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Playlist of Luigi Cherubini

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  • Cherubini - Requiem in C minor

    39:39

    ♫ · ♫ · ♫

    Luigi Cherubini (1760-1842)

    I. Introitus et Kyrie [0:00]
    II. Graduale [7:35]
    III. Sequentia: Dies irae [8:52]
    IV. Domine Jesu Christe [16:46]
    - Hostias [22:40]
    V. Sanctus et Benedictus [29:27]
    VI. Pie Jesu [30:41]
    VII. Agnus Dei [34:08]

    - - - - - - - - - -

    Boston Baroque
    Martin Pearlman

    performed on period instruments

    Memorial to King Louis XVI and Queen Marie Antoinette, 1830, Edme Gaulle and Pierre Petitot

    ♫ · ♫ · ♫

  • x
  • Luigi Cherubini Requiem Dies irae

    9:49

    Requiem by Luigi Cherubini (1760-1842)
    Dies irae
    Radio Chorus Belgrade
    Radio Symphony Orchestra Ljubljana
    Marko Munih, conductor

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  • Luigi Cherubini: Piano Sonatas

    1:7:28

    Music: Luigi Cherubini (1760-1842): Piano: Francesco Giammarco

  • Luigi Cherubini: Requiem in do minore

    44:01

    Ravenna Festival
    Le vie dell'amicizia
    greek subtitles

    Orchestra Giovanile Luigi Cherubini
    Orchestra Giovanile Italiana
    four choirs
    conductor: Riccardo Muti

    President of the Republic of Slovenia: Dr Danilo Türk
    President of the Republic of Croatia: Dr Ivo Josipović
    President of the Italian Republic: Giorgio Napolitano

    Piazza Unità d'Italia
    Trieste 2010

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  • Luigi Cherubini - Symphony in D

    24:35

    Luigi Cherubini (8 or 14 September[1] 1760 – 15 March 1842) was an Italian Classical and Romantic composer. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries. His operas were heavily praised and interpreted by Rossini.

    Symphony in D major (April 24, 1815)

    1. Largo - Allegro
    2. Larghetto cantabile (9:49)
    3. Minuetto (Allegro non tanto) (16:11)
    4. Allegro assai (20:29)

    The Chamber Symphony of Philadelphia conducted by Anshel Brusilow
    LP to digital transfers by David Haines. Remastered for CD by David Gideon

    Description by James Reel [-]
    Cherubini wrote 36 operas but only a single symphony. It is a solid, appealing work, but stylistically it straddles a transition between Mozart and Mendelssohn -- a typical effort of Cherubini, the conservative revolutionary. Because it's not easy to categorize as fully Classical or early Romantic, the symphony has been largely ignored, at least by major conductors. (The main exception was Arturo Toscanini, who programmed it at least twice and made a still-classic recording with the NBC Symphony Orchestra in 1952.)

    The work was commissioned in 1815 by the newly formed London Philharmonic Society. Cherubini also transcribed the symphony as his String Quartet No. 2. The symphony begins with a Largo introduction, fragments of its stately string phrases echoed by the woodwinds. The string utterances become more gruff, the wind echoes more plaintive, and suddenly the first movement's main Allegro section erupts with a sunny, extroverted tune carried mainly by the strings. The more flowing second subject shifts into the minor mode without darkening the mood, and makes fuller use of the winds. This episode leads to frantic passagework that segues into the development section, an energetic, playful working-over of fragments drawn mainly from the first subject, although the second theme does put in an agitated appearance. This whole section anticipates the lean, agile, yet dynamic developments of Mendelssohn. Cherubini's melodies seem even more lively and forceful in the recapitulation and culminate in an energetic coda.

    The Larghetto cantabile begins with light, anticipatory material, as if to smooth the way for an opera aria. What would pass for the aria, though, seeps into the orchestra through what sounds like a transitional passage and builds a little climax even before it's apparent that a full-fledged theme has emerged. An explosion of jagged figures leads to an even more expansive but better-defined theme. Cherubini subjects all these elements to a brief, subtle development, the alterations consisting mainly of more elaborate accompaniments to the themes, interrupted by a few rough climaxes. The Minuet, marked Allegro non tanto, features a theme that shoots up like the eighteenth century Mannheim Rocket, and proceeds with a muscular exuberance and wit worthy of Haydn. The Trio section, with its melodramatically throbbing woodwinds and urgent but broken minor mode melody, which creates an atmosphere of lighthearted charm.

