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The Darius Milhaud Society Newsletter, Vol. 1, Summer 1986

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The Darius Milhaud Society Newsletter, Vol. 1, Summer 1986 Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 1986 The Darius Milhaud Society Newsletter, Vol. 1, Summer 1986 Darius Milhaud Society Follow this and additional works at: https://engagedscholarship.csuohio.edu/milhaud_newsletters Part of the History Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Recommended Citation Darius Milhaud Society, "The Darius Milhaud Society Newsletter, Vol. 1, Summer 1986" (1986). Darius Milhaud Society Newsletters. 6. https://engagedscholarship.csuohio.edu/milhaud_newsletters/6 This Book is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Darius Milhaud Society Newsletters by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE DARIUS MILHAUD SOCIETY NEWSLE'ITER Cleveland, Ohio Summer 1986 No.3 Each work calls for its own special style, which should composition of an opera or of a quartet. keep intact the various aspects ofits composer's personality. I have no aesthetic, philosophy or theory. Ililze writing One does not write a quartet lil~e a ballet, a film like a sonata. music. I always do it with love, or otherwise I would not do it It is necessary to shape one's inclinations, to think how a at all. ballet must be danced, must obey choreographic demands, that a film must at the same time retain the integrity of its composer, reach a vast untutored public and still keep the score on a Level that is often a strict lesson in discipline and humility. A score oftheatre music whose necessities clip one's wings and necessitate creating in a few measures a compelling atmosphere requires the same love as the MILHAUD FILM FESTIVAL September 4, 1986, marks DARIUS MILHAUD AWARD David Wolfson , the occasion of Darius Milhaud's94th birthday. To herald the graduating composition major at The Cleveland Institute of start of his 95th year, the Milhaud Society, with the co­ Music, has received the first Darius Milhaud Award. Presen­ sponsorship ofCieveland Cinematheque, will presenton Sun­ ted during commencement exercises on May 17, 1986, with a day evenings, September 7,14, and 21, a festival ofthree:films special citation read by CIM President David Cerone, the for which Milhaud wrote the music. 1\vo showings of each Award is a new prize funded by the Milhaud Society to recog­ film, at 7:00 and 9:15 p.m., will take place at the Cleveland nize an unusually creative student with a record of academic Institute of Art, 11141 East Blvd.. Cleveland. General admis­ excellence, a high degree of sensitivity and expressiveness, sion is $4.00 for non-members ofCinematheque and $3.00 for and exceptional accomplishment in the major field. members. Membership cards at $1.00, good through August The Milhaud Award was established as the result of a 1987, are available at the door. Secured free parking is benefit concert atJohn Carroll University on October6, 1985, available in the CIA lot. Entranceis from EastBlvd., north of presented by the Dave Brubeck Quartetwith the assistance of the building. Group rates are also available. Call (216) 921­ the University Circle Chorale, Gilbert M. Brooks, Director. 4548 for reservations and further information. The Cleveland Institute of Music was chosen to be repositor Dreams That Money Can Buy, in English, showingon for the Award because of Milhaud's associations with the ~,ptember 7, is a surrealist film (1947) directed by Hans school. In 1967, CIM presented Milhaud with an honorary ichter and includes art work by Max Ernst, Fernand Uger, doctorate, and the premiere performance of his Quartet Op. Man Ray, Marcel Duchamp and Alexander Calder. Milhaud 417, for piano, violin, viola and cello. In 1981, CIM held a wrote the music for the Man Ray segment. The story revolves festival of the composer's works. around a poor young artistwho sells dreams to several people, Award recipient, David Wolfson, a Cincinnati native, using fulfillment ideas from their subconscious desires. A initially enrolled in Case Western Reserve University on a short-subject curtain-raiser, La P'tite Lilie (1929), a silent Proctor and Gamble National Merit Scholarship as a double film directed by Cavalcanti, with English sub-titles, will major in physicsand music. A year later, hewas accepted as a precede Dreams That Money Can Buy. This vintage film composition majoratTheCleveland InstituteofMusic, where about a young girl who wanders down the primrose path has he studied under Eugene O'Brien, Marshall Griffith, Larry a surprise ending. Baker and John Rinehart in composition, and James Tan­ On September 14, viewers will see The PrivateAffairs nenbaum in piano. While at CIM he performed with The ofBelAmi, based on a Maupassant story, directed byAlbert Institute's Contemporary Music Ensemble. Lewin (in English, 1947). This film centers around a rogue Noteworthy among Wolfson's CIM activities have been who charms and dupes everyone he meets. It features