Symphony No.9 - Darius Milhaud

Basel Radio Symphony Orchestra conducted by Alun Francis. I - Modérément animé: 0:00 II - Lente et sombre: 5:08 III - Alerte et vigoureux: 14:22 Milhaud’s Symphony No.9 was composed between November 10 and December 14 of 1959, being commissioned by conductor Mario di Bonaventura for the Fort Lauderdale Symphony Orchestra. The first movement was premiered on March 26 of 1960, performed by said orchestra and conductor. Unfortunately it was badly received by critics and public due to the lack of rehearsal. It is unknown if the piece has been performed publicly in its entirety since then. It is closely modelled after Milhaud’s seventh symphony in its compactness and formal return to the beginnings of the symphony as the italian overture in its fast-slow-fast design. In this sense, the slow movement is the true core of the entire piece. The first movement is structured in ternary form. It begins with a gentle and flowing main theme introduced by the woods, pastoral in expression and answered by massive punctual interventions of brass and percussion. In the central section, a more lyrical second theme is presented but is blurred due to dissonances and the use of polytonality. A return to the opening material is followed by a lively coda. The second movement is written in form of an arch. It opens with a grim, melancholic chorale as the main theme, answered by brutal clusters. With these huge contrasts, the theme unfolds in an expressive and almost funereal manner. Despite Milhaud’s famous brand of sunny Mediterranean neoclassicism, this movement shows he was more than capable of writing incredibly oppressive and tragic music. After a powerful climax, the music seems calms down before tensions and dissonances return and lead us to a final gripping climax. An enigmatic coda brings the movement to an irresolute end. The third movement is structured in sonata form. It begins with an animated and lively main theme, with a dance-like rhythm and spirit. It is followed by a more melodic second theme on the clarinet. A brief but luminous development ensues, dominated by interventions of woodwind instruments. The trumpet leads us to the recapitulation of the themes, after which a vivacious coda ends the work. Picture: “Bargemon, South of France“ (1959) by the painter Josine Vignon. Musical analysis mostly written by myself. Sources: and Unfortunately, the score is not freely available.