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64-636: Darius Milhaud ( French: [daʁjys mijo] ; 4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of Les Six —also known as The Group of Six —and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality . Milhaud is considered one of the key modernist composers . A renowned teacher, he taught many future jazz and classical composers, including Burt Bacharach , Dave Brubeck , Philip Glass , Steve Reich , Karlheinz Stockhausen and Iannis Xenakis among others. Milhaud

128-530: A "Monster Concert", in which 12 Steinway pianos and 36 pianists were brought on stage for pieces by Louis Moreau Gottschalk and others; Alberto Ginastera 's Cantata para America Magica , an extraordinary work based on pre-Columbian Latin American songs and scored for soprano and 53 percussion instruments; and Christus Apollo , a cantata written by Jerry Goldsmith , based on a text by Ray Bradbury and narrated by Charlton Heston . In his teens Temianka played

192-516: A Laurentius Storioni of 1780. While traveling under the aegis of the Curtis Institute, he briefly played a loaned Stradivarius, which was exchanged for a Januarius Gagliano . In 1929 Temianka owned the violin made in 1752 by Joannes Baptista Guadagnini . In the 1930s he played a Silvestre violin, with which he made his early Vintage recordings, and subsequently a Januarius Gagliano and a Carlo Bergonzi . The Stradivarius he played during

256-860: A Michelangelo Bergonzi of 1759. His recordings of the Handel Sonatas were made on an Andrea Guarneri of 1687. In February 2013, Chapman University endowed the Henri Temianka Professorship in Music and Scholarship in String Studies. The violin played by Albert Saparoff, concertmaster of the Hollywood Symphony, was endowed as the Temianka-Saparoff violin, and is dedicated for the use of a selected recipient while studying there. A bust of Temianka

320-595: A chapter of his second book Chance Encounters (unpublished); that chapter has been integrated with illustrations of many of the relevant photographs, letters and other documents, and privately printed as a monograph. In 1945 he performed at Carnegie Hall with pianist Artur Balsam . In 1946 he performed all the Beethoven violin sonatas with pianist Leonard Shure at the Library of Congress in Washington D.C. Over

384-500: A choice: to create, or not to create." "It's easy to avoid criticism -- just say nothing, do nothing, be nothing." "The happiest times have always been when we have chamber music at our house—veritable orgies of informal music-making, gastronomy, and story-swapping, with everybody in shirtsleeves. The warmth of musical and human empathy is unique. As we play, unrehearsed, a quartet of Beethoven or Mozart, there are extraordinary flashes of insight, thrilling moments of truth when we share

448-632: A concert he had given in Madrid in 1935 had been attended by a powerful Spanish aristocrat and president of the Bilbao Philharmonic Society, Ignacio de Gortazar y Manso de Velasco, the 19th Count of Superunda. The Count personally escorted Temianka's parents from jail to his mansion, and then arranged for their passage by ship to Cuba and the United States, where they became citizens. Temianka described these remarkable events in

512-1033: A four-hour program of recordings by Temianka, the Paganini Quartet, and the California Chamber Symphony. Temianka in 1946 joined the Paganini Quartet , founded by the great Belgian cellist Robert Maas  [ fr ] . The quartet drew its name from the fact that all four of its instruments, made by Antonio Stradivari (1644–1737), had once been owned by the Italian virtuoso violinist and composer Niccolò Paganini (1782–1840). The other original members were Gustave Rosseels, second violin, and Robert Courte, viola. Subsequent members included Charles Libove, Stefan Krayk and Harris Goldman, violin; Charles Foidart, David Schwartz and Albert Gillis, viola; and Adolphe Frezin and Lucien Laporte, cello. The quartet made its world debut at

576-402: A group of composers around himself to be known as Les nouveaux jeunes , forerunners of Les Six . According to Milhaud: [Collet] chose six names absolutely arbitrarily, those of Auric, Durey, Honegger, Poulenc, Tailleferre and me simply because we knew each other and we were pals and appeared on the same musical programmes, no matter if our temperaments and personalities weren't at all