    The finale, Allegro assai, burbles up from the cellos and basses through the string section, picking up the woodwinds along the way and develops into high-spirited and occasionally stormy material. Midway through the movement a chattering fugato develops, but this is soon displaced by a little recapitulation and a final stretto energetic enough to finish off a comic opera.

  • Luigi Cherubini: Requiem in C minor

    49:02

    Introitus et Kyrie • 7:20 Graduale • 9:02 Dies irae • 19:15 Offertorium • 35:52 Sanctus • 37:12 Pie Jesu • 41:02 Agnus Dei

    REQUIEM ET KYRIE

    Requiem aeternam dona eis, Domine, [Grant them eternal rest, Lord,]
    et lux perpetua luceat eis. [and let perpetual light shine upon them.]

    Te decet hymnus, Deus in Sion, [A hymn is fitting for you, God in Zion,]
    et tibi reddetur votum in Jerusalem. [and a vow will be paid to you in Jerusalem.]
    Exaudi orationem meam: ad te omnis caro veniet. [Hear my prayer: to you all flesh will come.]

    Requiem aeternam dona eis, Domine, [Grant them eternal rest, Lord,]
    et lux perpetua luceat eis. [and let perpetual light shine upon them.]

    Kyrie eleison. [Lord, have mercy]
    Christe eleison. [Christ, have mercy.]
    Kyrie eleison. [Lord, have mercy]

    7:20 GRADUALE

    Requiem aeternam dona eis, Domine, [Grant them eternal rest, Lord]
    et lux perpetua luceat eis, [and let perpetual light shine upon them.]
    In memoria aeterna erit justus, [A just man will be remembered for ever]
    ab auditione mala non timebit. [and need fear no evil from judgement.]

    9:02 DIES IRAE

    Dies irae, dies illa [The day of wrath, that day]
    Solvet saeclum in favilla… [will dissolve the earth in ashes]
    Teste David cum Sibylla. [as David and the Sibyl bear witness.]

    Quantus tremor est futurus, [What dread there will be]
    Quando judex est venturus, [when the judge will come]
    Cuncta stricte discussurus! [to judge all things strictly.]

    Tuba mirum spargens sonum [A trumpet, spreading a wondrous sound]
    Per sepulchra regionum [through the graves of all lands,]
    Coget omnes ante thronum. [will drive mankind before the throne.]

    Mors stupebit et natura, [Death and Nature will be astonished]
    Cum resurget creatura [when all creation rises again]
    Judicanti responsura. [to answer to the judge.]

    Liber scriptus proferetur, [An inscribed book will be brought out]
    In quo totum continetur, [in which is contained everything that is,]
    Unde mundus judicetur. [out of which the world is to be judged.]

    Judex ergo cum sedebit, [When therefore the judge takes his seat,]
    Quidquid latet, apparebit. [whatever is hidden will reveal itself:]
    Nil inultum remanebit. [nothing will remain unavenged.]

    Quid sum miser, tunc dicturus? [What will I say then, wretch that I am?]
    Quem patronum rogaturus, [What advocate entreat to speak to me,]
    Cum vix justus sit securus? [When even the righteous may hardly be secure?]

    Rex tremendae majestatis, [King of amazing majesty,]
    Qui salvandos salvas gratis, [you who graciously save those needing salvation,]
    Salva me, fons pietatis. [save me, you source of holiness.]

    Recordare Jesu pie, [Remember, holy Jesus,]
    Quod sum causa tuae viae. [that I am the cause of your pilgrimage.]
    Ne me perdas illa die. [Do not forsake me on that day.]

    Quarens me, sedisti lassus. [Seeking me you sat down, weary,]
    Redemisti crucem passus. [you redeemed me, suffering the cross:]
    Tantus labor non sit cassus. [let not such toil be in vain.]

    Juste judex ultionis, [Just and avenging judge,]
    Donum fac remissionis [grant remission]
    Ante diem rationis. [before the day of reckoning.]

