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for Egypt. Berlioz had the chorus performed as a hoax on 12 November 1850, passing it off as the work of an imaginary 17th-century composer "Ducré". He was gratified to discover many people who hated his music were taken in and praised it, one lady even going so far as to say, "Berlioz would never be
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In that work many people imagined they could detect a radical change in my style and manner. This opinion is entirely without foundation. The subject naturally lent itself to a gentle and simple style of music, and for that reason alone was more in accordance with their taste and intelligence. Time
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pp. 3-4; Cairns Vol 1 p. 498. Michael
Steinberg writes that "Berlioz was one of those seemingly paradoxical figures, agnostics or atheist who composed great works of sacred music.... The nearest he came in his adult years to having a god was in his passion for and faith in Shakespeare. 'It is you
526:. The angels warn them to flee to Egypt to escape Herod's persecution. Berlioz uses an off-stage choir (accompanied by an organ) in an open room to represent the angels, an effect originally used in
321:
was an immediate success and was praised by all but two critics in the Paris newspapers. Some attributed its favourable reception to a new, gentler style, a claim
Berlioz vigorously rejected:
616:("On your tired features"). Learning that Joseph is a carpenter too, he invites him to join him at his work. Joseph and his family may stay in the house for as long as necessary.
599:
Scene 1: Inside the town of Sais. Joseph and Mary's pleas for refuge are rejected by the people of Sais because they are
Hebrews. The musical accompaniment is suitably anguished.
479:
expresses the king's inner despair as he is tormented by a recurring dream of a child who will overthrow him. Herod is accompanied by trombones just as MéphistophélÚs was in
449:("In the cradle..."). The work starts abruptly without an overture or prelude with the tenor narrator describing the situation in the land at the time of Christ's birth.
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Scene 2: Inside the
Ishmaelites' house. Finally the father of a family of Ishmaelites (in other words, unbelievers) takes pity on them and invites them into his house.
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301:), which included parts for Mary and Joseph. Berlioz, perhaps feeling the result was still unbalanced, then composed a third section to precede the other two,
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Berlioz's music was usually received with great hostility by
Parisian audiences and critics, who generally accused it of being bizarre and discordant. Yet
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faith had been for his first seven years the "joy of his life" and that, "although we have long since fallen out I kept the most tender memories of it" â
1548:
228:
setting out for Egypt to avoid the slaughter, having been warned by angels; and the final section portrays their arrival in the
Egyptian town of
505:("The voice speaks the truth"). The soothsayers confirm that Herod's dream is true and advise him to kill every newborn child in the land.
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181:
2:13). Berlioz wrote his own words for the piece. Most of it was composed in 1853 and 1854, but it also incorporates an earlier work
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455:(Nocturnal March). A fugal passage of interweaving melodies evoking Roman soldiers patrolling outside King Herod's palace by night.
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in
December, 1853. The premiere was so successful, Berlioz's friends urged him to expand the piece and he added a new section,
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193:: Jourdan (RĂ©citant), Depassio (HĂ©rode), the couple Meillet (Marie and Joseph) and Bataille (Le pĂšre de famille).
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571:(The repose of the Holy Family). Choral movement depicting Mary, Joseph and Jesus resting in the shade of a tree.
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268:). He soon turned it into a choral movement for the shepherds saying goodbye to the baby Jesus as he leaves
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The soothsayers make
Cabbalistic processions and proceed to the exorcism. A short, wild dance in 7/4 time.
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able to write a tune as simple and charming as this little piece by old Ducré". He then added a piece for
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Scene 5: The stable in
Bethlehem. Christ is in the manger as Mary and Joseph sing a lullaby to him.
236:. Berlioz was not religious as an adult but remained all his life susceptible to the beauty of the
596:("For three days...") The narrator describes the troubled journey from Bethlehem to Sais in Egypt.
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Choeurs de la
Radiodiffusion-Télévision Française, Orchestre des concerts Colonne, conducted by
647:("You are weeping, young mother"). The Ishmaelite urges Mary to go to sleep and worry no longer.
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went back to 1850 when Berlioz composed an organ piece for his friend Joseph-Louis Duc, called
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Scene 3: Epilogue. The narrator describes how Jesus spent ten years growing up in Egypt.
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Trio for two flutes and a harp. An instrumental interlude, one of the few pieces of
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Scene 4: Herod and the soothsayers. Herod describes his dream to the soothsayers.
