Members
Formally a Groupe des Six members were: Georges Auric (1899–1983) Louis Durey (1888–1979) Arthur Honegger (1892–1955) Darius Milhaud (1892–1974) Francis Poulenc (1899–1963) Germaine Tailleferre (1892–1983)

However numerous supplementary were required, notably Erik Satie, Jean Cocteau, Jean Wiéner,...

Prelude: Les Nouveaux Jeunes

Inside 1917, when numbers of theatres & concert halls were closed because of the war, Blaise Cendrars and the painter Moise Kisling decided to put on a concert at Sixer Rue Huyghens, the studio of the painter Emile Lejeune. For this event, a bulwarks of the studio were decorated by having canvases by Picasso, Matisse, Leger, Modigliani and others. Music by Satie, Honegger, Auric and Durey was played. It was this concert that gave Erik Satie the idea of assembling a class action of composers in the area of himself to become referred to as Les Nouveaux Jeunes, forerunners of Les Six.

Les Six
Based on data from Milhaud:

''"[Collet] chose six names absolutely arbitrarily, those of Auric, Durey, Honegger, Poulenc, Tailleferre and me simply because we knew each other and we were pals and appeared on the same musical programmes, no matter if our temperaments and personalities weren't at all the same! Auric and Poulenc followed ideas of Cocteau, Honegger followed German Romanticism, and myself, Mediterranean lyricism! (Ivry 1996)"

However that is sole 1 reading of how else a Groupe des Six originated: more authors, rather Ornella Volta, would stress the manoeuverings of Jean Cocteau to become a leader of an avant-garde group devoted to music, like a cubist and surrealist groups had sprang around visual arts and literature shortly before, by having Picasso, Apollinaire and Breton as their key representatives. A fact that Satie experienced abandoned a Nouveaux Jeunes to a lesser degree a year when starting a class action, was a "gift from heaven" that manufactured it a lot came admittedly for Cocteau: his 1918 publication Le Coq et l'Arlequin is said to have ticked it off.

When World War I, Jean Cocteau and Les Six began to frequent Le Boeuf sur le Toit'' (The Ox on the Roof), which was known as when the act by Milhaud. On the bar's opening nighttime, piano player Jean Wiéner played tunes by George Gershwin and Vincent Youmans while Cocteau and Milhaud played percussion. Among victims attending were Russian promoter Serge Diaghilev, Pablo Picasso, filmmaker René Clair, singer Jane Bathori, and Maurice Chevalier.

Resulting examples such as a Parade production, the class action members would start two or three collaborative projects, however fallowing everthing, too because many one collaborative projects failed for several reasons, the Groupe des Six composers proved to become a like individualistic placed, diverging modish, in the vein of what Milhaud describes above. of these of a virtually all successful of a collaborative projects, which was too a survive one Satie was exposed within, the Relâche/''Entr'acte production, had only a limited Groupe des Six input.

A next decades a class action would develop ever additional disparate, occasionally of its previous members sooner or later losing everthing email.

Music by Erik Satie and Les Six
Parade – Satie, & a few noise-making instruments added by Cocteau (there are no directly relation sustaining Les Six: composed and premiered prior to a foremost ideas all about a Nouveaux Jeunes emerged, by population that would never formally become members of the Groupe des Six: Satie, Cocteau, Picasso, Ballets Russes) (bestowed as a Nouveaux Jeunes production:) 2nd placed of furniture music: Chez un 'bistrot' and Un Salon (1920) – Satie (premiered sustaining Milhaud) Les Mariés de la Tour Eiffel (1921) – collaboratiin project by Milhaud - Auric - Tailleferre - Honneger - Poulenc, on the scenario by Cocteau. Mercure – Satie, and Salade – Milhaud, premiered 1924 inside the production of Count Etienne de Beaumont (for these productions there was all the same other involvement of Ballets Russes performing artist, than of the Groupe des Six). Romance sans paroles – Durey Cinq Bagatelles – Auric Sonate pour violoncelle et piano – Poulenc (see as well Category of Poulenc compositions) Scaramouche – Milhaud Le Boeuf sur le Toit – Milhaud Sonate pour violon seul – Honegger Suite Burlesque – Germaine Tailleferre

Single compositions non related to Les Six: Gnossiennes – Satie (as 19th century compositions there is no relation by owning Les Six: a Nouveaux Jeunes'' were initiated by Satie because Ravel's original Jeunes got there is no interest around Satie's post-Schola compositions, which puts these 19th century compositions wholly away from a picture for the Groupe des Six) Trois Gymnopédies – Satie (idem as for Gnossiennes)