Alain Romans

Alain Romans (born Roman Abram Szlezynger; January 13, 1905 – December 19, 1988) was a Polish-born French jazz composer and pianist known for his improvisational performances, collaborations with leading artists, and film scores, particularly for director Jacques Tati. ^[1] A child prodigy, he studied at the conservatories of Leipzig and Berlin before completing his training in Paris under Vincent d'Indy at the Schola Cantorum, initially pursuing a career as a touring classical soloist. ^[2] He later specialized in jazz, working with notable figures including Django Reinhardt, Stéphane Grappelli, and Josephine Baker. During World War II, Romans served in the French Resistance and Free French Forces. He was wounded multiple times, including severely during an early execution attempt, and was deported to the Treblinka extermination camp before escaping from a subsequent camp in Lithuania during a flight to Soviet lines. ^[2] He later acted as an officer-interpreter-liaison to General Alphonse Juin during the Italian Campaign with the French Expeditionary Corps. ^[2] He is best remembered for his film music, including the recurring sunrise theme "Quel temps fait-il à Paris ?" for ''Les Vacances de Monsieur Hulot'' (1953) and contributions to the main theme of ''Mon Oncle'' (1958). In the late 1950s, facing financial difficulties, he opened the bar-restaurant Chez Alain Romans near the Champs-Élysées, where he performed as the resident pianist, though the venture proved short-lived. ^[2] He spent his later years in relative obscurity and died in Paris in 1988. ^[1]

Early life and education

Birth and early years

Alain Romans was born Roman Abram Szlezynger on January 13, 1905, in Częstochowa, Poland. ^[1] As a child, he demonstrated exceptional talent as a piano prodigy, displaying remarkable musical aptitude from an early age that marked him as a gifted performer in his native Poland. ^[3] His early years were spent in Częstochowa, where his precocious skills on the piano began to attract attention before pursuing further studies abroad. ^[3]

Musical training and initial career

Romans displayed prodigious musical talent from childhood, earning recognition as a child prodigy who began serious study at an early age. ^[2] He pursued advanced training at the conservatories of Leipzig and Berlin before moving to Paris to complete his education. ^{[4] [2]} In Paris, he became one of the favorite pupils of composer Vincent d'Indy at the Schola Cantorum. ^[2] Following his studies, Romans established a promising career as a classical pianist, composer, and improviser, regarded as one of the most gifted of his generation. ^[2] His playing featured an inimitable tenderness and communicative quality, often compared to Schubert for its intimate, poetic expressiveness that proved almost bewitching to audiences. ^[2] As a soloist-concertist, his classical career appeared highly promising in the pre-war years. ^[2] Although he remained deeply attached to this sensitive and tender musical style throughout his life, he later specialized in jazz. ^{[4] [2]}

Jazz career

Transition to jazz

After his initial success as a classical soloist, following studies at the conservatories of Leipzig and Berlin and advanced training under Vincent d'Indy in Paris, Alain Romans shifted his focus to specialize in jazz.^[3] This transition saw him embrace the genre's emphasis on improvisation, for which he became particularly noted.^[3] Romans formed and led his own ensembles during this period, including Alain Romans Et Ses Rythmes and L'Orchestre Alain Romans, through which he explored and performed jazz repertoire.^[1][4] He also performed as a pianist with established orchestras such as Ray Ventura Et Ses Collégiens and Michel Warlop Et Son Orchestre.^[1] These associations marked his active integration into the French jazz scene of the 1930s, building on his classical foundation to establish a distinct presence in jazz leadership and performance.^[3][4]

Key collaborations and performances

Alain Romans was an active participant in the vibrant pre-war French jazz scene of the 1930s, leading his own ensembles and collaborating with some of the era's most prominent performers. ^[4] He directed the Jazz du Poste Parisien, serving as pianist and leader for recordings with the celebrated entertainer Josephine Baker in November 1934, including her performances of "C'est lui!" and "Haiti." ^{[4] [5]} Romans also worked with guitarist Django Reinhardt, with his Orchestre Alain Romans du Poste Parisien providing accompaniment on several of Reinhardt's vocal recordings during the mid-1930s, as featured in various historical compilations of Reinhardt's work. ^{[6] [7]} He was associated with other notable figures in the French jazz community, including Stéphane Grappelli and Josephine Baker, through performances and recordings that highlighted his improvisational skills and versatility as a pianist and bandleader. ^[3] As a member of popular orchestras such as Ray Ventura et ses Collégiens and Michel Warlop et son Orchestre, Romans contributed to the dynamic Paris jazz and dance music scene, engaging in live performances and sessions that reflected the era's fusion of French and American jazz influences. ^[1] These collaborations underscored his role as a key accompanist and ensemble leader in pre-war French jazz. ^[4]

