(b Lodève, 15 Feb 1899; d Paris, 23 July 1983). French composer. He studied at the Paris Conservatoire and with d′Indy at the Schola Cantorum (1914-16), becoming acquainted with Satie, Milhaud and Honegger. He was a member of Les Six, wrote ballets for Dyagilev (Les fâcheux, 1923) and film scores for Cocteau and was a music critic. In the 1950s and I 960s he held administrative posts while maintaining his musical curiosity: some of the later pieces are serial.
Instrument: Photography
Representative Album: "Le Testament d'Orphèe/Orphèe/La Belle et la Bête/L'Aigle"
Biography
Auric studied counterpoint and fugue at the Paris Conservatoire and composition with d'Indy at The Schola Cantorum. A member of Les Six, a group of modern French composers who were against expressionism and impressionism and in favor of clear melodies form and texture, Auric composed ballets, film scores, instrumental and vocal works. His early work, influenced by Berg and Skryabin, was contrapuntally complex and atonal. He later experimented with serial thematic writing and the use of semitones in his work. One of his most noted ballets is Les Matelots, written in 1924. ~ Lynn Vought, All Music Guide
Career Highlights: Rififi, The Wages of Fear, Roman Holiday
First Major Screen Credit: The Blood of a Poet (1930)
Biography
As with many of the best film music composers, Georges Auric was a child prodigy. At 15, the French-born Auric published his first compositions, and before he was 20 he had orchestrated and written incidental music for several ballets and stage productions. Considered "avant garde" in the days before atonality became commonplace, Auric was a favorite of such progressive filmmakers as Rene Clair and Jean Cocteau. It was for Cocteau's 1930 film Blood of a Poet that Auric wrote his first film score; his next assignment was Clair's A Nous a Liberte (1931), in which characters unexpectedly break into song at the drop of a chapeau. After the war, Auric wrote extensively for the British film industry, contributing scores to such films as Dead of Night (1945), Caesar and Cleopatra (1946) and Passport to Pimlico (1949). The music for these productions was as distinctly British as Auric's music for Les Parents Terribles (1949) and Orphee (1949) was unmistakably French. Auric's American films include Roman Holiday (1953), Heaven Knows Mr. Allison (1957), Bonjour Tristesse (1958) and The Innocents (1961). A few times, Auric found his work on the hit parade, as in the case of his love theme for Moulin Rouge (1952). Auric curtailed his cinema activities after 1962, when he was named director of the Paris Opera, though he kept his hand in the film business until 1969. While Georges Auric never won an Oscar, his work was cited several times by the Cannes Film Festival. ~ Hal Erickson, All Movie Guide
Georges Auric (15 February 1899 – 23 July 1983) was a French composer, born in Lodève, Hérault, Languedoc-Roussillon, France. He was a child prodigy and at age 15 he had his first compositions published. He studied at the Paris Conservatoire, and under the composer Vincent D'Indy at the Schola Cantorum. Before he turned 20 he had orchestrated and written incidental music for several ballets and stage productions.
As a young student of at the Paris Conservatory in 1920, and, considered avant-garde, Auric became part of Satie and Cocteau’s famous group, Les Six, and was friends with the artist Jean Hugo. His participation led to writing settings of poetry and other texts as songs and musicals. During this time, he wrote his one act opera Sous le masque (1927). (An earlier opera, La Reine de coeur (1919), is lost.) It was also in 1927 that he contributed the Rondeau for the children's ballet L'Éventail de Jeanne, a collaboration between ten French composers.
When Jean Cocteau started making motion pictures, at the beginning of the 1930s Auric began writing film scores. He wrote soundtracks for a number of French and British films, and his success led to writing the music for Hollywood movies, too. Several times, Auric’s work made it onto the hit parade, notably The Song from Moulin Rouge.
In 1962 he gave up writing for motion pictures when he became director of the Opéra National de Paris and then chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music, especially for winds, right up to his death.