Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais / Musique religieuse / Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais / Musique religieuse / Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Par FRANCK CESAR. Gattungen: Oratorien - Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Kreuzweg (7 Worte Jesu am Kreuz) - Verwendung / Kirchenjahr: Karwoche - Langue : Latin/Anglais/ Répertoire / Solistes STBar, Choeur SATB, 2 Flûtes Traversières

Trilogie Sacrée. Par BERLIOZ HECTOR. 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. / Oratorio / Répertoire / Solistes STBarB, Choeur SATB, 2 Flûtes Traversière

Trilogie Sacrée. Par BERLIOZ HECTOR. 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. / Oratorio / Répertoire / Solistes STBarB, Choeur SATB, 2 Flûtes Traversière

Trilogie Sacrée. Par BERLIOZ HECTOR. 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. / Oratorio / Répertoire / Solistes STBarB, Choeur SATB, 2 Flûtes Traversière