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565:(The shepherds' farewell). A famous choral movement, often performed separately.
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in Paris on 10 December 1854, with Berlioz conducting and soloists from the
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also shows some influence from the Biblical oratorios of Berlioz's teacher
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1130:(the first volume of his biography of the composer) (André Deutsch, 1989)
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would probably have developed these qualities, but I should have written
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285:) and preceded both movements with an overture to form a work he called
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534:(1774). During the final bars, he then suggests the doors to be closed.
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The work has maintained its popularity â it is often performed around
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1137:(the second volume of his biography of the composer) (Viking, 1999)
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Berlioz ever wrote. The use of the flutes and harps is inspired by
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with some of the same artists, taken from a television broadcast)
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and is meant to evoke the atmosphere of the ancient world.
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that are our father in heaven, if there is a heaven'" â
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Scene 2: Herod's aria. One of the most famous pieces in
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Orchestre de la Société des Concerts du Conservatoire
724:
Orchestre de la Société des Concerts du Conservatoire
512:("Very well") Herod agrees and gives orders for the
289:. It was published in 1852 and first performed in
212:ordering the massacre of all newborn children in
1515:
933:, Camerata Singers, CBS Orchestra, conducted by
838:(RCA Victor) (there is also a Munch version on
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338:â and many recordings have been made of it.
232:where they are given refuge by a family of
208:). The first of its three sections depicts
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42:
1144:("The Master Musicians", J.M.Dent, 1982)
971:(Oxford University Press, 2005), pp. 64.
16:19th century oratorio by Hector Berlioz
1549:Cultural depictions of Herod the Great
1516:
1285:Grande symphonie funĂšbre et triomphale
776:, Lyons Opera Orchestra, conducted by
216:; the second shows the Holy Family of
185:(1850). It was first performed at the
1171:
330:in the same manner twenty years ago.
240:that had enraptured him as a child.
830:, New England Conservatory Chorus,
13:
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890:Choir of King's College, Cambridge
14:
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1524:Religious music by Hector Berlioz
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1135:Berlioz: Servitude and Greatness
1128:Berlioz: The Making of an Artist
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569:Le repos de la Sainte Famille
283:The Repose of the Holy Family
279:Le repos de la sainte famille
251:
1539:Oratorios based on the Bible
894:Royal Philharmonic Orchestra
695:Orchestre des Champs-ĂlysĂ©es
621:Pour bien finir cette soirée
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1441:Treatise on Instrumentation
1402:Le Chant des chemins de fer
1215:Music criticism and writing
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522:Scene 6: Choir of angels:
108:10 December 1854
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645:"Vous pleurez, jeune mĂšre
614:"Sur vos traits fatigués"
514:Massacre of the innocents
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1468:La Symphonie fantastique
394:(father of the family) (
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958:Berlioz wrote that the
787:Victoria de los Ăngeles
266:The Shepherds' Farewell
165:by the French composer
159:The Childhood of Christ
58:The Childhood of Christ
1332:Grande messe des morts
643:Father of the family:
619:Father of the family:
612:Father of the family:
605:Father of the family:
528:François-Joseph Gossec
482:The Damnation of Faust
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246:Jean-François Le Sueur
1375:La Damnation de Faust
1277:Symphonie fantastique
1004:"L'enfance du Christ"
801:, René Duclos Choir,
766:Anthony Rolfe Johnson
701:(Harmonia Mundi) 1997
691:Collegium Vocale Gent
653:Narrator and chorus:
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1475:Musée Hector-Berlioz
1248:Béatrice et Bénédict
882:David Wilson-Johnson
762:Anne Sofie von Otter
594:"Depuis trois jours"
488:Scene 3: Polydorus:
462:("Who is coming..?")
77:by Berlioz based on
1383:L'Enfance du Christ
1162:L'enfance du Christ
1012:. 20 December 1964.
