Hector Berlioz: L'Enfance du Christ [Die Kindheit Christi] op. 25: Chœur Mixte et Ensemble

Trilogie sacrée

COMPOSITEUR: Hector Berlioz
PART {INSTRUMENT}: Violin
TYPE DE PRODUIT: Partie seule
ÉDITEUR: Carus Verlag
The history of the composition of the oratorio is odd: the kernel of this three-part work were the movements from the middle section, the “Flight to Egypt,” which Berlioz composed on a whim in 1850 and which he passed off as the work of a baroque composer whose existence he himself had invented. In
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Détails
Compositeur Hector Berlioz
Éditeur Paul Prévost
Description Instrument Group Choeur Mixte
Instrumentation Chœur Mixte et Ensemble
Voix SATB
Instrumentation Soli STBarB, SATB and Orchestra
Part {Instrument} Violin
Type de produit Partie seule
Description Product Type Partition
Éditeur Carus Verlag
Genre Oratorio
Thème Noel
Style Sacré
Année de publication 1998
Nombre de Pages 24
Edition Number CV 70.038/12
CV7003812
Description
The history of the composition of the oratorio is odd: the kernel of this three-part work were the movements from the middle section, the “Flight to Egypt,” which Berlioz composed on a whim in 1850 and which he passed off as the work of a baroque composer whose existence he himself had invented. In 1854 the triptych, which was completed with the parts entitled “The dream of Herodes” and “The arrival at Sais,” had its celebrated first performance. Starting from the Gospel of St. Matthew, with the visit of the astrologer to Herodes and the flight of the Holy Family to Egypt, Berlioz chose to relate the story of the events of Christmas from another angle, other than as it is almostalways depicted, after the Gospel of Luke. This skillful dramatisation, with impressive instrumental sections, such as the independent trio for two flutes and harp as well as the effective choruses with local color, make this “sacred trilogy” a genuine alternative for performance at Christmas time. The score, published in 1855, contained a second singing text in German which had been translated from the French by Peter Cornelius. The critical edition by Carus presents a new translation by Klaus Kreuser which, as opposed to the text by Cornelius, adheres more closely to the French original and avoids becoming an embellished idyll.
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