• ''L'absente
(poem by , from Le jardin des caresses'', no. 139, Paris, Éd. Piazza), for voice and piano; • ''Feuillet d'album'' (song for high voice, words
Stéphane Mallarmé), Paris: Heugel, op. 2, 1926 (full score on IMSLP and on Gallica); •
Suite en la for cello and piano op. 5, 1923, ; •
Cinq chants sahariens op. 8, set of 5 melodies for pour soprano, oboe, string quartet and percussion, 1924 (on anonymous Tuareg poems); •
Impromptu for piano (Ed Jobert), 1925 (according to Desbiolles, p. 66) •
Les Pêcheurs (1925) :
divertissement for singers and dancers in one tableau, texts by
Claude-André Puget, op. 11, 1925; • ''Le Tombeau de l'amour'' op. 13 (4 songs on poems from
Charles-Albert Demoustier's
Lettres à Émilie, 1786 : Sous ces pavots...; Ah! si mon sort vous intéresse...; De nos vergers, de nos prairies...; Exilée au sein de Paris), Paris: Heugel, 1926 (score on IMSLP and [https://gallica.bnf.fr/ark:/12148/bpt6k3900404?rk=21459;2 : full score on Gallica); •
Le Magicien prodigieux: incidental music for the drama by
Pedro Calderon de la Barca, op. 14, 1925 : 9 pieces for pleyela
player piano, percussion, 2 soprani and 2 mezzi. Includes Opus 14A: Nocturne, interlude et pastorale for orchestra, Théâtre Albert-Ier, December 2, 1925, with
Marthe Brega (Commissioned by
Henri Ghéon); •
4 Romances sur des poèmes de Paul-Jean Toulet (songs for high voice), Paris: Jobert, 1925 ('En Arles', dedicated to
Roland-Manuel ; 'Les trois dames d'Albi' (to
Marcel Delannoy) ; 'Plus oultre' (to
Arthur Honegger) ; 'Le temps d'Adonis' (to Jacques Brillouin, a man of the film world); •
Deux Poèmes de Malherbe op. 15 : No.1 Dessein de Quitter Une Dame, No.2 Chanson, for soprano, tenor and piano. First performed on December 5, 1926, Paris, by Marthe Bréga; •
Elpénor op. 16 (two songs, 'Chanson De La Sirène Rousse' and 'Chanson Du Pilote'), poems by
Jean Giraudoux by
Suzanne Peignot, the Roth quartet and Jaubert.
Théâtre du Vieux-Colombier on April 26, 1929, concert organised by La Sirène musicale (); •
Six inventions for piano op. 18 played by Maurice Jaubert at the same April 1929 concert.; •
Contrebande, op. 19 (1927) : chamber opera based on a text by
Georges Neveux; •
Trois sérénades op. 21: 'La Traversée' (
Guillaume Apollinaire), 'Pour Virginie' (
Francis Jammes), 'Airs' (
Jules Supervielle), by
Ninon Vallin, Théâtre du Vieux-Colombier, 1928, with another performance at L'Artistique (Nice, 27 Bd Dubouchage) on March 8, 1929; •
Terminus, op. 22: music for the play by Henry Soumagne, directed by
Gaston Baty, Paris, Théâtre de l'Avenue, 10 September 1928. Includes “'C'est l'avenir, c'est le passé”': separate score for voice and piano; •
Avenue 30, op. 23: divertissement by
Paul Colline, sketches by
Simon Gantillon and Marcel Espiau, performed by
Renée Falconetti, Paris, Théâtre de l'Avenue, 31 May 1930. For orchestra, and also for 7 instruments; •
Suite for piano op. 24, from his music for the silent film
The Wonderful Lies of Nina Petrovna by Hanns Schwarz (1929). The suite includes a 'Rêverie' dedicated to the memory of
Erik Satie; •
Intermezzo en forme de rondeau for piano and orchestra, also taken from his score for
The Wonderful Lies of Nina Petrovna, op. 24B, 1929; •
Juliette ou La clé des songes, Op. 25: song (voice and piano) for the comedy by Georges Neveux, lyrics by Georges Neveux, Paris, Théâtre de l'Avenue, 8 March 1930, directed by Alberto Cavalcanti; •
Chants de la Côte (1925) «Popular Songs from Provence and Nice county» harmonized for one voice and piano; • ''Cinq danses de l'Amazone
"sur des thèmes indiens", op. 28A (1930) : for orchestra, from his score for Au Pays du Scalp'', a documentary film by and about ; •
Le jour op.30 (1931) : choreographic poem for symphony orchestra based on an argument that
Jules Supervielle wrote for Jaubert about the night sky, the appearance of the Sun, and the awakening of life. First performance on December 13, Salle Pleyel, with
Pierre Monteux and the Orchestre Symphonique de Paris.; •
Little Red Riding Hood" (French: Le Petit Chaperon Rouge) op. 32A (1931) : burlesque suite for 12 instruments, from his score for
Alberto Cavalcanti's film on a scenario by Cavalcanti and
Jean Renoir; •
Quatorze Juillet op. 35 (1933) : suite of dances for piano based on his score for
René Clair's film; •
Suite française op. 36 (1933) : for orchestra, from his music for 's film
La Vie d’un Fleuve (about the river Seine). First performed in Saint-Louis, USA, by its dedicatee,
Vladimir Golschmann; •
Ode à la Montagne op. 38A (1933) : for men's choir and orchestra, from his score for Henri Storck's film
Trois Vies et une Corde; •
Deus Abraham op. 42 (1934) : a short motet written for the wedding mass of
Maurice Thiriet; •
Ballade also known as
Symphonie de Lewis op. 44B (1934), and
Chanson de Tessa for
Tessa, a play adapted from Margaret Kennedy's novel
The Constant Nymph by
Jean Giraudoux, directed by
Louis Jouvet. Théâtre de l'Athénée, November 14, 1934; •
Nativité op. 46 (1935) : cantata for soprano, tenor, baritone and bass soli, choir and orchestra on liturgical texts; •
Cantate pour le Temps Pascal (Easter cantata) op. 47, 1935, for soloists, choir, and orchestra, which closed the March 24, 1938 concert at Salle Pleyel.
