Germaine Tailleferre (1892-1983)

There can't be many instances where studying music is likened to being a street-walker on one of the most shady streets in Paris. That was the accusation Germaine Tailleferre's father hurled at her, a child prodigy who wanted to take her music studies more seriously. It fell to Tailleferre's enterprising mother to come up with a solution. After her father left for work, Tailleferre was escorted to her music lessons each day by some obliging local nuns.

This unpromising start turned into a long and largely successful career in which Tailleferre continued to write music up to her death, at the age of 91, in 1983.

Fame found Tailleferre early on, in the 1920s, when she was a member of the group of musicians eventually titled 'Les Six'. Initially championed by Erik Satie and Jean Cocteau, two of the most influential voices among the Parisian avant-garde, the group, which comprised Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, Louis Durey and Tailleferre, prospered in a heady environment of artistic expression and friendship. Extending across the Arts, they collaborated with Picasso, Georges Braque and Marie Laurencin and poets like Paul Claudel, Paul Valery, Guillaume Apollinaire and Max Jacob.

Two disastrous marriages and the occupation of France during the second world war curtailed Tailleferre's musical activities and may at least in part explain why her early fame dwindled in later years. Yet, while much of her music remains in manuscript form, including a large body of music for film, television and radio, happily this shadowy figure among 'Les Six' is returning to the limelight. Presenting her work for the first time on 'Composer of the Week', Tailleferre's published legacy reveals a rich treasure trove of chamber works, solo piano, concertos, ballets, operas and songs.

Today, Donald Macleod explores Tailleferre's early life. Entering the Paris Conservatoire in 1904, Tailleferre won numerous prizes. A talented pianist, she also studied the harp. Her mastery of the latter encouraged her to produce two of her most popular and enduring pieces for the instrument, a sonata written in 1957, and the earlier Concertino for harp and orchestra, widely appreciated for its sparkling orchestration and sense of mischievousness.

Tailleferre's early life, when she braved her father's stern opposition to studying music.

There can't be many instances where studying music is likened to being a street-walker on one of the most shady streets in Paris. That was the accusation Germaine Tailleferre's father hurled at her, a child prodigy who wanted to take her music studies more seriously. It fell to Tailleferre's enterprising mother to come up with a solution. After her father left for work, Tailleferre was escorted to her music lessons each day by some obliging local nuns.

This unpromising start turned into a long and largely successful career in which Tailleferre continued to write music up to her death, at the age of 91, in 1983.

Fame found Tailleferre early on, in the 1920s, when she was a member of the group of musicians eventually titled 'Les Six'. Initially championed by Erik Satie and Jean Cocteau, two of the most influential voices among the Parisian avant-garde, the group, which comprised Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, Louis Durey and Tailleferre, prospered in a heady environment of artistic expression and friendship. Extending across the Arts, they collaborated with Picasso, Georges Braque and Marie Laurencin and poets like Paul Claudel, Paul Valery, Guillaume Apollinaire and Max Jacob.

Two disastrous marriages and the occupation of France during the second world war curtailed Tailleferre's musical activities and may at least in part explain why her early fame dwindled in later years. Yet, while much of her music remains in manuscript form, including a large body of music for film, television and radio, happily this shadowy figure among 'Les Six' is returning to the limelight. Presenting her work for the first time on 'Composer of the Week', Tailleferre's published legacy reveals a rich treasure trove of chamber works, solo piano, concertos, ballets, operas and songs.

Today Donald Macleod follows Tailleferre's activities after leaving the prestigious Paris Conservatoire. Identified by Erick Satie and given Jean Cocteau's seal of approval, Tailleferre's reputation grows through concerts of her work and the glowing critical reception to her String Quartet and her lyrical first sonata for violin and piano.

Donald Macleod follows Tailleferre's activities after leaving the Paris Conservatoire.

There can't be many instances where studying music is likened to being a street-walker on one of the most shady streets in Paris. That was the accusation Germaine Tailleferre's father hurled at her, a child prodigy who wanted to take her music studies more seriously. It fell to Tailleferre's enterprising mother to come up with a solution. After her father left for work, Tailleferre was escorted to her music lessons each day by some obliging local nuns.

