Opera and lyrical music Vierge Guerriere (La) • profane cantata : solo-choir-orchestra Roi Bossu (Le) • (1932) • Comic opera Mur (Le): ballet • (1947) • Ballet Printemps de la Liberte: play music • (1948) Chanson du Mal-Aime (La): ballet • (1950) Claudine à l'Ecole: ballet • (1950) Christine • (1959) • solo-choir-orchestra Film scores White Paws • (1949) Sabotier du Val de Loire (Le) • (1956) Vocal music Melodies • (1930) Chansons Hebraiques • (1935) Chants Juifs • (1937) Avis • (1944) • Choir-orchestra Poesie Ininterrompue • (1948) • Cantata : 2 voices-orchestra Homme sur Terre (L') • (1949) • Choir-orchestra Paysans (Les) • (1958) • Cantates : 2 voices-orchestra De Premier en Premier Mai • (1977) • Choir Instrumental music Prelude: piano • (1930) • character piece Hommage à Paul Dukas: piano • (1936) Marche du Printemps sans Amour: piano • (1946) Boite de Pandore (La): piano • (1955) Fantaisie: cembalo • (1961) • character piece Preludes et Fugues: organ Symphonic music Symphony 1 • (1931) Symphony 2 • (1938) Suite 'Astrologique': small orchestra • (1945) Variations sur "Le fleuve rouge": orchestra • (1945) Concertante music Hommage à Prokofiev: cembalo-orchestra • (1953) • Atmosphere: oboe-10 strings • (1966) Sacred music Cantique du Vendredi Saint • (1955) • Hymns Social and political issues Criticism and sexism Despite winning numerous prestigious awards, Elsa Barraine dealt with sexist attitudes in her professional career. Karin Pendle cites music critic René Dumesnil as an unfortunately common offender: “Like others of his time (and even today), Dumesnil voiced a kind of grudging respect for many of these composers as long as they were content to remain feminine in their music.” Dumesnil once described Barraine's fellow Prix de Rome prizewinner Jeanne Leleu as having “a vigor that one rarely encounters in works by women.” As for Barraine, he referred to her as “the writer of prettily orchestrated melodies.” Involvement in the French Resistance Elsa Barraine was an active member of the Front National des Musiciens, an organization of musicians involved in the French Resistance during the German Occupation between 1940 and 1944. The main goals of the organization were listed in their journal, Musiciens d’Aujourd’hui, and were to organize concerts of new and banned French music, to support Jewish musicians by providing shelter or money, to arrange anti-German and anti-Collaborationist protests, and to engage in any and all forms of musical rebellion. The résistant French