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Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)] Autograph Letter to Thibaud about Violin Sonata no. 1
Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)] Autograph Letter to Thibaud about Violin Sonata no. 1
Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)] Autograph Letter to Thibaud about Violin Sonata no. 1
Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)] Autograph Letter to Thibaud about Violin Sonata no. 1
Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)]. Autograph Letter to Thibaud about Violin Sonata no. 1.
Autograph letter from the French composer, the only female member of the group of composers known as Les Six, to the masterful French violinist Jacques Thibaud, regarding corrections to a violin sonata. Dated "Friday," with original envelope postmarked August 5, 1922. Translated from the French, in full: "Dear friend, I am leaving tonight for Brittany and I hope that you have received the manuscript of the violin part and of the sonata, which I sent to you almost 15 days ago. Please don't delay in looking over the part, because I fear there may now be a severe delay in the publication because of this. I am sorry to disturb you at this point, and ask you to excuse me, it is the last service that I will ask of you... Respectfully, G. Tailleferre. [...] It would be best if you could send it directly to Durand to save time." Folding creases, one chip at the upper edge; overall in fine condition. 8.25 x 10.5 inches (21 x 27 cm).

The sonata referred to is Tailleferre's Sonata no. 1 for violin and piano, composed in 1920–21, first performed by Jacques Thibaud and Alfred Cortot in June 1922, and published in 1923.

"As a pianist prodigy with an amazing memory she won numerous prizes, and in 1913 she met Auric, Honegger and Milhaud in Georges Caussade’s counterpoint class. In 1917 Satie was so impressed with her two-piano piece Jeux de plein air that he christened her his ‘musical daughter’, and it was he who first brought her to prominence as one of his group of Nouveaux Jeunes. She then went on to become the only female member of Les Six when it was formed in 1919–20. [...] Tailleferre’s talents fitted in perfectly with the prevailing spirit of Stravinskian neo-classicism, though she was also influenced by Fauré and Ravel, remaining in close contact with the latter throughout the 1920s. Unfortunately, Tailleferre never regained the acclaim she had enjoyed through her early associations with Les Six." (Robert Orledge, New Grove Online.)

Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)] Autograph Letter to Thibaud about Violin Sonata no. 1

Schubertiade Music and Arts
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Tailleferre, Germaine. (1892–1983) [Thibaud, Jacques. (1880–1953)]. Autograph Letter to Thibaud about Violin Sonata no. 1.
Autograph letter from the French composer, the only female member of the group of composers known as Les Six, to the masterful French violinist Jacques Thibaud, regarding corrections to a violin sonata. Dated "Friday," with original envelope postmarked August 5, 1922. Translated from the French, in full: "Dear friend, I am leaving tonight for Brittany and I hope that you have received the manuscript of the violin part and of the sonata, which I sent to you almost 15 days ago. Please don't delay in looking over the part, because I fear there may now be a severe delay in the publication because of this. I am sorry to disturb you at this point, and ask you to excuse me, it is the last service that I will ask of you... Respectfully, G. Tailleferre. [...] It would be best if you could send it directly to Durand to save time." Folding creases, one chip at the upper edge; overall in fine condition. 8.25 x 10.5 inches (21 x 27 cm).

The sonata referred to is Tailleferre's Sonata no. 1 for violin and piano, composed in 1920–21, first performed by Jacques Thibaud and Alfred Cortot in June 1922, and published in 1923.

"As a pianist prodigy with an amazing memory she won numerous prizes, and in 1913 she met Auric, Honegger and Milhaud in Georges Caussade’s counterpoint class. In 1917 Satie was so impressed with her two-piano piece Jeux de plein air that he christened her his ‘musical daughter’, and it was he who first brought her to prominence as one of his group of Nouveaux Jeunes. She then went on to become the only female member of Les Six when it was formed in 1919–20. [...] Tailleferre’s talents fitted in perfectly with the prevailing spirit of Stravinskian neo-classicism, though she was also influenced by Fauré and Ravel, remaining in close contact with the latter throughout the 1920s. Unfortunately, Tailleferre never regained the acclaim she had enjoyed through her early associations with Les Six." (Robert Orledge, New Grove Online.)

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