Overview
Germaine Tailleferre (1892-1983) was a French composer and the only woman in the famous group Les Six, alongside Poulenc, Milhaud, Honegger, Auric and Durey. This collective rejected the influence of Wagnerian romanticism and Debussy’s impressionism, favouring lighter, clearer and more accessible music, often tinged with humour and popular influences.
Tailleferre, trained at the Paris Conservatoire, developed a refined style, imbued with lyricism and neoclassical elegance. Her work spans several genres: piano music, chamber music, symphonic music, opera and film music. Her notable pieces include the Piano Concerto (1924), the Harp Sonata and Le marchand d’oiseaux, a light and charming orchestral suite.
Despite her talent, she did not receive the recognition of some of her male colleagues and often lived in precarious conditions. Nevertheless, she continued to compose until the end of her life, leaving a rich catalogue characterised by melodic finesse and clarity of writing that deserve to be rediscovered.
History
Germaine Tailleferre was born in 1892 as Germaine Tailefesse into a family where music was not encouraged. Her father disapproved of her interest in the piano, but she persisted, supported by her mother, and eventually entered the Paris Conservatoire. There, she became friends with composers such as Darius Milhaud, Arthur Honegger and Francis Poulenc, who, with her, would later form Les Six, a group seeking to break free from Debussy’s impressionism and Wagner’s romanticism. It was at this time that she changed her name to Tailleferre, to mark a break with her father.
In the Paris of the 1920s, she evolved in a world bubbling with new ideas, frequented Cocteau, Stravinsky and Satie, and composed works combining elegance and modernity. Her Piano Concerto (1924) and Harp Concerto (1927) reveal a style that is both virtuoso and delicate, earning her the admiration of her peers. She married an American lawyer, Ralph Barton, but the marriage was short-lived: Barton was unstable, and their relationship became an emotional burden. She returned to France, marked by this experience.
The Second World War forced her into exile in the United States, where she struggled to find a place for herself. After the war, she returned to France and continued to compose, although her career suffered a certain decline. She taught, wrote film music, and went through difficult financial periods. Yet, until the end of her life, she retained a lively mind and an undiminished love of music.
She died in 1983, discreet but still active. Although she never received the recognition of some of her contemporaries, her work, imbued with clarity, grace and inventiveness, continues to be rediscovered and celebrated.
Chronology
1892 – Birth
• Germaine Tailleferre was born on 19 April in Saint-Maur-des-Fossés, in the Paris suburbs.
• Her father, opposed to her desire to become a musician, disapproved of her learning the piano, but her mother supported her.
1904-1915 – Musical studies
• Enrolled at the Paris Conservatoire in 1904, where she excelled in music theory, harmony and counterpoint.
• Met Darius Milhaud, Arthur Honegger and Francis Poulenc, who became her friends and future companions in the group Les Six.
• Adopted the name Tailleferre in opposition to her father.
1917-1920 – Les Six and success
• Meets Jean Cocteau and Erik Satie, who influence his musical style.
• In 1920, she joins Les Six, a group of composers sharing a musical aesthetic that breaks with romanticism and impressionism.
• Participates in the collective album Les Mariés de la Tour Eiffel (1921).
1920-1930 – Prosperous years
• Composes her Piano Concerto (1924), acclaimed for its elegance and clarity.
• Creates her Harp Concerto (1927), one of her most frequently performed works.
• Marries Ralph Barton, an American cartoonist, in 1926, but the marriage is a failure.
1930-1945 – Crisis and exile
• She returned to France after her divorce. She continued to compose but experienced financial difficulties.
• During the Second World War, she took refuge in the United States (1942), where she composed film music, among other things.
1946-1983 – Rediscovery and final years
• Returning to France after the war, she taught and continued to compose.
• Created a variety of works, including operas (Il était un petit navire, 1951) and chamber music.
• Remained on the fringes of the official musical world and lived modestly.
• Died on 7 November 1983 in Paris, leaving behind a body of work characterised by elegance and modernity.
Although less famous than her male colleagues, Tailleferre is now being rediscovered as a unique voice of French neoclassicism.
Characteristics of the music
Germaine Tailleferre’s music is characterised by its elegance, clarity and a certain melodic freshness. It is part of the neoclassical aesthetic while retaining a personal sensitivity.
1. Neoclassical clarity and simplicity
Tailleferre rejected the excesses of Romanticism and the harmonic opacity of Impressionism, preferring a clear and balanced style. His style was inspired by classical and baroque music, but with a touch of modernity.
