A Most Savory Cocktail:

Milhauds Scaramouche as an
Assemblage of Compositional Techniques

Matthew James
MUMH 6540
August 8, 1997

A Most Savory Cocktail:

Milhauds Scaramouche as an
Assemblage of Compositional Techniques
As a young instrument patented by Adolphe Sax in 1846, the
saxophone possesses a solo repertoire that includes only a few
compositions that are considered standard works; Glazounovs
Concerto, Iberts Concertino da Camera and Crestons Sonata are most
commonly performed. Many studies have unearthed information that
facilitates intelligent performances of these works. Liley, Seligson and
Ronkin have provided performers with invaluable observations
regarding a few important pieces written for saxophone.
Milhauds Scaramouche (1937) is another composition for alto
saxophone and orchestra (with piano reduction) that is considered a
staple of the repertoire. Recordings have been made by many
saxophonists, including Foley, Ramsay, Jackson and Londeix. The work
is an integral part of university saxophone studio repertoire around the

world, and has been taught by respected virtuosi, including Rousseau,

Hemke and Teal. Even Benny Goodman is said to have preferred the
clarinet arrangement of Scaramouche over Milhauds Concerto for
Clarinet, which was written for Goodman.1
Paradoxically, a review of general and specialized references
reveals that little investigation has been completed with regard to the
often-performed work. As stated by Marcel Mule, the father of
classical saxophone performance and longtime professor of saxophone
at the Paris Conservatoire, Certain facts about this piece are not
known. I suppose it is true that most performers do not possess a
great deal of intellectual curiosity.2
Haydons dissertation offers analysis of Milhauds Creation du
Monde(1923) and Mackenzie, Laughton and Petrella have all
researched Milhauds solo and chamber literature for woodwinds, but
no sources furnish detailed information regarding Scaramouche.
Despite Perloffs thorough investigation into Milhauds musical
assimilation of foreign music and his association with Les Six in Art and
the Everyday: Popular Entertainment and the Circle of Erik Satie,
Scaramouche is left out of the dialogue. In his memoirs even Milhaud
makes only passing reference to the work.3
In Berlers Basic Saxophone Skills articles that discuss
Scaramouche, the author uses the piece as as an example to young
readers regarding the general interpretation of music.4 Berler does
not answer the issues regarding the interpretation of Scaramouche;
rather the questions are left for his readers to pursue.
In light of the popularity of Scaramouche, a summary of the
musical ingredients and influences that shape the work would give
greater insight into what is considered by many to be an integral part
of the saxophone repertoire, and deserving of further attention. In
addition, an analysis of the saxophone score as compared to the
clarinet and piano duo versions might clarify Milhauds understanding
of the then adolescent saxophone.
It is the goal of this document, then, to fill a gap in the literature
with regard to Scaramouche. First, biographical information regarding
Milhaud and his influences will be scrutinized to place into context the
three stylistically distinct movements of Scaramouche. Second,
information as to the origins of Scaramouche and Milhauds intention
to use portions of the suite for alternative purposes will be discussed.
Finally, a musical analysis and comparison with the piano and clarinet
editions of the work will be provided in order to gain insight into
Milhauds writing for saxophone. It is hoped that, armed with this
insight into Milhauds striking composition, performers will appreciate
Scaramouche as a small-scale representation of Milhauds broader
compositional leanings.
Darius Milhaud (1892-1974) was a French composer born in Aixen-Provence and educated at the Paris Conservatoire, initially in violin