640-561: A son, the painter and sculptor Daniel Milhaud, who was the couple's only child. Nazi Germany's invasion of France forced the Milhauds to leave France in 1940. They emigrated to the U.S. (Milhaud's Jewish background made it impossible for him to return to France until it was liberated ). He secured a teaching post at Mills College in Oakland, California , where he composed the opera Bolivar (1943) and collaborated with Henri Temianka and

704-400: A suite of songs for baritone or bass and piano on words of Louise Lévêque de Vilmorin in commemoration of the centenary of the death of Frédéric Chopin. In 1952, Auric, Honegger, Poulenc, Tailleferre and three other composers collaborated on an orchestral work called La Guirlande de Campra . In 1956, Auric, Milhaud, Poulenc and five other composers created an orchestral suite in honour of

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768-802: A suite that the then-unknown Benjamin Britten had written for him and pianist Betty Humby, and performed music by Sergei Prokofiev , with the composer at the piano in Moscow; and Ralph Vaughan Williams conducted his violin concerto for him in London. In 1936 he founded the Temianka Chamber Orchestra in London. He was the concertmaster of the Scottish Orchestra from 1937 to 1938. He gave his first concert in Los Angeles,

832-643: A violin recital, at the Wilshire Ebell in 1940. From 1941 to 1942 he was the concertmaster of the Pittsburgh Symphony under Fritz Reiner , performing as soloist in concertos including the Beethoven and Mozart A major . His appearances as violin soloist and guest conductor in Europe and both North and South America were interrupted by World War II, during which he became a senior editor in

896-868: A violist) and Camilla Wicks . Temianka was a visiting professor and guest lecturer at many universities in the United States and abroad, including the Universities of California, Kansas, Illinois, Michigan, Colorado, Toronto, Southern California and the Osaka Music Academy of Japan. He held professorships at University of California, Santa Barbara (1960–64) and Long Beach State College (now California State University, Long Beach) (1964–76). He also taught master classes at various universities including Brigham Young in Utah, and produced films in music education. He died, aged 85, in Los Angeles . "You have

960-670: A wheelchair during his later years (beginning in the 1930s), compelled him to retire. He also taught on the faculty of the Aspen Music Festival and School . As well as Brubeck, his students include William Bolcom , Steve Reich , Katharine Mulky Warne , and Regina Hansen Willman . He died in Geneva at the age of 81, and he was buried in the Saint-Pierre Cemetery in Aix-en-Provence. Darius Milhaud

1024-546: Is for the moment still above his human one. Life shall be his best teacher in this regard." Later he stated, "...he has made an intensive study of my method of teaching, of which I consider him the best exponent in England." In his memoirs he said, "...there was above all Henry [sic] Temianka, who did great credit to the Institute: both musically and technically, he possessed a model collection of talents." Temianka's playing

1088-510: Is titled Notes sans musique ( Notes Without Music ), later revised as Ma vie heureuse ( My Happy Life ). Please note: "Faire un boeuf" in French translate to "to do a jam session". During WW1 when assemblies were not allowed, therefore concert hall were closed, many musicians would meet in cafés or such. Some cafés were too small for ensembles and would practice on the roof of the establishment. When Madelaine Milhaud visited Mills College in

1152-466: The J. Paul Getty Museum in Malibu, California. As an avid chamber music player, Temianka hosted frequent private musical evenings in his Los Angeles home, playing with fellow musicians including Yehudi Menuhin, Jascha Heifetz , Isaac Stern , Joseph Szigeti , David Oistrakh, Henryk Szeryng, Leonard Pennario, William Primrose , Gregor Piatigorsky and Jean-Pierre Rampal . Temianka was equally adept on

1216-533: The Los Angeles Philharmonic and Buenos Aires Philharmonic. In 2022 a graduating student from Chapman University, Mitchell Tanaka, placed Temianka's pioneering contributions in historical perspective in his production "Temianka Talks Music." [1] . Unique concerts given under the auspices of the CCS included the opera Noye's Fludde by Benjamin Britten , in which hundreds of children participated;