2. Refined and expressive melodies
His melodic lines were lilting, often lyrical, but never grandiloquent. They are sometimes reminiscent of the style of Poulenc, with a natural softness and elegance.
3. Subtle and colourful harmony
Although less daring than that of Debussy or Ravel, her harmony is refined, sometimes tinged with impressionist touches, but always in the service of musical clarity.
4. Lively and fluid rhythms
Tailleferre favoured fast and light movements, with a flexible and dynamic rhythmic style. She also knew how to use dance rhythms, influenced by popular music and jazz.
5. Influence of popular music
She sometimes incorporated elements of French popular music, jazz or even Hispanic inspirations, particularly in certain orchestral pieces and her works for piano.
6. Discreet but demanding virtuosity
His works for piano and harp often require great technique, but without ostentation. The technical demands are always placed at the service of musicality.
7. Humour and lightness
Like other members of the Six, he sometimes introduces a touch of humour or irony into his compositions, avoiding pathos and favouring a certain carefree attitude.
Her works such as the Piano Concerto (1924), the Harp Sonata (1953) and her opera Il était un petit navire are good examples of these characteristics. Her style always remains elegant and fluid, without seeking to impress, which contributes to the uniqueness of her music in the 20th century landscape.
Relations
Germaine Tailleferre (1892-1983) had many direct relationships with composers, performers, conductors and personalities from various backgrounds. Here is an overview of her most significant relationships:
1. Composers
The Six (Poulenc, Milhaud, Honegger, Auric, Durey): A member of the famous group of Six, she was close to Francis Poulenc, who appreciated her talent, and Darius Milhaud, who encouraged her in her compositions. Arthur Honegger, although more serious and attached to counterpoint, also shared her admiration for Ravel.
Maurice Ravel: She greatly admired Ravel, who encouraged her, although he did not play as direct a role as he did for other composers.
Erik Satie: He was an influential figure in the Group of Six, although he was not officially part of it. Satie supported Tailleferre and appreciated him for his wit and his music.
Igor Stravinsky: She crossed paths with Stravinsky, but their styles differed and they did not seem particularly close.
Jean Cocteau: He was an important figure in the Group of Six and indirectly influenced his career, particularly through his influence on the group’s aesthetic.
2. Performers and conductors
Alfred Cortot: The pianist and teacher was one of his teachers at the Schola Cantorum.
Nadia Boulanger: Although she studied at the Schola Cantorum, she knew Nadia Boulanger well, who influenced many composers of her generation.
Charles Munch: He conducted some of his orchestral works.
Pierre Monteux: He also helped to make some of her pieces known.
Marcelle Meyer: A pianist close to the Six, she performed some of her works.
3. Non-musical personalities
Jean Cocteau: Poet, playwright and filmmaker, he was a prominent figure of the Group of Six and influenced their artistic aesthetic.
Paul Claudel: She collaborated with him on musical and literary projects.
Le Corbusier: She moved in avant-garde circles where modern architecture and music met.
4. Collaborations with orchestras and institutions
Orchestre National de France: Several of her works have been performed there.
Radio France: She wrote a lot of music for radio and television.
Opéra-Comique: Some of her works have been performed there.
Germaine Tailleferre’s musical style was characterised by neoclassical clarity, a lightness often tinged with humour and a notable influence from Ravel and the Group of Six. Here are some composers who are similar to her, whether in terms of their aesthetic, their era or their career path:
1. Composers close to the Group of Six
Francis Poulenc (1899-1963): Like Tailleferre, Poulenc combined melodic elegance with a certain playfulness, influenced by Satie. He shared with her an affinity for neoclassical forms and a marked French sensibility.
Darius Milhaud (1892-1974): His polytonal writing and his taste for jazz set him apart, but he shared with Tailleferre a penchant for inventiveness and orchestral fluidity.
Arthur Honegger (1892-1955): More serious and dramatic than Tailleferre, Honegger nevertheless evolved in the same circles and shared certain neoclassical preoccupations.
Louis Durey (1888-1979) and Georges Auric (1899-1983): Although less well known today, they, like Tailleferre, explored a direct language, influenced by Satie and Stravinsky.
2. French neoclassical and modernist composers
Jean Françaix (1912-1997): Heir to the style of Les Six, he wrote elegant and light music in the vein of Tailleferre.
Henri Sauguet (1901-1989): His melodic approach and refined writing are reminiscent of Tailleferre, with a more melancholic touch.
Jacques Ibert (1890-1962): His taste for clarity and humour in orchestral and chamber music brings him closer to the style of Tailleferre.
