The political agenda of the French Popular Front (1935––38) sought to unite workers and intellectuals in solidarity against the forces of European fascism. Many French composers were quickly implicated in this politicized process, supported by the rapid development of Communist-funded cultural organizations like the Féédéération Musicale Populaire and inspired by tremendous interest in the Soviet cultural model. These political circumstances welcomed the techniques of socialist realism in France under the Popular Front, but Soviet aesthetics were creatively appropriated to reflect French musical traditions and political realities. Libéérons Thaelmann by Charles Koechlin and Jeunesse by Arthur Honegger exemplify this engagement with Communist politics and aesthetics, confirming the musical and political relevance of socialist realism for French composers during the mid-1930s.
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