1280-516: The Nouveaux jeunes less than a year after starting the group, was the "gift from heaven" that made it all come true for Cocteau: his 1918 publication, Le Coq et l'Arlequin , is said to have kicked it off. After World War I , Jean Cocteau and Les Six began to frequent a bar known as "La Gaya" which became Le Bœuf sur le toit (The Ox on the Roof) when the establishment moved to larger quarters. As

1344-608: The Paganini Quartet . In an extraordinary concert there in 1949, the Budapest Quartet performed his 14th String Quartet, followed by the Paganini Quartet 's performance of his 15th; and then both ensembles played the two pieces together as an octet. In 1950, these pieces were performed at the Aspen Music Festival by the Paganini and Juilliard String Quartets . Jazz pianist Dave Brubeck became one of Milhaud's most famous students when Brubeck studied at Mills College in

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1408-678: The Tchaikovsky Piano Trio in A minor . His live performances of the Beethoven sonatas in 1946 with pianist Leonard Shure were restored by DOREMI and released by Allegro Music on CD's in 2011. With the Paganini Quartet, he recorded 11 of the Beethoven string quartets for RCA Victor. These were remastered and reissued on CD's in 2012 by United Archives. On other labels they recorded Joseph Haydn 's "Emperor" and Mozart's "Dissonant" quartets, and quartets by Britten, Debussy, Ravel, Schumann, Verdi, Ginastera, Lajhta, and Benjamin Lees;

1472-814: The Bach violin sonatas with Anthony Newman . He performed the Bach Double Violin Concerto with David Oistrakh , Yehudi Menuhin , Henryk Szeryng and Jack Benny . His chamber groups performed at the Dorothy Chandler Pavilion of the Los Angeles Music Center and the Mark Taper Forum. In 1960 he was the music director at the esteemed Ojai Music Festival . In the 1980s his California Chamber Virtuosi gave concerts at Pepperdine University and at

1536-703: The Beacon Arts Centre. The dedication was reported by the BBC, and honored by a Motion of the Scottish Parliament. An exhibit of Temianka's letters and memorabilia was open at Chapman's Leatherby Libraries until 30 July 2016. On 3 March 2017, the Henri Temianka Archives were dedicated in a multimedia room at Chapman. The Archives consist of some 2700 letters, photographs, concert programs and other effects from his life. In 2018

1600-403: The CCS under Temianka's direction included David Oistrakh , Christine Walevska , Jean-Pierre Rampal and Benny Goodman . Temianka broke tradition by speaking to his audiences from the stage about the music and composers. (For this reason the series was originally titled "Let's Talk Music".) He created a "Concerts for Youth" series and also brought music to hospitals, prisons, and schools for

1664-738: The Cleveland Quartet for almost 15 years, beginning in 1982, and are presently owned by Nippon Music Foundation of Japan, after deacquisition by the Corcoran Gallery in the mid-1990s for $ 15 million. They were then played for several years by the Hagen Quartet , and then by the Quartetto di Cremona ; they are now in the hands of the Kuss Quartet . When the years of the Paganini Quartet came to an end, Temianka played

1728-839: The Henri Temianka Audio Preservation Lab was endowed at the University of California at Santa Barbara. Henri Temianka's students included Leo Berlin (who became concertmaster of the Stockholm Philharmonic), Nina Bodnar (who won the 1982 Thibaud International Competition in Paris), Amalia Castillo, Alison Dalton (subsequently in the first violin section of the Chicago Symphony), Marilyn Doty, Eugene Fodor , Michael Mann, Dolores Miller, Phyllis Moad, Karen Tuttle (who later became

1792-718: The National Conservatory in Berlin from 1923 to 1924, and with Jules Boucherit in Paris from 1924 to 1926. He then enrolled at the Curtis Institute of Music in Philadelphia , where he studied violin with Carl Flesch , who reported of him in 1927, "Was brought over by me. First class technical talent, somewhat sleepy personality, has still to awake." In 1928, Flesch said, "His violinistic personality

