2459070
Cléopâtre Holoman 36
2459070
2459070
2459070
Copyright Material for Preview Only - Sheet Music Plus
Solo soprano voice, orchestra (Soprano solo, Orchestra)
SKU: BA.BA05787-90
Scène lyrique. Composed by Hector Berlioz. Edited by David Gilbert. Arranged by Martin Schelhaas. This edition: urtext edition. Stapled. Barenreiter Urtext. Vocal Score. Hol 36. Duration 25 minutes. Baerenreiter Verlag #BA05787-90. Published by Baerenreiter Verlag (BA.BA05787-90).
ISBN 9790006505302. 11.81 x 9.06 inches. Text Language: French. Text: Pierre-Ange Vieillard.
The cantata Cleopatre belongs to a group of six surviving compositions written by Hector Berlioz between 1826 and 1830 for the prestigious Prix de Rome competition. This was administered by the music section of the Academie des Beaux-arts, one of the four Academies that constituted the Institut de France during the Bourbon restoration.
The text of the cantata Cleopatre, written for the competition by Pierre-Ange Vieillard, particularly fired Berlioz's imagination. His manuscript makes it clear that he viewed the work as a continuous monologue rather than as a traditional cantata with discrete sections of recitative and air.
Solo soprano voice, orchestra (Soprano solo, Orchestra)
SKU: BA.BA05787-90
Scène lyrique. Composed by Hector Berlioz. Edited by David Gilbert. Arranged by Martin Schelhaas. This edition: urtext edition. Stapled. Barenreiter Urtext. Vocal Score. Hol 36. Duration 25 minutes. Baerenreiter Verlag #BA05787-90. Published by Baerenreiter Verlag (BA.BA05787-90).
ISBN 9790006505302. 11.81 x 9.06 inches. Text Language: French. Text: Pierre-Ange Vieillard.
The cantata Cleopatre belongs to a group of six surviving compositions written by Hector Berlioz between 1826 and 1830 for the prestigious Prix de Rome competition. This was administered by the music section of the Academie des Beaux-arts, one of the four Academies that constituted the Institut de France during the Bourbon restoration.
The text of the cantata Cleopatre, written for the competition by Pierre-Ange Vieillard, particularly fired Berlioz's imagination. His manuscript makes it clear that he viewed the work as a continuous monologue rather than as a traditional cantata with discrete sections of recitative and air.
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