For the 3 forces competing for political authority in France in the course of global warfare II, song grew to become the location of a cultural conflict that mirrored the warfare itself. German occupying gurus promoted German song on the rate of French, whereas the Vichy management pursued initiatives of nationwide renewal via tradition. in the meantime, Resistance networks progressively shaped to strive against German propaganda whereas eyeing Vichy’s efforts with suspicion. In The Musical Legacy of Wartime France, Leslie A. Sprout explores how every one of those forces prompted the composition, functionality, and reception of 5 recognized works: the key Resistance songs of Francis Poulenc and people of Arthur Honegger; Olivier Messiaen’s Quartet for the tip of Time, composed in a German prisoner of conflict camp; Maurice Duruflé’s Requiem, considered one of sixty-five items commissioned by means of Vichy among 1940 and 1944; and Igor Stravinsky’s Danses concertantes, which used to be met at its 1945 Paris most excellent with protests that prefigured the classy debates of the early chilly struggle. Sprout examines not just how those items have been created and disseminated in the course of and simply after the conflict, but additionally how and why we nonetheless affiliate those items with the tales we tell—in textbooks, application notes, liner notes, old monographs, and biographies—about song, France, and international battle II.