Germaine Tailleferre

Preamble

“ a Marie Laurencin for the ear ”, thus Jean Cocteau spoke about Germaine Tailleferre, the single woman of famous the Groupe of the Six (in company of Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud and Francis Poulenc). This formula which wants to establish a correspondence between the decorative watercolours of Laurencin and music of Tailleferre, for sympathetic nerve which it was, was not very suitable. Naivety, freshness, femininity, these qualities were associated with Tailleferre as of its arrival with the Group of the Six; but with the play of the comparison, it is much more with the fawn-coloured Sonia Delaunay that one will associate the music of Tailleferre that in soft Laurencin so much one finds in a whole part of his work an authentic sometimes tinted strength, in spite of harmonies of a great sensuality, of a very unexpected austerity.

It was considered too a long time that the work of Tailleferre was reduced to a series of charming works for the Piano made up in the Entre-deux-guerres and that its career of compositrice was completed with the Second world war. It was to be unaware of or forget that apart from these piècettes, it especially composed of works of chamber music, of the melodies, two concertos for piano, three studies for piano and orchestra, a concerto for violin, its remarkable even imposing Concerto grosso for two pianos, eight vote soloists, quartet of saxophones and orchestra, four ballets, four operas, two operettas, without counting many other works for small units or full orchestra such this astonishing Concerto for two guitars and orchestra recently found and recorded in 2004 in Germany by Chris Bilobram and Christina Altmann. The majority of these major works were written between 1945 and its death in 1983. Until a recent past, an enormous part of its work remained new. It is only recently that one could measure his width and start to give him or to return the place to him which it deserves.

Biography

Germaine Tailleferre was born on April 19th, 1892 with Saint-Maur-of-Ditches, in the Parisian suburbs under the name of Marcelle Taillefesse. His/her mother, Marie-Desired Taillefesse was forced by her father to break her engagement to marry the young person Arthur Taillefesse whom it had chosen for the simple reason that they had the same patronym. This arranged marriage was more unhappy, the only joy of Marie-Desired being his/her children.

The young Germaine begins the piano with her mother and starts very young person to compose of short works. In spite of the opposition of her father and without the knowledge of this one, it enters to the Conservatoire of Paris in class of piano and musical theory and gains its first price of musical theory. This success puts a term at the opposition of his/her father who authorizes it to continue his studies while refusing to ensure the financing of it… A certain awakening doubled of a light desire of revenge, makes him change the very doubly risky patronym of Taillefesse into Tailleferre.

Tailleferre then meets Darius Milhaud, Georges Auric and Arthur Honegger with the Academy of Paris in 1912 and starts to attend in the artistic medium of Montmartre and Montparnasse, Guillaume Apollinaire, Marie Laurencin, Paul Fort, Fernand Leger and the sculptor Emmanuel Centore, who will marry Jeanne, the sister of Tailleferre. In 1913, it gains the first price of Counterpoint and Harmony to the Academy and in 1915, the first price of Running away.

Its circle of friends increases soon in 1917 of Picasso and Modigliani, and it is in the workshop of the one of these friendly painters that the January 15th 1918 takes place the first concert of the " New Jeunes" to which belongbelong Francis Poulenc and Louis Durey. With the program, Plays of outdoor and its Sonatine for string quartet , which was going to become later by the addition of a third movement, the String quartet .

It is with the critic musical Henri Collet that one owes the invention of the concept the Six, in remembering the Groupe of the Five. Two articles published in 1920, in the newspaper Comœdia , are the writings founders of from now on famous Groupe of the Six. Even if their activities of group were far from numerous, they were to remain friendly until the end of their days. The rumor which wants that Durey caused the end of the Group of the Six while refusing to take part in the Mariés of the Tower Eiffel is not exact. Work had at the origin being written by only Auric which being taken by time could not complete this order. It then called upon his friends who were to share work. Durey for the only reason which it was not in Paris at this time did not take part in the project. The spirit of the Group of the Six survived its members so well that twenty years after the death of the last of them, children and friends continue to be attended.

