Suite Française
- Composer
- Darius Milhaud
- Year
- 1944
- Duration
- 16:15
Conductor's Notes
One of the hallmarks of Milhaud’s style is polytonality. In this piece, this usually comes into play with the melody being in a different (but related) key. Tuning will be a big challenge as we work on this piece, as will understanding how all the different building blocks come together in the work.
1. Normandie
The overall feel of this one joyful. However, there is some darkness under the surface. If you have moving lines under the melody, bring them out a little so the audience hears the currents under the surface.
Tempo: . = 136
Here are the main structural points in the movement:
- m. 1 - First theme (A) starts in Oboe and Cornet 1
(Folk song: Germaine) - m. 9 - A continues in Alto Sax and Trumpet
- m. 23 - Second theme (B) starts in Flute and Oboe
- m. 35 - A returns in Cornet 1 and Horns, new countermelody in upper WWs
- m. 43 - Third theme (C) starts in Alto Sax
(Folk song: The French Shepherdess and the English King) - m. 53 - C continues in Flute and Cornet 1
- m. 59 - Clarinets, Tenor Sax, and Bari Sax start an accompaniment based on B
- m. 63 - A returns in Clarinets and Horns
- m. 67 - A continues in WWs
- m. 71 - A theme starts again in Alto Sax and Horn
- m. 79 - Climactic fanfare
- m. 83 - Full band restates A
- m. 91 - A continues in full band
- m. 102 - Coda based on material from A
2. Bretagne
This movement leans into Bretagne’s character as a maritime province. The folk songs used are sea shanties, but set in a plaintive, foggy manner. Think the grayest of San Francisco days and you’re on the right track with this one.
Tempo: = 108 with room to breathe. I will conduct in six throughout.
There’s a two-bar transitional figure first (T) played in Euphonium and Tuba. Be mindful of where this occurs, at it often stitches together other ideas.
Here are the main structural points in the movement:
- m. 1 - “Foghorn” fermata in Bassoon, Euphonium, Tuba with Horns entering with first theme (A) on beat 4
(Folk song: La Paimpolaise) - m. 12 - Second theme (B) appears played by the Oboe
(Folk song: Les marins de Groix) - m. 27 - Flutes and Clarinets introduce the third theme (C)
(Folk song: La chanson des metamorphoses) - m. 38 - B returns, again played by the Oboe
- m. 51 - Alto Sax plays T, finally as the sole focus
- m. 54 - “Foghorn” and A return, as in the beginning
The dynamics in this movement are deceptive. It’s tempting to see p and pp as an opportunity to play with very little air or commitment. This will lead to a very underwhelming sound. Create the illusion of softness by delivering a dark, fully energized sound that resonates in your instrument. Tapering the ends of notes that lead into rests and breaths is also critical to maintain the sound we want.
Errata:
m.51-52 - Oboes, add an "E-natural" as the final note to the melody. [Note: Orchestra score has a mezzo-forte E dotted half note (meas. 51) tied to E dotted quarter note + quarter rest + eighth rest (meas. 52)].
3. Île-de-France
This one reflects the spirit of Paris, the bustling urban heart of France. The City of Light is irrepressible, even in the darkest times. Our job is to let that spirit shine through the music.
Remember, being in cut time, our 8th notes should be light and feel more like 16th notes, played in groups of 4 or 8 at a time.
Tempo: = 104
Here are the main structural points in the movement:
- m. 1 - Introduction
- pickup to m. 3 - First theme (A) enters in upper WWs
(Folk song: A ma main droite j'ai un rosier) - pickup to m. 14 - A is repeated in low Brass
- pickup to m. 25 - Second theme (B) enters in Alto Sax and Clarinets
(Folk song: Voici la Saint-Jean) - pickup to m. 37 - Trumpets, Cornets, and Trombones play A
- pickup to m. 41 - B is played again by Clarinets, Alto Sax continues with A
- m. 49 - Upper woodwind flourish
- pickup to m. 51 - Oboe starts third theme (C)
(Folk song: The Fair Maid of the White Rose Tree) - m. 57 - slight ritard, still in two
- m. 58 - ritard, conducted in four. Listen for Cornet 1, that’s the pace car here
- pickup to m. 59 - B returns in Alto Sax and Clarinets
- m. 59 - a tempo
- pickup to m. 71 - A returns in upper WWs and Cornets
- pickup to m. 76 - B returns in WWs and Cornet 1
Errata:
m. 11-13 - Tubas, the accents should instead be staccato markings (as in the Bassoons).
4. Alsace-Lorraine
This movement paints a picture of the most war-torn of all the French provinces. Taken from France in the Franco-Prussian War in 1871 by Germany, it returned to French hands in 1919 after the end of World War I. It was then one of the first provinces to fall to the Germans in 1940.
Milhaud uses two folk songs about the joyful month of May and transforms them into a solemn funeral procession. Gestures in the low brass and winds suggest artillery in the distance.
Sorrow turns to hope as the mood brightens around m. 81, before the movement finishes with a statement of resolve from a people who have survived so much.
Tempo: = 54-60 with room to breathe
Here are the main structural points in the movement:
- m. 1 - Main theme (A) enters in Alto Saxes
- m. 17 - Last phrase of A. This only appears twice in the movement. Here it’s in minor, a cry of anguish.
- m. 25 - Second theme (B) is played by muted solo Cornet
(Folk song: Lo, ‘tis the Month of May) - m. 33 - Last phrase of B played by open Cornets. This is the source of a lot of commentary throughout the rest of the movement.
- m. 37 - A is played by the Alto Saxes again, this time with Flutes and Oboes adding commentary from B.
- m. 53 - Third theme (C) is introduced by Cornets before being picked up by Clarinets
(Folk song: The Month of May) - m. 68 - Cornet 1 comes in with B again, echoed by Piccolo and Oboe a bar later
- m. 81 - A returns, this time in major. Upper WWs again add commentary from B.
- m. 97 - Last phrase of A returning in major. What was anguish before is now powerful hope for the future.
- m. 105 - Coda to the movement, based on the last phrase of B.
As with the second movement, the soft dynamics in this require commitment and intensity. When we deliver dark, resonant, energized soft dynamics, we create a sound that will touch our listeners’ souls. If we deliver wimpy soft dynamics, the impact of this music will be lost.
5. Provence
Finally, we return to Milhaud’s childhood home and the last area of France to be liberated. This movement is upbeat and heartfelt, with fond memories of childhood paired with Milhaud’s gratitude for those who liberated his home.
Tempo: = 136
Here are the main structural points in the movement:
- m. 1 - First theme (A) introduced
- m. 15 - Second theme (B) introduced in Piccolo and Flutes
- m. 29 - A returns in upper WWs, with B appearing in Euphonium
- m. 35 - Trumpet fanfare to announce third theme
- m. 36 - Third theme (C) appears in Flutes and Alto Sax 1. Alto Sax 2 and Horns have an important accompanying line.
- m. 50 - A returns, this time in minor, in the Cornet.
- m. 57 - Trumpet fanfare again, this time officially bringing us back to A
- m. 58 - A returns in Clarinets, Alto Sax, and Cornet 1. Piccolo, Flute, and Oboe expand upon the Alto Sax/Horn accompanying line from m. 35, now twice as fast, and reveal that it’s the Occitan folk song O Magali (D).
- m. 69 - B returns, again in Piccolo and Flutes
- m. 77 - A, B, and D all appear together. This is dense and rapid counterpoint. Keep it light and joyous!
- m. 85 - Coda, based on the end of D
Regarding the ending, I will relax the last three bars, with the final chord being held a beat or so longer than written.
Errata: