Darius Milhaud (1892-1974) 
          has suffered (as did Martinů) from his fecundity. Milhaud played 
          chamber music in his childhood and valued the economy and austerity 
          of the string quartet genre as 'an intellectual discipline and crucible 
          for the most intense emotions'. He began with Op.5 (1912) and 
          by 1920 had determined to compose eighteen string quartets (one more 
          than Beethoven)! Having achieved that goal after a couple more decades 
          with Op.308 (1942), he paused but could not quite stop, and so, to complete 
          a uniquely revealing and rewarding collection, here are included a short 
          In memoriam Igor Stravinsky (1971) and three Etudes sur des 
          thèmes liturgiques du Comtat venaissin (1973). 
        
 
        
This intégrale cycle of 18 string quartets 
          (the French are particularly keen on those) displays to the full Milhaud's 
          melodic gifts and sheer ingenuity in his command of polytonality, which 
          he made his own, notably in a bonus Octet Op 291 (quartets 14 and 15 
          played simultaneously!). I remember vividly his conducting it at the 
          Royal College of Music with two student quartets who had first played 
          one each. It would have been a nice gesture to have entrusted the Quatuor 
          Manfred with one of them here, which appears not to have been the 
          case? 
        
 
        
Another very different quartet, which is far from Milhaud's 
          more usual breezy, optimistic manner in the outer movements, is No. 
          3, an in memoriam for a close friend, two slow movements ending 
          with a passage from his journal (you can follow the text in French and 
          English if you fold in half two pages in between) sung by Véronique 
          Dietschy, soprano, a notable singer whom I remember admiring in 
          her UK debut long ago at the Institut Française in London, and 
          subsequently on a special Accord CD of Debussy songs since when, so 
          I discover from surfing the web, she has made a substantial career in 
          France, though I had not come across her again in UK. The inclusion 
          of a voice and the later double quartet (octet) put me in mind of my 
          recent thoughts about string octets 
          (should they be conducted?) and quartets-with-voice 
          (Schafer and Volans) published in Seen & Heard. 
        
 
        
The Quatuor 
          Parisii was founded in 1981 by four Paris Conservatoire students, 
          who played No 4 in 1984 and promised Milhaud's widow Madeleine then 
          that they would record all eighteen. They went on to win many prestigious 
          competitions, remained together and completed this project last year. 
          The performances are as good as you could reasonably expect (a few moments 
          show a little strain) and are well recorded. It is a labour of love 
          by all concerned for this amiable composer (his My happy life - Darius 
          Milhaud, Ma vie heureuse, Paris 1973 - is a joy to read) and the 
          detailed descriptive notes on each quartet (Jean-Louis Leleu and Jeremy 
          Drake) take you through their rigorous construction and have many quotes 
          from his adored wife and widow, Madeleine Milhaud. I wondered whether 
          initial doubts about the enterprise, as well as artistic considerations, 
          prompted the decision to arrange the CDs non-chronologically, but this 
          is no great problem; indeed I would recommend playing them one at a 
          time and they suit well my approach to daunting boxes of the complete 
          this and that, which is to play one each morning at breakfast! 
        
 
        
It is odd that the Milhaud quartets have almost disappeared 
          from the UK chamber music repertoire, as I am sure they would give pleasure 
          at, say, the morning lunch-time recitals at Wigmore Hall and Blackheath. 
          It is perhaps churlish also to note the absence of proof-checking and 
          lack of simple typographical aids to highlight individual works (their 
          ordering does not correspond with that on the CDs) and generally to 
          make the comprehensive notes more reader-friendly. There are good illustrations 
          in the booklets, with photos of Milhaud at different ages, and full 
          details (plus sound bites of each movement if you have the right equipment) 
          at http://www.quatuorparisii.net/discographie/Milhaud/milhaud.html. 
        
 
        
At an amazing under £13 from Amazon for 5 CDs in a 
          slip case (well, £12.99 actually!) this must be a bargain to be snapped 
          up gratefully. 
        
        
 
        
 
        
Peter Grahame Woolf 
        
        
        
 
        
NOTE: check the price carefully. I searched Amazon.co.uk 
          on 4 August 2002 and found it listed at £40.00