Abstract
As a powerful voice of the French Resistance, the Jewish-French composer Elsa Barraine played a pivotal role during the occupation of France by Nazi Germany. She articulated her opinions exclusively in writings, published in relevant organs, and in 1940 she went so far as to quit composing altogether as a reaction to the political vicissitudes of her time. This demonstrative political engagement is partially responsible for the fact that the music world, after 1945, sought to discredit her. The essay’s discussion of social, aesthetic, economic, and structural implications, on the other hand, reveals historical contexts that point far beyond the political and ideological dimensions that shaped the reputation of the composer within the historiography of music in Vichy-France.
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