Charles Munch conducted. Includes 'Alleluia: on a Gregorian theme' op. 47A ; • ''
La guerre de Troie n'aura pas lieu'' op. 52 : music for Jean Giraudoux's play. Paris, Théâtre de l'Athénée, directed by Louis Jouvet, November 21, 1935; •
Trio italien, op. 54 (1935) : for violin, viola and cello; •
Intermèdes op. 55, 1936, for string orchestra; •
Sonate a due op. 56, 1936 : for violon, cello and string orchestra; •
Quartier nègre, Op. 57: Quartier nègre, Panama Canal: music for the play by
Georges Simenon, Brussels,
Royal Saint-Hubert Galleries, 9 December 1936, voice and piano; •
Concert flamand op. 58A, 1938 : for orchestra, based on his score for
Henri Storck's film
Regards sur la Belgique Ancienne. The score featured melodies by a number of early composers (Dufay, Lassus, Ockeghem, Josquin des Prés, etc.); •
Normandie op. 59 (1935) : ballet in one act, scenario by Éric Hurel about the launch of the liner
Normandie; • ''Jeanne d'Arc'' op. 61 (1937) : a ‘symphonie concertante’ for soprano, choir and orchestra to a text by
Charles Péguy first performed on June 9, 1937 at the Théâtre des Champs-Elysées by the Orchestre symphonique de Paris; • ''L'ombre'', op. 62 : ballet in one act and 4 tableaux based on the fairy tale by
Hans Christian Andersen, scenario by Maurice Jaubert; •
Géographies op. 66, 1937, suite for mixed choir and orchestra (Polynésie, Cyclades, Côte d'Ivoire, Equateur, Amazonie), based on his scores for
Au Pays du Scalp,
Île de Pâques and
En Crète sans les Dieux (by René Zuber and
Roger Leenhardt), broadcast on the radio on Oct 22, 1938 (Orchestre national, Manuel Rosenthal); •
Comédie de la soif (poem by
Arthur Rimbaud), voice and piano; •
Proses op. 68, 1938 : pour mixed choir and orchestra : Languentibus..., Inviolata..., Veni, Sancte Spiritus; • ''L'Eau vive'' op. 69, 1938, five work songs from Upper Provence for baritone based on poems by
Jean Giono. It was first performed on January 23, 1939, by baritone
Martial Singher, with the composer at the piano, during a concert organized by Le
Triton at the École Normale.; •
Caprice italien op. 73, 1938 : concerto for string orchestra (based on op. 54) • ''Deux ballades de
Charles d'Orléans'' : Complainte de France, Ballade sur la paix, op. 76 : for a capella mixed choir; •
Two songs by Victor Hugo, op. 80, for voice and piano: La chanson du spectre (from
Toute la Lyre), La chanson de Gacquoil le marin (from
Les Années Funestes). Dedicated to . 9 July 1985, Paris, ; •
Ô mes Frères Perdus, composed in November–December 1938, first performed at the Théâtre des Mathurins, June 30, 1941, on two poems by
Paul Eluard from '''' (1938) : Novembre 1936 (dedicated to
Rafael Alberti) ; Sans âge (to
Gustavo Pittaluga). For men’s choir and piano; •
Saisir, op. 88, 1939-1940 : Suite pour soprano, string orchestra, harp and piano, on poems by Jules Supervielle; there is also a reduction for voice and piano; •
Le bon mari, op. 86: words by (1632) for voice and piano. Dedicated to
Marta Eggerth. •
Chansons: words by
François de Maucroix (1619-1708), voice and piano; •
Trois Psaumes pour le temps de guerre op. 89, 1940 (Ps. XC Celui qui habite / 91 Whoever dwells ; Ps. XCIII Dieu de vengeance /94 The LORD is a God who avenges ; Ps. CXLIII O Dieu, je chanterai pour toi /144 I will sing a new song) for women's choir, harp and piano. Dedicated to
Patrice de La Tour du Pin. == Filmography ==