performance but later in composition. As one of the most prolific

composers of the 20th century, Milhaud produced more than 400 opus
numbers in many genres, including opera, ballet, incidental music, film
and radio scores, orchestral and vocal works, chamber music, keyboard
works, instrumental works and compositions for children.
The nine-minute Scaramouche may seem trivial in light of this
output, but as stated above it holds a significant place in the
saxophone repertoire, and analysis will illustrate that it serves as a
cross-section of Milhauds seemingly divergent compositional
techniques. Other than Scaramouche, Milhauds only other
composition for solo saxophone with piano is Danse, written May 2,
1954. This infrequently performed composition is included in the
collection Le Saxophone, edited by F. Oubradous and published by
Billaudot.5 The one-movement work exhibits a slight jazz influence in
its use of dotted rhythms. Danse is a work of only moderate difficulty
for saxophone. As with Scaramouche, there has been little written
discussion of Danse. Further investigation into the origins of this piece
could prove useful.
Fortunately, the saxophone can be heard in many of Milhauds
orchestral works, including the highly regarded, jazz-influenced ballet
La Creation du Monde and five other works: Le Carnaval de Londres,
Cortege Funebre, The Globetrotter Suite, Opus Americanum No. 2 and
Fourth Symphony.
Milhauds severe rheumatoid arthritis disabled him so severely
that he required a wheelchair later in life. Despite this handicap, the
cosmopolitan composer traveled extensively throughout his lifetime,
including trips to England, Israel, Italy, Germany, Syria, Austria, Spain,
Russia, South America and the United States, where the Milhauds lived
during the years of World War II.
Milhauds frequent travel often exposed him to native musical
styles that he wove into his compositions, and Scaramouche is no
exception. Throughout his career, Milhauds style has been
determined by the subject matter at hand, Bauer writes.6 For
instance, Milhauds assimilation of American jazz and blues styles into
his compositions has been the topic of much discussion. Both Haydon
and Nadashny have produced investigations into the influence of jazz
on Milhauds compositional style.
Just as Milhaud used music native to the United States in his
compositions, his year in Brazil had a profound influence on his works,
including Scaramouche. Milhaud spent the years 1917-1918 as a
cultural attache to the French Embassy in Brazil, where he took many
trips into the jungle becoming acquainted with the sounds of Brazilian
folk music. As Madeleine Milhaud stated, I think that after Provence,
Brazil is the country which truly cast a spell on him. She continues,
Darius was always terribly sensitive to the sonorities that surrounded
him.7

Back in Paris, those sonorities were becoming all the rage. From
1917 onwards each new exotic rhythm attracted public approval, and
as a result Milhauds incorporation of Brazilian elements was wellknown and respected.8
Considerable mention of Milhauds Brazilian influence is found in
the literature, including Scheidker, Randles and Palmer, who says
Milhaud was forever haunted by memories of Latin America.9
Milhauds own statements in Notes Without Music are insightful:
I was fascinated by the rhythms of this popular
music. There was an imperceptible pause in the
syncopation, a careless catch in the breath, a slight
hiatus that I found difficult to grasp. So I bought a
lot of maxixes and tangos and tried to play them
with their syncopated rhythms, which run from one
hand to the other.10
Equally influential to Milhauds incorporation of native sources
into such scores as Scaramouche was his association with the group of
French composers known as Les Six: Louis Durey, Arthur Honegger,
Germaine Tailleferre, Georges Auric, Francis Poulenc and Milhaud. As
an artistic unit these composers had an anti-Romantic sentiment that
coalesced into a reaction against the sophistication of pre-World War II
music, represented by Debussy, Wagner and Ravel. The group shared
these philosophies for a brief time, but differences in character and
style made their cohesion temporary.
With a goal of producing works strictly divergent from the
sophisticated output of earlier 20th-century composers, Les Six often
turned to the exotic sounds of foreign music. Exoticism was
manifested in a general trend embraced by Parisian visual artists,
poets and musicians early in the 20th century towards things nonEuropean, especially art from Africa, the Orient and Central and South
America. That intricate blend of non-European idioms and Parisian
culture is the subject of Perloffs book concerning Erik Satie, the
composer who served almost an advisory role for Les Six.. Perloff
asserts that Milhauds enthusiasm for juxtaposing music from different
countries was fascinating rather than discordant for the composer. 11
Another less overt facet of Milhauds general compositional style
as exemplified by Scaramouche is the use of polytonality, or the
simultaneous performance of more than two key centers. Milhaud is
identified as a composer who employed polytonality to such and extent
that it became an integral component of many of his works.
Be it a result of Milhauds time spent in Brazil, his association
with the early 20th-century exoticism of Les Six or a combination of

