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Camille Saint-Saëns: Music for the Prix de Rome - Bart Cypers (french horn); Bernard Richter (tenor); François Saint-Yves (organ); Julie Fuchs (soprano);...
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  1. Ivanhoë, cantata for soloists & orchestra
  2. Le retour de Virginie, for chorus
  3. Ode à Sainte-Cécille. for solo voice, chorus & orchestra
  4. Ch?ur de Sylphes, for soprano, mezzo-soprano, chorus & orchestra
  5. Messe solenelle, for voices, chorus, orchestra & organ, Op. 4
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  1. Ivanhoë, cantata for soloists & orchestra
  2. Le retour de Virginie, for chorus
  3. Ode à Sainte-Cécille. for solo voice, chorus & orchestra
  4. Ch?ur de Sylphes, for soprano, mezzo-soprano, chorus & orchestra
  5. Messe solenelle, for voices, chorus, orchestra & organ, Op. 4
  6. Inviolata, motet for alto & organ in D major
  7. Tantum ergo, motet for 2 sopranos, alto, organ & chorus ad lib in E flat major
  8. Ave Maria, motet for chorus, Op. 145
  9. O salutaris, motet for alto & organ in E flat major
  10. Deus Abraham, motet for alto & organ in F major
  11. O salutaris, motet for alto & organ in A major
  12. Ave Maria, motet for 2 altos & organ in A major
  13. Ave verum corpus, motet for 4 voices
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One of the most significant challenges facing young French composers in the 19th century was to compete for the Prix de Rome, not only for the considerable prize money and residency in Rome, but more importantly for the recognition it granted. Camille Saint-Saëns competed for the prize twice, in 1852 with his youthful cantata, Le Retour de Virginie, and in 1864 with his nearly operatic setting of Ivanhoé. Though he didn't win in either year, Saint-Saëns had already achieved success between his Roman efforts and won prestige ...

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