Paris: Éditions La Sirène [PN 24], 1920.
Folio. Original publisher's heavy mid-gray textured printed wrappers. 1f. (recto half-title, verso copyright), 1f. (recto blank, verso full-page original lithography by Dufy), 1f. (recto title, verso blank), [iii] (preface by Cocteau), [i] (blank), 56 pp. Text in French.
Wrappers slightly worn and faded; spine chipped and separated; publisher's handstamp to verso of lower. Uniformly browned; edges lightly thumbed; handstamps to lower outer corner of flyleaf "Durand & Fils" and "Georges Thomassin."
"Still haunted by my memories of Brazil, I assembled a few popular melodies, tangos, maxixes, sambas, and even a Portuguese fado, and transcribed them with a rondo-like theme recurring between each two of them. I called this fantasia Le Boeuf sur le toit, the title of a Brazilian popular song. I thought that the character of this music might make it suitable for an accompaniment to one of Charlie Chaplin's films ... Cocteau disapproved of my idea, and proposed that he should use it for a show ... [He] produced a pantomime scenario that could be adapted to my music. He imagined a scene in a bar in America during Prohibition. The various characters were highly typical: a Boxer, a Negro Dwarf, a Lady of Fashion, a Red-headed Woman dressed as a man, a Bookmaker, a Gentleman in evening clothes. The Barman, with a face like that of Antinoüs, offers everyone cocktails. After a few incidents and various dances, a Policeman enters, whereupon the scene is immeidately transformed into a milk-bar. The clients play a rustic scene and dance a pastorale as they sip glasses of milk. The Barman switches on a big fan, which decapitates the Policeman. The Redheaded Woman executes a dance with the Policeman's head, ending by standing on her hands like Salome in Rouen Cathedral. One by one the customers drift away, and the Barman presents an enormous bill to the resuscitated Policeman ... Guy-Pierre Fauconnet designed [the masks] as well as the costumes ... Raoul Dufy agreed to take over the work on the scenery for Le Boeuf, keeping [Guy-Pierre Fauconnet's] masks and designs for the costumes ..." Milhaud: Notes without Music, pp. 101-103.
"[Milhaud] was associated with the avant garde of the 1920s, whose abundant production reflects all musical genres. A pioneer in the use of percussion, polytonality, jazz and aleatory techniques, his music allies lyricism with often complex harmonies. Though his sources of inspiration were many and varied, his music has compelling stylistic unity. ...The influence of Brazilian folk music was exceptionally strong, anecdotally in Le boeuf sur le toit, a medley of tangos and maxixes written as music for an imaginary Chaplin film." Jeremy Drake in Grove Music Online.
"Painter Raoul Dufy is best remembered as a devoted follower of Fauvism, although he also experimented frequently with other mediums such as ceramics, murals and tapestry design. ...Although Fauvism as a movement was very loosely affiliated, and relatively short lived, Dufy’s paintings were consistently well received throughout his entire career. His installation at the 26th Venice Biennale in 1952 garnered him the International Grand Prize for Painting." Sothebys.com.
Price: $700.00 other currencies