"fellowship for a year, and after graduating, lived in Paris from 1925 until 1940. While studying in Paris he was influenced by several French composers who were members of ""Les Six"" including: Darius Milhaud, Francis Poulenc, Arthur Honegger, and George Auric. He eventually studied with Nadia Boulanger and became a fixture of ""Paris in the twenties."" In 1925, in Paris, he cemented a relationship with painter Maurice Grosser (1903–1986), who was to become his life partner and frequent collaborator. Later he and Grosser lived at the Hotel Chelsea, where he presided over a largely gay salon that attracted many of"
"who contributed to the suite were [[Jean Françaix]], [[Léo Preger]] and [[Henri Sauguet]]. In 1952, Auric, Honegger, Poulenc, Tailleferre and three other composers collaborated on an orchestral work called ""[[La guirlande de Campra]]"". In 1956, Auric, Milhaud, Poulenc and five other composers created an orchestral suite in honour of the pianist [[Marguerite Long]], called ""[[Variations sur le nom de Marguerite Long]]"" [[Category:Les Six| ]] Les Six ""Les Six"" () is a name given to a group of six French composers who worked in Montparnasse. The name, inspired by Mily Balakirev's ""The Five"", originates in critic Henri Collet's 1920 article """""
"one of their concerts, the critic Henri Collet published an article titled, ""The Five Russians, the Six Frenchmen and Satie"". According to Milhaud: In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ..."
"Georges Auric Georges Auric (; 15 February 1899 – 23 July 1983) was a French composer, born in Lodève, Hérault. He was considered one of ""Les Six"", a group of artists informally associated with Jean Cocteau and Erik Satie. Before he turned 20 he had orchestrated and written incidental music for several ballets and stage productions. He also had a distinguished career as a film composer. Georges Auric began his musical career at a young age, performing a piano recital at the Société musicale indépendante at the age of 12. Several songs that he had written were then performed in"
"six occasions spread over 36 years on which at least some members of the group did work together on the same project. On only one of these occasions was the entire Groupe des Six involved; in some others, composers from outside the group also participated. Auric and Poulenc were involved in all six of these collaborations, Milhaud in five, Honegger and Tailleferre in three, but Durey in only one. In 1920 the group published an album of piano pieces together, known as ""[[L'Album des Six]]"". This was the only work in which all six composers collaborated. In 1921, five of"
"advantage of the first possibility since the end of World War II to freely travel in Europe. ""The Boys"", as they were called by their friends, arrived in Paris with a letter of introduction from Marcelle de Manziarly to Germaine Tailleferre of Les six who invited them to a lunch with Francis Poulenc and Georges Auric. This lunch ended with Auric and Tailleferre taking the score of Thomson's ""The Mother of Us All"", which Thomson had given as a gift, turning it upside down on the piano and having Poulenc singing all of the roles (including Susan B. Anthony) in"
"(formerly French Indochina) and the ensuing Vietnam War, seemed at that time in Paris to be a voice in the wilderness. He set poems by Ho Chi Minh and Mao Zedong. Other works include a string quartet, a flute sonatina, and ""Images à Crusoe"". Probably the least remembered of ""Les Six"", Louis Durey died at Saint-Tropez in 1979. Louis Durey Louis Edmond Durey (; 27 May 18883 July 1979) was a French composer. Louis Durey was born in Paris, the son of a local businessman. It was not until he was nineteen years old that he chose to pursue a"
"establishment and the use of referential material. Because of this and his association with Cocteau and Satie, Auric was grouped into ""Les Six"" by music critic Henri Collet, and was friends with the artist Jean Hugo. His participation led to writing settings of poetry and other texts as songs and musicals. Along with the other five composers, he contributed a piece to ""L'Album des Six"". In 1921, Cocteau asked him to write the music for his ballet, ""Les Mariés de la tour Eiffel"". He found himself short of time, so he asked his fellow composers of ""Les Six"" to contribute"