This unpromising start turned into a long and largely successful career in which Tailleferre continued to write music up to her death, at the age of 91, in 1983.

Fame found Tailleferre early on, in the 1920s, when she was a member of the group of musicians eventually titled 'Les Six'. Initially championed by Erik Satie and Jean Cocteau, two of the most influential voices among the Parisian avant-garde, the group, which comprised Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, Louis Durey and Tailleferre, prospered in a heady environment of artistic expression and friendship. Extending across the Arts, they collaborated with Picasso, Georges Braque and Marie Laurencin and poets like Paul Claudel, Paul Valery, Guillaume Apollinaire and Max Jacob.

Two disastrous marriages and the occupation of France during the second world war curtailed Tailleferre's musical activities and may at least in part explain why her early fame dwindled in later years. Yet, while much of her music remains in manuscript form, including a large body of music for film, television and radio, happily this shadowy figure among 'Les Six' is returning to the limelight. Presenting her work for the first time on 'Composer of the Week', Tailleferre's published legacy reveals a rich treasure trove of chamber works, solo piano, concertos, ballets, operas and songs.

In today's episode Donald Macleod charts Tailleferre's activities during the 1930s. This was an exhilarating period. In addition to a succession of stage works, she came to the attention of the influential conductor Pierre Monteux. It was he who commissioned her critically acclaimed Concerto for two pianos, chorus and orchestra, which she scored for the original combination of two pianos, chorus, saxophones and orchestra.

Donald Macleod focuses on Tailleferre's activities during the 1930s.

There can't be many instances where studying music is likened to being a street-walker on one of the most shady streets in Paris. That was the accusation Germaine Tailleferre's father hurled at her, a child prodigy who wanted to take her music studies more seriously. It fell to Tailleferre's enterprising mother to come up with a solution. After her father left for work, Tailleferre was escorted to her music lessons each day by some obliging local nuns.

This unpromising start turned into a long and largely successful career in which Tailleferre continued to write music up to her death, at the age of 91, in 1983.

Fame found Tailleferre early on, in the 1920s, when she was a member of the group of musicians eventually titled 'Les Six'. Initially championed by Erik Satie and Jean Cocteau, two of the most influential voices among the Parisian avant-garde, the group, which comprised Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, Louis Durey and Tailleferre, prospered in a heady environment of artistic expression and friendship. Extending across the Arts, they collaborated with Picasso, Georges Braque and Marie Laurencin and poets like Paul Claudel, Paul Valery, Guillaume Apollinaire and Max Jacob.

Two disastrous marriages and the occupation of France during the second world war curtailed Tailleferre's musical activities and may at least in part explain why her early fame dwindled in later years. Yet, while much of her music remains in manuscript form, including a large body of music for film, television and radio, happily this shadowy figure among 'Les Six' is returning to the limelight. Presenting her work for the first time on 'Composer of the Week', Tailleferre's published legacy reveals a rich treasure trove of chamber works, solo piano, concertos, ballets, operas and songs.

Donald Macleod's survey reaches the war years. Traumatised by her experiences and unable to take her manuscripts with her to America, Tailleferre's prolific capacity for composition grinds almost to a complete halt. Returning to France in 1946, Tailleferre picks up the reins once again, with a burst of creativity, resulting in operas, concertos and chamber music. From the archive of Radio France we hear a rare excerpt from Tailleferre's comic-opera 'Il 退tait un petit navire', sung by one of Francis Poulenc's favourite singers, Denise Duval.

Donald Macleod focuses on the war years, when Tailleferre was forced to leave France.

There can't be many instances where studying music is likened to being a street-walker on one of the most shady streets in Paris. That was the accusation Germaine Tailleferre's father hurled at her, a child prodigy who wanted to take her music studies more seriously. It fell to Tailleferre's enterprising mother to come up with a solution. After her father left for work, Tailleferre was escorted to her music lessons each day by some obliging local nuns.

This unpromising start turned into a long and largely successful career in which Tailleferre continued to write music up to her death, at the age of 91, in 1983.

