Curtain painted by Picasso for the epoch-defining Diaghilev Producution of Parade, music by Satie, scenario by Cocteau Neo-Classicism: New trends in France Cocteau: The Cock and the Harlequin

Three weeks after the premiere of Parade, Blaise Cendrars organized an evening of poetry and music in honor of the ballet the artists and musicians who rallied around Satie, forming the group Les Nouveaux Jeunes, and marking the emergence of a new musical avant-garde. In final form Les Nouveaux Jeunes included Darius Milhaud, Francis Poulenc, Arthur Honegger, Louis Durey, Germaine Tailleferre, and Georges Auric.

From Satie’s notes for Parade

Erik Satie as unifying mentor, Jean Cocteau as cultural and aesthetic critic group was christened "Les Six” by critic Henri Collet, ("Mighty Five”) This label, a recognizable aesthetic of simplicity, these composers finally gained the attention of the public. Despite the elements the six composers had in common, there differences were far greater, and by the 1920s each was pursuing solo careers on their own. Today, we best remember Darius Milhaud, Francis Poulenc, and Arthur Honegger. Few pieces by the other three are performed. Satie

Arthur Honegger Honegger was one of Les Six's founding members. was probably the most "Germanic" in contrast to the original aesthetic ideal as set by Cocteau. More devoted to serious study. Influenced by Bach. Eventually Honegger rejected Satie, and interested in aesthetic of seriousness While most members primarily produced short pieces, Honegger was mainly a symphonist. 1921: King David 1923: pacific 231

Francis Poulenc (1899-1963) held a strong opposition to the excessive sensitiveness and refinement of French Impressionism. His works include plain as in straightforward musical statement especially in early works. Poulenc was the finest choral composer of the group spontaneous melodic invention and originality. Neoclassicism, conservative Mostly tonal but can be dissonant Before 1935: Light, simple uncomplicated tone and texture popular music Later works reflect spiritual reawakening

Darius Milhaud (1892-1974) became part of the group caught up in the discourse of his peers collaborated with both Satie and Cocteau in various projects, His famous ballet "Le Boeuf sur le toit." He was known for his atonality Prolific – composed very quickly and produced over 450 works. Interested in folk music use of styles from Brazil, Latin America, America, Palestine, France and England Influenced by American jazz and the Brazilian tango, samba, and ragtime La Creation du monde 1922 - Léger set design

Louis Durey joined Les Six by accident collaborated with Jean Cocteau on a piece "Scenes de Cirque." he felt that Cocteau's influence was artistically compromising

Georges Auric came to Les Six as a student of Satie. Together with Honegger and Durey he was one of the founding members of the group, His music had more in common with that of Poulenc Poulenc and Milhaud, and Auric most exemplified the ideals described by Cocteau.

Germaine Tailleferre was the one woman in Les Six, and perhaps because of this, is today also one of the most recorded. She was a student of Darius Milhaud, and was one of the latecomers to Les Six.

STRAVINSKY

Russian nationalism (student of Rimsky-Korsakov until 1908) Rich orchestration and advanced harmonies Rhythm: changing and irregular meters; accented, with much use of ostinato patterns (will remain a stylsitic trait) EARLY PERIOD

Fireworks (1908), Three ballets: Firebird (1910), Petrushka (1911), and The Rite of Spring (1913) Higher use of dissonance, themes often taken from folk music varied rhythms use of percussive writing for all instruments diatonic including modes ostinato virtuosity of orchestral parts, (extreme ranges)

Rite of Spring

Economical use of material smaller instrumentation satire classical and baroque form: song forms, sonata forms, fugues, suites, concerto grosso, and canons wind instruments with limited use of strings clear, concise organization little chromaticism although "pandiatonicism" transparent textures tried to eliminate pictorial and literary "meanings" from music 1919-1950 Post WWII Interest in some Renaissance styles and serialism