3. Composers influenced by Ravel and neoclassicism
Lili Boulanger (1893-1918): Although her style was more lyrical and sometimes darker than Tailleferre’s, she shared a taste for orchestral colour and refined harmonies.
Maurice Delage (1879-1961): Close to Ravel, he wrote elegant and subtle music, sometimes influenced by exotic sounds.
Albert Roussel (1869-1937): His energetic and structured neoclassicism brings him closer to Tailleferre.
4. Women composers with a similar aesthetic
Marcelle de Manziarly (1899-1989): Trained by Nadia Boulanger, she wrote delicate and refined works in a spirit close to Tailleferre.
Marguerite Canal (1890-1978): Composer and conductor, her harmonic and melodic language has similarities with that of Tailleferre.
Elsa Barraine (1910-1999): More politically engaged, her music remains influenced by the same French modernism.
Famous works for solo piano
Germaine Tailleferre composed several works for solo piano, some of which have become emblematic of her elegant, refined and often mischievous style. Here are some of her best-known pieces:
Famous works for solo piano
‘Pastorale’ (1919) – A short and delicate piece, influenced by neoclassicism and Ravel’s legacy.
‘Impromptu‘ (1912, revised in 1921) – A work with refined harmonies and fluid elegance.
‘Valse lente’ (1919) – A poetic waltz reminiscent of the aesthetics of Satie and Ravel.
‘Jeux de plein air‘ (1917-1928) – A suite in several movements that evokes children’s games with a light and playful tone.
‘Fleurs de France’ (1943) – A series of expressive miniatures inspired by French folklore.
‘Suite burlesque‘ (1917-1920) – A work full of vivacity and humour, typical of the influence of the Group of Six.
‘Partita’ (1957) – A work in several movements illustrating his mastery of counterpoint and classical forms.
‘Image’ (1918) – An impressionistic piece reminiscent of Ravel, with a dreamy atmosphere.
‘Deux Études‘ (1925-1970) – Short virtuoso exercises that explore modern sounds.
‘Larghetto’ (1918) – A lyrical and intimate piece, with great harmonic delicacy.
Famous piano trios
Germaine Tailleferre composed several works of chamber music, including a number of trios for piano, violin and cello. These are her best-known trios:
1. Trio for piano, violin and cello (1917, revised in 1978)
This is her most famous trio and one of her masterpieces.
It reflects the influence of Ravel and neoclassicism, with elegant and fluid writing.
Composed in 1917, then revised in 1978, it alternates lyrical passages with sections full of vivacity.
2. Trio for piano, violin and cello (1978)
This is a second trio, less well known but still characterised by the clarity and lightness typical of Tailleferre.
The influence of his later work can be felt, with a more refined but still melodic style.
The 1917 Trio is still the most frequently played and recorded, and is a fine illustration of the French neoclassical style of the 20th century!
Famous works
Orchestral music
Concerto for piano and orchestra (1924, revised in 1926) – A brilliant and colourful work, influenced by neoclassicism.
Concerto grosso for two pianos, eight solo voices, alto saxophone and orchestra (1952) – An ambitious work combining classicism and modernity.
Concerto for harp and orchestra (1927-1928) – Very refined and light, it is part of the French harp tradition.
Concerto for violin and orchestra (1934-1936) – Less well known but with great melodic elegance.
Overture (1932) – A lively and cheerful orchestral piece.
Chamber music
Sonata for violin and piano (1951-1957) – A fluid and luminous work, with impressionist and neoclassical influences.
String quartet (1917-1919, revised in 1936) – A work of great finesse, reminiscent of the Ravelian heritage.
Sonata for harp (1953) – A delicate and expressive piece.
Sonata for clarinet and piano (1957) – A short work, but full of charm and agility.
Vocal and choral music
‘Chansons françaises’ (1929) – A cycle of light-hearted and witty melodies.
‘Cantate du Narcisse‘ (1942) – Work for voice and orchestra, written to a text by Paul Valéry.
‘The Little Mermaid’ (1957-1959) – A chamber opera inspired by Andersen’s fairy tale.
Music for theatre and cinema
‘Zoulaïna‘ (1923) – Humorous ballet influenced by the spirit of the Group of Six.
‘Paris-Magie’ (1949) – A lively and sparkling ballet music.
Film music – She wrote several scores for the cinema, notably for ‘Les Deux Timides’ (1947) and ‘Le Petit chose’ (1953).
These works clearly illustrate the diversity of Tailleferre’s talent, who excelled in orchestral, chamber, vocal and stage music.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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