The First Sonata for violin and piano of Tailleferre was written for Jacques Thibaud, celebrates it violonist of which it was the friend. She was created in Paris in 1922 by Thibaud itself and Alfred Cortot. The year 1923 sees its ballet the Merchant of birds being success with the Swedish Ballets. The Princesse of Polignac placed order to Tailleferre of a Concerto for piano in the same neo-classic style as the Merchant of birds and who was created successfully by Alfred Cortot.

It is at that time that Tailleferre starts to pass much from its time with Maurice Ravel to Montfort-l' Amaury. It had met it with Saint-Jean-with-Luz close to Biarritz in 1919-1920. Ravel defended works of Tailleferre and encouraged it to prepare the Prix of Rome. The relation between Tailleferre and Ravel was simply artistic. Ravel was interested in the young type-setters and gave to Tailleferre opinion and councils as well as regards writing as of orchestration. These punctuated regular visits of long walks around Montfort always ended in the long ones and exhausting hours with the piano; they ended in 1930 mysteriously, and Tailleferre revives Ravel never again. She always refused, even with her close relations, to give the reasons of them.

In 1925, Tailleferre marries the American caricaturist Ralph Barton and settles with Manhattan. She binds with the friends of her husband and in particular with Charlie Chaplin. It is for this period that it composes its Concertino for toothing-stone , work dedicated to her husband. But Barton somewhat takes shade of the success of his wife and it is not without difficulty that it composes for this period. In 1927, at the request of Barton, the couple settles in France, and Tailleferre receives order of Paul Claudel of a music for its ode in the honor of the scientist Marcellin Berthelot, and entitled Under the rampart of Athens . The original partition of this work alas disappeared, but a reconstitution was made by it by the type-setter Paul Wehage. Tailleferre supplemented also the ballet the News Cythère which had been programmed for season 1929 of the Russian Ballets and had been cancelled because of sudden death of Diaghilev. During many years, one believed lost work, but the version for two pianos is now published. An orchestration for symphony orchestra and another for orchestra of harmony was carried out by the specialist in Tailleferre, Paul Wehage.

The year 1929 sees the end of its marriage with Ralph Barton which was to commit suicide a few months after its return in America. Its Six French songs are undoubtedly a reaction to its divorce; it uses texts of the 15th century at the 18th century which speak about the female condition. Each work is dedicated to a friend woman; they are one of the rare examples of Féminisme in the work of Tailleferre.

During the year 1931, the principal project of Tailleferre is its Op3era Comique Zoulaina which assembled forever and there exists only one manuscript except for famous the Ouverture which is one of the most played works of Tailleferre. The June 4th 1931, it gives rise to Boulogne with his/her single child, Francoise. In 1932, it marries the father of its daughter, the French lawyer Jean Lageat. Once again, the marriage becomes an obstacle with its career of compositrice, her new husband not expressing more support than the precedent for its musical activities. In spite even of a form of opposition, Tailleferre remains very productive for this period, composing the Suite for chamber orchestra , the Divertissement in the style of Louis XV , his Concerto for violin which had been lost in its original form (the Second Sonata for violin and piano is a reduction of the concerto, without rate) like its masterpiece, the Concerto grosso for two pianos, quartet of saxophones, eight vote soloists and orchestra (1934). It inaugurates also long series of film musics. In 1937, it collaborates with Paul Valéry for his Cantate of the Narcisse , for soprano, baritone, chorus of women and cords.

At the beginning of 1942, Tailleferre supplements its Three Studies for piano and orchestra dedicated to Marguerite Length. The German occupation encourages it with his/her sister to try the crossing towards the United States. They gain Spain then Portugal from where they embark for the United States. They will spend the years of war to Philadelphia. It composes little for this period, dealing especially with her daughter. She writes nevertheless a Ave Maria for voice of women has cappella created with the Swarthmore College which is lost.

Tailleferre returns to France in 1946 and is reinstalled with Grasse, close to Nice. Its relation with Lageat had worsened but the couple remained married. Its first important work on its return in France is the ballet Paris-Magic which was created with the Op3era Comique in 1949, followed It was a small ship on a booklet of Henri Jeanson. This work, with rare exceptions, was very badly accepted by criticisms. Work remained little of time to the poster and was not published. It is at that time that she writes her Second Concerto for piano , which is lost, her famous Sonate for toothing-stone , the Concertino for flute, piano and orchestra , the musical comedy Parfums , written for Monte Carlo in 1951 and which is also lost… and the ballet Parisiana created with Copenhagen in 1953.

