The Goals And Ideals Of Les Six Film Studies Essay

The Goals And Ideals Of Les sixsome Film Studies EssayLes sextette is a bear on given in 1920 by amateur Henri Collet to a sort out of six composers controling in Montparnasse whose medical specialty is often seen as a reaction against the medical specialtyal means of Richard Wagner and consequenceist harmony. (Owen 2011.) The whole make ups of Arthur H igger, Darius Milhaud and Francis Poulenc all told wreak an important part in cut melody and the 20th century. look into questionWhat were the goals and ideals of Les sixer? Consider the works of Honegger, Milhaud and Poulenc.2. LES SIXMembersA younger group of composers absorbed the strong influence of neoclassicism but sought to passing water the old political dichotomies. (Grout 2009 880.)Les sextuplet was a group of young vanguard French composers. Initially Les Nouveaux Jeunes, the surname was changed along with the line-up to crystallize as Les Six in 1923. With Jean Cocteau as the spokesman and Satie as th e guru, the group was formed and the name was given by French critic Henri Collet. With this identifying label, the case-by-case composers gained public help as a group in force. (Owen 2011.)Despite the elements the six composers had in common, their differences were far greater. In the mid-twenties each of them was pursuing solo c beers (Latham 2002 10). outstrip remembered today, argon Darius Milhaud, Francis Poulenc and Arthur Honegger. Few pieces by Louis Durey and Georges Auric are performed. Germaine Tailleferre was probably hushed best remembered beca utilization she was the precisely woman of the group. (Kelly 2003 51.)The group was officially launched in January 1920 by a series of 2 articles by the French music critic and composer Henri Collet in the French journal Commedia. While it seems apparent that Cocteau was nooky these articles, the actual name of the Group was selected by Collet who decided to oppositeiate Les Six with the Five Russians. (Kelly 2003 4.)T he members of Les Six wereGeorges Auric (1899 1983)Louis Durey (1888 1979)Arthur Honegger (1892 1955)Darius Milhaud (1892 1974)Francis Poulenc (1899 1963)Germaine Tailleferre (1892 1983)Although Honegger was a member of Les nouveaux jeunes and, subsequently of Les Six, he shared with the other members a stimulating companionship instead than a group aesthetic, the existence of which he always denied. (Sadie 2001 680.)Darius Milhaud was a innovator in the use of percussion, polytonality, jazz and aleatory techniques. Few of his works of the 1920s are in the spirit of Les Six, however one might anticipate to define it. Le boeuf ser le toit had nothing to do with Les Six until it was hijacked and turned into a ballet by Cocteau. (Sadie 2001 679.) Ironically, in the only work to which all members of the group contributed, the Album stilboestrol six, Milhaud is represented by a Mazurka he wrote in 1914. More important to his music of the 1920s was the confirmation of opera as a major and continuing thread. (Kelly 2003 89.)During the premier(prenominal) half(a) of Francis Poulencs career the simplicity and directness of his writing conduct many an(prenominal) critics aside from thinking of him as a serious composer. Gradually, since World War II, it has receive clear that the absence from his music of linguistic complexity in no way argues corresponding absence of feeling or technique. (Sadie 2001227.)Georges Auric was a child prodigy and at age 15 he had his first compositions published. Before he turned 20, he had orchestrated and written incidental expense music for several ballets and stage productions. (Owen 2011.) His participation in Les Six led to writing settings of poetry and other texts as songs and melodics.Louis Durey was primarily self-taught. From the beginning, choral music was of great importance in Dureys productivity. After the Les Six period, Durey continued with his career. (Owen 2011.) Germaine Tailleferre was the only female member in the group Les Six. She studied softly with her beget at home, composing short works of her throw. (Owen 2011.)Music by Les SixThe only melodic project in which all six composers participated in was Lalbum des six (published in 1920) and it is a solo flabby music collection, which were all dances.Prlude (1919) by AuricRomance sans paroles, Op. 21 (1917) by DureySarabande, H 26 (1920) by HoneggerMazurka (1914) by MilhaudValse en ut, FP 17 (1919) by PoulencPastorale (1919) by TailleferreLes six has a lot of compositions beneath their names but none of them included all six composers, pull out for Lalbum des six.Each of these individual composers has contributed to the group Les Six in their own unique ports and ways. Their styles are most certainly equally different and with such diverse styles they were able to come as one and compose many pieces while they were still known as Les Six.The goals and ideals of Les Six was to create an individual style of its own, bec ause of the great differences in style and techniques each of them had, but in the end, they were all able to work as one to create Lalbum des six which has gained wide popularity.3. WORKS OF HONEGGER, MILHAUD AND POULENCArthur HoneggerArthur Honegger (1892 1955) was a Swiss composer, who was born in Le Havre, France. His serious-minded melodious aesthetic was entirely different from that of others in Les six. He developed unusual musical and dramatic forms in large-scale works for voices and orchestra, and was one of the 20th centurys most dedicated contrapuntalists. (Sadie 2001 679.)It is very clear that Honeggers compositions are tonal but characterized by a highly individual use of dissonance, if you listen to his compositions very carefully you will be able to figure the dissonances that occur. His music was first heard publicly in Paris in July 1916 (Sadie 2001 680).The series of large-scale dramatic works and major symphonic haemorrhoid he composed during the following 3 0 years established him as one of the most signifi