Until recently, the music of Henri Dutilleux and Maurice Ohana was largely overlooked in Britain, despite both composers having achieved widespread recognition beyond our shores. In France they have ranked among the leading composers of their generation since at least the 1960s and have received many of the highest official accolades. In Britain, the view of French music since 1945 has often been synonymous with the music of Olivier Messiaen and Pierre Boulez, to the virtual exclusion of others whose work has long been honoured not only in France and elsewhere in Europe but in the wider international arena. These ‘others’ include Dutilleux and Ohana. Developing an innovative and forward-looking approach, independent from the preoccupations of their contemporaries who congregated at Darmstadt, both Dutilleux and Ohana were excluded from representation at the concerts of the Domaine musical. As a result, their music was neglected in Britain throughout the years when the programming policies of Boulez and Sir William Glock were at their most influential. Undoubtedly, Boulez is one of the most phenomenal figures in music of the last 50 or so years and the position of his erstwhile teacher Messiaen is secure as one of the giants of the 20th century. Yet, however significant their respective contribution, Boulez and Messiaen represent only one facet of French music since 1945.