    Ingemisco, tanquam reus… [I groan like a guilty man,]
    Culpa rubet vultus meus: [my face reddens with guilt:]
    Supplicanti parce Deus. [spare a suppliant, God.]

    Qui Mariam absolvisti, [You who absolved Mary]
    Et latronem exaudisti, [and gave the thief a hearing,]
    Mihi quoque spem dedisti. [to me also you have given hope.]

    Preces meae non sunct dignae, [My prayers are not worthy:]
    Sed tu bonus fac benigne, [but you who are good, mercifully grant]
    Ne perenni cremer igne. [that I not burn in everlasting fire.]

    Inter oves locum prasta, [Offer a place among your sheep]
    Et ab haedis me sequestra. [and separate me from the goats,]
    Statuens in parte dextra. [sitting me at your right hand.]

    Confutatis maledictis, [When the accursed have been confounded]
    Flammis acribus addictis, [And given over to the bitter flames,]
    Voca me cum benedictis. [Call me together with those who have been blessed.]

    Oro supplex et acclinis, [I beg, a suppliant and bowed down,]
    Cor contritum quasi cinis. [my heart crumbling as if made of ashes:]
    Gere curam mei finis. [take care of my end.]

    Lacrymosa dies illa, [Mournful is that day]
    Qua resurget ex favilla, [when from the dust shall rise]
    Judicandus homo réus! [guilty man to be judged.]

    Huic ergo parce, Deus, [Therefore spare this man, God,]
    Pie Jesu Domine, [Holy Lord Jesus,]
    Dona eis réquiem. Amen. [grant them peace. Amen.]

    19:15 OFFERTORIUM

    Domine Jesu Christe! Domine Jesu Christe! Rex gloriae! [Lord Jesus Christ! King of Glory!]
    libera animas omnium fi delium defunctorum [Deliver the souls of all the faithful dead]
    de poenis inferni et de profundo lacu! [from the punishments of hell and from the deep lake.]
    libera eas de ore leonis, [Deliver them from the mouth of the lion,]
    ne absorbeat eas tartarus, ne cadant in obscurum: [so that Tartarus may not swallow them, nor they fall into darkness:]

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  • Luigi Cherubini : Requiem in re minore

    11:06

    Luigi Cherubini(1760-1842) : Requiem (n.2) in re minore per coro maschile e orchestra (1836) II : Dies Irae
    Orchestra e Coro Filarmonia Céca, direttore Igor Markevitch

  • Luigi Cherubini Requiem Offertorium

    15:24

    Requiem by Luigi Cherubini (1760-1842)
    Offertorium
    Radio Chorus Belgrade
    Radio Symphony Orchestra Ljubljana
    Marko Munih, conductor

  • Luigi Cherubini - Messe Solennelle in sol

    45:10

    Luigi Cherubini (1760 - 1842)

    Messe Solennelle in sol, à 4 parties, en choeur, composée pour le Sacre de Louis XVIII (1819)

    Kyrie (0:01)
    Gloria (7:27)
    Credo (19:55)
    Sanctus & O salutaris hostia (31:56)
    Agnus Dei (38:36)

    London Philarmonic Choir / maestro del coro: Richard Cooke
    London Philarmonic Orchestra / dir: Riccardo Muti

    nell'immagine: Jean-Auguste-Dominique Ingres - Etude pour le martyre de Saint Symphorien (1824)

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  • Luigi Cherubini - Requiem in do minore

    48:11

    Luigi Cherubini (1760 - 1842)
    Requiem in do minore (1816)
    per coro misto e orchestra
    (à la mémoire de Louis XVI)

    Introito et Kyrie (0:01)
    Graduale (7:13)
    Dies irae (8:46)
    Offertorium: Domine Jesu (19:12)
    Sanctus (35:35)
    Pie Jesu (37:08)
    Agnus Dei (40:45)

    Coro della Radio Svizzera Italiana - Gruppo vocale Cantemus
    Orchestra della Radio Svizzera Italiana
    direttore: Diego Fasolis

    nell'immagine: Antonio Canova - Monumento funebre a Maria Cristina d'Austria (1798-1805, particolare)

  • Luigi Cherubini: Symphony in D major, Orchestra Filarmonica della Scala, Riccardo Chailly

