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Lot n° 29

Georges AURIC (1899-1983). Autograph manuscript...

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Georges AURIC (1899-1983). Autograph manuscript signed, Georges Auric, [1950]; 5 pages small in-4. Interesting autobiographical note sent to Pierre Lhoste, when Auric had just passed his fiftieth birthday, on the occasion of the release of Jean Cocteau's film Orphée, for which he composed the music... A few annotations in pencil are in Lhoste's hand... Auric first recalls his formative years, notably with Vincent d'Indy, "the ultimate representative of an intransigent formalism [...] radically hostile to this exciting 'modern' movement which had every reason to hold me back immediately. It is true that to the austerity of such teaching I had the chance to confront the words and the example of a man whose meeting was precious to me: Erik Satie, who "never found the place he deserved," and whose influence was great on his early compositions and those of his group of comrades Milhaud, Poulenc, Sauguet, Desormière... He then recalls how much Cocteau facilitated "the dissemination of our common endeavors," with the commission of Parade to Satie and Diaghilev, which was decisive, and "his decisive introduction of the small friendly group that brought us together in the aftermath of 1918, [...] the 'Group of Six': Germaine Tailleferre, Milhaud, Poulenc, Honegger, Durey and himself, with commissions for Les Mariés de la Tour Eiffel, Le Bœuf sur le toit, etc... He then returns to the notion of "Pure Music," and lists several of his works of "chamber music," sonatas, melodies, trios, choruses, and songs on poems, as well as ballets Les Fâcheux and Les Matelots (1923-24), and then his Pastorale (1925). "Since then, I have composed for Mrs. Ida Rubinstein, Les Enchantements d'Alcine [...] and for the "Nouveaux ballets de Monte-Carlo", Concurrence [...] and I have just completed, after a theme by Jean Cocteau, a Phèdre for the Opera". He also worked for a long time for the theater, for Louis Jouvet, Charles Dullin, Baty, Copeau: "so many memories, and almost equally precious!"... Finally, he underlines the appearance of a considerable event: the sound cinema, in which he saw, contrary to most of his contemporary colleagues, "a completely new and valid means of making me hear [....] an instrument of an unsuspected extent and of which a musician had to study the resources and the possibilities". Among his many contributions, Le Sang d'un poète by Cocteau and À nous la liberté by René Clair, two diametrically opposed works: ... "film music" is a completely authentic mode of expression. It is not a bastard language" nor a mediocre compromise, and this art is promised to a brilliant future... He enumerates to finish his most important compositions for the cinema after the first two quoted above: the Lac aux Dames, Orage, Macao, La Symphonie pastorale, L'Eternel retour, la Belle et la Bête, les Parents terribles, and in England Dead of Night, Queen of Spades, Passport to Pimlico, etc, "And then, tomorrow, Jean Cocteau's Orpheus... 5 L.A.S to Pierre Lhoste are attached, one of them accompanying his autobiographical note: "Sorry for this delay, and sorry for this little volume which has nothing to do with what you asked me. But it is impossible to stop this flow of confidences, once the machine has started. [I hope that you will manage to extract something useful from it"...