71. DUBROVAČKE LJETNE IGRE 71st DUBROVNIK SUMME FESTIVAL 2020. HRVATSKA CROATIA

KLAVIRSKI DUO PIANO DUO IVANČIĆ / CIKOJEVIĆ

ATRIJ KNEŽEVA DVORA RECTOR’S PALACE ATRIUM 17. SRPNJA | 11 JULY 21.30 9.30 PM

KLAVIRSKI DUO PIANO DUO IVANČIĆ & CIKOJEVIĆ

KARMEN PERVITIĆ, FRAN KRSTO ŠERCAR – UDARALJKE PERCUSSION VIKTORIA BUBALO, ŠIMUN STANKOV – PLESAČI DANCERS

SAŠA BOŽIĆ – KOREOGRAF CHOREOGRAPHER

FRANCIS POULENC:

(1899.-1963.) ELEGIE CAPRICCIO

BORIS PAPANDOPULO:

(1906.-1991.) HOROSKOP PLESNA SUITA ZA DVA KLAVIRA I UDARALJKE OP. 52 HOROSCOPE DANCE SUITE FOR TWO PIANOS AND PERCUSSION OP. 52

PREDIGRA PRELUDE OVAN ARIES BIK TAURUS BLIZANCI GEMINI RAK CANCER LAV LEO DJEVICA VIRGO VAGA LIBRA ŠKORPION SCORPIO STRIJELAC SAGITTARIUS JARAC CAPRICORN VODENJAK AQUARIUS RIBE PISCES

DARIUS MILHAUD:

