Armande de Polignac, Comtesse de Chabannes-La Palice (Marie Armande Mathilde; 8 January 1876 – 29 April 1962) was a French composer, the niece of Prince Edmond de Polignac and Princess Winnaretta de Polignac, the patron of Ravel, Stravinsky and Milhaud.
In 1913 he undertook musical studies at the Conservatoire de Paris under teachers André Gedalge and Eugène Cools, from whom he learned counterpoint and fugue, before taking up composition studies with Charles Koechlin, who had taught such diverse musicians as Faure, Poulenc, Milhaud, members of Les Six, and Cole Porter.
The firm was important in the publication of works by many modernist composers in the 1920 including Cras, Casella, Delannoy, Koechlin, Malipiero, and Milhaud.
Artists featured in the gallery included Bezalel Schatz, Danius Milhaud and Jean Varda.
His style, prophetic of early-twentieth-century avant-garde French composers like Satie and Milhaud, was influenced by Franck, Wagner and (especially in the Trio) Beethoven.
Schoenberg, Milhaud, Goldman, H. Owen Reed, Hindemith, Vincent Persichetti, and Morton Gould are all composers who came into their own during this time as composers of wind band music, and helped to foster a core of repertoire that would be performed for generations to come.
The screenplay by Jean Anouilh and Jean Aurenche is set in the court of René I in the fifteenth century and includes three love stories with incidental music by the composers Milhaud, Honegger and Désormière.
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The castle and the court of René I, count of Provence, were situated in Aix-en-Provence, birthplace of Darius Milhaud who was always fascinated by the history of the king, his code of chivalry and the legendary tournaments that took place at his court.
The Milhaud/Menotti double bill played later that month in Baltimore at the city's Lyric Theatre and at the New Amsterdam Theatre in New York City.
These were followed by the Hungarian premieres, mostly shortly after their world premieres, of Stravinsky's Oedipus rex, Puccini's Turandot, Milhaud's "three-minute" operas, Hindemith's Hin und zurück, Malipiero's Il finto Arlecchino (from his trilogy Il mistero di Venezia), and others.
For many years Roger Calmel taught at French Radio and Television children's choir school, before becoming the head of the Darius Milhaud music conservatory in the XIVth arrondissement in Paris.
He worked with Simone Benmussa on the latest editions of Cahiers Renaud-Barrault, and met Marguerite Duras, Samuel Beckett, Marie-Helene Dasté, Catherine Eckerle, and Madeleine Milhaud.