[Paris]: Perrotin, [ca. 1847]. Octavo. Full olive green morocco presentation binding with decorative stamping in black and gold, "Souvenir de l'Orphéon, Séance Royale du 21 Mars 1847" and crown stamped in gilt within decorative lozenges to upper, "Cirque National, Diron. G. Gallois" stamped in gilt to lower, all edges gilt, inner dentelles ruled in gilt, ivory watered silk endpapers, green silk ribbon marker. 2ff. text followed by 133 pp. engraved music consisting of nos. 148 bis and 171, and portions of Tome VII (nos. 262, 262 bis, 263, 264, 265, 266, 271, 272, 273, and 274) and Tome VIII (nos. 278, 279, 279 bis, 280, 281, 282, 282 bis, 283, 283 bix, 284, 285, 286, 287, 287 bis, 288, 291, and 292) + 4 pp. music from Sarah by Grisar in small format + 8 pp. music from Les Enfans de Paris by Adam in larger format bound in, followed by 8 pp. music by Palestrina. Erratic pagination.
Includes music for various combinations of voices by Lefébure-Wely, Thys, Scard, Wilhem, Sabbatini, Hubert, Lachnith, Zimmerman, Cherubini, Auber, Halévy. With text to most pieces.
Some browning. In quite good condition overall.
Published in a series of 9 volumes in total from 1833-1848.
The Orphéon was a "French male-voice choral movement. It developed from 1815 through the work of Guillaume Louis Bocquillon Wilhem, a strong advocate of the teaching of singing in schools, who first used the term Orphéon about 1830. The Orphéon choral society was established in Paris in 1833 and rapidly expanded...; an annual concert was given at the Trocadéro with 1500 performers... By 1859 there were 700 provincial societies; 3000 ‘Orphéonistes’ performed in London in 1860. By the turn of the century the movement reached a peak of popularity with over 2000 societies in France, where it was the equivalent of British competitive festivals." Grove online
Jules Gallois, to whom this volume was presented, was the director of the Cirque National, built as an equestrian theatre, on the northeast side of the present Rond-Point of the Champs-Élysées in Paris, dubbed the Cirque d'été, in 1841. Gallois engaged Berlioz for a series of six grand concerts to be presented at the Cirque in the winter of 1844-1845, for which the composer engaged 350 players and singers, with Galois underwriting all costs. "The concerts... offered varied and unusual programmes, including extracts from Ruslan and Ludmila and A Life for the Tsar, the operas of the Russian nationalist composer Mikhail Glinka..., Beethoven's Emperor Concerto played by Hallé, Berlioz's new overture La tour de Nice... and music by Félicién David, whose symphonic ode Le désert was the sensation of the season. Le désert and David's Janissaries' Chorus were part of a "séance orientale" (16 February) which also included the popular Marche marocaine... by the latest keyboard lion, Léopold Meyer. The concert was topical, in view of the Moorish flavour of the hall's architecture and the vogue for things Middle Eastern which had hit Paris with the arrival of six Algerian chiefs and their picturesque retinues on an official visit. A bearded Bedouin appeared in the foreground of the Illustration's engraving of the first concert, and the Charivari's series "The Arabs in Paris" showed a group of turbaned and kaftaned men twisting and yelling in agony while a Berlioz-like conductor unleashed his orchestra at them." Cairns: Berlioz, Vol. 2, pp. 306-307. Item #22271
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