1856-503: The Paganini and Budapest Quartets presented the world premiere of Darius Milhaud 's 14th and 15th string quartets, followed by the two groups' performance of both works simultaneously as an octet. In subsequent years they made joint appearances with Arthur Rubinstein , Andrés Segovia , Claudio Arrau and Gary Graffman . The quartet recorded eleven of the Beethoven quartets as well as those of Gabriel Fauré , Giuseppe Verdi , Claude Debussy , Maurice Ravel and others. They also played

1920-1088: The Schumann Piano Quintet and Fauré Piano Quartet No. 1 with Arthur Rubinstein (reissued on BMG CD in 1999); and the Brahms Piano Quintet with Ralph Votapek. He also appeared as violin soloist in a 1941 recording of Richard Strauss 's Don Quixote by the Pittsburgh Symphony under Fritz Reiner, featuring cellist Gregor Piatigorsky . Conducting the Los Angeles Percussion Ensemble, he recorded Ginastera's Cantata para America Magica and Carlos Chavez's Toccata for Percussion Instruments for Columbia Records. Temianka wrote more than 100 articles for various periodicals, including Instrumentalist , The Strad , Reader's Digest , Saturday Review , Esquire , Hi-Fi Stereo Review , Musical America , Etude , and Holiday . About one-third of these essays concerned string playing and teaching and have recently been collated into

1984-673: The U.S. Office of War Information. Because of his fluency in four languages (English, French, German and Dutch), he translated and edited sensitive documents. Through a combination of his bureaucratic connections there and contacts from his international performing career, and with assistance from HIAS , he was able to secure the release of his parents from the Nazi concentration camp in Gurs, France, in 1941. However, upon arriving in Spain, they were thrown in jail by Franco's police. Temianka recalled that

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2048-563: The University of California at Berkeley. Critic Alfred Frankenstein wrote in the San Francisco Chronicle on November 11, 1946, "Perhaps never before has one heard a string quartet with so rich, mellow and superbly polished a tone." On December 5, 1947, the Los Angeles Examiner reported, "Entrusted with fabulously sensitive string instruments that once were in the personal collection of Paganini, they achieve

2112-633: The Violin , Dominic Gill appraised Temianka's recording of the Schubert Rondo in A, D.438, as follows: "The divine playing of this work in 1937 by Henri Temianka stands out as a pinnacle among the great violin recordings of all time." All of these recordings were reissued on CD by Biddulph Recordings in 1992. In the LP era, he recorded sonatas by George Frideric Handel , Édouard Lalo , Vincent d'Indy , Paul Dukas , Edvard Grieg and Antonín Dvořák , and

2176-454: The early eighties, Emmanuel of Radio à la Carte was able to have a conversation with her about her husband's playing before they moved to California for a while. She shared that when people asked where they could hear the new young musicians, they would be told that the "Boeuf est sur le toit", the jam sessions is taking place on the roof. Writing in his Guide to Twentieth Century Music , critic Mark Morris described Milhaud's work as "one of

2240-439: The era's foremost concert violinists. He made extensive concert tours through almost every country in Europe and appeared with major orchestras both in Europe and the U.S. under conductors including Pierre Monteux (who gave him his first Paris appearance), Sir John Barbirolli , Sir Adrian Boult , Fritz Reiner , Sir Henry J. Wood , George Szell , Otto Klemperer , Dimitri Mitropoulos , and William Steinberg . In Leningrad he

2304-477: The famous ballet by Milhaud had been conceived at the old premises, the new bar took on the name of Milhaud's ballet . On the renamed bar's opening night, pianist Jean Wiéner played tunes by George Gershwin and Vincent Youmans while Cocteau and Milhaud played percussion. Among those in attendance were impresario Serge Diaghilev , artist Pablo Picasso , filmmaker René Clair , singer Jane Bathori , and actor and singer Maurice Chevalier . Another frequent guest

2368-648: The first centuries of the Common Era. Milhaud's mother was partly Sephardi on her father's side, via a Sephardi family from Italy. Milhaud began as a violinist, later turning to composition. He studied at the Paris Conservatory , where he met fellow Les Six members Arthur Honegger and Germaine Tailleferre . He studied composition with Charles Widor and harmony and counterpoint with André Gedalge . He also studied privately with Vincent d'Indy . From 1917 to 1919, he served as secretary to Paul Claudel ,

2432-451: The group also participated. Auric and Poulenc were involved in all six of these collaborations, Milhaud in five, Honegger and Tailleferre in three, but Durey in only one. In 1920 the group published an album of piano pieces together, known as L'Album des Six . This was the only work in which all six composers collaborated. In 1921, five of the members jointly composed the music for Cocteau's ballet Les mariés de la tour Eiffel , which

2496-429: The handicapped. He recognized and was in many instances responsible for the first appearances of a number of rising musicians, including Christopher Parkening , Jeffrey Kahane, Nathaniel Rosen , Paul Shenley, Timothy Landauer, Daniel Heifetz , and Los Romeros , a family of guitarists from Spain. He also made a number of major television appearances with the CCS, and appeared as conductor with other orchestras including

2560-453: The incredible - as will be eagerly testified by the packed house..." During its 20-year international career, the Paganini Quartet concertized continuously in large cities and small towns throughout the United States, as well as in famous concert halls around the world. In 1946-47 they played all the Beethoven string quartets in concert at the Library of Congress . At Mills College in 1949,

2624-445: The late 1940s. In a February 2010 interview with JazzWax , Brubeck said he attended Mills, a women's college (men were allowed in graduate programs), specifically to study with Milhaud, saying, "Milhaud was an enormously gifted classical composer and teacher who loved jazz and incorporated it into his work. My older brother Howard was his assistant and had taken all of his classes." Brubeck named his first son Darius . In 1947 Milhaud

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2688-516: The next 45 years he made appearances in more than 3,000 concerts in 30 countries, with some 500 concerts in the Los Angeles metropolitan area alone, appearing as violin soloist, conductor of the California Chamber Symphony , first violinist of the Paganini Quartet , and in remarkable chamber music recitals such as the Beethoven sonata cycles with pianists Lili Kraus , Leonard Pennario , Rudolf Firkušný and George Szell , and

2752-642: The next year conducted both the French and British premieres of Pierrot lunaire after multiple rehearsals. On a trip to the United States in 1922, Milhaud heard "authentic" jazz for the first time, on the streets of Harlem , which greatly influenced his music. The next year, he completed La création du monde (The Creation of the World), using ideas and idioms from jazz, cast as a ballet in six continuous dance scenes. In 1925, Milhaud married his cousin Madeleine , an actress and reciter. In 1930 she gave birth to

2816-595: The other hand had a deep-seated scorn for Satie , whom Auric, Milhaud and I adored. But, that is only one reading of how the Groupe des Six originated. Other authors, like Ornella Volta , stressed the manoeuvrings of Jean Cocteau to become the leader of an avant-garde group devoted to music, like the cubist and surrealist groups which had sprung up in visual arts and literature shortly before, with Pablo Picasso , Guillaume Apollinaire , and André Breton as their key representatives. The fact that Satie had abandoned

2880-405: The painter Moïse Kisling decided to put on concerts at 6 rue Huyghens  [ fr ] , the studio of the painter Émile Lejeune (1885–1964). For the first of these events, the walls of the studio were decorated with canvases by Picasso , Matisse , Léger , Modigliani , and others. Music by Erik Satie , Honegger, Auric, and Durey was played. This concert gave Satie the idea of assembling

2944-540: The pianist Marguerite Long , called Variations sur le nom de Marguerite Long Henri Temianka Henri Temianka (19 November 1906 – 7 November 1992) was a virtuoso violinist, conductor, author and music educator. Henri Temianka was born in Greenock , Scotland , to parents who were Polish emigrants. He studied violin with Carel Blitz in Rotterdam from 1915 to 1923, with Willy Hess at

3008-488: The poet and dramatist who was then the French ambassador to Brazil, and with whom Milhaud collaborated for many years, writing music for many of his poems and plays. In Brazil, they collaborated on the ballet L'Homme et son désir . On his return to France, Milhaud composed works influenced by Brazilian popular music, including songs by pianist and composer Ernesto Nazareth . Le Bœuf sur le toit includes melodies by Nazareth and other popular Brazilian composers, and evokes

3072-702: The same concept of an exquisite phrase, sculpt the same melodic line, linger and savor the same ritardando or diminuendo. In those moments we spontaneously look up from our music, exchanging ecstatic smiles and glances. It is a level of spiritual communication granted few human beings."—from Facing the Music . In the 1930s Temianka made solo recordings, mostly on the Parlophone label, of works by Henryk Wieniawski , Gaetano Pugnani , Franz Schubert , Robert Schumann , Johann Sebastian Bach , Karol Szymanowski , Pablo de Sarasate , Camille Saint-Saëns , Anton Arensky , Jean Sibelius and Frank Bridge . In The Book of

3136-437: The same! Auric and Poulenc followed ideas of Cocteau, Honegger followed German Romanticism, and myself, Mediterranean lyricism! And according to Poulenc: The diversity of our music, of our tastes and distastes, precluded any common aesthetic. What could be more different than the music of Honegger and Auric? Milhaud admired Magnard , I did not; neither of us liked Florent Schmitt , whom Honegger respected; Arthur [Honegger] on

3200-487: The second Viola Concerto – a consequence perhaps of his prolific and uneven output. Lycée intercommunal Darius-Milhaud near Paris is named after him. Les Six The members were Georges Auric (1899–1983), Louis Durey (1888–1979), Arthur Honegger (1892–1955), Darius Milhaud (1892–1974), Francis Poulenc (1899–1963), and Germaine Tailleferre (1892–1983). In 1917, when many theatres and concert halls were closed because of World War I , Blaise Cendrars and

3264-696: The sounds of Carnaval . Among the melodies is a Carnaval tune by the name of "The Bull on the Roof" (in Portuguese, which he translated to French 'Le boeuf sur le toit', known in English as 'The Ox on the Roof'). He also produced Saudades do Brasil , a suite of 12 dances evoking 12 Rio de Janeiro neighborhoods. Shortly after the original piano version appeared, he orchestrated the suite. Contemporary European influences were also important. Milhaud dedicated his Fifth String Quartet (1920) to Arnold Schoenberg , and

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3328-439: The unassessed quantities of 20th century music. For as one of its most prolific composers (around 450 works), the quality of his music is so patently uneven that the reputation for the banal and the shallow has masked what is or might be (given the paucity of performances) both inspired and fascinating." For a composer of acknowledged influence and significance, a number of his pieces lack contemporary professional recordings, such as

3392-574: The viola as the violin, and sometimes played it during these evenings, as well as in concert in 1962 with Isaac Stern in a performance of Mozart's Sinfonia Concertante (which he also performed on violin with William Primrose on viola). In 1980 the Grove Dictionary of Music and Musicians said of Temianka that he was "...known for his flawless mastery of his instrument, a pure and expressive tone, and forceful yet elegant interpretations." On July 28, 2016, Jim Svejda at Classical KUSC-FM radio aired

3456-522: The world premieres of works by Mario Castelnuovo-Tedesco and Benjamin Lees . In 1960 Temianka founded and conducted a chamber orchestra based at Royce Hall, UCLA, the California Chamber Symphony . The orchestra gave more than 100 concerts over the ensuing 23 years, including premieres of major works by such major composers as Aaron Copland , Dmitri Shostakovich , Darius Milhaud , Alberto Ginastera , William Schuman , Gian Carlo Menotti , Malcolm Arnold and Carlos Chávez . Soloists who performed with

3520-734: The years of the Paganini Quartet was the "Conte Cozio di Salabue" of 1727, which was Paganini's own concert violin. It was later played by Martin Beaver, first violinist of the Tokyo String Quartet , which played since 1995 on the same quartet of Stradivarius instruments once owned by Paganini, until the Tokyo String Quartet retired in July 2013. These remarkable instruments—the viola had inspired Paganini to commission Hector Berlioz 's Harold en Italie —were also played by