Fame found Tailleferre early on, in the 1920s, when she was a member of the group of musicians eventually titled 'Les Six'. Initially championed by Erik Satie and Jean Cocteau, two of the most influential voices among the Parisian avant-garde, the group, which comprised Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, Louis Durey and Tailleferre, prospered in a heady environment of artistic expression and friendship. Extending across the Arts, they collaborated with Picasso, Georges Braque and Marie Laurencin and poets like Paul Claudel, Paul Valery, Guillaume Apollinaire and Max Jacob.

Two disastrous marriages and the occupation of France during the second world war curtailed Tailleferre's musical activities and may at least in part explain why her early fame dwindled in later years. Yet, while much of her music remains in manuscript form, including a large body of music for film, television and radio, happily this shadowy figure among 'Les Six' is returning to the limelight. Presenting her work for the first time on 'Composer of the Week', Tailleferre's published legacy reveals a rich treasure trove of chamber works, solo piano, concertos, ballets, operas and songs.

Today Donald Macleod explores Tailleferre's life from the 1950s onwards. Punctuated by a series of commemorations marking her association with the artistic group of friends 'Les Six', Tailleferre's projects were as varied as ever, including a series of comic operas and a chamber opera, 'The Little Mermaid', after the famous story by Hans Christian Andersen.

Tailleferre's life from the 1950s onwards, as she continued to write inventive music.

Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name 'Les Six'. While their artistic paths quickly diversified, the group remained friends for the rest of their lives.

Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the Second World War, all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91.

Held back perhaps by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of 'Les Six'. This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre.

Today there's a rare performance of Tailleferre's sparkling ballet score Le Marchand d'Oiseaux and the uplifting story of her fight for the right to study music. Tailleferre's determination would win through in the end, but her victory was to come at some personal cost.

Valse lente (Deux valses)

Alexandre Tharaud, piano

Valse brillante (Deux valses)

Clinton-Narboni Piano Duo

Image for 8 instruments

Ulrike Sieber, flute

Deborah Marshall, clarinet

Heiko Stralendorff, celesta

Angela Gassenhuber, piano

Fanny Mendelssohn Quartet

Wolfram Buchenberg, conductor

Jeux de plein air

I : Le Tirelitentaine

II : Cache-cache mitoula

Pascal Rog退, piano

Ami Rog退, piano

Quartet for Strings

I: Mod退r退

II: Intermede

III: Vif

Stenhammar Quartet

Romance in A major

Nicolas Horvath, piano

BBC Scottish Symphony Orchestra

Ilan Volkov, conductor

Kate Molleson revels in the spry and subtly surprising music of Germaine Tailleferre, with guests Barbara Kelly and Caroline Potter.

Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name 'Les Six'. While their artistic paths quickly diversified, the group remained friends for the rest of their lives.

Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the Second World War, all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91.

Hindered too, perhaps, by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of 'Les Six'. This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre.

Seventeen years her senior, and very well respected, Ravel was also considered by many young bloods to be part of the old guard. When Tailleferre began to visit him in 1924, it was intriguing direction for a young composer to make.

Pas trop vite

Nicolas Horvath, piano

Piano Trio

I: Allegro animato

II: Allegro vivace

Trio Kar退nine

Paloma Kouider, piano

Fanny Robilliard, violin

Louis Rodde, cello

Ballade for piano and orchestra

Mod退r退 - Assez lent - Presto - Mouvement de Valse. Un peu moins vite - Lent

Florian Uhlig, piano

Deutsche Radio Philharmonie Saarbrücken Kaiserslautern

Pablo Gonz

Pablo Gonzàlez, conductor

Chansons françaises

No 5 : On a dit mal de mon ami (excerpt)

Jane Bathori, soprano

Germaine Tailleferre, piano

No 1. Non, non, la fidélité

No 2. Souvent un air de vérité

Ruby Hughes, soprano

Anna Tilbrook, piano

Concerto no. 1 for piano and orchestra

California Parallele Ensemble

United States Santa Cruz Orchestra

Nicola Paiment, conductor

Josophine Gandolfi, piano

Kate Molleson considers why Germaine Tailleferre struck up a friendship with Ravel.

Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name 'Les Six'. While their artistic paths quickly diversified, the group remained friends for the rest of their lives.

Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the Second World War, all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91.

Held back perhaps by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of 'Les Six'. This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre.

