Le Temple universel op. 28

Approached by Jean-François Vaudin, Berlioz agreed to set a text by this journalist, who contributed regularly to L’Orphéon and played an active role in various choral and instrumental societies. The aim was to celebrate the Entente Cordiale between France and England. A bilingual text alternating French and English was proposed at the time, but nothing of this survives. In February 1861, Berlioz finished the first version of the Temple universel, fordoublemale voice choira cappella, published by L’Orphéon. In 1867, he arranged his score for four-part male voice choir with organ accompaniment (very often, the instrument is paired with the voices). For this second version, published in 1868, he cut the most patriotic passages from the text. He then sketched out a symphonic version, which has unfortunately disappeared (although, in 2018, composer Yves Chauris orchestrated LeTemple universel, thereby completing the project). As the planned premiere at London’s Crystal Palace was cancelled due to disputes between the organisers, Berlioz never heard his cantata. Although Vaudin’s poem leads the listener to expect solemn, martial accents, the music avoids any uniformity of tone. A vertical writing style, with vigorous rhythms, is alternated with the more flowing cantabile of certain sections (“Sur les débris des vieilles tyrannies le droit remporte un triomphe immortel”, for example). Berlioz also skilfully makes the most of the progressions, enhancing their point of culmination. Particularly noteworthy is the arrival on “l’Europe un jour n’aura qu’un étendard, la liberté se lève sur le monde”, a progressive appeal which echoes the ideals of Saint-Simonianism.