World War II service

French Resistance and military contributions

During World War II, Alain Romans initially served as a soldier in the 46th Infantry Regiment. He was wounded in the knee at Malmédy during the 1940 German invasion. Refusing defeat, he escaped to Spain, reached London, and joined British commando paratroopers. In late 1940, he participated in a sabotage mission to France but was captured after a mistaken drop, sentenced to death as a "terrorist," and survived an execution attempt (receiving multiple bullets but rescued and treated in secret). ^{[2] [8]} He later joined the French Resistance maquis. Captured again, he was deported as a Jew to the Treblinka extermination camp, then transferred to Kaunas (Lithuania). He escaped eastward during the German-Soviet front movements, reached Soviet lines in poor condition, proved his identity by playing piano despite injuries, and returned to London via Murmansk. ^{[2] [8]} His multilingual skills led to recruitment by intelligence services and later appointment as liaison officer and interpreter at the headquarters of General Alphonse Juin, commander of the French Expeditionary Corps, during the Italian Campaign. He was present at major battles including Cassino, Ponte Corvo (where wounded), and Rome entry preparations (including a Vatican protocol visit). He was wounded again near San Gimignano and hospitalized in Florence. ^[2] Romans was wounded multiple times overall during his wartime activities.

Film composing career

Early and mid-career film credits

Alain Romans began his involvement in film music in the 1930s, initially contributing to the soundtrack of the Josephine Baker vehicle Zou Zou (1934), where he was credited as Al. Romans. ^[3] He also served as a music arranger on the short film Le petit chemin (1936). ^[3] Following World War II, Romans returned to cinema in multiple capacities. He appeared on-screen as a pianist in the film Gringalet (1946). ^[3] He composed original music for several post-war productions, including the features La renégate (1948) and Les amants maudits (1952), as well as the short Les Dupont sont en vacances (1948). ^[3] His later non-collaborative film work in the late 1950s and early 1960s included composing for Un couple (1960), providing music for the short Fadila (1960), and scoring La mémoire courte (1963). ^[3] His prior experience as a jazz musician aided his approach to creating scores that incorporated improvisational and rhythmic elements suitable for film. ^[9]

Collaboration with Jacques Tati

Alain Romans is best remembered for his musical contributions to the films of Jacques Tati, where his jazz-influenced scores helped define the whimsical and satirical tone of Tati's work. He composed the music for Les Vacances de Monsieur Hulot (1953), crafting a jazz score built primarily around variations on the theme "Quel Temps Fait-il à Paris," which captures the film's relaxed seaside atmosphere and is prominently featured throughout. ^[10] Romans later co-composed the music for Mon Oncle (1958) with Franck Barcellini, supplying the main quirky theme that underscores the film's humorous contrast between traditional and modern lifestyles, with lively motifs representing Monsieur Hulot's world of gentle chaos. ^[1] The soundtrack's characterful music enhances Tati's visual comedy, and the film received the Academy Award for Best Foreign Language Film at the 31st Academy Awards. This partnership with Tati represents the cornerstone of Romans' film legacy, as these scores remain among his most recognized and enduring achievements in cinema music.

Later life and death

Financial difficulties and final activities

In the late 1950s, Alain Romans fell on hard times despite his earlier work in film music, notably his collaborations with Jacques Tati.^[3] By the end of the decade, he was heavily indebted and almost penniless.^[3] He subsequently obtained financial backing to open his own restaurant, Chez Alain Romans, near the Champs-Élysées, where he performed as the resident pianist.^[3] The restaurant venture was relatively short-lived.^[3] Romans spent his remaining years in relative obscurity.^[3]

Death

He died on December 19, 1988, in Paris, France, at the age of 83.^[11]