an all­ his organization of a series of seminars for performance star cast, including George Sanders, Angela Lansbury, Ann majors on the preparation and presentation of contemporary Dvorak, John Carradine and Warren William. music and the debut of the Performance Ensemble, a group The September 21 film is Madame Bovary (1933) from dedicated to the performance of works combining music, the Flaubertstory about Emma and her unhappy love affair. theater and dance, of which he is a founding member. Directed by Jean Renoir, this film is in French with English Several of Wolfson's compositions have been performed sub-titles. at CWRU's Mather Dance Center, and he was music director A gala champagne birthday celebration for Darius Mil­ ofthe Youtheatre at the Cleveland Play House for three-and­ haud will open the film festival on Friday, September 5. The a-half years. He also served as assistant musical director for party, from 5:00 until 7:00 p.m., for film festival Patrons three of the regular season productions of the Play House. ($25.00 and up), will include a short program of Milhaud's Other musical theatre direction credits include the Huron music performed by the New Cleveland Chamber Players. Playhouse, Greenbrier Theatre, Cnyahoga Community For reservations, call 921-4548. College-Metro Theatre Department and Cain Park. The Cleveland film festival is the first of many events planned to commemorate Milhaud's 95th birth year. TheMil­ haud Society plans an itinerary calendar for an informal ·······~·· national festival of Milhaud's music, through 1987 and the The Darius Milhaud Society thanks Frank Caputo, Eric . unmer of 1988. Festival planning is underway in several Gordon and Michael Blume for information. The Society also ,,ates. Friends of the Darius Milhaud Society will be extends warmest gratitude to Ruth Lamm, Nana Landgraf mformed of events in advance when possible. Martha Schlosser and Lucile Soul~ for editorial assistance.' HONORARY TRUSTEES HONORARY COMMITTEE Madeleine Milhaud, Chair Maurice AbravaneJ Charles Jones Vitya Vronsky Babin Leonard Bernstein Virgil Thomson Grant Johannesen Dave Brubeck Henri Sauguet, France Odette Valabregue Wurzburger Aaron Copland Paul Collaer, Belgium FOUNDING TRUSTEES: Clinton and Katharine Warne, Ursula Komeitchouk AMERICAN PERFORMANCES OF OPERAS AND DANCE Dominican College Students At Dominican College in Fiesta, from 1958, with libretto by Boris Vian, requires a San Rafael, California, it is an annual tradition to present a larger cast of ten singers and an orchestra of sixteen. The challenging and unusual spring opera production. On April opening scen e presents three lazy drunkards who reflect 11 and 12, students there performed two Mi1ha ud chamber attitudes of their social class and who also provide many operas, LePauureMatelot(ThePoorSailor) and Fiesta, comic touches. The mood changes dramatically from harm­ as well as two sections of the a capella work, Cantique du less fooling to serious concern when a castaway is sighted Rhone.Although both opera narratives focus on sailors, and struggling to shore. In spite of the castaway's strong wil1 to though both feature tragedy and a strong ironic touch that is live, he is caught in a triangle of love and jealousy which characteristically French, there is contrast in the emphasis of leads to his death. Although his lover's compassion, entice­ the two works. Thus, they make an excellent pair to present in ment, and finally grief seem genuine, she is soon disposed to one evening. return to her former lover, who has killed the castaway, and so life goes on. The practical reality provides the supreme irony. In this opera. strong rhythmic contrasts, dance-like syncopations, and effective duets, trios and choral sections provide compelling textures and charming variety. The keening wail of the piccolo, the serio-comic song of the old sailor, the comic antics provided vocally and visually by the drunkards, the tale told by the castaway and the taunting by the little boy all offer a rich, varied, musical and visual experience. Fidelity to the score and vocal excellence marked the per­ formance of both operas. Stage deportment was appropriate, as were the colorful costumes. The sensitive acting of the sailor's wife and the fine characterization by the sailor were particularly effective. Lighting and staging were simple and practical to underscore the macabre and bizarre in Pauvre Matelot, and to enhance contrasting moods Le Pauure MatelotlLucy Wheeler and Robert Merenda Fiesta. Each opera was conducted by a graduating master's candidate, and both Patricia Mason and Paul Rhodes handled their duties capably. Professor Martin Frick served Jean Cocteau's libretto for LePauvreMatelot portrays as Artistic Director and conducted the excerpts from the legend of the long-absent husband who returns home Cantique d.u RhOne. after many years to a long-faithful wife, who kills him, not knowing who he is, with the mistaken idea thatsheis helping her spouse by so doing.
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