    31:41

    Luigi Cherubini - Symphony in D major, Orchestra Filarmonica della Scala, Riccardo Chailly (conductor)
    I. Largo – Allegro – 00:00
    II. Larghetto cantabile – 12:51
    III. Minuetto. Allegro non tanto – 22:30
    IV. Allegro assai – 27:07

    Luigi Cherubini (8 or 14 September 1760 – 15 March 1842) was an Italian Classical and Romantic composer. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries. His operas were heavily praised and interpreted by Rossini.
    In 1785 he made an excursion to Paris with his friend the violinist Giovanni Battista Viotti, who presented him to Marie Antoinette and Parisian society. Except for a brief return trip to London and to Turin, Cherubini spent the rest of his life in France. Cherubini adopted the French version of his name, Marie-Louis-Charles-Zénobi-Salvador Cherubini; this appears in all extant documents that show his full name after 1790.
    In 1822, Cherubini became director of the Conservatoire and completed his textbook, Cours de contrepoint et de fugue, in 1835. His role at the Conservatoire brought him into conflict with the young Hector Berlioz, who portrayed the old composer in his memoirs as a crotchety pedant. Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity. There are many allusions to Cherubini's personal irritability among his contemporaries; Adolphe Adam wrote, some maintain his temper was very even, because he was always angry. Nevertheless, Cherubini had many friends, including Szymanowska, Rossini, Chopin and, above all, the artist Ingres.

    „As both new and reconditioned recordings of Beethoven’s major works continue to dominate the release-schedules in this anniversary year, today’s Recording of the Week offers a timely opportunity to spare a thought for Luigi Cherubini, for whom the shadow of the great composer has proved both a blessing and a curse: on the one hand, Beethoven’s frequent enthusiastic endorsement of the Italian-born Frenchman as the greatest of his contemporaries has served as excellent marketing-material for two centuries, yet on the other it’s played its part in typecasting him as a sort of Salieri to Beethoven’s Mozart, ploughing a similar furrow to the better-known composer with competence and dedication but never quite achieving lift-off into pastures new. Happily, Riccardo Chailly and the Filarmonica della Scala are here to fight his corner with a fervour which rivals Beethoven’s own on this new recording of his orchestral and occasional music, made four years ago in Italy but presumably kept on ice until now in order to tie in with Beethoven 2020. (from Presto Classical, 7th February 2020, Recording of the Week,  Cherubini from Riccardo Chailly and Filarmonica della Scala, by Katherine Cooper)

  • Luigi Cherubini : Requiem in re minore

    10:14

    Luigi Cherubini(1760-1842) : Requiem (n.2) in re minore per coro maschile e orchestra (1836) IV : Pie Jesu e Agnus Dei
    Orchestra e Coro Filarmonia Céca, direttore Igor Markevitch

  • Luigi Cherubini - Les Deux Journées - Ouverture

    7:51

    Picture: Ingres - Portrait of Maria Luigi Carlo Zenobio Salvatore Cherubini, study

    Luigi Cherubini (8 or 14 September 1760 -- 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.

    Work: Les Deux Journées, ou Le Porteur d'eau, opéra comique in three acts, first performance 16 January 1800, Théâtre Feydeau, Paris.

    Libretto: Jean Nicolas Bouilly

    Ouverture

    Orchestra: Das Neue Orchester

    Conductor: Christoph Spering

  • 2. Graduale - Luigi Cherubini - Ambitus choir

    1:22

    Luigi Cherubini: Requiem in C minor, Graduale (Requiem aeternam), Ambitus choir,
    Α' Ελληνική Ευαγγελική Εκκλησία Αθηνών 27 Απριλίου 2013
    Πιάνο: Μιχάλης Χανός
    Διεύθυνση - Διδασκαλία: Κατερίνα Βασιλικού

  • Luigi Cherubini - Symphony in D-major

    28:55

    Luigi Cherubini

    Work: Symphony in D-major (1815)

    Mov.I: Largo - Allegro 00:00
    Mov.II: Larghetto cantabile 10:18
    Mov.III: Menuetto: Allegro non tanto - Trio 18:32
    Mov.IV: Finale: Allegro assai 23:45

    Orchestra: Orchestra delle Toscana

    Conductor: Donato Renzetti

  • Luigi Cherubini: Capriccio ou Etude per il fortepiano

    35:36

    Luigi Cherubini (1760-1842): Capriccio ou Etude per il fortepiano (1789)
    Pietro Spada, fortepiano

