Elsa Barraine

French composer

Elsa Jacqueline Barraine (French: [baʁɛn]; 13 February 1910 – 20 March 1999) was a composer of French music in the time after the neoclassicist movement of Les Six, Ravel, and Stravinsky. Despite being considered “one of the outstanding French composers of the mid-20th century,” Barraine's music is seldom performed today. She won the Prix de Rome in 1929 for La vierge guerrière, a sacred trilogy named for Joan of Arc, and was the fourth woman ever to receive that prestigious award (after Lili Boulanger in 1913, Marguerite Canal in 1920, and Jeanne Leleu in 1923). Barraine's Symphony No. 2 "Voïna", composed in 1938, was a huge success when it received its world premiere performance by the BBC Symphony Orchestra under the direction of Manuel Rosenthal at Covent Garden on July 7, 1946 during the opening concert of the 1946 ISCM Festival in London. The headline of Philip Whitacre’s review of the concert for London's Evening Standard the next day—in which he described the work as “concise, original, and alive”—was “We shall hear more of Mlle. Barraine” and the symphony was hailed by Alan Frank in The Musical Times as "expert" and as "France's best contribution" to the festival. Along with Barraine's earlier Symphony No. 1 (1931), it has been commercially recorded twice recently (by the WDR Symphony Orchestra Cologne under the direction of Elena Schwarz for Classic Produktion Osnabrück [cpo] in July 2025 and by the Orchestre National de France under the direction of Cristian Măcelaru for Warner Classics in February 2026).

Read more about this composer on Wikipedia.

Works

The Long LineThe Long Line
  • Deuxième prélude et Fugue: Deuxième prélude
  • Deuxième prélude et Fugue: Fugue sur un chant juif, Lent
  • Elévation
  • Fanfares de printemps
  • Fugue en sol mineur sur un chant de prière israélite, Lent
  • Hommage à Paul Dukas
  • Les Tziganes
  • Musique funèbre pour la mise au tombeau du Titien
  • Musique rituelle : L'évanouissement I
  • Musique rituelle : La Délivrance différée VII
  • Musique rituelle : La Fermeture des Portes V
  • Musique rituelle : Les Crochets de la Grâce VI
  • Musique rituelle : Les Démons IV
  • Musique rituelle : Les divinités Irritées
  • Musique rituelle : Les divinités Paisibles II
  • Pogromes
  • Prelude and Fugue no. 2
  • Prelude and Fugue no. 2: Fugue
  • Prelude and Fugue no. 2: Prelude
  • Premier prélude et fugue: Fugue en sol mineur sur un chant de prière israélite, Lent
  • Premier prélude et fugue: Premier prélude, Lent
  • Reflets magyars : 2e Reflet magyar
  • Reflets magyars : 3e Reflet magyar
  • Reflets magyars : 4e Reflet magyar
  • Reflets magyars : 5e Reflet magyar
  • Reflets magyars : Thème
  • Song-Koï: Le Fleuve rouge
  • Song‐Koï: I. La source
  • Song‐Koï: II. La haute plaine
  • Song‐Koï: III. Les chemins célestes
  • Song‐Koï: IV. La ville de Son‐Phong
  • Song‐Koï: V. Le retour des pavillons noirs
  • Song‐Koï: VI. La rivière Noire
  • Song‐Koï: VII. Le fleuve Rouge reçoit la rivière Noire
  • Song‐Koï: VIII. L’arrivée à la mer et la mort
  • Suite juive
  • Suite juive: I. Molto calmo
  • Suite juive: II. Intermezzo
  • Suite juive: III. Molto vivace
  • Symphony no. 1
  • Symphony no. 1: I. Andante – Vivace
  • Symphony no. 1: II. Adagio – Vivace
  • Symphony no. 1: III. Andante – Allegro giocoso e leggiero
  • Symphony no. 2 “Voïna”
  • Symphony no. 2 “Voïna”: I. Allegro vivace
  • Symphony no. 2 “Voïna”: II. Marche funèbre
  • Symphony no. 2 “Voïna”: III. Finale