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The Darius Milhaud Society Newsletter, Vol. 16, Spring/Summer/ Fall 2000

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The Darius Milhaud Society Newsletter, Vol. 16, Spring/Summer/ Fall 2000 Cleveland State University EngagedScholarship@CSU Darius Milhaud Society Newsletters Michael Schwartz Library 2000 The Darius Milhaud Society Newsletter, Vol. 16, Spring/Summer/ Fall 2000 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. 16, Spring/Summer/Fall 2000" (2000). Darius Milhaud Society Newsletters. 12. https://engagedscholarship.csuohio.edu/milhaud_newsletters/12 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 NEWSLETTER Cleveland, Ohio Spring, Summer, Fall 2000 Vol. 16, Nos. 1, 2, 3 At last in La Creation du monde, I had the for the concert-hall. Ten yea rs later the self-same opportunity I had been waiting for to use those c ritics were discussing the philosophy of jazz and elements of jazz to which I had devoted so much learnedly demonst rat ing that La Creation was study. I adopted the same orchestra as used in the best of my works ..... Harlem, seventeen so lo instruments, and I made wholesale use of the jazz style to convey a purely classical feeling ..... Uger's contribution helped to make it an unforgettable spectacle. The critics decreed that my music was frivolous and more suitable for a restaurant or a dance-hall than The reproduction above shows the sets and costumes designed by Fernand Leger for the ballet La Creation du monde with music by Darius Milhaud, premiered on October 25, 1923 at the Theatre des Champs Elysees in Paris. The original photograph, held in the Dancemuseet of Stockholm, was reproduced in the brochure announcing the exhibit La Creation du monde: Fernand Leger et L' Art Africain. The exhibition was shown in Geneva, Switzerland at the Museum of Art and History from October 24, 2000 until March 4, 2001. The Darius Milhaud Society is very grateful to Madame Madeleine Milhaud for information about the exhibit and the programs featuring Milhaud's music. The Society also extends warm gratitude to Madame Micheline Mitrani, resident of Geneva, who sent program booklets with details about concerts, films and lectures and also shared her impressions of the exhibition. See the next page for more detailed information . Darius Milhaud Society Newsletter copyright e 2000 15715 Chadbourne Road Cleveland, Ohio 44120-3333 ph. (216) 921-4548 ISSN (ll9Pr1558 NATIONAL HONORARY COMM I TTEE Madeleine Milhaud, Chair Murray Adaskin Phyllis Curtin Robert Harth Robert Mann Lawrence Schoenberg Arthur Berge r David Diamond Janet L. Holmgren Lotti Mansouri Gunther Schulle r William Bolcom Richard Felciano Grant Johannesen Bruce Mather Leland Smith David Bernstein Michelle Fillion Leon Kirchner Nuria Schoenberg Nono Roman To tenberg Arnold Broido Jane H. Galante Leonard Klein Ned Rorem Elie Wiesel Dave Brubeck Ann Gresham Stephen J. Knerly Peter Rugolo Odette V. Wunburger David Cerone Lou Harrison Jean-Louis LeRoux LA CREATION DU MONDE: FERNAND LEGER ET L'ART AFRICAIN In Europe, one of the exciting events of year 2000 was MICHELINE MITRANI'S IMPRESSIONS the Fernand Leger exhibit in Geneva, Switzerland. In "The exhibition is splendid and the Ballet (given the brochure announcing the exhibition, the description four times - 15, 16 and 17 December) was absolutely of its purpose included the following comments, magnificent. It was a kind of bonus for Geneva - the translated from the French: public - young and old - was enthralled. The musicians, " .....This ballet was produced .....under the direction dancers, choreographers were excellent. The theater of Rolf de Mare (founder of the Swedish Ballet) with was a tent within the museum, put up just for the the collaboration of the poet and writer Blaise occasion. This is one of the most beautiful "shows" I Cendrars for the scenario, Darius Milhaud for the music have ever attended in Geneva (I have been here since and Fernand Leger for the decor and costumes - a 1963!) spectacle that, with its blend of bright colours and new sounds, recalled the customs and myths of Africa. "I am sorry that Madeleine Milhaud could not come. It was bitter cold then, and thanks to her I obtained an "This [Fernand Leger] exhibition, which has been invitation (the performances were sold o ut). I was assembled in collaboration with the Musee Barbier­ thrilled with the huge success of this work. Other Mueller, evokes the discovery of primitive arts by instrumental and vocal works o f Darius Milhaud were Europeans from the middle of the 19th century onwards. played before the ballet.. .... These discoveries led to an interest in new forms by French artists in the early 20th century. With the aid "During the exhibit a tiny nook is set off in which to of works from the Josef Muller