The most poetic of the post-war serialists, Barraqué evolved a personal serial
technique of proliferating note-rows which he used to engender music of extreme
complexity and passion. His entire acknowledged output encompasses seven works:

• Piano Sonata (1952)
• Sequence for soprano and ensemble (1950-54)
• Etude for tape (1954)
• Le temps restitue for soprano, chorus and orchestra (1956-57, rev. 1968)
• ... au dela de la hasard for voices and four instrumental groups (1959)
• Chant apres chant for soprano, piano and percussion (1966)
• Concerto for clarinet, vibraphone and six trios (1968)

The last four of these (even the Concerto) are part of, or commentaries upon,
or commentaries upon those commentaries, of one part of the projected
gesamtkunstwerk ‘La Morte de Virgile’. There are or were some small fragments
of other projected members of the cycle: Discours for voices and orchestra
(1961); Lysanias (1966-73); Portiques du Feu (partly destroyed in fire, 1968;
fragment 1972); L’Homme couche (stage work, 1969), Hymnes a Plotia (string
quartet, 1969); Arrache de ... commentaire en forme de lecture du Temps Restitue (voices and instruments, 1970).

Preceding his acknowledged works Barraqué wrote about 30 others, which perhaps
still exist. They included Nocturne in C sharp minor for piano (1943), Symphony
(ca. 1945), Mouvement Lent, piano (1947), Sonata for solo violin (ca. 1948),
Symphony in C sharp minor (ca. 1949) three piano sonatas, and finally three
Songs for voice and piano (1950, words by Baudelaire, Rimbaud and from the Song
of Songs) - these songs, now with texts by Nietzsche, became the basis of the
published Sequence.