  • Luigi Cherubini - Medea

    5:27

    A while ago, in the description to Joan Sutherland sings three baroque arias, I discussed my feelings towards the Australian diva's early work versus her later recordings, and in some ways, Teresa Berganza presents, for me, a similar case. It is undeniable that Berganza was an extremely talented performer with a wide array of accomplished recordings (including an unusually light but extremely believable Carmen), and, when I first heard her singing Rosina with Prey, Alva and Abbado (recorded in 1970, if I'm not mistaken), the attraction was imminent. But when I managed to obtain the present early 1959 recital not so long ago, I suddenly found myself in a dilemma very much similar to the one that occurred in the case of Joan Sutherland: while Berganza's voice, unlike Sutherland's, retained its' basic color throughout the mezzo's career, both singers started out with brighter voices and a more involved manner than their later selves were famous for. In short, both singers started so well that their later work can seem slightly less distinguished, though, I must note, that this comparison is limited to each of the singers, that is, their respective younger selves are just too good and charming; and, of course, this is just a way I perceive their voices.

    The present recital, quite imaginatively constructed (Rossini arias are interspersed with those of his predecessors, such as Pergolesi, Paisiello and Cherubini), can be considered almost an equivalent of Sutherland's The art of the primadonna on all levels (though it is on a smaller scale, limited to just one CD). I will try to upload three pieces from the recording: Serpina's joyful opening aria, Stizzoso, mio stizzoso, Nina's moving cavatina, Il mio ben, and Neris' stunningly gorgeous plea Medea, ah, Medea (in fact, the respective works of the trio of composers mentioned above).

    First performed in Paris, in 1797, Cherubini's Medee is a complex and demanding work, requiring in its' title role a soprano with what would later be called an exceptional bel canto voice as well as extraordinary dramatic talent. In fact, the opera almost seems to represent a transition from the classicist works of Paisiello, Haydn and Mozart to the romantic music of Rossini, Donizetti and Bellini. However, the opera, a moderate success was quickly forgotten in France, only to be properly reevaluated in recent times.

    Among its' unusual features, the secondary role of Neris, Medea's servant and friend, stands out: the part could have been another one in a long of background confidante characters but Cherubini blesses his singer with one of the most profound mezzo-soprano arias, graced by a perfect combination of understated string lines, a bassoon obbligato (a stroke of genius, if there ever was one) and a mournful vocal melody, as Neris sympathizes with her mistress' plight. Teresa Berganza who had sung the part in one of the productions with Callas in the title role is, as in the recital in general, vocally breathtaking and dramatically responsive, wonderfully enlivening the slightly cold Italian text.

    Hope you'll enjoy :).

  • Luigi Cherubini - Démophon - Ouverture

    6:54

    Luigi Cherubini (8 or 14 September 1760 -- 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.

    Work: Démophon, tragédie lyrique in three acts, first performance 5 December 1788, Grand Opéra

    Libretto: Jean François Marmontel after P. Metastasio

    Ouverture

    Orchestra: Orchestra Dell' Accademia Nazionale Di Santa Cecilia

    Conductor: Myung-Whun Chung

  • Ave María

    4:25

    Provided to YouTube by The Orchard Enterprises

    Ave María (De Luigi Cherubini) · Begoña Alberdi · Luigi Cherubini

    Mater

    ℗ 2011 Begoña Alberdi

    Released on: 2011-10-25

    Music Publisher: SGAE

    Auto-generated by YouTube.

  • Luigi Cherubini Requiem Agnus Dei

    6:58

    Requiem by Luigi Cherubini (1760-1842)
    Agnus Dei
    Radio Chorus Belgrade
    Radio Symphony Orchestra Ljubljana
    Marko Munih, conductor

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  • Luigi Cherubini Requiem Sanctus & Pie Jesu

    4:48

    Requiem by Luigi Cherubini (1760-1842)
    Sanctus & Pie Jesu
    Radio Chorus Belgrade
    Radio Symphony Orchestra Ljubljana
    Marko Munih, conductor

