Mawer, Deborah (2012) Retour au point de départ? Les dernières oeuvres de musique de chambre de Darius Milhaud et la notion de 'tardivité'. In: Darius Milhaud: Compositeur et expérimentateur. Musicologies . Librairie Vrin, Paris. (In Press)Full text not available from this repository.
Although the music of Milhaud’s formative years has received proper attention from Jeremy Drake, Barbara Kelly, myself and others, the late output is still, generally, much less familiar. Furthermore, Milhaud’s fine, versatile and sizeable chamber repertory may be regarded as a reliable indicator of the best of his wider compositional practice. This situation sets up a challenge for change. Thus this article seeks to position and survey Milhaud’s rich but neglected late chamber music, highlighting particular works. My purpose is to establish whether Milhaud was a non-progressive - even retrogressive - composer whose late works constitute a simple instance of going ‘full circle’, or whether there may be a more subtle process of early-late balancing and re-inflection at work.
|Item Type:||Contribution in Book/Report/Proceedings|
|Subjects:||M Music and Books on Music > M Music|
|Departments:||Faculty of Arts & Social Sciences > Lancaster Institute for the Contemporary Arts|
|Deposited On:||22 May 2012 13:08|
|Last Modified:||07 Oct 2012 13:41|
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