20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Milhaud Darius
Aitken, Robert
Amirov, Fikret
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Amram, David
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Arrieu, Claude
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Sonatine for flute and piano
Sonatine for flute and piano
Darius Milhaud: Sonatine for flute and piano was written in 1922 and dedicated to Louis Fleury who premiered it on January 17, 1923, in Paris with pianist Jean Wiéner at one of Wiéner's famous "Concerts Wiéner," which were hubs for the Parisian avant-garde.
The composition was perceived as avant-garde since it's classical format included innovative jazz elements. This jazz influence came from Milhaud's first visit to the US in 1922, when he heard jazz music on the streets of Harlem.
In 1922, Milhaud was at the height of his association with Les Six. This was a year of "anti-Romantic" rebellion, where Milhaud sought to write music that was clear, concise, and rhythmically driving, moving away from the "perfumed" Impressionism of the previous decade.
That year, Milhaud refined his theory of polytonality (the simultaneous use of two or more keys), reflected in Sonatine: the flute and piano often operate in different tonal planes, creating a "shimmering" but gritty dissonance that defines the Milhaud sound.
Along with the Sonatine, 1922 saw the composition of major works like his Sixth Little Symphony and the preparation of his jazz-influenced ballet La Création du monde (1923).
Unfortunately no details available for this recording
1. Tendre, 2. Souple, 3. Clair
Milhaud Darius
Darius Milhaud (1892-1974) was a prolific French composer, pianist, violinist, violist, conductor, and a leading member of the avant-garde group Les Six.
Born in Marseille, Milhaud was raised in Aix-en-Provence within a Jewish family of deeply rooted Mediterranean heritage. His upbringing was characterized by the sun-drenched landscapes and festive traditions of the South of France, which remained a permanent influence on his melodic style. His father was an amateur pianist and his mother a talented singer. This supportive environment allowed him to begin violin studies at age seven and composition shortly thereafter.
In 1909, he entered the Paris Conservatoire, where he studied with André Gédalge (counterpoint) and Charles-Marie Widor (composition).
During his student years, he formed a crucial bond with the poet Paul Claudel. This relationship led to Milhaud's appointment as Claudel’s secretary at the French Legation in Brazil (1917–1919), a period that fundamentally reshaped his rhythmic language. Returning to Paris in 1919, Milhaud was branded as a radical. Alongside Poulenc, Honegger, and others, he rejected the "mistiness" of Impressionism in favor of clarity, wit, and brevity.
To escape the Nazi occupation of France, Milhaud moved to the United States in 1940. He became a legendary professor at Mills College in California, where his pupils included jazz pioneer Dave Brubeck and minimalist Steve Reich.
Milhaud's legacy is defined by his lyricism and cosmopolitanism. His flute works, particularly the Sonatine, Op. 76, are essential to the repertoire for their "sunny" character and complex polytonal layers.
As a conductor, he led the premiere of Arnold Schoenberg's "Pierrot lunaire," and as a violist, he premiered Debussy's Sonate for flute, viola, and harp.