style opening Vif that includes hints of polytonality;
the reserved, melancholy Modere and the samba-style writing of the Brazileira.
Milhaud states that he had “more than usual trouble” creating Scaramouche.12
Written for pianists Ida Jankelevitch and Marcelle Meyer, the work is an aggregation of
sketches the composer had written for other purposes; a “most savory cocktail,”
according to French critic Jean Roy.13
The exterior movements of this
three-movement suite, the opening Vif and closing Brazileira, were originally written by
Milhaud in 1937 (Opus 165) as incidental music to accompany a Moliere production of
Medecin Volant (the Flying Doctor) at the Scaramouche Theater, Paris. The
Scaramouche Theater produced plays for young people, which helps to explain the
playful character of the first movement. The theater’s name may have played a part in
the title for this work, or perhaps the French translation of “Scaramouche” as a “cowardly
buffoon” or “scamp” was inspiration enough. In fact, Palmer identifies the 1920s and
1930s as a period when Milhaud began to write works for children and amateurs, as
exemplified by his Un petit peu de musique (1932) and Un petit peu d’exercice (1934).14
Later in 1937 Milhaud wrote a version using the incidental music in a piano duo,
Opus 165b, adding the Modere to become Scaramouche as it is performed today.
Yarbrough and Cowan, when referring to the piano version, call the work “famous” and
“considered by critics to be one of the most successful of Milhaud’s compositions.”15
Milhaud later arranged the three-movement work for saxophone and orchestra
(with piano reduction) in 1939, Opus 165c. (Mule disputes this date, claiming that both
the piano and saxophone versions were created in 1937.)16 The saxophone arrangement
of Scaramouche was premiered in June, 1940 by the Radio Paris Orchestra, with A.
Muhle on saxophone. The work is published by Editions Salabert, Paris.
Milhaud’s last adaptation of the work was completed in 1941, when he arranged it
for clarinet and orchestra (with piano reduction), Opus 165d. The clarinet version was
popularized by Benny Goodman. As further testament to the popularity of the work,
other arrangers’ versions of Scaramouche appear as music for flute, woodwind quintet
and basset horn.
The opening Vif exhibits polytonal leanings in measure 24, where the C-major
accompaniment originally heard in measure 9 returns under a G-major melody,
superimposing the keys of C- and G-major (See Example 1). In addition, many portions
of the movement include brief tonicizations of multiple key centers within just a few
measures.
Example 1: Polytonality in Vif
The middle movement, Modere (moderate with respect to tempo), includes
somber music originally meant to be used for Milhaud’s grand opera, Bolivar(1943).
Ultimately, Milhaud used none of the incidental music he composed in 1936 for the final
score to Supervielle’s Bolivar, but later recycled the graceful theme from the overture to
be used in Modere:17
Example 2: Theme of Modere
Mule relates his initial contact with Scaramouche and describes the Modere
theme:
In any case, during an intermission of a recording
session for a film, Milhaud said to me, “I have
something that I wrote for you; I’ll bring it to you
soon.” When I received the manuscript I was
surprised to see that the themes of this piece,
Scaramouche, were familiar to me. Then I recalled
that these were themes from a work titled Bolivar,
which we had done at the Theatre Francais!18
This movement is in ABA form, with a contrasting center section that moves to
6/8 time. Typical of Milhaud’s writing of folk song-like themes, Modere serves to
balance the two outer, lively movements.
Perhaps Brazileira is the movement that makes Scaramouche such a popular
work. As stated above, the inclusion by Milhaud of South-American music in this
movement is in keeping with his preference for exotic influences. Milhaud chose to write
this movement in the style of a samba, a Brazilian dance and popular music form.
Sambas are prominently heard during Carnaval celebrations in Rio de Janeiro;
coincidentally Milhaud first arrived in Brazil during Carnaval. Brazileira, like most
sambas, is written in duple meter and includes a piano accompaniment that includes
syncopated rhythms also typical of the samba:
Example 3: Piano samba rhythms in Brazileira
The saxophone part that interlocks with the piano’s samba accompaniment is
quite active and includes arpeggiated passages and passages in thirds, all in such difficult
keys as F-sharp.
Brief comparison of the saxophone and duo piano versions of Scaramouche
shows a striking similarity between the two. Both are exactly the same length and use
identical thematic material in the same keys. Further specific analysis of the few minor
differences all the arrangements could prove useful in studying Milhaud’s arranging
techniques for clarinet and saxophone.
In reflecting upon the multi-faceted Scaramouche, one gains a remarkable
perspective upon Milhaud’s capacity for writing music that encompasses a variety of
styles and influences. As has been shown, each movement exemplifies a specific
technique associated with this great composer.
Annotated Bibliography
Appleby, David P. The Music of Brazil. Austin: University of Texas Press,
1983.
Only tangential reference to Milhaud. More importantly, a
description of the Brazilian samba is provided, and its affiliation with
Carnaval and native Brazilian composers.
Bauer, Marion. “Darius Milhaud.” The Musical Quarterly 28 (April 1942):
139-159.
A miniature biography and discussion of Milhaud’s style. Though
the article gives insight into his South American influence.
dated,
Behague, Gerard. “Brazil.” The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie, vol. 3. London: MacMillan Publishers, Ltd.,
1980.
In addition to historical facts regarding Brazilian music, describes the
many
types of samba, describes the dance and gives common
rhythms for
each type.
Berler, Paul. “Basic Saxophone Skills.” Saxophone Journal 4 (JanFeb 1997): 66-67.
________. “Basic Saxophone Skills.” Saxophone Journal 5 (Mar-Apr 1997):
60-61.
________. “Basic Saxophone Skills>” Saxophone Journal 6 (May-June 1997):
66-67.
Series of articles raising interpretation questions and providing brief
background on Scaramouche. These are pedagogical essays, meant to
get
students thinking about interpretation issues. “I will not be
giving you the
answers in this article,” Berler states.
Collaer, Paul. Darius Milhaud. San Francisco: San Francisco Press,
Inc., 1988.
Indispensable bio-bibliography and discography. The most
comprehensive study written on Milhaud. Biography, discussion of
his musical “language,” individual attention given to his vocal,
dramatic and instrumental works. Catalogoues compositions by
category, opus and alphabetically.
Cooper, Martin. French Music. London: Oxford University Press, 1961.
Chronologically more focused upon the period of Les Six than the
Myers.
Describes Cocteau’s and Satie’s relationship, their influence
on Les Six.
Ties Milhaud into discussion with information on his
bitonality and use of
exotic elements.
Frank, Peter. CD Review of Yarborough and Cowan, Fanfare 2 (Nov./Dec.
1988): 88.
CD review describes Scaramouche in general, states that most
piano duos use the work. A “cutesy” composition by Milhaud.
Fridorich, Edwin. “The Saxophone; A Study of Its use in Symphonic and
Operatic Literature.” DMA diss., Columbia University, 1975.
Useful listing of works by composer, including the five listed for
Milhaud. Charts describe general characteristics of all the works
Hall, David. Record liner notes for Darius Milhaud: Works for One, Two
and Four Pianos, Connoisseur Society, CS2101.
Gives a “picture postcard” description of Milhaud’s compositional
Calls Scaramouche one of Milhaud’s most popular piano
works.
cited.
output.
Hindley, Geoffrey, ed. “Honegger, Milhaud, Poulenc and the ‘Six.’” Larousse
Encyclopedia of Music. New York: World Publishing Co., 1971.
General encyclopedia’s description of Les Six, with Milhaud’s
association
described.
Klein, Jean-Claude. “Borrowing, Syncretism, Hybridisation: The Parisian
Revue of the 1920s.” Popular Music 5 (1985): 175-187.
Participation of stage shows in development and acceptance of
musical genres in early 20th-century France. Traces the reception of
and touches upon Spanish music and tropical music in Paris.
jazz,
Lifschitz, Max. “Darius Milhaud and Nationalism in Latin American Music.”
Darius Milhaud Society Newsletter 10 (Spring-Fall 1993): 21.
This society proceedings newsletter includes Lifschitz’s brief article
that discusses two of Milhaud’s compositions that include LatinAmerican music, L’Homme et son desir and Le Boeuf sur le toit.
Milhaud, Darius. Notes Without Music. NY: Alfred A. Knopf, 1953.
Milhaud’s memoirs. Possibly the most useful document for Milhaud’s
compositional and biographical information. Not laden with
Scaramouche details, rather includes a mine of information on
his world travels, associations with composers and artists. Chart in
back Lists his compositions with premiere dates, publishers.
Myers, Roolo. Modern French Music. Oxford: Basil Blackwell, 1971.
Gives rough details on Les Six and compares the compositional
styles of the composers. Provides broad description of French
composers in the circle of Darius Milhaud.
Nichols, Roger. Conversations with Madeleine Milhaud. London: Faber and
1996.
Faber,
The author’s interview with Madeleine Milhaud. Discussion of their
relationships with Parisian artists of all kinds. Firsthand information
about
their traveling, with her accounts of Milhaud’s personal and
musical
reaction the the countries they visited.
Palmer, Christopher. "Milhaud." The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie, vol. 12. London: MacMillan Publishers,
Ltd., 1980.
Excellent point of departure concerning Milhaud. Passing mention of
Scaramouche.
Perloff, Nancy. Art and the Everyday: Popular Entertainment and the
Circle
of Erik Satie. New York: Oxford University Press, 1991.
Invaluable source. In addition to Satie discussion, gives detailed
analysis of Milhaud’s assimilation of jazz, his involvement with Satie
and Les Six, general anti-impressionistic trends of the group. The
chapter
concerning Paris in the 1920s helps set the stage. Quite
useful, and current.
Petrella, Robert. “The Solo and Chamber Music for Clarinet by Darius
Milhaud.” DMA diss., University of Maryland College Park, 1979.
Abstract only. Discusses Opus 100, 230. Summarizes Milhaud’s
overall
style and treatment of the clarinet in solo music vs. chamber
music.
Rousseau, Eugene. Marcel Mule: His Life and the Saxophone. Shell Lake,
WI: Etoile, 1982.
A brief saxophone organography and short biography on Mule,
details about his saxophone quartets, but much of the source is the
author’s interview with Mule. Mule makes remarks regarding his
association with Milhaud and Scaramouche.
Roy, Jean. Record liner notes for Milhaud and Poulenc: Music for Two
Pianos, Musical Heritage Society 854.
Review of Milhaud’s Scaramouche, provides “savory cocktail”
description.
Slonimsky, Nicolas. “Milhaud.” Baker's Biographical Dictionary of
Musicians, 8th edition. New York: Schirmer Books, 1992.
Standard biography on the composer mentions his use of exotic
rhythms of Latin America.
Walker, Robert. “Milhaud in America.” Musical Times 133 (Sept. 1992):
444.
Brief summary of the composer’s experience in America and use of
American musical styles. Describes music he either wrote in the U.S.
or wrote in memory of living there in exile.
443-