(1892.-1974.) SCARAMOUCHE SUITA ZA DVA KLAVIRA OP. 156B SUITE FOR TWO PIANOS, OP.156B

VIF MODÉRÉ BRAZILEIRA

Zrinka Ivančić Cikojević jedna je od Vladimira Krpana te nastavlja usavršavanje najdarovitijih hrvatskih glazbenika mlađe u Italiji u klasi prof. Franca Scale. Dobitnica generacije. Laureatkinja je brojnih domaćih i je Rektorove nagrade Sveučilišta u Zagrebu, internacionalnih natjecanja koja su joj Nagrade "Ferdo Livadić", Nagrade "Darko donijela nastupe na prestižnim glazbenim Lukić'' te prvih nagrada na međunarodnim festivalima diljem Europe, zapažene recitale natjecanjima u Moncalieriju i San kojima je privukla pažnju kritike i publike. Bartolomeu. Snimala je za Hrvatski radio, za Nastupala je kao solistica uz pratnju svih Croatia Records te u nekoliko navrata značajnijih hrvatskih orkestara i ansambala: sudjelovala u glazbenim programima Zagrebačke filharmonije, Hrvatskog Hrvatske televizije. Od 2007. godine komornog orkestra, Simfonijskog orkestra umjetnička je suradnica na Muzičkoj HRT-a, Dubrovačkog simfonijskog orkestra, akademiji u Zagrebu. Zagrebačkih solista, Zagrebačkog kvarteta, ansambla Cantus, kvarteta 4Syrinx, kvarteta Dalibor Cikojević glazbenu je naobrazbu Porin te drugih. Posljednjih nekoliko godina započeo u Splitu gdje je maturirao i završio profilirala se kao vrsna komorna glazbenica srednju glazbenu školu u razredu profesorice i surađuje s najboljim domaćim i inozemnim Jelke Bakašun. Studirao je na Visokoj školi solistima. Glazbenu naobrazbu započinje za glazbu i izvedbenu umjetnost u Beču, u već s pet godina u Zagrebu, gdje maturira i razredu Alexandera Jennera, kod kojega je i završava srednju glazbenu školu u razredu magistrirao. Njegovu daljnjem umjetničkom profesorice Blanke Podreke. Nakon sazrijevanju pridonijeli su usavršavanje kod završetka studija klavira na Muzičkoj Olega Maisenberga te studij instrumentalne akademiji u Zagrebu, u klasi prof. Damira pedagogije kod Carmen Graf Adnet. Sekošana, završava i magisterij u klasi prof. Redovito nastupa u zemlji i inozemstvu, a pored zapaženih solističkih recitala i nastupa prozvati skupinom Les Six (Šestero). Prvu je s orkestrima, naročito se istaknuo pak objavljenu skladbu, Rapsodie nègre, interpretacijama djela hrvatskih skladatelja posvetio Eriku Satieu. Tek je poslije stekao Borisa Papandopula i Božidara Kunca. O formalno obrazovanje u kompoziciji, u klasi tome svjedoči pet nosača zvuka na kojima su Charlesa Koechlina, a velik rani uspjeh premijerno zabilježena njihova antologijska postigao je baletom Les biches, koji je djela te nagrada Hrvatskog društva postavio Sergej Djagiljev. Bio je i koncertni glazbenih umjetnika „Milka Trnina“, za pijanist te je napisao brojne skladbe za posebno umjetničko ostvarenje, i klavir. Nakon osobnih tragedija prelazi na diskografska nagrada „Porin“, za najbolji katoličanstvo i piše niz sakralnih djela. album klasične glazbe. Dalibor Cikojević Skladao je i brojne solopjesme, koje je dugi je niz godina djelovao kao glazbeni najčešće praizvodio Pierre Bernac uz pedagog u Austriji, između ostalog i na autorovu pratnju, monooperu La voix Sveučilištu za glazbu u Beču. Redovni je humaine, Sekstet za klavir i drvene puhače, profesor u trajnom zvanju na Muzičkoj po jednu sonatu za obou, flautu i klarinet s akademiji Sveučilišta u Zagrebu, na kojoj je klavirom, a dvije violinske sonate i gudački od 2007. do 2013. bio prodekan za kvartet uništio je iz nezadovoljstva. U međunarodnu suradnju, a od 2013. do 2019. njegovim djelima prevladava melodičnost i dekan. razigranost motiva te postojana dijatonska harmonika, tek ponekad zgusnuta Klavirski duo Ivančić / Cikojević program kromatikom: zbog jednostavnijih tekstura svojeg koncerta na ovogodišnjim nije u svoje doba smatran „dovoljno Dubrovačkim ljetnim igrama naziva progresivnim“, a danas je, kako je zapisao „pravom apoteozom ritma i plesa“, u kojoj, kritičar Gerald Larner, upamćen „po objema uz ritmove i plesove Poulenca i Milhauda, stranama svojega karaktera, onoj gorljivoga središnje mjesto zauzima izvedba plesne katolika, ali i onoj zločestog dečka.