3584-403: Was among the founders of the Music Academy of the West summer conservatory, where songwriter Burt Bacharach was among his students. Milhaud told Bacharach, "Don't be afraid of writing something people can remember and whistle. Don't ever feel discomfited by a melody." From 1947 to 1971, he taught alternate years at Mills and the Paris Conservatoire , until poor health, which caused him to use

3648-493: Was born in Marseille , the son of Sophie (Allatini) and Gad Gabriel Milhaud. He grew up in Aix-en-Provence , which he regarded as his true ancestral city. His was a long-established Jewish family of the Comtat Venaissin —a secluded region of Provence—with roots traceable there at least to the 15th century. On his father's side, Milhaud's Jewish lineage was thus neither Ashkenazi nor Sephardi , but specifically Provençal—dating to Jewish settlement in that part of France as early as

3712-400: Was created by the famous sculptor Miriam Baker, and stands on the Aitken Arts Plaza in front of the Musco Performing Arts Center, between busts of Mozart and Puccini, at Chapman University; a second bust from the same mold was dedicated at the McLean Museum and Art Gallery (now the Watt Institution) in Greenock, Scotland, his birthplace. During the museum's renovation, the statue was relocated at

3776-459: Was engaged for a single performance, but his virtuosity was so impressive that he was retained for five performances with five complete programs within a week. In 1935 he won third prize in the first Henryk Wieniawski Violin Competition in Warsaw, Poland; Ginette Neveu took first prize, and David Oistrakh second. (A short documentary about that historic event can be found at http://www.wieniawski.com/1ivc.html .) In that year he also premiered

3840-408: Was further influenced by Eugène Ysaÿe , Jacques Thibaud and Bronisław Huberman . He also studied conducting with Artur Rodziński at Curtis, and became its first graduate in 1930. After a brilliant New York City debut in 1928, described by Olin Downes in The New York Times as "one of the finest accomplishments in years," Temianka returned to Europe and rapidly established himself as one of

3904-400: Was in the repertoire of the Ballets suédois throughout the 1920s. In 1927, Auric, Milhaud and Poulenc, along with seven other composers who were not part of Les Six, jointly composed the children's ballet L'éventail de Jeanne . In 1949, Auric, Milhaud and Poulenc, along with three other composers, jointly wrote Mouvements du coeur: Un hommage à la mémoire de Frédéric Chopin , 1810–1849 ,

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3968-486: Was produced by the Ballets suédois , the rival to the Ballets Russes. Cocteau had originally proposed the project to Auric, but as Auric did not finish rapidly enough to fit into the rehearsal schedule, he then divided the work up among the other members of Les Six. Durey, who was not in Paris at the time, chose not to participate. The première was the occasion of a public scandal rivalling that of Le sacre du printemps in 1913. In spite of this, Les mariés de la tour Eiffel

4032-449: Was the young American composer Virgil Thomson whose compositions in subsequent years were influenced by members of Les Six. Although the group did not exist to work on compositions collaboratively , there were six occasions, spread over 36 years, on which at least some members of the group did work together on the same project. On only one of these occasions was the entire Groupe des Six involved; in some others, composers from outside

4096-677: Was very prolific and composed for a wide range of genres. His opus list ended at 443. Milhaud (like such contemporaries as Paul Hindemith , Gian Francesco Malipiero , Henry Cowell , Alan Hovhaness , Bohuslav Martinů , and Heitor Villa-Lobos ) worked very rapidly. His most popular works include Le bœuf sur le toit (a ballet that lent its name to the legendary cabaret Milhaud and other members of Les Six frequented), La création du monde (a ballet for small orchestra with solo saxophone, influenced by jazz), Scaramouche (a suite for two pianos, also for alto saxophone or clarinet and orchestra), and Saudades do Brasil (a dance suite). His autobiography

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