  • Luigi Cherubini - Marche funèbre

    7:24

    Luigi Cherubini

    Work: Marche funèbre

    Orchestra: Radio Svizzera Italiana Orchestra

    Conductor: Diego Fasolis

  • Luigi Cherubini - Lodoïska

    2:13:02

    Luigi Cherubini (1760-1842)

    LODOISKA
    Comédie héroïque en trois actes de Claude-François Fillette-Loraux

    LODOISKA: Mirella Devia
    LYSINKA: Francesca Pedaci
    FLORESKI: Bernard Lombardo
    TITZIKAN: Thomas Moser
    VARBEL: Alessandro Corbelli
    DOURLISKI: William Shimell
    ALTAMORAS: Mario Luperi
    TALMA: Danilo Serraiocco
    PREMIER EMISSAIRE: Pietro Spina
    DEUXIEME EMISSAIRE: Ernesto Panariello
    TROISIEME EMISSAIRE: Enzo Capuano
    PREMIER TARTARE: Renato Cazzaniga
    DEUXIEME TARTARE: Aldo Bramante

    Orchestra e coro del Teatro alla Scala
    Chorus Master - ROBERTO GABBIANI
    Conductor: RICCARDO MUTI

    ACTE PREMIER: 0:00
    ACTE DEUXIEME: 58:57
    ACTE TROISIEME: 1:46:46

  • Luigi Cherubini - Highlights from Medea - Maria Meneghini Callas

    45:41

    Teatro Alla Scala, Tullio Serafin
    Mercury MG50233 mono

    If you have the means and desire to contribute to this channel, you can buy me a cup of coffee at:


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  • Luigi Cherubini - Symphony in D-major

    30:08

    Picture: John O'Connor - From Pentonville Road looking west evening (1884)

    Luigi Cherubini (8 or 14 September 1760 -- 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.

    Work: Symphony in D-major (1815)

    Mov.I: Largo - Allegro 00:00
    Mov.II: Larghetto cantabile 13:09
    Mov.III: Menuetto: Allegro non tanto - Trio 20:40
    Mov.IV: Allegro assai 25:25

    Orchestra: Orchestra Sinfonica di Sanremo

    Conductor: Piero Bellugi

  • Cherubini - Marche funèbre

    5:20

    ♫ · ♫ · ♫

    Luigi Cherubini (1760-1842)

    Boston Baroque
    Martin Pearlman

    performed on period instruments

    Memorial to King Louis XVI and Queen Marie Antoinette, 1830, Edme Gaulle and Pierre Petitot

    ♫ · ♫ · ♫

  • Luigi Cherubini - Messa Solenne In Sol Maggiore

    48:04

    From the Piazza San Francesco in Ravenna, Italia
    on the occasion of the Ravenna Festival in 1991
    Coro Filarmonico della Scala
    Orchestra Filarmonica della Scala
    Roberto Gabbiani - Chorus Master
    Riccardo Muti - conductor

    Luigi Cherubini - Messa Solenne In Sol Maggiore
    per l'incoronazione di Luigi XVIII

    2:02 Kyrie
    8:46 Gloria
    21:36 Credo
    33:42 Sanctus e O Salutaris
    44:41 Agnus Dei

    Subscribe:

  • Luigi Cherubini: Overture to Anacreon

    10:20

    Description by Rita Laurance [-]

    As Napoleon Bonaparte rose to power in France, work for composer Luigi Cherubini seemed to dry up. Napoleon found Cherubini's music too noisy, and thought that it contained too many notes. The composer he most loved was Paisiello. Napoleon took a personal dislike to Cherubini, who responded by becoming a concert promoter, starting a publishing business, and tending to his plants. Although Cherubini composed little in the years 1801-1802, he did bring out a two-act opera in 1803. Anacreon premiered at the Grand Opera of Paris on October 4 of that year. The libretto was by Mendouza and St. Aignan. Partly because of those composers bitter against musicians associated with the Conservatoire, and because of prejudice against German composers, or those composers who were thought to compose in too learned a style, the opera was an abysmal failure. It was hissed at and booed, and the libretto pronounced abysmal. There was outright laughter at some of the scenes. The overture is full of Cherubini's melodic genius, however, and contains much brilliant and dramatic orchestral writing. It is one of the many overtures by Cherubini to have stood the test of time, and was much admired in its day as an instrumental masterpiece. The choruses are excessively fine; these include a Bacchanalian chorus and the chorus Pere d'Orphee. The airs and vocal ensembles also exhibit exquisite beauty and grace. And to connoisseurs of opera, the storm scene at the end of the first act was considered to be one of the finest in the history of opera.