“ suite Horoskop, inače inicijalnog projekta ovog dua. Koncertnu praizvedbu u izvornom Poulenc je skladao više djela za dva klavira, obliku – klavir i udaraljke – djelo je mahom za klavirski duo koji su činili Arthur doživjelo u Houstonu, Texas, 2017. (jer, Gold i Robert Fizdale, koje je nazivao „les kako kažu, nije jasno jesu li u praizvedbi boys“: 1936. sudjelovali udaraljkaši) a nedavno su Djelo L´embarquement pour Cythère iz ga i snimili, s udaraljkašima Ivanom 1951., dijeli naslov (Putovanje na Kiteru, ili Kuljerić Bilić i Nikolom Krbanyevitchem. Ukrcaj za Kiteru) sa slikom Jean Antoinea Watteaua iz 1717., na kojoj Kupid vodi ljubavne parove prema Kiteri, otoku ljubavi. Slika je inspirirala i Debussyjevu skladbu L'isle joyeuse. Vedro i prštavo djelo skladao Francis Poulenc (Pariz, 1899. – 1963.) učio je prema vlastitoj glazbi za film Le voyage je svirati klavir od majke, a potom od en Amerique. Poulencova zvukovna paleta pijanista Ricarda Viñesa, koji mu je postao katkad je uspoređivana sa slikama Raoula mentorom nakon smrti roditelja. Godine Dufyja i skladatelj je u razgovoru s 1917. upoznaje skladatelje Georgesa Aurica, Claudeom Rostandom ispričao da baš ovo Arthura Honneggera i Dariusa Milhauda, a svoje djelo smatra najviše „dufyjevskim“. poslije Louisa Dureya i Germaine Ipak, istom se prigodom samokritično Tailleferre: sve će njih kritičar Henri Collet prisjetio i kritičara koji je ocijenio da se „Poulencovoj glazbi ne može zanijekati duhovitosti. Muzikolog Davor Merkaš, šarm, no, kao i Dufy, ostat će utjelovljenjem stručnjak za njegov opus, ističe da je uzaludnosti našeg doba.“ Papandopulo „zapanjujućim opsegom svoga Elegiju iz 1959. Poulenc je posvetio djelovanja utisnuo duboki i danas sjećanju na nedavno preminulu Marie sveprisutni pečat ne samo hrvatskoj glazbi Blanche de Polignac, koja je naručila njegov nego i, usuđujem se reći, glazbi 20. Koncert za dva klavira i Koncert za orgulje i stoljeća.“ financijski podupirala francuske umjetnike. Elegija „s izmjeničnim akordima“ među Plesna glazba, kojoj pripada i djelo klavirima, kako stoji u podnaslovu, među Horoskop, također zauzima važno mjesto u duljim je Poulencovim klavirskim djelima. Papandopulovom opusu, a o skladbi je Iako nosi oznaku tempa „vrlo mirno i Merkaš zapisao: melankolično“, karakter djela očito ne bi „Horoskop, plesnu suitu za dva glasovira i trebao biti posve suzdržan jer ga je Poulenc udaraljke, op. 52, Boris Papandopulo objavio s opaskom: „Elegiju treba svirati započeo je skladati u Zagrebu, gdje je 16. kao da se improvizira, s cigarom u ustima i srpnja 1935. završio pisanje glazbe čašom konjaka na klaviru.“ horoskopskog znaka Rak. Posljednji stavak Skladatelju Samuelu Barberu svidjela se ciklusa, Blizanci, završio je u Splitu 15. Poulencova Sonata za dva klavira, također kolovoza iste godine. Prema do sada skladana za Golda i Fizdalea, te je svoje dostupnim podacima Horoskop je Melodies passagères posvetio Poulencu, a praizveden u Beogradu 8. ožujka 1936. u ovaj je uzvratio posvećivanjem Capriccia za Narodnom pozorištu u okviru 'Matineje dva klavira Barberu, 1952. Djelo je nastalo Plesnog studija Ane Maletić'. Sudeći prema prema motivima iz njegove svjetovne glazbenoj strukturi, harmoniji i ritamskoj kantate Le bal masqué: zaigrano i ritmično, komponenti plesna suita Horoskop uistinu u prvom, energičnom dijelu provodi tri jest 'rađena u modernističkom duhu' i 'bavi teme, slijede mirniji, spori tango i tehnički se različitim karakteristikama znakova koje zahtjevan