earth-closett composers of his generation.His symphonic movement Pacific 231 (1923), a translation into music of the visual and physical impression of a stop number locomotive, was hailed as a sensational piece of modernist descriptive music. (Grout 2009 881.) It was said that his symphonic movement Pacific 231 was misinterpreted by the public as specifying programmes, rather than sources of musical inspiration (Spratt 198769). This movement is a great example of the goals and ideals of Les Six, they all had a very different approach to music but all their ideas feature became a great masterpiece of its own individual style.Darius MilhaudDarius Milhaud (1892 1974) was a French composer, who was born in Marseilles. He was associated with the avant garde of the 1920s, whose abundant production reflects all musical genres. Though his sources of inspiration were many and varied, his music has compelling stylistic unity. (Sadie 2001 6 75.)thither is scarcely a genre not represented in Milhauds output. From kelvin opera to childrens lightly pieces, everything seems to be in that location in extraordinary profusion. He found his musical voice very early on, and there was incomplete anguish in creation, nor any problem of language or expression, let alone of technique. (Sadie 2001 677.) It was also apparently said that he could compose anywhere and at anytime, he was not bothered by the disturbance near him.The decade of the 1920s ended with Christophe Colomb and Maximilien, the former and justly celebrated work, the last mentioned one of Milhauds mot riotously noisy scores. (Collaer 1988 176.) The works of the 1930s are characterized by a greater tendency towards through-composition, in comparison with the clearcut sectioned divisions of the earlier works. The opera Mde is perhaps his finest work of this period a fascinating study of a woman scorned, diagrammatically portrayed in some of the composers most angular, expressionist music. (Sadie 2001 679.)Then in the course of the 1950s emerged what might be called his final style. This development can be seen by comparing the operas David and Fiesta, though it comes out especially in the chamber music which, in his late years, he produced abundantly. (Kelly 200356.)Despite the impression his music usually gives, he had at times, and especially during the early years, a distinctly theoretical turn of mind, a feature that sets him quite asunder from his contemporaries (Sadie 2001678).Francis PoulencFrancis Poulenc (1899 1963) was a French composer and pianist, who was born in Paris. Poulenc looked this dual genetic endowment as the key to his musical personality he associated his deep Catholic faith with his Aveyronais roots and attributed his artistic heritage to his mothers family. It is certainly the case that two strands, profane and religious, co-exist in his work. (Sadie 2001227.)Poulenc destroyed his first attempts at compositio n, dating from 1914. He made his public dbut in Paris in 1917 with his first work, Rapsodie ngre, dedicated to Satie and performed at the Thtre du Vieux Colombier at one of the avant-garde concerts orgnaized by Jane Bathori. (Mellers 1993 37.)Poulenc learnt a clear but colourful style of piano playing, based on a subtle use of sustaining wheel around, and in his own piano music he was insistent on there being beaucoup de pdale. (Sadie 2001 228.)In his earlier pieces such a style gives body to the often arrogantly popular tunes that abound, softening the ostinatos in the Sonata for piano duet (1918) and the quasi-Alberti bass in Trois mouvements perptuels (1918). (Sadie 2001 228.) Poulenc admitted that his reliance on past formulae (long pedal notes, arpeggios, repeated chords) was not always free of routine and that in this regard his familiarity with the piano could be a hindrance his most inventive piano writing, he claimed, was to be found in his song accompaniments. (Buckland 1 999 346.)His own darling pieces were the 15 Improvisations ranging in date from 1932 to 1959 and in dedicatee from Marguerite Long to Edith Piaf. This confirms that the piano was not always a vehicle for his deepest thought, he called the Thme varie (1951) an oeuvre srieus and included a retrograde version of the solution in the coda to show that he was up with the latest consequent idea, but it is hardly the best of him. (Sadie 2001 228.)4. CONCLUSIONThrough my research on Les Six, I have concluded that each of these six composers were very different in style, and had their own unique technique. Each of them made huge contributions to Les Six and keeping the title going for a long time sooner they embarked their separate careers. But it is very evident that they all had different musical backgrounds but could each collaborate with one another to make music work.The composers that influenced and created the group Les Six have clearly made a mark in 20th century music.It is very clear that the goals they aimed for were achieved through their music and the talent that each one of them brought to this versatile group. It is remarkable that the different ideas they all had could be compiled into one idea as a group.SOURCESBuckland, S. 1999. Francis Poulenc Music, Art, and Literature. United nation Ashgate Publishing Limited.Collaer, P. 1988. Darius Milhaud. San Francisco Press.Grout, D. 2009. A History of Westerm Music, eighth edition. New York Cornell University.Kelly, B. 2003. The Tradition and name in the Works of Darius Milhaud. United Kingdom Ashgate Publishing Limited.Latham, A. 2002. The Oxford Companion to Music. Oxford Oxford University Press.Mellers, W. 1993. Oxford Studies of Composers Francis Poulenc. Oxford Oxford University Press.Owen, P. 2011. Les Six. cyclopedia Britannica. Peter Owen Publishers. http//www.britannica.com/EBcheck/topic/547009/Les-six. 10 September 2011Sadie, S. 2001. The New Grove mental lexicon of Music and Musicians, secon d edition. New York Macmillan Publishers Limited.Spratt, G. 1987. The Music of Arthur Honegger. Cork Cork University Press.