Pour le soli de SAATBB, le choeur et les instruments de SSAATB. Édité par la partition vocale de Peter Dennison.This inclut une réduction de piano de la partition instrumentale. Adagio (Symphony No.24) [Haydn, Joseph] Hail! Bright Cecilia (Chorus And Quartet) Hail! Bright Cecilia (Solos And Chorus) Hark Each Tree (Duet: Alto And Bass) In Vain The Am'rous Flute (Duet: Alto And Tenor) Let These Amongst Ourselves Contest (Duet: Basses) Soul Of The World (Chorus) The Airy Violin (Alto Solo) The Fife And All The Harmony Of War (Alto Solo) Thou Tun'st This World (Soprano Solo And Chorus) 'tis Nature's Voice (Alto Solo) With That Sublime Celestial Lay (Trio: Altos And Bass) Wondrous Machine (Bass Solo)

Following on the success of her two operatic works for children and teens - Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) - Isabelle Aboulker once again hits the bull's eye with Myla And The Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children's Choir and Instrumental Accompaniment, was awarded the 'Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing.With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart.The work was written in three versions:for Narrator, Children's Choir and Piano (AL30732)for Narrator, Children's Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733)for Narrator, Children's Choir and instrumental ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734)Choral score: AL30743 / Choeur A L'Unison Et Ensemble

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

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