私人收藏（委約及購自畫家本人；賣出：倫敦蘇富比，「近觀：私人收藏」，2011年2月10日，拍品編號11）
現有藏家購自上述拍賣會

「夏加爾」，倫敦，英國皇家藝術學院及費城，費城美術館，1985年，品號101，圖錄彩色圖版 (標示為1962-63 年作)
「馬克．夏加爾」，慕尼黑，慕尼黑市文化基金會美術館，1991年，品號91，圖錄彩色圖版 (標示為1962 年作)

This work is in very good condition and original impasto is intact. Original canvas. Under UV light no inpainting is apparent.
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Since the early days of his career, musicians were among Chagall's favorite subjects. Nowhere could this be more clear than in La Musique, where he returned to one of his preferred themes, the violinist (fig. 1), a figure that in his mind belonged to the world of circus and street entertainment, and was a strong symbol of Russian rural life. In La Musique, the reference to Mozart and sheet music are among rare representations of classical music in Chagall's art. Compositionally, the present work is divided into two distinct areas: that of the nume💃rous musicians and their instruments populating the lower half of the canvas and that of the large, hovering figure holding the Mozart score above the lively orchestra. The canvas is further separated into distinct color areas; however their distribution is whimsical, as its purpose is to animate the canvas, generating a palpable sense of energy and creating a visual equivalent of the abstract quality of music.

Writing about the present work, Susan Compton observed, "The sound in Music is suggested by the bursts of strong hues. An intense blue bathes the harpist and his singers; a deep red enfolds the magic cello player and his band; above them Chagall has imagined the boy Mozart, an infant prodigy in his velvet suit of green. Surprisingly, the fiddler, that favorite figure from the artist's Russian days, plays in a patch of gloomy black. Yet he is accompanied by a joyful angel whose expression defies the unexpected dark - by placing it in juxtaposition with his brighter palette, Chagall has, in fact, shown its positive role, for it matches the intensity of blue, red and green and also evokes the violin's sad tones" (Susan Compton, Chagall (exhibition catalogue), London, Royal Academy of Arts & Philadelphia, Philadelphia Museum of Arts, 1985, p. 229).

It is no coincidence that this work was painted during the same period as Chagall's experimentation with stained glass. This new medium brought an increasing freedom in his use of color, and these experiments bore fruit in the intensely colored paintings of the 1960s and 1970s. "'Stained glass has allowed Chagall full rein for his pleasure in color. His first experience of the special property of color in this medium was as early as 1952, when he visited Chartres and made detailed studies of the medieval windows. As a result, color flooded into his paintings" (ibid., p. 254). In La Musique, bold areas of primary tones lead the viewer's eye from one area to another, highlighting various figures within the composition, while at the same time grounding them firmly upon the two-dimensional picture plane.