finale. astrologija pripisuje ljudima'. To je i svojevrstan pokušaj ocrtavanja psiholoških karakteristika svakog pojedinog Jedan od najznačajnijih hrvatskih horoskopskog znaka glazbom. Slijed skladatelja, Boris Papandopulo (Honnef na znakova, nakon uvodne Predigre, odgovara Rajni, 1906. – Zagreb, 1991.) odrastao je u uvriježenom redoslijedu znakova u obitelji umjetničkih sklonosti (njegova je horoskopu. majka bila poznata operna pjevačica Maja Strozzi). Kompoziciju je diplomirao u Papandopulo udaraljke rabi tek u nekoliko razredu Blagoja Berse na Muzičkoj stavaka i to vrlo štedljivo. Glazbeni izričaj akademiji u Zagrebu, a dirigiranje je Horoskopa tipičan je za prijelazno razdoblje studirao u Beču, u razredu Dirka Focka, glazbe između dva svjetska rata te, poput kamo ga je odveo Igor Stravinski. Nastupao mnogih djela nastalih u tom razdoblju, je diljem Europe, pisao je opere, balete, očituje utjecaje impresionizma, koncerte, komornu glazbu, klavirske ekspresionizma, neo-stilova (npr. komade, duhovne skladbe, scensku i filmsku motoričnost ritamskog pokreta neobaroka), glazbu. Bio je i pijanist te su klavirska djela ali obiluje i postromantičkim harmonijskim važan dio njegovog opusa, koji čini više od progresijama i repetitivnim ritamskim 450 djela i prepoznatljiv je po inventivnosti i obrascima i ostinatima tipičnim za glazbeni jezik Stravinskijevih baleta tzv. 'ruske faze'. inače skladao sigurno, bez brojnih skica i Ono što je važno naglasiti jest da u prepravaka. Na ponudu izdavača Deissa da Horoskopu – za razliku od mnogobrojnih objavi Scaramouche, odgovorio je da te note drugih Papandopulovih djela plesnog žanra zacijelo nitko ne bi kupio. Izdavač nije – nema naznaka uporabe folklorne glazbe, popuštao, što se pokazalo dobrom idejom jer niti na razini stiliziranog folklora, a još je djelo postalo iznimno popularno. manje direktnih citata narodne glazbe. Pijanistice Long i Meyer snimile su ga, a Glasovirske dionice pisane su mjestimice izvodilo se čak i 1943., kada su njegova vrlo virtuozno i zahtijevaju pijanističku djela bila zabranjena jer je bio židovskog vještinu.“ podrijetla: za tu se prigodu dosjetio anagrama pa je naslov skladbe privremeno Darius Milhaud (Marseille, 1892. – bio Mousarechac, a on potpisan kao Hamid- Ženeva, 1974.) za studija na Pariškom al-Usurid. Violinist Jascha Heifetz djelo je konzervatoriju upoznao je autore s kojima je prearanžirao za vlastitu izvedbu, za violinu i isprva povezivan u skupinu Les six, kao i klavir, a i Milhaud ga je zbog velikog Poulenc; kao i Papandopulo, ostavio je interesa obradio za nekoliko drugih sastava. iznimno veliki opus od više od 400 djela, u kojem također važnu ulogu imaju plesne Dina Puhovski suite. Odrastao je u Provansi, snažan utjecaj na njegovo stvaralaštvo imao je dulji boravak u Brazilu, kao i rano upoznavanje jazz glazbe, a 1940. emigrirao je u Sjedinjene američke države. Od 1947. godine predavao je na Pariškom konzervatoriju. Pisao je orkestralna i zborska djela, klavirske skladbe, komorne skladbe, solopjesme. Njegova je glazba obilježena uporabom politonalitetnosti, odnosno polimodaliteta, koji daju oporu kvalitetu drugim, plesnim i lirskim, elementima u njegovim djelima, no tvrdio je da svako djelo zapravo donosi svoj stil i formu te da se o njegovu stilu ne može generalizirati. Djelo Scaramouche Milhaud je napisao 1937., rabeći građu svoje scenske glazbe za dječji komad Le médecin volant, postavljen u pariškom Teatru Scaramouche, i uvertire za dramu o Simonu Bolivaru. Naručeno je za Parišku međunarodnu izložbu i izvedbu Marguerite Long i Marcelle Meyer. Buran prvi stavak donosi više kontrastnih tema, sinkopiranje i snažan puls, drugi stavak ritmizirana je uspavanka, a treći donosi najjasniji utjecaj Brazila i sambe. Milhaud je zapisao da ga je djelo namučilo, iako je