In 1955, Lageat and Tailleferre divorce finally and the girl of Germaine, Francoise, gives birth to her daughter, Elvire. This same year, Tailleferre writes its series of five small comic operas Of the gallant style to the malicious style for Radio France. The following years she writes the Concerto of the vain words (text of Jean Tardieu) which disappeared except for the first movement Allegro concerting . In 1957, during a short period of expérimentaion of the dodecaphonic technical , it composes its opera the Small siren like its Sonate for clarinet solo as well as a work dedicated to the duet of pianos Gold and Fitzdale, the Toccata for two pianos . This period is completed with its opera the Master according to a part of Eugene Ionesco.

During the Years 1960, it composes of many film musics as well as a Concerto for two guitars , a Hommage to Branch for two pianos and two percussionnists. With Bernard Lefort, baritone who was going to become director of the Opera of Paris, it forms a duet which will make rounds in whole Europe. Same Lefort will form part until death of Tailleferre of his/her most faithful friends. In 1970, it becomes professor with the Schola Cantorum but must give up because of the lack of pupils. It then meets the leader of the Policemen Désiré Dondeyne which encourage it to write for orchestra of harmony and will help it to concretize certain projects.

It agrees, at 84 years, to become “as an accompanying neighbor” for the children with the Alsatian École, one of the most famous private schools of Paris. This station which brings a small complement of retirement to him, especially enables him to keep an external activity and to complete a last series of works among which the Sonate for two pianos , the Sérénade in the minor for four winds and piano or harpsichord, the Allegro concerting " vain the paroles" and the pastoral Sonata for three winds and piano. Its last important work will be written at the time of a ordering of the Ministry for the Culture, and it is a 89 years compositrice which will write the Concerto of fidelity for acute voices and orchestra (orchestration of Desired Dondeyne), which is a resumption of part of a former work. Tailleferre will compose until its last moments. She dies on November 7th, 1983 in Paris. She is buried with the communal cemetery of Quincy-Neighbors close to Meaux.

A street of Arcueil bears its name since 1987, like another with Quincy-Neighbors since November 2003.

Chronological list of works

The six catalogs of works of Tailleferre currently published agree neither on their number, nor on their title. The catalog included in the book German Tailleferre: the Lady of the Six of Georges Hacquard (Harmattan, 1997) counts even works whose title was not given by the compositrice. The following list uses three primary sources:

the catalog of the works deposited with the SACEM by the compositrice itself, with the computerized catalog and the old catalog, on paper;
of works whose identification is easy: for example of published works, film musics, of television and broadcasting, which are in particular verifiable in the files of the INA or with the BNF;
the catalog has Centenary Appraisal of the musicologist Robert Orledge (Muziek & Wetenshap, 1992), with a complete and rigorous description of all the manuscripts which it examined: localization, many pages, format, etc

We privileged this catalog because it is the only frame rigorously. It is extremely probable that other works exist, but it is necessary to bring the proof of their real existence before mentioning them.

1909 Impromptu for piano ;
1910 First Prowesses , for piano with four hands;
1910 Piece of reading for toothing-stone ;
1912 Imagination on a topic of G. Cassade , for quintet with piano;
1913 Lullaby for violin and piano ;
1913 Lovesong for piano ;
1913-1917 the Little book of toothing-stone of Mrs. Tardieu ;
1917 Plays of outdoor , for two pianos or orchestra;
1917-1919 String quartet ;
1917 Calm and without slowness , for Violin, violoncello and piano;
1918 Image , for flute, keyboard, piano and cords;
1918 Image , for piano with four hands;
1919 Pastoral for piano;
1920 symphonic Piece , for piano and orchestra;
1920 Very Quickly , for piano;
1920 Homage to Debussy , for piano;
1920 Ballade , for piano and orchestra;
1920 Fandango , for two pianos;
1921 Grooms of the Eiffel Tower: Square-waltz of the Dispatches , for orchestra;
1921 First Sonata for violin and piano ;
1923 the Merchant of birds , ballet for orchestra;
1923 Concerto n^o 1 for piano and orchestra ;
1924 Adagio , for violin and piano;
1925 Lullaby of the small elephant , for voice solo, chorus and horns;
1925 My Cousin of Cayenne , for unit;
1925 Ban' da , for chorus and orchestra;
1927 Concertino for toothing-stone and orchestra ;
1927 Under the rampart of Athens , for orchestra;
1928 Two Waltz for two pianos ;
1928 Pastoral in B , for piano;
1928 Sicilian , for piano;
1928 Night for two baritones and together ;
1929 the News Cythère , for two pianos or orchestra;
1929 Six French songs , for voice and piano;
1929 Pastoral in C , for piano;
1929 Pastoral INCA , for piano;
1929 Singing exercise-study , for soprano and piano;
1930 Flowers of France , for piano or string orchestra;
1931 Zoulaïna , comic opera (according to a text of Charles Hirsch);
1932 Opening , for orchestra;
1934 Largo , for violin and piano;
1934 Hunting for the child , for voice and piano (according to a text of Jacques Prévert);
1934 the Song of the elephant , for voice and piano;
1934 Two Sonnets of Lord Byron , for soprano and piano (according to a text of Lord Byron);
1934 Concerto for two pianos, chorus, saxophones and orchestra ;
1935 Entertainment in the style Louis Fifteen , for orchestra;
1935 the Shoes , film music;
1935 Song of Firmin , for voice and piano (according to a text of Henri Jeanson);
1936 Rates for the concerto for piano n^o 22 of Mozart ;
1936 Rates for the concerto n^o 15 for piano of Haydn ;
1937 Concerto for violin and orchestra ;
1937 With the pavillion of Alsace , for piano;
1937 Provincia , film music;
1937 graphic Symphony , film music;
1937 On the steel roads, film music;
1937 Ground of effort and freedom , film music;
1937 These ladies with the green hats , film music;
1938 Cantata of the Narcisse , for baritone Martin, soprano, chorus, cords and tympani;
1938 Small the Thing , film music;
1939 Prelude and running away , for organ, with trumpet and trombone, AD lib. ;
1940 Brittany , film music;
1941 the Two Shy persons , film music;
1942 Three Studies for piano and orchestra ;
1942 Pastoral for violin and piano ;
1943 Two Dances of the sailor of Bolivar , for piano;
1946 Confidences of a microphone , for piano (radiophonic music);
1946 Intermezzo for two pianos ;
1946 Intermezzo for flute and piano ;
1946 Coincidences , (film music);
1948 Paris-Magic , ballet for orchestra or two pianos;
1949 Squares , ballet for orchestra;
1949 Landscapes of France , continuation for orchestra;
1949 sentimental Paris , for voice and piano (according to a text of Marthe Lacloche);
1950 Markets of the South , (film music);
1951 Second Sonata for violin and piano ;
1951 Perfumes , musical comedy;
1951 It was a small ship , opera comic (according to a text of Henri Jeanson);
1951 It was a small ship , continuation for two pianos;
1951-54 Bohemian eternal the , music of theater;
1951 (?) Chinese Song , for piano;
1951 Concerto n^o 2 for piano and orchestra ;
1952 Saraband of the Garland of Campra , for orchestra;
1952 Only in the forest , for piano;
1952 In the clearing , for piano;
1952 Concertino for flute, piano and string orchestra ;
1952 Sicilian for flute and two pianos ;
1952 the King of Creation, film music;
1952 Waltz for the funambulist , piano;
1952 Caroline with the native land , film music;
1952 Caroline with the palate , film music;
1952 Conference of the animals , broadcast music;
1953 Caroline makes cinema , film music;
1953 Dear old man Paris , film music;
1953 South Carolina , film music;
1953 Gavarni and its time , music of televised emission;
1953 Parisiana , ballet for orchestra;
1953 Sonata for toothing-stone ;
1953? Between two wars , film music;
1954 the Eagle of the streets , continuation for piano;
1954 Running away for orchestra ;
1954 Charlie , waltz for piano;
1954 Two Parts for piano ;
1955 a rust with arsenic , for voice and piano (according to a text of Denise Centore);
1955 the Street Sorrow , for voice and piano;
1955 Of the gallant style to the malicious style , four operas of pocket ( Beautiful the Ambitious , the Girl of opera , Mr Petitpois buys a castle , the Poor Eugenie );
1955 Here the voice , music broadcast for orchestra;
1955 It is easy to say , for voice and piano;
1955 To lunch on the grass , for voice and piano (according to a text of Claude Marcy);
1955 the Child , for voice and piano (according to a text of Claude Marcy);
1955 It had a black beard , for voice and piano (according to a text of Claude Marcy);
1956 Concerto of the vain words , for baritone, piano and orchestra (according to a text of Jean Tardieu);
1956 the Man, our friend , film music;
1956 Work makes the owner , film music;
1957 more the Beautiful days, film music;
1957 secret Stories , music of broadcast emission;
1957 Small Continuation for orchestra ;
1957 the Small Siren , opera (according to a text of Philippe Soupault);
1957 Sonata for clarinet solo ;
1957 Adalbert , music of broadcast emission;
1957 Toccata for two pianos ;
1957 Partita for piano ;
1957 Chinese Aunt and others , film music for flute solo;
1959 Memories of a shepherdess , music of broadcast emission;
1959 the Master , opera of room (according to a text of Eugene Ionesco);
1960 Exposure time , music of televised emission;
1960 the Re-entry of the hays ;
1960 Sharks on our coasts , film music;
1961 the Large People , film music;
1962 With the paradise with the asses , music of televised emission (according to a text of Francis James);
1962 Sign for a main door , voice and piano (according to a text of Robert Pinget);
1962 Partita for oboe, clarinet, bassoon and cords ;
1963 the Good-bye of the rider , in memoriam Francis Poulenc , for voice and piano (according to a text of Guillaume Apollinaire);
1964 Welsh Évariste or the Praise of mathematics , music of televised emission;
1964 Homage to Branch , for two pianos and four percussions;
1964 Without Wonder , music of televised emission;
1964 Sonata went Scarlatti , for toothing-stone;
1964? Concerto for two guitars and orchestra ;
1966 Anatole , music of televised emission;
1969 Bitterness , for flute, oboe, clarinet, horn, toothing-stone and cords;
1969 Anguish , for chamber orchestra;
1969 Entonnement , for oboe, toothing-stone, pinaoforte and cords;
1969 Chatters , for flute, oboe, clarinet, violoncello, toothing-stone and cords;
1970 Impressionism , for flute, two pianos and double bass, film music;
1972 Barbizon , for piano;
1972 Forlane , for flute and piano;
1972 pastoral Sonata , for oboe, clarinet, bassoon and piano;
1973 Arabesque , for clarinet and piano;
1973 Choral for trumpet and piano ;
1973 Strong for trumpet and piano ;
1973 Rondo for oboe and piano ;
1973 Sonatine for violin and piano ;
1974 Sonata for two pianos ;
1974-75 Sonata for piano with four hands ;
1974-75 Symphonietta for trumpet, tympani and cords ;
1975 Allegretto for three clarinets (or trumpets or saxophones) and piano ;
1975 Escarpolète , for piano;
1975 Minuet for oboe (clarinet or saxophone) and piano ;
1975 Piedmont of the French Pyrenees , film music;
1975 Antics , for piano;
1975-1981 Childish , for piano;
1975-78 Three Sonatines for piano ;
1976 Choral and running away for orchestra of harmony (orchestration Paul Wehage) ;
1976 Walk for orchestra of harmony (orchestration Desired Dondeyne) ;
1976-77 Serenade in the minor , for four winds and piano or harpsichord;
1977 Paddle , for soprano solo, chorus and piano;
1977 Night for organ ;
1977 Continuation divertimento , for piano or orchestra of harmony;
1977 Three Songs of Jean Tardieu , for voice and piano (according to a text of Jean Tardieu);
1977 a chocolate Boat, for voice and piano (according to a text of Jean Tardieu);
1978 Trio for violin, violoncello and piano ;
1979 Choral and two variations for winds or copper quintet;
1979 Choral and variations for two pianos or orchestra;

1979 Minuet in F for oboe, clarinet, bassoon and piano ;

1979 Saraband for two instruments or piano ;

1980 burlesque Continuation , for piano with four hands;

1981 Concerto of fidelity , for soprano and orchestra;

1982 Twenty Lessons of musical theory , for voice and piano.