both, Scaramouche represents a cross-section of all the

aforementioned compositional techniques and influences. Hall
describes Milhaud as the concocter of charming musical picture
postcards, evocative equally of his beloved France or of exotic scenery
encompassing Harlem, Brazil, the Antilles or Portugal. 11 Such
postcards are evident in the three movements of Scaramouche: the
restless, French-style opening Vif that includes hints of polytonality; the
reserved, melancholy Modere and the samba-style writing of the
Brazileira.
Milhaud states that he had more than usual trouble creating
Scaramouche.12 Written for pianists Ida Jankelevitch and Marcelle
Meyer, the work is an aggregation of sketches the composer had
written for other purposes; a most savory cocktail, according to
French critic Jean Roy.13
The exterior movements of this
three-movement suite, the opening Vif and closing Brazileira, were
originally written by Milhaud in 1937 (Opus 165) as incidental music to
accompany a Moliere production of Medecin Volant (the Flying Doctor)
at the Scaramouche Theater, Paris. The Scaramouche Theater
produced plays for young people, which helps to explain the playful
character of the first movement. The theaters name may have played
a part in the title for this work, or perhaps the French translation of
Scaramouche as a cowardly buffoon or scamp was inspiration
enough. In fact, Palmer identifies the 1920s and 1930s as a period
when Milhaud began to write works for children and amateurs, as
exemplified by his Un petit peu de musique (1932) and Un petit peu
dexercice (1934).14
Later in 1937 Milhaud wrote a version using the incidental music
in a piano duo, Opus 165b, adding the Modere to become
Scaramouche as it is performed today. Yarbrough and Cowan, when
referring to the piano version, call the work famous and considered
by critics to be one of the most successful of Milhauds
compositions.15
Milhaud later arranged the three-movement work for saxophone
and orchestra (with piano reduction) in 1939, Opus 165c. (Mule
disputes this date, claiming that both the piano and saxophone
versions were created in 1937.)16 The saxophone arrangement of
Scaramouche was premiered in June, 1940 by the Radio Paris
Orchestra, with A. Muhle on saxophone. The work is published by
Editions Salabert, Paris.
Milhauds last adaptation of the work was completed in 1941,
when he arranged it for clarinet and orchestra (with piano reduction),
Opus 165d. The clarinet version was popularized by Benny Goodman.
As further testament to the popularity of the work, other arrangers
versions of Scaramouche appear as music for flute, woodwind quintet
and basset horn.

The opening Vif exhibits polytonal leanings in measure 24, where

the C-major accompaniment originally heard in measure 9 returns
under a G-major melody, superimposing the keys of C- and G-major
(See Example 1). In addition, many portions of the movement include
brief tonicizations of multiple key centers within just a few measures.

Example 1: Polytonality in Vif

The middle movement, Modere (moderate with respect to
tempo), includes somber music originally meant to be used for
Milhauds grand opera, Bolivar(1943). Ultimately, Milhaud used none
of the incidental music he composed in 1936 for the final score to
Supervielles Bolivar, but later recycled the graceful theme from the
overture to be used in Modere:17