collection, which has listen to Milhaud's music .... There are also films been enlarged upon by Monique and Jean Paul Barbier­ concerning Blaise Cendrars and Fernand Leger..... " Mueller, his daughter and son-in-law, the exhibition will shed light on the influence of these so-called primitive forms upon artists such as Rouault, Braque, Matisse and Picasso. "The intention is to revive the memory of The Creation of the World by assembling maquettes of the original decor, photographs and projects that arose from this collaboration of celebrated artists. The music composed for the ballet ....... was inspired by jazz. The ballet, choreographed by Jean Borlin, derives its momentum literally from [the] theme of the creation of Heaven and Earth, the appearance of life and man, and the meeting of a couple. " ..... [Leger's] constant passion for modern life and the mechanical world was not to be diminished by other interests. Furthermore, the drawings, gouaches and the large oil paintings enable the viewer to situate the work of Fernand Leger in a larger creative context." The exhibition featured a nook with information about Milhaud's music along with pictures, the first page of the score to La Creation du monde and recordings for listening within the room. The ballet was performed in the museum in December and the music was to be repeated during January in a different Show n above is M s. Mi chel ine Mitran i, s tanding at the venue. (See a separate article concerning performances entrarrce to lite Darius M ilhaud nook where listeners could of Milhaud's music in connection with the exhibits.) enter to hear recordirrgs of Millraud 's music. -2­ LA CREATION DU MONDE: FERNAND LEGER ET L'ART AFRICAIN (cont.) hom; Alain Bertholet and Gerard M~trailler, trumpets; Jean-Marc Daviet, trombone; S~bastien Risler, piano; Hans Egidi and Nicolas Jacquier, violins; Fred~ric Kirch, viola; Pascal Michel, cello; Jonathan Haskell, contrabass; Chantal Mathieu, harp; Nicolas Curti, Thierry Debons, Raul Esmerade, Didier Metrailler, St~phane P&houx, and Fran~ois Volp~, percussion. Dancers were: Sekoume, Askia Swift, and Mbongwe, Karyn Benquet (human beings); Nsissim, Grant Aris, and Gnoul, Heather Telford (messengers of the gods); the Nguils {the magicians): H~lene Bourbillon and Alma Munteanu, priestesses of the tree of life; C~line Cassone and Alma Munteanu, priestesses of the machete; Sun Xia-Ojun and Yanni Yin, genies of water; Gregory Batardon and Fernanda Barbosa, egg-shaped magicians; Claire Pascal, sorceress of the marimba; Asier Uriagereko, sorcerer of the xylophone; the Sroert~l students of Micheline Mitrani visi ted the exhibition at the Museum of Art and History in Geneva during December 2000. Note Fetishists of FAM: Nicolas Robillard, wire mesh man; the standing designs by Femand Leger for the original ballet La Elia Coppens, cube-shaped man; Bruno Roy, bird man, Criation du monde, which pmniered in 1923 with Milhaud 's music. Giuseppe Bucci, circle man; the Animals: Christina MILHAUD'S MUSIC PERFORMED AT EXHIBITION Johnson, bird with orange wings; Elizabeth Laurent, As part of the Leger exhibition, an entire concert of bird with blue wings; Vanessa Le Mat, bird with gold Milhaud's music featured a revival of the ballet La wings; Migena Alite, bird with green wings; Ilias Creation du rnonde performed at the Museum of Art and Ziragachi, the red monkey; Anil van der Zee, the History in Geneva on December 15, 16 and 17, 2000. The yellow monkey; Christopher Lam, the striped insect; four performances took place on December 15th and 16th Yukari Kami, the speckled insect. at 8:30 p.m. and on the 16th also at 6:00 p.m.; and on Other participants were: builders of sets, John December 17th at 3:00p.m. Campbell Scenic Studio; construction of costumes and Choreography based on Jean Borlin's original masks, Phil Reynolds and Robert Allsopp under the concept for the work was created by Millicent Hodson direction of Diane Williams; lighting, Manuel with Kenneth Archer, who designed the costumes after Bernard; artistic counselor and coordinator, Cynthia those of Fernand Leger. The scenario was based on Odier, assisted by Lina Rodriguez; General Director of Blaise Cendrars' original. The music was performed by the Grand Theater of Geneva, Renee Auphan; Ballet Ensemble Contrechants under the direction of Olivier directors, Fran~ois Passard and Giorgio Mancini; Cuendet, and the dancers were members of the Ballet of mistress of the ballet, Isabella Padovani. In charge of the Grand Theater of Geneva. the exposition for the Museum of Art and History was Casar Menz, assisted by Daniele Fischer Huelin and The December program was divided into two parts. Ursula Ramseier. The first half consisted of Caramel mou (1920) for jazz orchestra, Trois Chansons de negresse, op.
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