Zrinka Ivančić Cikojević is one of the Zagreb, where she graduated from high most talented Croatian musicians of the school and finished secondary music school younger generation. She is a laureate of under Professor Blanka Podreka. After many domestic and international completing a degree in Piano Performance at competitions, which enabled her to perform the Zagreb Academy of Music under at prestigious music festivals across Europe, Professor Damir Sekošan, she completed where she gave a number of successful solo Master’s degree under Professor Vladimir recitals praised both by the critics and Krpan and continued her education in Italy audiences. She has appeared as soloist with with Professor Franco Scala. She won the all major Croatian orchestras and ensembles: University of Zagreb Rector’s Award, the the Zagreb Philharmonic Orchestra, Croatian Ferdo Livadić Award, the Darko Lukić Chamber Orchestra, Croatian Radio and Award and first prizes in international Television Symphony Orchestra, Dubrovnik competitions in Moncalieri and San Symphony Orchestra, Zagreb Soloists, Bartolomeo. She recorded for the Croatian Zagreb Quartet, Cantus Ensemble, 4Syrinx Radio and Croatia Records and appeared in Flute Quartet, Porin String Quartet and Croatian Television’s music programmes on others. In recent years, she has become a several occasions. She has served as Artistic renowned chamber musician and has Associate at the Zagreb Academy of Music collaborated with the foremost Croatian and since 2007. international soloists. She started her musical education at the age of five in Dalibor Cikojević started his musical Francis Poulenc (Paris, 1899 – 1963) was education in Split, where he graduated from taught piano by his mother and later by high school and finished secondary music pianist Ricardo Viñes, who became his school under Professor Jelka Bakašun. He mentor after the death of his parents. In studied and earned his Master’s degree at the 1917, he met composers Georges Auric, Vienna University of Music and Performing Arthur Honegger and Darius Milhaud, and Arts under Alexander Jenner. Working with later Louis Durey and Germaine Tailleferre: Oleg Maisenberg and studying Instrumental the group was named Les Six (The Six) by Pedagogy under Carmen Graf Adnet further the critic Henri Collet. Poulenc dedicated his contributed to his artistic development. He first published work, Rapsodie nègre, to has regularly performed in Croatia and Erik Satie. Only later did he acquire formal abroad and, in addition to his successful solo education in composition, under Charles recitals and appearances with orchestras, he Koechlin, and his ballet Les biches, staged is especially noted for his interpretations of by Sergei Diaghilev, was a big early success. works by Croatian composers Boris He was also a concert pianist and wrote Papandopulo and Božidar Kunc. His five numerous piano works. After experiencing CDs with premiere recordings of their most tragedies in his life, he recommitted to renowned pieces bear witness to that, as well Catholicism and wrote a series of religious as the Milka Trnina Award from the works. He also composed a number of Croatian Association of Music Artists for songs, usually premiered by Pierre Bernac Outstanding Artistic Achievement and the accompanied by the composer, a mono- Porin Music Award for Best Classical Music opera La voix humaine, a Sextet for piano Album. Dalibor Cikojević worked as a and winds, one sonata for oboe, one for flute music pedagogue in Austria for years, at the and one for clarinet with piano, while he Vienna University of Music and elsewhere. destroyed two violin sonatas and a string He is a Full Professor with tenure at the quartet because he was displeased with Academy of Music, University of Zagreb, them. His works are marked by where he served as Associate Dean for melodiousness and playfulness of motifs, International Cooperation from 2007 to 2013 steady diatonic harmony, only occasionally and as Dean from 2013 to 2019. condensed with chromaticism: due to simpler textures, he was not considered ‘sufficiently progressive’ in his time, while Ivančić & Cikojević Piano Duo describe today, according to the critic Gerald Larner, their concert programme at this year’s he is known for ‘both sides of his character, Dubrovnik Summer Festival as ‘a true that of a fervent Catholic, but also that of a apotheosis of rhythm and dance’ in which the naughty boy’. dance suite Horoscope, the duo’s first project, takes central place among the Poulenc composed a number of works for rhythms and dances by Poulenc and Milhaud. two pianos, mostly for Arthur Gold and The premiere of the work in its original form Robert Fizdale piano duo, whom he called – for piano and percussion – took place in ‘les boys’: Houston, Texas, in 2017 (since, as they say, His work L´embarquement pour it is not clear whether percussionists took part Cythère from 1951, shares its title (Voyage in its first performance in 1936), and they to Cythera or Embarkation for Cythera) recently recorded it with percussionists Ivana with Jean Antoine Watteau’s painting from Kuljerić Bilić and Nikola Krbanyevitch. 1717, in which Cupid takes love couples to Cythera, the island of love. The painting also graduated in Composition from the Zagreb inspired Debussy’s piece L'isle joyeuse. He Academy of Music under Blagoje Bersa and, based this bright and sparkly work on his thanks to Igor Stravinsky, studied score for the film Le voyage en Amerique. Conducting in Vienna with Dirk Fock. He Poulenc’s sound palette was sometimes performed all over Europe and wrote operas, compared to Raoul Dufy’s paintings and in a ballets, concertos, chamber music, piano conversation with Claude Rostand the works, sacred music, as well as stage and composer said that he considered this piece film music. He was also a pianist and piano most ‘dufyesque’ of all his works. Although, pieces constitute an important part of his on the same occasion, he self-critically creative output, consisting of over 450 remembered a critic who had said that ‘one works, known for its inventiveness and can’t deny Poulenc’s music a certain charm, humour. Musicologist Davor Merkaš, expert but, like Dufy, he will remain an in Papandopulo’s work, points out that his embodiment of the futility of our age’. ‘astonishing range of work left a deep and Poulenc dedicated his 1959 Élégie to the ubiquitous mark not only on Croatian music memory of the recently deceased Marie but also, I dare say, the music of the 20th Blanche de Polignac, who had century’. commissioned his Concerto for two pianos and Organ Concerto and financially Dance music, including the Horoscope, also supported French artists. The Elegy ‘with plays an important part in Papandopulo’s alternating chords’ between the pianos, as its output. Davor Merkaš wrote the following subtitle says, is among Poulenc’s longer text about the piece: piano works. Although the tempo is marked ‘Boris Papandopulo started composing ‘very calm and melancholic’, the character Horoscope, a dance suite for two pianos and of the piece should apparently not be percussion, Op. 52, in Zagreb, where he completely restrained, since Poulenc finished writing the music for Cancer on 16 published it with a remark: ‘This Elegy July 1935. He completed the final movement should be played as if you were improvising of the cycle, Gemini, in Split on 15 August it, a cigar in your mouth and a glass of the same year. According to the available cognac on the piano.’ data, Horoscope was premiered in Belgrade Composer Samuel Barber loved Poulenc’s on 8 March 1936 at the National Theatre as Sonata for two pianos, also written for Gold part of the ‘Ana Maletić Dance Studio and Fizdale, and he dedicated his Melodies Matinee’. Judging by its musical structure, passagères to Poulenc, who in return harmony and rhythm component, the dance dedicated his Capriccio for two pianos to suite Horoscope truly was ‘created in the Barber in 1952. It was based on motifs from spirit of modernism’ and ‘it deals with his secular cantata Le bal masqué: its first, different characteristics of the signs that three-themed energetic part is playful and astrology attributes to people’. In a way, it is rhythmical, followed by a calmer, slow an attempt to describe the psychological tango and a technically demanding finale. characteristics of each astrological sign with music. After the Prelude, the sequence of signs corresponds to the traditional sequence One of the most important Croatian of signs in astrology. composers, Boris Papandopulo (Honnef Papandopulo uses percussion instruments am Rhein, 1906 – Zagreb, 1991) was born only in several movements and he does it into an artistic family (his mother was the very sparingly. Horoscope’s music famous opera singer Maja Strozzi). He expression is typical of the transitional wrote for the drama about Simon Bolivar. It period in music between the two world wars was commissioned for the Paris and, like many works composed in that International Exposition and performance by period, it is influenced by impressionism, Marguerite Long and Marcelle Meyer. The expressionism, revival styles (for example, turbulent first movement brings several the motor rhythm of the neo-baroque), but it contrasting themes, syncopation and strong also abounds in post-romantic harmonic pulse, the second movement is a rhythmical progressions and repetitive rhythm patterns lullaby, while the third brings the most and ostinatos typical of Stravinsky’s ballets evident influence of Brazil and samba. from the so-called ‘Russian phase’. It is Milhaud wrote that he struggled with the important to point out that in Horoscope – work, although he was usually confident unlike in many other Papandopulo’s dance when composing, without much need for pieces – there are no indications of use of rewriting. When Deiss offered to publish folk music, neither in stylised form, nor as Scaramouche, he answered that no one direct quotes. Piano parts were occasionally would buy the score. The publisher was written in a very virtuosic manner and persistent, which turned out to be a good require a high level of skill from a pianist.’ idea since the work became extremely popular. Pianists Long and Meyer recorded it and it was performed even in 1943, when Darius Milhaud (Marseilles, 1892 – his works were banned because of his Geneva, 1974) met composers during his Jewish background: for this occasion, he studies at the Paris Conservatoire with came up with an anagram, so the temporary whom, like Poulenc, he was initially title of the piece was Mousarechac and he associated as a member of Les Six,; like was signed as Hamid-al-Usurid. Violinist Papandopulo, he was an exceptionally Jascha Heifetz rearranged the work for his prolific composer with an output of over 400 own performance, for violin and piano, works, among which dance suites also play while Milhaud also made arrangements for an important part. He grew up in Provence several other ensembles since it was so and his composing was strongly influenced popular. by his long stay in Brazil as well as his early Dina Puhovski introduction to jazz. In 1940 he immigrated to the USA and since 1947 he was engaged as a lecturer at the Paris Conservatoire. He wrote orchestral and choral works, piano pieces, chamber music and songs. His music is marked by the use of polytonality, or polymodality, which provide other, dance and lyrical elements in his works with sharp quality, but he claimed that in fact each piece has its own style and form and that his style cannot be generalised. Milhaud wrote Scaramouche in 1937 and he used the material from the music he composed for the children’s play Le médecin volant, staged at the Paris Theatre Scaramouche, and from the overture he