Example 2: Theme of Modere

Mule relates his initial contact with Scaramouche and describes
the Modere theme:
In any case, during an intermission of a recording
session for a film, Milhaud said to me, I have
something that I wrote for you; Ill bring it to you
soon. When I received the manuscript I was
surprised to see that the themes of this piece,
Scaramouche, were familiar to me. Then I recalled
that these were themes from a work titled Bolivar,
which we had done at the Theatre Francais!18
This movement is in ABA form, with a contrasting center section
that moves to 6/8 time. Typical of Milhauds writing of folk song-like
themes, Modere serves to balance the two outer, lively movements.
Perhaps Brazileira is the movement that makes Scaramouche
such a popular work. As stated above, the inclusion by Milhaud of
South-American music in this movement is in keeping with his
preference for exotic influences. Milhaud chose to write this
movement in the style of a samba, a Brazilian dance and popular

music form. Sambas are prominently heard during Carnaval

celebrations in Rio de Janeiro; coincidentally Milhaud first arrived in
Brazil during Carnaval. Brazileira, like most sambas, is written in duple
meter and includes a piano accompaniment that includes syncopated
rhythms also typical of the samba:

Example 3: Piano samba rhythms in Brazileira

The saxophone part that interlocks with the pianos samba
accompaniment is quite active and includes arpeggiated passages and
passages in thirds, all in such difficult keys as F-sharp.
Brief comparison of the saxophone and duo piano versions of
Scaramouche shows a striking similarity between the two. Both are
exactly the same length and use identical thematic material in the
same keys. Further specific analysis of the few minor differences all
the arrangements could prove useful in studying Milhauds arranging
techniques for clarinet and saxophone.
In reflecting upon the multi-faceted Scaramouche, one gains a
remarkable perspective upon Milhauds capacity for writing music that
encompasses a variety of styles and influences. As has been shown,
each movement exemplifies a specific technique associated with this
great composer.

Annotated Bibliography
Appleby, David P. The Music of Brazil. Austin: University of Texas
Press,
1983.

Only tangential reference to Milhaud. More importantly, a

description of the Brazilian samba is provided, and its
affiliation with
Carnaval and native Brazilian composers.
Bauer, Marion. Darius Milhaud. The Musical Quarterly 28 (April
1942):
139-159.
A miniature biography and discussion of Milhauds style. Though
dated, the article gives insight into his South American
influence.
Behague, Gerard. Brazil. The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie, vol. 3. London:
MacMillan Publishers, Ltd.,
1980.
In addition to historical facts regarding Brazilian music, describes
the many types of samba, describes the dance and gives common
rhythms for each type.
Berler, Paul. Basic Saxophone Skills. Saxophone Journal 4 (JanFeb 1997): 66-67.
________. Basic Saxophone Skills. Saxophone Journal 5 (Mar-Apr
1997):
60-61.
________. Basic Saxophone Skills> Saxophone Journal 6 (May-June
1997):
66-67.
Series of articles raising interpretation questions and providing
brief
background on Scaramouche. These are pedagogical
essays, meant to get students thinking about interpretation issues. I
will not be
giving you the answers in this article, Berler states.
Collaer, Paul. Darius Milhaud. San Francisco: San Francisco Press,
Inc., 1988.
Indispensable bio-bibliography and discography. The most
comprehensive study written on Milhaud. Biography,
discussion of
his musical language, individual attention
given to his vocal,
dramatic and instrumental works.
Catalogoues compositions by
category, opus and
alphabetically.
Cooper, Martin. French Music. London: Oxford University Press, 1961.
Chronologically more focused upon the period of Les Six than the
Myers. Describes Cocteaus and Saties relationship, their
influence
on Les Six. Ties Milhaud into discussion with
information on his
bitonality and use of exotic elements.

