A Principle of Suite in the Operatic Works by D. Milhaud
The article deals with the features of the suite principle of thinking by D. Milhaud being implemented in his opera works. In connection with the idea of synthesis of arts (which was widely spread in the twentieth century), musical works by composers amaze with their multivariate structure. Against the background of this trend, the figure of D. Milhaud appears to be the most radical, thanks to his endless experiments in the field of genres existed at that time. And a suite is the eternal engine in the process of music material transformation in the composer’s work. The suite principle penetrates into all spheres of his work. The desire for a suite is due to the picturesqueness of the genre, which attracted the French composer. Of course, a suite as a genre more understandable to a listener, meet one more important factor, that is the composer’s desire to democratize musical art. Therefore, a suite principle manifests itself in many genre models. This genre component certainly presents in opera works by D. Milhaud and is instantly identified by a listener. The suite principles manifest both in chamber operas and in the framework of a grand opera genre. So, one of the clearest examples of the connection between genre models of opera and suite is the Opera “Christopher Columbus”.
Darius Milhaud, suite, opera, genre, “Christopher Columbus”.