"Auric, Louis Durey and Arthur Honegger. After initially dismissing Poulenc as a bourgeois amateur, he relented and admitted him to the circle of protégés, whom he called """"Les Nouveaux Jeunes"""". Poulenc described Satie's influence on him as ""immediate and wide, on both the spiritual and musical planes"". The pianist Alfred Cortot commented that Poulenc's ""Trois mouvements perpétuels"" were ""reflections of the ironical outlook of Satie adapted to the sensitive standards of the current intellectual circles"". Poulenc made his début as a composer in 1917 with his ""Rapsodie nègre"", a ten-minute, five-movement piece for baritone and chamber group; it was dedicated"
"against Wagner as it did against Debussy. The music of these composers, including Auric, represented the specific cultural scene of Paris at the time and rejected the international styles brought by Russian and German music, as well as the symbolism of Debussy. Auric's later development as a populist composer was prefigured by many of the techniques and ideals of Les Six, especially the use of popular music and situations. Music of the circus or the dance hall played a significant role in the music of Les Six, especially in their actual collaborations. However, ""Les Six"" soon drew apart, with Auric"
"of Francis Poulenc and Paul Éluard dates from 1916 or 1917 during the First World War, at the Parisian bookstore of his friend Adrienne Monnier. When the composer Georges Auric met the writer around 1919, he suggested to Poulenc to set texts by Éluard to music. Éluard was the only surrealist writer who tolerated music, and the musicologist Peter Jost listed the works of Georges Auric and Francis Poulenc on his texts: six for Auric and 34 for Poulenc, augmented by three choral works including ""Figure humaine"". The poems of the cantata are among the most famous by Éluard. They"
"became friendly with two composers who helped shape his early development: Georges Auric and Erik Satie. Auric, who was the same age as Poulenc, was an early developer musically; by the time the two met, Auric's music had already been performed at important Parisian concert venues. The two young composers shared a similar musical outlook and enthusiasms, and for the rest of Poulenc's life Auric was his most trusted friend and guide. Poulenc called him ""my true brother in spirit"". Satie, an eccentric figure, isolated from the mainstream French musical establishment, was a mentor to several rising young composers, including"
"a joint title. Indeed, it has been suggested that the title of the album was a major factor in Collet's naming of the group. The pieces of ""L'Album des Six"" and their composers are: The suite takes about 11 minutes to play. Five of the pieces take less than two minutes each. The longest, Durey's ""Romance sans paroles"", requires a little over three minutes. Poulenc was the only one of the six composers to have left a major corpus of piano music; he also orchestrated his ""Valse in C"" in 1932. L'Album des Six L'Album des Six (original title: ""Album"
"1921 ballet ""Les mariés de la tour Eiffel"" contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group. In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925. From the early 1920s Poulenc was well received abroad, particularly in Britain, both as a performer and a composer. In"
"Louis Laloy, a writer whom Satie regarded with implacable enmity. Auric, who had just enjoyed a similar triumph with a Diaghilev ballet, ""Les Fâcheux"", was also repudiated by Satie for becoming a friend of Laloy. As the decade progressed, Poulenc produced a range of compositions, from songs to chamber music and another ballet, ""Aubade"". Hell suggests that Koechlin's influence occasionally inhibited Poulenc's natural simple style, and that Auric offered useful guidance to help him appear in his true colours. At a concert of music by the two friends in 1926, Poulenc's songs were sung for the first time by the"
"six Group Directors: Michel Philippot (1960–61), Luc Ferrari (1962–63), Bernard Baschet and François Vercken (1964–66). From the beginning of 1966, François Bayle took over the direction for the duration of thirty-one years, to 1997. He was then replaced by Daniel Teruggi . The group continued to refine Schaeffer's ideas and strengthened the concept of ""musique acousmatique"" . Schaeffer had borrowed the term acousmatic from Pythagoras and defined it as: """"Acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it"""" . In 1966 Schaeffer published the book ""Traité des objets musicaux"" (Treatise on Musical Objects) which"
"the members jointly composed the music for Cocteau's ballet ""[[Les mariés de la tour Eiffel]]"", which was produced by the [[Ballets suédois]], the rival to the Ballet Russes. Cocteau had originally proposed the project to Auric, but as Auric did not finish rapidly enough to fit into the rehearsal schedule, he then divided the work up among the other members of Les Six. Durey, who was not in Paris at the time, chose not to participate. The première was the occasion of a public scandal rivalling that of ""[[The Rite of Spring|Le sacre du printemps]]"" in 1913. In spite of"
"War I, Blaise Cendrars and the painter Moïse Kisling decided to put on concerts at 6 , the studio of the painter Émile Lejeune (1885–1964). For the first of these events, the walls of the studio were decorated with canvases by Picasso, Matisse, Léger, Modigliani and others. Music by Erik Satie, Honegger, Auric and Durey was played. It was this concert that gave Satie the idea of assembling a group of composers around himself to be known as """", forerunners of . According to Milhaud: But that is only one reading of how the Groupe des Six originated: other authors,"
"the Paris Conservatory her skills were rewarded with prizes in several categories. Most notably, Tailleferre wrote 18 short works in the ""Petit livre de harpe de Madame Tardieu"" for Caroline Luigini, the Conservatory’s Assistant Professor of harp. With her new friends, she soon was associating with the artistic crowd in the Paris districts of Montmartre and Montparnasse, including the sculptor Emmanuel Centore who later married her sister Jeanne. It was in the Montparnasse atelier of one of her painter friends where the initial idea for ""Les Six"" began. The publication of Jean Cocteau's manifesto ""Le coq et l'Arlequin"" resulted in"
"Francis Poulenc Francis Jean Marcel Poulenc (; 7 January 189930 January 1963) was a French composer and pianist. His compositions include ""mélodies"", solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite ""Trois mouvements perpétuels"" (1919), the ballet ""Les biches"" (1923), the ""Concert champêtre"" (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera ""Dialogues des Carmélites"" (1957), and the ""Gloria"" (1959) for soprano, choir and orchestra. As the only son of a prosperous manufacturer Poulenc was expected to follow his father into the family firm, and he was"
"Sextet (Poulenc) The Sextuor (Sextet), FP 100, is a chamber music composition written by Francis Poulenc for a standard wind quintet (flute, oboe, clarinet, bassoon, and French horn) and piano. Estimates about the time of its composition range from between 1931 and 1932 and 1932 alone. The piece was extensively revised in 1939. Performed in its entirety, it lasts for 18 minutes. The Sextet was composed at the height of Poulenc's ""Les Six"" years. It was written around the same time as the cantata ""Le Bal Masqué"" and the Concerto for Two Pianos. Poulenc did not always find composing to"
"This short song takes about two and half minutes to perform. L'adieu du cavalier (Tailleferre) ""L'adieu du cavalier"" (in English ""The Knight's Farewell"", subtitled ""in Memoriam Francis Poulenc) is a song for voice and piano written by Germaine Tailleferre in 1963 on a poem of the same title by Guillaume Apollinaire. The work was published in 2003 by the French publishers Musik Fabrik. The work was commissioned by the American soprano and patron of the arts Alice Swanson Esty for Esty's memorial concert for Francis Poulenc in 1964 at Carnegie Hall, at which she also premièred other songs by Darius"
"but out of his camera emerge an ostrich, a bathing beauty, and a lion; meanwhile, gramophones at either side of the stage comment ironically on the action in the fashion of a Greek chorus. The dancers were encased in elaborate costumes and masks that made it hard for them to hear the music which united the efforts of five members of Les Six: Auric, Honegger, Milhaud, Poulenc, and Germaine Tailleferre. Börlin’s interest in primitive cultures, which was shared by many artists of the early 20th century, inspired ""La création du monde"" (1923). Its source, an African creation myth, was reflected"
"des Carmélites and Les Mamelles de Tirésias."" At around the same time the writer Jessica Duchen described Poulenc as ""a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation."" Francis Poulenc Francis Jean Marcel Poulenc (; 7 January 189930 January 1963) was a French composer and pianist. His compositions include ""mélodies"", solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite ""Trois mouvements perpétuels"" (1919), the ballet ""Les biches"" (1923), the ""Concert"
"Collet's article made such a wide impression that the Groupe des Six had come into being. Cocteau, though similar in age to ""Les Six"", was something of a father-figure to the group. His literary style, ""paradoxical and lapidary"" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of ""Les Six"" collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite ""L'Album des Six"" consists of six separate and unrelated pieces. Their"
"Darius Milhaud Darius Milhaud (; 4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of ""Les Six""—also known as ""The Group of Six""—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. Milhaud is considered one of the key modernist composers. Milhaud was born in Marseille, the son of Sophie (Allatini) and Gabriel Milhaud. His father was from a Jewish family from Aix-en-Provence, and his mother was from a Sephardi Jewish family from Italy. Milhaud"
"this, ""Les mariés de la tour Eiffel"" was in the repertoire of the Ballets suédois throughout the 1920s. In 1927, Auric, Milhaud and Poulenc, along with seven other composers who were not part of Les Six, jointly composed the children's ballet ""[[L'éventail de Jeanne]]"". In 1949, Auric, Milhaud and Poulenc, along with three other composers, jointly wrote ""Mouvements du coeur: Un hommage à la mémoire de [[Frédéric Chopin]], 1849–1949"", a suite of songs for baritone or bass and piano on words of Louise Lévêque de Vilmorin in commemoration of the centenary of the death of Frédéric Chopin. The other composers"
"Les Double Six Les Double Six (also known as the Double Six of Paris) was a French vocal jazz group established in 1959 by Mimi Perrin. The group established an international reputation in the early 1960s. The name of the group was an allusion to the fact that the sextet used double-tracking techniques to enhance and 'fatten' the sound, very much like Brian Wilson of the Beach Boys did in the recording studio. The membership of the group varied from recording to recording. The six members would all sing once to a recording track, then sing the exact duplicate performance"
"France, but worked mostly in studios as a background singer to yé-yé singers and bands. In 1959, she formed the vocal sextet Les Double Six, which included, among others, Louis and Monique Aldebert, Roger Guérin, Christiane Legrand, Ward Swingle, Eddy Louiss and Bernard Lubat. The band name alluded to the fact that the group used overdubbing in the studio to sing twelve-part songs. The group oriented itself to the vocalese of King Pleasure on one side, and Lambert, Hendricks & Ross on the other, and was quite successful in the early 1960s. Les Double Six completed several European tours and"
"additional previously unreleased bonus track."" Les Double Six Les Double Six (also known as the Double Six of Paris) was a French vocal jazz group established in 1959 by Mimi Perrin. The group established an international reputation in the early 1960s. The name of the group was an allusion to the fact that the sextet used double-tracking techniques to enhance and 'fatten' the sound, very much like Brian Wilson of the Beach Boys did in the recording studio. The membership of the group varied from recording to recording. The six members would all sing once to a recording track, then"
"or by individuals in the Surrealist movement. Among them were Bohuslav Martinů, André Souris, Erik Satie, and Edgard Varèse, who stated that his work ""Arcana"" was drawn from a dream sequence. Souris in particular was associated with the movement: he had a long relationship with Magritte, and worked on Paul Nougé's publication ""Adieu Marie"". Germaine Tailleferre of the French group Les Six wrote several works which could be considered to be inspired by Surrealism, including the 1948 Ballet ""Paris-Magie"" (scenario by Lise Deharme), the Operas ""La Petite Sirène"" (book by Philippe Soupault) and ""Le Maître"" (book by Eugène Ionesco). Tailleferre"
"looser collection of French-speaking composers, emulates that of ""The Five"". The formation of the group began in 1856, with the first meeting of Balakirev and César Cui. Modest Mussorgsky joined them in 1857, Nikolai Rimsky-Korsakov in 1861, and Alexander Borodin in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with a career in chemistry. Rimsky-Korsakov was a naval officer (he wrote his First Symphony on a three-year naval voyage circumnavigating the globe)."
"2005, EMI issued a DVD, ""Francis Poulenc & Friends"", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre. A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein."