Symphonies des Noels (Christmas Symphonies), S.173.24: Symphony No. 4 (6th-22nd Noels) Cover Image

Symphonies des Noels (Christmas Symphonies), S.173.24: Symphony No. 4 (6th-22nd Noels): Full Orchestra, Ensemble Works, Conductor Score & Parts (EDWIN F KALMUS)

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Symphonies des Noels (Christmas Symphonies), S.173.24: Symphony No. 4 (6th-22nd Noels) Cover Image
Symphonies des Noels (Christmas Symphonies), S.173.24: Symphony No. 4 (6th-22nd Noels): Full Orchestra, Ensemble Works, Conductor Score & Parts (EDWIN F KALMUS)

Symphonies des Noels (Christmas Symphonies), S.173.24: Symphony No. 4 (6th-22nd Noels): Full Orchestra, Ensemble Works, Conductor Score & Parts (EDWIN F KALMUS)

No. 4

By Michel Richard De Lalande, ed./arr. by Alexandre Cellier

Item: 36-A543402
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Symphonies des Noels (Christmas Symphonies), S.173.24: Symphony No. 4 (6th-22nd Noels): Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

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Symphonies des Noëls (Christmas Symphonies), S. 173.24 was composed or compiled in the early 18th century by Michel-Richard de Lalande (1657-1726), one of the principal composers of the French royal court under Louis XIV and Louis XV. The work belongs to the French Baroque tradition of instrumental Noëls, in which familiar Christmas carol melodies were transformed into elegant chamber or orchestral pieces for devotional, domestic, or courtly performance. Published around 1740 as Noëls en trio avec un carillon, after Lalande's death, the collection reflects both the refined style of Versailles and the popular seasonal melodies heard throughout France. According to the original score, these were played in the chapel of King Louis XIV on Christmas Eve, at the Palace of Versailles, though no specific year is given. The Symphonies des Noëls occupies a charming niche in the Baroque holiday repertoire, performed especially by early-music ensembles for its graceful treatment of traditional carols and connection to the ceremonial splendor of French Christmas music. Reprint of the edition by Alexandre Cellier, in which his greatest contribution was the harpsichord realization of the continuo part. Instrumentation: 2.2.0.1: 0.0.0.0: Str (2.2.0.1.1): Hpchd in score. Musically, the parts consist of two soprano voices and the continuo, so the listed instrumentation is ideal, but it can be performed with strings alone or strings and oboes. As is customary of Baroque continuo parts, the bassoon is listed as wholly optional. This third part, Symphony No. 3, consists of the 4th and 5th Noëls. The remaining parts of Symphonies des Noëls are also available from the publisher, all edited by Cellier.

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Additional Details
Series: Kalmus Orchestra Library
UPC: 604634085053
SKU: 36-A543402
Instrumentation: 2.2.0.1: 0.0.0.0: Str (2.2.0.1.1): Hpchd in score. [Parts are 2 soprano voices and continuo, so listed instrumentation is ideal, but it can be performed with strings alone or strings and oboes.]

More about this title

About the Composer: Michel Richard De Lalande

Michel Richard De Lalande (1657-1726) was a dominant figure in French Baroque music and one of the most sought-after composers at the courts of Louis XIV and Louis XV. He held the position of maître de musique at Versailles and composed across every significant genre of his time, from grand motets and secular cantatas to instrumental works that defined the French style. His facility with melody and his command of the refined aesthetic preferences of the royal court made him an influential voice in shaping French music during the high Baroque.

Lalande's instrumental works, particularly his Symphonies des Noëls, demonstrate his skill at elevating familiar material into something architecturally coherent and emotionally sophisticated. These Christmas symphonies showcase the 18th-century French practice of transforming popular carols into elegant chamber and orchestral works suitable for both devotional and courtly contexts. His influence extended well beyond his lifetime, and his works remained in circulation long after his death.

Why we love this

Lalande's Christmas symphonies offer a welcome alternative to the typical holiday repertoire heard in December concerts. The music balances structural sophistication with genuine melodic charm, giving your ensemble material that sounds both refined and familiar to audiences. Performing these works connects your musicians to a specific historical moment in music history while delivering genuine artistic satisfaction.

What to expect

The music unfolds with courtly grace and unhurried elegance. Familiar carol melodies emerge transformed, their lines refined and ornamented in the French manner, supported by a harmonic foundation that feels both secure and gently sophisticated. There is a sense of devotional sincerity without solemnity, creating a musical atmosphere that feels both intimate and ceremonial.

Who it's for

Early-music ensembles and string orchestras seeking substantive holiday repertoire with historical credibility and Baroque style. Directors programming chamber or full orchestra concerts who want to move beyond the standard Christmas canon while still honoring the season. Advanced high school orchestras and college ensembles exploring the French Baroque instrumental tradition.

How to get the most out of it

  • Realize the harpsichord continuo with clarity and rhythmic precision; Cellier's realization provides the harmonic foundation that allows the melodic lines to breathe and phrase naturally.
  • Balance the two soprano voices as if they are conversing partners rather than competing for attention; this conversational quality is central to the French Baroque aesthetic.
  • Shape phrases with gentle articulation and maintain consistent bow distribution across the string section to preserve the elegance of line.
  • Consider the performance context suggested by the source material: these were chapel pieces at Versailles, so a reverent but not heavy approach serves the music well.

How to use it

Present this as a multi-movement holiday concert work that can stand alongside other Baroque instrumental selections or frame a program exploring how different composers reimagined sacred music for secular performance. The piece works particularly well in early December programming, before the season becomes saturated with familiar carols. A single symphony from the collection can function as an elegant concert opener or intermission piece.

Skills your students will build

  • Baroque phrasing and line continuity in the French style
  • Balancing transparent texture with multiple independent voices
  • Stylistically informed continuo realization and harmonic listening
  • Interpreting ornamentation and articulation in early 18th-century context
  • Reading multiple instrumental parts and understanding orchestral scoring conventions

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