´óÏó´«Ã½

Kate Molleson discovers Tailleferre raising two grandchildren, writing music and teaching well into her eighties, because 'a good way of ending your life is restarting it'.

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 était 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’entrée (song cycle)
Les Chapeaux
¶Ùé²õ¾±²Ô±¹´Ç±ô³Ü³Ù³Ü°ù±ð
L’oiseau des îsles
Cours
³¢â€™Ã©m±ð°ù²¹³Ü»å±ð
Sainte Nitouche
Partage
³¢â€™i²Ô²õ±ð³¦³Ù±ð
³¢â€™h¾±°ù´Ç²Ô»å±ð±ô±ô±ð
Le serpent
Pancarte pour une porte d’entrée
Ruby Hughes, soprano
Anna Tilbrook

Sonate Champêtre for wind and piano
I: Allegro moderato
II: Andantino
III: Allegro vivace – Gaiement
Tailleferre Ensemble

Tu mi chamas
Jodie Devos, soprano
Nicolas Krüger, piano

Producer: Johannah Smith