If frisking lambs have ever been described in music, it’s from 3:24 to 3:39 here:
This is Milhaud’s Concertino de printemps for violin and chamber orchestra, opus 135, 1934. A year of poor health. It isn’t Groupe des Six superficiality, but a little masterpiece of French pastoralism. The violin “is […] like a butterfly among flowers that finally disappears in a ray of sunlight” (Paul Collaer).
Milhaud recorded it three times as conductor. The first time with Yvonne Astruc, the dedicatee, and an unnamed orchestra in 1935, the second time with Louis Kaufman and the Orchestre national de la Radiodiffusion française in 1949, the third time with Szymon Goldberg and the Ensemble des Solistes des Concerts Lamoureux in 1958. This is the Kaufman. You can hear the Astruc here and the Goldberg here.
Milhaud wrote many pieces with spring in the title. Aside from the concertino:
Le printemps, violin and piano, opus 18, 1914. I linked to an old recording of this here. It found its way, in orchestral garb, into his incidental music for chorus and orchestra for Claudel’s Protée, opus 17, 1913-19, or at least into the symphonic suite made from it (opus 57, 1919, which in a way is his Sacre du printemps).
Printemps, piano, Book I, opus 25, 1915-19. The first of two cahiers of short pieces. They are rarely performed or recorded. The best recording is with Christian Ivaldi on the fine old EMI record of music by Milhaud for one, two and four pianos.
The third string quartet, opus 32, 1916 is subtitled En souvenir du printemps 1914 (post here). It was written in memory of his friend from his youth in Provence Léo Latil, who died on the front in 1915. “We never wearied of walking along between the fields of wheat, blue-green in spring, bordered with almond trees in bloom, dwarf oaks, and pines, through exquisite landscapes, some of which, like the Château de l’Horloge, evoked historical memories: according to Chateaubriand, it was in this solid, roomy farmhouse that Napoleon spent the night on his return from Elba. Sometimes we went as far as Malvalat, the Latils’ estate near Granettes, a village that took its name from the painter Granet, who lived there […].” (Notes sans musique)
Symphonie de chambre no 1, Le printemps, opus 43, 1917. This is the first of six very short, radically un-teutonic, chamber symphonies which Milhaud composed between 1917 and 1923.
Printemps, piano, Book II, opus 66, 1919-20
Jeux de printemps, orchestra, opus 243, 1944; also a ballet. This has never, as far as I know, been recorded.
Printemps lointain, voice and piano, words by Francis Jammes (post here), opus 253, 1945. I don’t know this either.
There’s a Chanson du printemps in Chansons de Madame Bovary, opus 128d, 1933. There may be more individual songs. There are many spring-like movements in his symphonic and chamber works.
In the early ’50s, he gave way to the temptation to compose three more concertini to create a Quatre saisons:
Concertino d’automne for two pianos and eight instruments, opus 309, 1951
Concertino d’été for viola and chamber orchestra, opus 311, 1951
Concertino d’hiver for trombone and string orchestra, opus 327, 1953.
If they had been as good as the first, this Four Seasons would be as popular as Vivaldi’s. The Concertino de printemps shows what a marvellous composer Milhaud could be. The others have their moments, but show him on more workaday form. Trombonists like the last one.
I remember buying this LP in FNAC in Paris circa 1983.