Frank, Peter. CD Review of Yarborough and Cowan, Fanfare 2

(Nov./Dec.
1988): 88.
CD review describes Scaramouche in general, states that most
piano duos use the work. A cutesy composition by
Milhaud.
Fridorich, Edwin. The Saxophone; A Study of Its use in Symphonic
and
Operatic Literature. DMA diss., Columbia University,
1975.
Useful listing of works by composer, including the five listed for
Milhaud. Charts describe general characteristics of all the
works
cited.
Hall, David. Record liner notes for Darius Milhaud: Works for One, Two
and Four Pianos, Connoisseur Society, CS2101.
Gives a picture postcard description of Milhauds compositional
output. Calls Scaramouche one of Milhauds most popular
piano
works.
Hindley, Geoffrey, ed. Honegger, Milhaud, Poulenc and the Six.
Larousse
Encyclopedia of Music. New York: World Publishing Co.,
1971.
General encyclopedias description of Les Six, with Milhauds
association described.
Klein, Jean-Claude. Borrowing, Syncretism, Hybridisation: The
Parisian
Revue of the 1920s. Popular Music 5 (1985): 175187.
Participation of stage shows in development and acceptance of
musical genres in early 20th-century France. Traces
the reception of jazz, and touches upon Spanish music and tropical
music in Paris.
Lifschitz, Max. Darius Milhaud and Nationalism in Latin American
Music.
Darius Milhaud Society Newsletter 10 (Spring-Fall
1993): 21.
This society proceedings newsletter includes Lifschitzs brief
article
that discusses two of Milhauds compositions that
include
LatinAmerican music, LHomme et son desir and Le
Boeuf sur le toit.
Milhaud, Darius. Notes Without Music. NY: Alfred A. Knopf, 1953.
Milhauds memoirs. Possibly the most useful document for
Milhauds compositional and biographical information. Not laden
with
Scaramouche details, rather includes a mine of
information on
his world travels, associations with

composers and artists. Chart in

with premiere dates, publishers.

back Lists his compositions

Myers, Roolo. Modern French Music. Oxford: Basil Blackwell, 1971.

Gives rough details on Les Six and compares the compositional
styles of the composers. Provides broad description
of French
composers in the circle of Darius Milhaud.
Nichols, Roger. Conversations with Madeleine Milhaud. London: Faber
and Faber, 1996.
The authors interview with Madeleine Milhaud. Discussion of
their
relationships with Parisian artists of all kinds. Firsthand
information
about their traveling, with her accounts of Milhauds
personal and
musical reaction the the countries they visited.
Palmer, Christopher. "Milhaud." The New Grove Dictionary of Music
and
Musicians, ed. Stanley Sadie, vol. 12. London: MacMillan
Publishers,
Ltd., 1980.
Excellent point of departure concerning Milhaud. Passing
mention of
Scaramouche.
Perloff, Nancy. Art and the Everyday: Popular Entertainment and the
Circle of Erik Satie. New York: Oxford University Press,
1991.
Invaluable source. In addition to Satie discussion, gives detailed
analysis of Milhauds assimilation of jazz, his involvement
with Satie
and Les Six, general anti-impressionistic trends of the
group. The
chapter concerning Paris in the 1920s helps set
the stage. Quite
useful, and current.
Petrella, Robert. The Solo and Chamber Music for Clarinet by Darius
Milhaud. DMA diss., University of Maryland College
Park, 1979.
Abstract only. Discusses Opus 100, 230. Summarizes Milhauds
overall style and treatment of the clarinet in solo music vs.
chamber
music.
Rousseau, Eugene. Marcel Mule: His Life and the Saxophone. Shell
Lake,
WI: Etoile, 1982.
A brief saxophone organography and short biography on Mule,
details about his saxophone quartets, but much of
the source is the
authors interview with Mule. Mule makes
remarks regarding his
association with Milhaud and
Scaramouche.

Roy, Jean. Record liner notes for Milhaud and Poulenc: Music for Two
Pianos, Musical Heritage Society 854.
Review of Milhauds Scaramouche, provides savory cocktail
description.
Slonimsky, Nicolas. Milhaud. Baker's Biographical Dictionary of
Musicians, 8th edition. New York: Schirmer Books,
1992.
Standard biography on the composer mentions his use of exotic
rhythms of Latin America.
Walker, Robert. Milhaud in America. Musical Times 133 (Sept. 1992):
443-444.
Brief summary of the composers experience in America and use
of
American musical styles. Describes music he either wrote
in the U.S.
or wrote in memory of living there in exile.