980:Cairns Vol. 2 p.451
915:L'enfance du Christ
871:L'enfance du Christ
846:L'enfance du Christ
813:L'enfance du Christ
784:L'enfance du Christ
778:John Eliot Gardiner
759:L'enfance du Christ
734:L'enfance du Christ
730:(Emi classics 1966)
705:L'enfance du Christ
699:Philippe Herreweghe
668:L'enfance du Christ
563:L'adieu des bergers
445:Scene 1: Narrator:
360:(the Virgin Mary) (
328:L'enfance du Christ
319:L'enfance du Christ
299:The Arrival at Sais
262:L'adieu des bergers
154:L'enfance du Christ
25:L'enfance du Christ
1394:Songs and cantatas
1351:Other choral works
1024:"Alfredo Antonini"
969:Choral Masterworks
849:Christiane Gayraud
687:La Chapelle Royale
679:Olivier Lallouette
555:Overture. Another
541:La fuite en Ăgypte
503:"La voix dit vrai"
392:Le pĂšre de famille
287:La fuite en Egypte
196:Berlioz described
183:La fuite en Egypte
161:), Opus 25, is an
123:25, in three parts
98:La fuite en Egypte
1544:Flight into Egypt
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1301:Roméo et Juliette
1240:Benvenuto Cellini
1104:"Charles Anthony"
1044:"Sherrill Milnes"
434:Le songe d'HĂ©rode
303:Le songe d'HĂ©rode
179:Gospel of Matthew
175:flight into Egypt
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578:L'arrivée à Saïs
524:"Joseph! Marie!"
447:"Dans la créche"
350:(the narrator) (
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853:Michel Sénéchal
834:, conducted by
820:Cesare Valletti
805:, conducted by
753:Sir Colin Davis
726:, conducted by
697:, conducted by
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582:The Arrival at
559:in triple time.
466:Marche nocturne
453:Marche nocturne
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1409:Prix de Rome
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886:Thomas Allen
870:
845:
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799:Ernest Blanc
783:
770:José van Dam
758:
749:Thomas Allen
733:
704:
667:
654:
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635:
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576:Part Three:
568:
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1471:(1942 film)
1256:Les Troyens
878:Robert Tear
795:Roger Soyer
737:Janet Baker
716:Michel Roux
655:"O mon Ăąme"
532:La nativité
468:(continued)
460:"Qui vient"
458:Polydorus:
348:Le récitant
234:Ishmaelites
171:Holy Family
1518:Categories
1267:Symphonies
993:pp.483-84)
946:References
874:Ann Murray
741:Eric Tappy
675:Paul Agnew
662:Recordings
592:Narrator:
539:Part Two:
490:"Seigneur"
432:Part One:
252:Background
210:King Herod
187:Salle Herz
134:7 soloists
112:1854-12-10
1534:Oratorios
1361:, Op. 14b
1308:Overtures
1147:Berlioz:
755:(Philips)
634:'s opera
510:"Eh bien"
473:L'enfance
427:Structure
416:Polydorus
406:centurion
404:(a Roman
402:Centurion
384:(Herod) (
336:Christmas
313:Reception
270:Bethlehem
258:L'enfance
242:L'enfance
198:L'enfance
140:orchestra
120:Movements
105:Performed
79:Matthew 2
1493:Category
1449:MĂ©moires
1411:cantatas
1385:, Op. 25
1377:, Op. 24
1369:, Op. 18
1342:, Op. 22
1303:, Op. 17
1295:, Op. 16
1287:, Op. 15
1279:, Op. 14
1258:, Op. 29
1250:, Op. 27
1242:, Op. 23
1164:on IMSLP
376:baritone
204:(sacred
163:oratorio
94:Based on
86:Language
32:Oratorio
1460:Related
1419:, Op. 7
1367:Tristia
1340:Te Deum
1334:, Op. 5
1234:, Op. 3
1149:Memoirs
1142:Berlioz
1121:Sources
991:Memoirs
964:Memoirs
941:(1964).
780:(Erato)
508:Herod:
362:soprano
291:Leipzig
206:trilogy
128:Scoring
110: (
54:English
1452:(1865)
1444:(1844)
1224:Operas
904:) 1990
632:Gounod
382:HĂ©rode
372:Joseph
224:, and
222:Joseph
214:Judaea
137:chorus
100:(1850)
89:French
1503:Audio
1433:Books
1359:LĂ©lio
809:(EMI)
637:Sapho
557:fugue
547:Egypt
410:tenor
352:tenor
342:Roles
275:tenor
226:Jesus
200:as a
177:(see
143:organ
1109:IMDb
1089:IMDb
1069:IMDb
1049:IMDb
1029:IMDb
1009:IMDb
937:for
584:Sais
477:aria
420:bass
396:bass
386:bass
230:Sais
218:Mary
74:Text
65:Opus
902:EMI
840:DVD
530:'s
408:) (
364:or
309:).
173:'s
81::13
34:by
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