Tailleferre was introduced to the illustrator Ralph Barton at a swanky party. The attraction between them was instantaneous, but all too soon a heartbreaking tragedy was to follow.

Violin sonata no 1 (excerpt)

I : Mod退r退 sans lenteur

Malin Broman, violin

Simon Crawford-Phillips, piano

Fandango

Nicolas Horvath, piano

La nouvelle Cyth耀re (excerpts)

Nocturne

Pavane

Galop

Clinton-Narboni Duo

Harp Concertino

I. Allegretto

II: Lento

III: Rondo

Gabriella Dall'Olio, harp

Foundation Philharmonic Orchestra

David Snell, conductor

Chansons Fran瀀aises

No 3 : Mon mari m‘a diffam退e (Anon. XV.)

No 4 : Vrai Dieu, qui m‘y confortera? (Anon. XV.)

Ruby Hughes, soprano

Anna Tilbrook, piano

IV: Final: tr耀s vite

Kate Molleson follows Tailleferre's activities in America, including a whirlwind marriage.

Kate Molleson follows Tailleferre's activities in America during the 1920s. As her professional horizons widen, a chance meeting leads to a whirlwind proposal of marriage.

Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name 'Les Six'. While their artistic paths quickly diversified, the group remained friends for the rest of their lives.

Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the Second World War, all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91.

Held back perhaps by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of 'Les Six'. This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre.

As basic commodities dwindled in German occupied France, Tailleferre's situation became untenable. A life as a war refugee was fast becoming a necessary solution.

Partita for piano (excerpt)

I: Perpetuum mobile

Virginia Eskin, piano

Chansons du folklore

La pernette se l耀ve

Patrice Michaels, soprano

Chicago Chamber Musicians

Paul Freeman, conductor

Sonata for Harp

I: Allegretto

II: Lento

III: Perpetuum mobile

Maria Graf, harp

Concerto two pianos, chorus and orchestra

Mark Clinton, Piano

Nicole Narboni, Piano

Solveig Berg, Soprano

Emmanuelle Mansard, Soprano

Anne Coppey, Mezzo Soprano

Charlotte Baillaux, Mezzo Soprano

Dominique Ploteau, Tenor

Phillipe Hoarau, Tenor

Phillipe Degaetz, Bass

Francois Echassaux, Bass

Orchestre de la Soci退t退 du Conservatoire Paris

The XAS Ensemble

Bruno Poindefert, conductor

La cantate du narcisse

II: Le narcisse. Soleil seul avec toi

Jean Planel, tenor

Orchestre National de la RTF

Roger D退sormi耀res, conductor

Larghetto

Mark Clinton and Nicole Narboni, pianos

Kate Molleson tells the story of Germaine Tailleferre's escape from war-torn France.

Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name 'Les Six'. While their artistic paths quickly diversified, the group remained friends for the rest of their lives.

Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the Second World War, all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91.

Held back perhaps by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of 'Les Six'. This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre.

Kate Molleson and guests Barbara Kelly and Caroline Potter pull together a portrait of this elusive, brilliant composer.

Suite burlesque

1. Dolente

Clinton-Narboni Duo

Ouverture trans. By John Paynter

US Navy Band

Lt. Commander John R Pastin, officer in charge/leader

Il 退tait un Petit Navire (arr for two pianos)

Overture to the comic opera

Sayaka Nakajima, piano

Concertino for flute, piano and chamber orchestra (excerpts)

I: Pastorale

IIII: Nocturne

Anthony Robb, flute

Diana Ambache, piano

Ambache Chamber Ensemble

Pancarte pour une porte d'entr退e (song cycle)

Les Chapeaux

D退sinvoluture

L'oiseau des sles

Cours

L'退meraude

Sainte Nitouche

Partage

L'insecte

L'hirondelle

Le serpent

Ruby Hughes, soprano

Anna Tilbrook

Sonate Champꀀtre for wind and piano

I: Allegro moderato

II: Andantino

III: Allegro vivace - Gaiement

Tailleferre Ensemble

Tu mi chamas

Jodie Devos, soprano

Nicolas Krüger, piano

Kate Molleson discovers Tailleferre restarting her professional life in her eighties.