Germaine Tailleferre (b. 1892–d. 1983) was a prolific composer of symphonic, chamber, film, and radio music who participated actively in French and international musical life for more than six decades. Tailleferre is most commonly remembered as the sole female member of Les Six, but her association with that group was relatively brief in the broader context of her career. Displaying early brilliance as a student at the Paris Conservatoire, Tailleferre won all the major prizes in her disciplines—Premier Prix in Harmony, Counterpoint, and Accompaniment—but never had the opportunity to compete for the Premier Prix in composition due to the suspension of the competition during the First World War. After leaving the Conservatoire, she studied with Charles Koechlin and Maurice Ravel. The latter in particular inspired her early efforts to imbue her music with neo-Baroque and neoclassical qualities. Tailleferre’s devotion to Ravel in the early 1920s, and her independence from the more capricious, experimental aesthetics pursued by Darius Milhaud, Francis Poulenc, and Georges Auric, led her away from the sphere of Jean Cocteau and Erik Satie, who had helped usher Les Six into existence. In her first full-length ballet, Le Marchand d’oiseaux, composed for the Ballets Suédois in 1923, and in her Concerto for Piano commissioned by the Princesse de Polignac in 1924, Tailleferre demonstrated a propensity for pastiche and emulation, combining allusions to J. S. Bach, Chopin, Poulenc, and Stravinsky. From the beginning through the end of her career, many works reveal her attachment to perpetuum mobile rhythms and Bachian counterpoint. Although her music was widely performed in the 1920s and 1930s, and although she continued to earn accolades throughout her life, including one of the first state commissions from the French government (1938), the Prix de l’Académie des Beaux Arts (1973), and the Grand Prix Musical de la Ville de Paris (1978), her writings and her friends’ reminiscences reveal Tailleferre to have been extraordinarily modest. Due in part to her modesty, Tailleferre left behind far less music criticism and autobiographical writing than most other members of Les Six. Indeed, after Louis Durey, who left Les Six in 1921, Tailleferre is the next most meagerly documented member of Les Six, as a comparison between this article and those of her peers will attest. (See the separate Oxford Bibliographies articles “Arthur Honegger”, “Francis Poulenc”, and “Darius Milhaud”.) And those sources that do treat her output focus disproportionately on her interwar works to the exclusion of the many works she produced later in life, including Paris-Magie (1948) and Concerto de la fidelité (1981). But numerous sources touch on her contributions to French music and on her relationships with artists, composers, patrons, impresarios, and others.
In Search of a Consolatory Past