Berlioz Les nuits d'été for solo voice and Orchestra op. 7 Hol. 81B -Six Songs- (Version for medium voice)
Berlioz Les nuits d'été for solo voice and Orchestra op. 7 Hol. 81B -Six Songs- (Version for medium voice)
Berlioz Les nuits d'été for solo voice and Orchestra op. 7 Hol. 81B -Six Songs- (Version for medium voice)

BARENREITER - 345062

Berlioz Les nuits d'été for solo voice and Orchestra op. 7 Hol. 81B -Six Songs- (Version for medium voice)

$29.95
SKU: BA05786-90
Sheet music and other copyrighted materials are final sale.

    Composer: Hector Berlioz

    Publisher: Bärenreiter

    Instrumentation: Voice

    Binding: Paperback

    Dimensions: 11.8 in x 9.1 in

    Pages: 27

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Berlioz Les nuits d'été for solo voice and Orchestra op. 7 Hol. 81B -Six Songs- (Version for medium voice)

Juilliard Store

Pickup available, usually ready in 4 hours

144 West 66th Street
New York NY 10023
United States

+12127995000

Editor: Kemp, Ian

Arranger: Woodfull-Harris, Douglas

Orchestral scoring : voices-m/2Fl/Ob/2clarinet/2bassoon/3Hn/harp/Str

Product format: vocal score, Urtext edition

Binding: Paperback

Pages / Format: VI, 27 - 30,0 x 23,0 cm

Berlioz composed these songs in 1840–41, between the composition of Roméo et Juliette and La damnation de Faust. The poems were taken from a collection entitled La comédie de la mort by Théophlie Gautier, published in 1838. The songs were for mezzo-soprano or tenor with piano accompaniment, and were published as a cycle under the title Les nuits d’été in 1841. The second and fourth songs, Le spectre de la rose and Absence, were performed a few times at that period, and Absence was sung twice in February 1843 by Marie Recio on Berlioz’s first tour of Germany. For Marie, who later became his second wife, Berlioz at once orchestrated the song for mezzo-soprano and small orchestra. A dozen years later Berlioz orchestrated the remaining five songs of the cycle, which appeared in its orchestral form in 1856. Two of these songs, Le spectre de la rose and Sur les lagunes, were now transposed to a lower key, so that the cycle was no longer within the compass of a single voice.