It is March 1919 and Darius Milhaud once again sets foot upon the streets of Paris, having just returned from Rio. It would have taken some time to become accustomed to it, for a frenzied rejuvenation was sweeping the city in the postwar spring sunshine. The stained plush of the fin-de-siècle salons was exchanged for a fresh art-deco interior; Impressionistic ‘haziness’ and late Romantic decadence made way for the no-nonsense aesthetic of the interwar period. Milhaud combined in Saudades do Brasil with nonchalance sprightly Brazilian dance rhythms with a hefty dose of polytonality.
Saudades do Brasil