Composer of 'M'

Georges Migot (1891-1976)

A French composer, painter, and a carver. Georges Elbert Migot is his real name. He was born in Paris on 27th of February, 1891. In 1909, he entered the Paris Conservatory of Music and studied composition under Charles-Marie Widor, orchestration under Vincent D'Indy, musical history under Maurice Emmanuel, whereas studying organ under Eugene Gigout and Alexandre Guilmant. Then, he has obtained 1'st prize in composition for three times from 1918 to 1920. In 1921, he also obtained Le Prix Blumenthal. Although he had largely influenced by Faure's compositional diction initially, he came to be fascinated in medieval polyphonic forms. Then he started to declair his standpoint by calling himself as 'Group of One'. The naming demonstrates he intended to confront the neo-classical compositional The Group of Six idiom which was predominant around that era. His favor of medieval polyphony came to fruition in his 1953 work Requiem of which the melodies were written unconventionally in terms of rhythmic and tonal content. In 1948, He was appointed the head of Conservateur du Musée des instruments anciens du Conservatoire de Paris.He died at Levallois, near from Paris on 5th of January in 1976. (K.S.©2005)

Main Works

Stage Hagoromo (plemage) hagoromo: symphonie chorégraphique et lyrique (1922)
Chamber-Opera 'A Nightingale of Love' le rossignol en amour (1924)
Beauty and the Beast la belle et la bête (1938)
Tale of Fairies contes de fées (1938)
Dramatic Oratorio 'King Louis' Saint Louis, roi de France (1970)
Choral Comedy 'Mummies of Egypt' les mommies d'Egypte (1972)
Orchestral Jungle la jungle (1928) {org, orch}
The Agrestides les agrestides (1965-1966)
Symphony No.7 7ème symphonie (-) {chamber}
Music for the Claudelian Universe musique pour l'univers Claudelien (-)
Winds Church Symphony sinfonia da chiesa (1955) {85winds}
Symphony No.8 8ème symphonie (-) {10winds}
Chamber Trio trio pour violon, alto, et piano (1918-1919) {vln, vla, p}
French Divertisments, Book 1 le premier livre de divertissements français (1925) {fl, cl, hrp}
Small Preludes les petits préludes (1927) {fl, vln}
Suite in Three Pieces suite de trois pièces (1931) {fl}
Trio in Three Part Suite trio ou suite à trois (1935) {vln, vc, p}
First Book for Organ premier livre d'orgue (1938) {org}
Second Suite deuxième suite 'Eva et le serpent' (1945) {fl}
Sonatine sonatine (1955) {sop-recorder, p}
Suite for Two Cellos suite pour deux violoncelles (1963) {2vc}
Grand Trio with Piano le grand trio avec piano (-) {vln, vla, vc, p}
Preludes préludes (-) {2g}
Dancing Sonata sonata à danser (-) {vln, p}
La Malouve la malouve (-) {ob, p}
Piano The Zodiac le zodiaque (1931-1932)
Songs Seven Small Images of Japan sept petites images du Japon (1917) {choir, orch}
The Statues les stèles (1924) {choir, celesta, b, tam, bell, hrp}
The Litany for the Mountain Partisan le sermon sur la Montagne (1936) {5vo, choir, org, strings}
The Passion la passion (1941-1942) {btn, choir, orch}
Annunciation l'annonciation (1946) {oratorio}
Saint-Germain of Auxerre Saint Germain d'Auxerre (1947) {4vo, 3choir}
Hasp under the Tomb la mise au tombeau (1949) {oratorio}
Requiem requiem (1953) {choir}
Resurrection la résurrection (1953) {oratorio}
Christmas Song of Our Master la nativité de Notre Seigneur (1954-1955}
35 Newly Reharmonized Psalms les 35 psaumes nouvellement harmonises (1961) {choir, org}
The Christ De Christo (1971-1972) {btn, choir, fl, org}
17 Poems of Brugnon les 17 poèmes de Brugnon, sur des textes de Tristan Klingsor, magnifique hommage à la voix (-)
Ancient Christmas Songs noëls anciens (-) {choir}
Psalm No.19 psaume XIX (-)
A Small Evangelist le petit evangéliaire (-)
In Memoriam in memoriam (-)... collaborative work with Milhaud and Messiaen.
Others Three Nocturnes in Dante Manner trois nocturnes dantesques (-)

Migot Disc Review

"Trio Ou Suite à Trois pour Violon, Violoncelle et Piano / Trio pour Violon, Alto et Piano" (Accord : 205742)
Nathanaëlle Marie (vln) Françoise Renard (vla) Clara Strauss (vc) Ursula von Lerber (p)
The disc compiles two chamber works of this little known composer. Until 'La Passion' came to be available from Arion label recently, this CD was the only disc in full of Migot works. Although It is said that Migot changed his compositional preference into medieval polyphonic form and started to write compositions with completely linear constructs of counterpoints in later of his life, we can listen here is based on typical latter-romantist manner, the harmonic coloration is considerably poor representing his musical language is more contrapuntal. It is hard to set his compositions in line of prestigious giants of latter romantic era, on the one hand, however, you can listen Migot without large anomalous feeling like you do of Franck or Lekeu, because the melodic content is based on the latter romantic idiom. This antinomy characterizes Migot's musical language. He has educated to express his musical idea with a bit contemporarily (neo-classical) way despite of his musical favor (latter romantist). His academic concern (medieval polyphonists) further add the sense of disconfort. He tried to ballance these three influences in his musical language with sighing himself. Violinist is a pupil of Gerard Poulet and has obtained the premier in Paris Conservartory, whereas the viola is also a pupil of Bruno Pasquier and obtained 1st in 1993, the cello studied with Ph. Muller, the piano who has obtained the first prize in Siberius Conservatory. Their performance is sure although the tone is slender and sensory in pitch is unstable for a little bit.

"Première Sonate pour Violoncelle et Piano (Ropartz) Sonate (Debussy) Trois Pièces / Deuxième Dialogue (Migot)" (Integral Classic : INT 221.105)
Jean-Marie Trotereau (vc) Jeffrey Grice (p)
Undoubtly, this is an disc for dilettantes because of the selection of tunes. Ropartz's sonata is written in 1904. An earlier piece so that is written in Franckist manner, but you can easily find there is post-Franckistic coloration in terms of its sense of key-changes and skillful writing of arpeggios. Since you should know there is an beautiful alternate performed by R.Chretien, many of you should be interested in this CD because of Migot. His musical diction for this cello music sounds like an mediation of Post-romantist chamber music and Gymnopedie's Satie. Because Migot tends to rely more on unison and arpeggio in coloring the melodies, his music sounds more presentationalistic, dry and thin. Many of the composers in his time tried to reach out his hand to obtain any specific idiom to be eccentric (in other words being personal), his aethetics seems to choose not to place a disproportionate emphasis on any of them. The cellist is a member of the Siberius String Trio. Once a solost of Auvergne Philharmonic Orchestra in 1985. Although his tone sounds a bit brittle than Marc Coppey or Raphael Chretien, his sensory in pitch is right and expression is great. Therefore it is so regretable to quote that there is some serious defeat on the quality of engineering. It sounds like just recorded on two-track deck in a small classroom performance. Moreover, the engineer set the microphones too distant from the player (maybe he worried that the movements of the cellist would effect the volume). It significantly decrease the sonority feature and the original tone is buried in the room echo. Furthermore, there are some abrasion on recorded material indicating this was recorded by tape equipment. In fact there is no reference of engineering in the booklet. Don't they have the resource for hiring a good engineer?

(2005. 3. 21 USW)