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Kate Molleson considers the reasons why Germaine Tailleferre struck up a friendship with Ravel, with guests Caroline Potter and Barbara Kelly.

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 Karénine
Paloma Kouider, piano
Fanny Robilliard, violin
Louis Rodde, cello

Ballade for piano and orchestra
Modéré – Assez lent – Presto – Mouvement de Valse. Un peu moins vite – Lent
Florian Uhlig, piano
Deutsche Radio Philharmonie Saarbrücken Kaiserslautern
Pablo Gonzàlez, conductor

Chansons françaises
No 5 : On a dit mal de mon ami (excerpt)
Jane Bathori, soprano
Germaine Tailleferre, piano

Chansons françaises
No 1. Non, non, la fidélité
No 2. Souvent un air de vérité
No 5. On a dit mal de mon ami
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

Producer: Johannah Smith