Milhaud admitted that he had little enthusiasm for writing the first version of Scaramouche, for two pianos, Op. However, as it was essentially commissioned by noted French pianist, teacher, and Milhaud supporter Marguerite Long , the composer felt particularly obligated. Long wanted the work for two of her students to play at the Paris International Exposition. The composer thought it was too popular, to the detriment of his other compositions.
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Tagged 0 Thread s I believe both accounts are correct. Rascher told me on many occasions of his exploits in Paris, and how many composers he contacted to interest in writing for him. Many declined, including Prokofiev and Poulenc - Poulenc wanted 10, Francs but a remarkable number accepted. It makes perfect sense that Milhaud would have created Scaramouche for Rascher from the incidental musics that Londeix described.
Rascher, on the other hand, was exclusively interested in solo works as either orchestra solos, recital works, and at times chamber music pieces such as the Bentzon "Racconto", non Knorr "Trio" KH David "Quartet etc.
The only question is which version of Scaramouche came first: piano or orchestra? After all, that was what the other Paris musicians had also agreed to write.
So, yes. Scarmouche as we know it seems to have been written for Rascher with the piano version coming first, morphing into the originally intended orchestra solo. Interestingly, there is no record of Rascher performing the work, though this would not be the first excellent piece written for Rascher that he did not play.
Milhaud Darius Scaramouche Sax Alto