20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Tailleferre Germaine
Aitken, Robert
Arnold, Malcolm
Barber, Samuel
Bartók, Béla Viktor János
Beaser, Robert
Bennet, Richard Rodney
Berio, Luciano
Bernstein, Leonard
Bloch, Ernest
Bolling, Claude
Boulanger, Marie-Juliette
Bozza, Eugène Joseph
Brown, Elizabeth
Brun, Georges
Burton, Eldin
Büsser, Henri
Camus, Pierre
Carter, Elliott
Casella, Alfredo
Clarke, Ian
Colquhoun, Michael
Copland, Aaron
Corigliano, John
Dahl, Walter Ingolf Marcus
Damase, Jean-Michel
Davidovsky, Mario
Debussy, Claude
Del Tredici, David
Denisov, Edison
Dick, Robert
Dohnányi, Ernő
Dutilleux, Henri
Enescu, George
Feld, Jindřich
Ferroud, Pierre-Octave
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
Gaubert, Philippe
Gieseking, Walter
Gordeli, Otar
Griffes, Charles Tomlinson
Grovlez, Gabriel
Guarnieri, Mozart Camargo
Hanson, Howard Harold
Harsányi, Tibor
Harty, Hamilton
Heiss, John
Heith, David
Higdon, Jennifer
Hindemith, Paul
Honegger, Arthur
Hoover, Katherine
Hosokawa, Toshio
Hovhaness, Alan
Hüe, Georges Adolphe
Ibert, Jacques
Ichiyanagi, Toshi
Ittzés, Gergely
Jacob, Gordon
Jemnitz, Sándor
Jirák, Karel Boleslav
Jolivet, André
Karg-Elert, Sigfrid
Kennan, Kent Wheeler
Kornauth, Egon
La Montaine, John
Liebermann, Lowell
Martin, Frank
Martino, Donald
Martinů, Bohuslav
Messiaen, Olivier
Mihalovici, Marcel
Milhaud, Darius
Mouquet, Jules
Mower, Mike
Muczynski, Robert
Nielsen, Carl
Offermans, Wil
Piazzolla, Astor
Piston, Walter
Poulenc, Francis
Prokofiev, Sergey
Rachmaninoff, Sergei
Ran, Shulamit
Ravel, Maurice
Reynolds, Verne
Rivier, Jean
Rota, Nino
Roussel, Albert
Rutter, John
Saariaho, Kaija
Sancan, Pierre
Schulhoff, Erwin
Schwantner, Joseph
Sciarrino, Salvatore
Shostakovich, Dmitri
Tailleferre, Germaine
Takemitsu, Tōru
Taktakishvili, Otar
Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Williams, Ralph Vaughan
Yun, Isang
Pastorale for flute and piano
Germain Tailleferre: Pastorale for flute (or violin) and piano was written in 1942, at the time when France was occupied by Nazis.
Even praised as a child prodigy in her earlier years and acknowledged by other composers of her time, Germain Tailleferre never reached the level of recognition as her friends from Les Six, mostly because of the common attitude towards women composers. As Tailleferre once recognized – the sorrows of her life (including two failed marriages) made her seek out uncomplicated joy in her art. Therefore Pastorale, composed during the occupation was intended as a soothing piece in which the melody rocks tenderly, like a boat on still water.
Germaine Tailleferre (1892 – 1983) was a French pianist and composer. She is mostly known as the only female member of the renowned Les Six, the group of six French composers: Auric, Durey, Honegger, Milhaud, Poulenc, and Tailleferre. She changed her original surname Taillefesse to Tailleferre to break apart from her father’s influence and unwillingness to support her musical aspirations. Initially, she studied piano with her mother. At the age of 12, she started her studies at the Paris Conservatory with Charles Koechlin and Maurice Ravel where her musical talent was recognized with several prizes. She was praised for her phenomenal memory. Along with her classmates in the counterpoint class – Auric, Milhaud, and Honegger she actively participated in numerous concerts that led to forming Les Six, greatly influenced by their extravagant mentor Erik Satie who praised Tailleferre talents, especially her work Jeux de Plein Air (Play in Plain Air) and called her his “musical daughter”. In the 1920s she composed her most important works: The First piano concerto, Concertino for Harp, and several ballets from which La nouvelle Cythère was commissioned by the famous impresario Sergei Diaghilev. Even after her second marriage in the 1930s, she continued to compose, producing two piano concertos and several ballets, orchestral, and chamber music compositions, including Concertino for Flute, Piano, and Orchestra. Additionally, she wrote a substantial number of scores for film and television. Since 1976 she worked as an accompanist at the École alsacienne, a private school in Paris. Due to progressing arthritis in both hands she mostly performed in small-scale concerts.
The majority of her works were published only after her death in 1983.