The work of D. Millot inscribed a bright, colorful page in the French music of the XX century. It flashily and clearly expressed the attitude of the post-war 20s, and the name of Millot was in the center of musical and critical polemics of that time. Millot was born in the south of France; Provençal folklore and the nature of his native land were forever imprinted in the soul of the composer and filled his art with the unique aroma of the Mediterranean. The first steps in music were associated with
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The work of D. Millot inscribed a bright, colorful page in the French music of the XX century. It flashily and clearly expressed the attitude of the post-war 20s, and the name of Millot was in the center of musical and critical polemics of that time. Millot was born in the south of France; Provençal folklore and the nature of his native land were forever imprinted in the soul of the composer and filled his art with the unique aroma of the Mediterranean. The first steps in music were associated with the violin, the play of which Millot studied first at Aix, and from 1909 at the Paris Conservatory under Berthelier. But soon the passion for writing took over. Among Millau's teachers were P. Duke, A. Jedalge, C. Vidor, and W. d'Andy (in Schola cantorum). In the first works (romances, chamber ensembles) the influence of impressionism by K. Debussy is noticeable. Developing the French tradition (G. Berlioz, J. Bazé, Debussy), Millaud was very receptive to Russian music - M. Mussorgsky, I. Stravinsky. Stravinsky's ballets (especially "Sacred Spring", which shook the entire musical world) helped the young composer see new horizons. During the war, the first 2 parts of the opera-oratorial trilogy “Orestea: Agamemnon” (1914) and “Choephores” (1915) were created; Part 3 of Eumenides was written later (1922). In the trilogy, the composer abandons the impressionist sophistication, finds a new, simpler language. The most effective expressive means is rhythm (for example, the recitation of the choir is often accompanied only by percussion instruments). One of the first Millot to increase the intensity of sound used here the simultaneous combination of different tonalities (politicality). The text of the tragedy of Aeschylus was translated and processed by the prominent French playwright P. Claudel - a friend and associate of Millot for many years. “I found myself on the threshold of a vital and healthy art ... in which one feels the power, energy, spirituality and tenderness released from the fetters. This is the art of Paul Claudel! the composer later recalled. In 1916, Claudel was appointed ambassador to Brazil, and Millau went with him as his personal secretary. His admiration for the brightness of colors of tropical nature, exoticism and richness of Latin American folklore, Millot embodied in the "Brazilian dances", where polytonal combinations of melody and accompaniment give the sound a special sharpness and spice. The ballet “Man and his desire” (1918, script by Claudel) was written under the impression of the dance of V. Nizhinsky, who toured in Rio de Janeiro with the troupe of the Russian ballet S. Diaghilev. Returning to Paris (1919), Millot joined the group “Six”, whose ideological inspirations were the composer E. Satie and the poet J. Cocteau. Members of this group opposed the exaggerated expression of Romanticism and Impressionist fragility, for “earthly” art, the art of “everyday”. The music of young composers penetrates the sounds of the XX century: rhythms of technique and music hall. A number of ballets created by Millo in the 20s unite the spirit of eccentricity, clownade performance. In the ballet "The Bull on the Roof" (1920, script Cocteau), which shows an American bar in the years of Prohibition, sound melodies of modern dances, such as tango. In "Creation of the World" (1923), Millot turns to jazz style, taking as a sample the orchestra of Harlem (Negro quarter of New York), with orchestras of this kind the composer met while touring in the United States. In the ballet Salad (1924), which revives the tradition of mask comedy, ancient Italian music sounds. Various searches for Millot and in the opera genre. Against the background of chamber operas ("The Sufferings of Orpheus", "Poor Sailor", etc.), the monumental drama "Christopher Columbus" (according to Claudel) rises - the pinnacle of the composer's work. Most works for musical theater were written in the 20s. At this time, 6 chamber symphonies, sonatas, quartets, etc. are also created. The composer toured a lot. In 1926 he visited the USSR. His speeches in Moscow and Leningrad left no one indifferent. According to eyewitnesses, “some were indignant, others were perplexed, others were positive, and young people were even enthusiastic.” In the 30s, the art of Millot approaches the burning problems of the modern world. Along with R. Rolland. L. Aragon and his friends - members of the group "Six" Milo participates in the work of the People's Music Federation (since 1936), writes songs, choirs, cantatas for amateur groups, the broad masses. In the cantatas he addresses humanistic themes ("The Death of a Tyrant", "The Cantata of Peace", "The Cantata of War", etc.). The composer also composes fascinating play games for children, music for movies. The invasion of France by Hitler forced Millau to emigrate to the United States (1940), where he turned to teaching at Mills College (near Los Angeles). After returning to his homeland as a professor at the Paris Conservatory (1947), he did not leave his job in America and regularly traveled there. He is increasingly attracted to instrumental music. After six symphonies for chamber compositions (created in 1917-23), he wrote another 12 symphonies. Millot is the author of 18 quartets, orchestral suites, overtures and numerous concertos: for piano (5), viola (2), cello (2), violin, oboe, harp, harpsichord, percussion, marimba and vibraphone with orchestra. Millot’s interest in the struggle for freedom (Opera Bolivar, 1943) continues unabated. The fourth symphony, written for the centenary of the revolution of 1848; the cantata "Fire Castle" - 1954, dedicated to the memory of the victims of fascism, burned in concentration camps. Among the works of the last thirty years are works in a variety of genres: the monumental epic opera David (1952), written for the 3000th anniversary of Jerusalem, the opera-oratorio Saint Louis - King of France (1970, on the text of Claudel), the comedy Crime Mother (1965, according to P. Beaumarchet), a number of ballets (including Bells by E. Poe), many instrumental works. Millot has spent the past few years in Geneva, continuing to compose and complete his autobiographical book, My Happy Life.