    Source: Allmusic.

    West German Radio Symphony Orchestra & Günter Wand, 2005.

  • Luigi Cherubini - Médée - Ouverture

    7:49

    Picture: Charles André van Loo - Mlle Clairon en Médée

    Luigi Cherubini (8 or 14 September 1760 -- 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.

    Work: Médée, opéra-comique in three acts, first performance 13 March 1797, Théâtre Feydeau, Paris.

    Libretto: François-Benoît Hoffmann (Nicolas Étienne Framéry), after Euripides and Pierre Corneille

    Ouverture

    Orchestra: Orchestra Sinfonica di Sanremo

    Conductor: Piero Bellugi

  • Luigi Cherubini – Requiem No.1, in C minor

    48:56

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    Luigi Cherubini (1760-1842)

    Requiem No.1, in C minor (1816)

    I. Introitus [00:00]
    II. Graduale [07:19]
    III. Dies Irae [09:02]
    Lacrymosa [15:35]
    IV. Offertorium [19:13]
    Quam olim Abrahae [23:40]
    Hostias [27:11]
    Quam olim Abrahae [32:23]
    V. Sanctus [35:50]
    VI. Pie Jesu [37:11]
    VII. Agnus Dei [40:59]

    Audio from:

    Score from:

  • AVE MARIA di Luigi Cherubini

    3:26

    Trascrizione per Tenore, Clarino e Organo di Renato Tagliabue


    -------------------------------------------------------------------------------------


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  • Luigi Cherubini : Requiem in re minore

    9:17

    Luigi Cherubini (1760-1842) : Requiem (n.2) in re minore per coro maschile e orchestra (1836) I : Introitus, Kyrie e Graduale
    Orchestra e Coro Filarmonia Céca, direttore Igor Markevitch


    -
    Created with AquaSoft SlideShow for YouTube:

  • Luigi Cherubini – Requiem No.2, in D minor

    52:05

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    Luigi Cherubini (1760-1842)

    Requiem No.2, in D minor (1836)

    I. Introitus & Kyrie [00:00]
    II. Graduale [10:24]
    III. Dies Irae [14:38]
    Rex tremendae majestatis [18:02]
    Recordare [19:29]
    Confutatis [21:33]
    Lacrymosa [23:42]
    IV. Offertorium [28:16]
    Quam olim Abrahae [30:47]
    Hostias [31:07]
    Quam olim Abrahae [33:27]
    V. Sanctus [35:27]
    VI. Pie Jesu [39:26]
    VII. Agnus Dei [43:19]

    Audio from:

    Score from:

  • Luigi Cherubini - Fugue in a minor

    4:47

    Luigi Cherubini - Fugue in a minor

    from [Luigi Cherubini - A Treatise on Counterpoint & Fugue]

  • Luigi Cherubini

    10:29

    00:00 - I. Introduction
    08:42 - II. Recitativo Amans des nobles Soeurs

    Marilyn Schmiege, soprano
    Martyn Hill & Paolo Barbacini, tenore
    Cappella Coloniensis
    Gabriele Ferro, conductor

  • Cherubini: Ouvertures | Classical Music

    54:35

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    Luigi Cherubini - Ouvertures
    Performed by Lugansk Philharmonic Orchestra
    Conducted by Silvano Frontalini

    Giulio Sabino: Ouverture (00:00)
    Lodoïska: Ouverture (12:39)
    Elisa: Ouverture (24:07)
    Faniska: Ouverture (33:25)
    Concert Ouverture (42:18)

    Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it and subscribe to our channel

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  • Luigi Cherubini - Le Crescendo - Ouverture

    11:38

    Luigi Cherubini

    Work: Le Crescendo, opéra comique in one acts, first performance 1 September 1810, Opéra-Comique, Paris.

    Libretto: Charles-Augustine de Bassompierre de Sewrin

    Ouverture

    Orchestra: Orchestra delle Toscana

    Conductor: Donato Renzetti

  • Luigi Cherubini - Ifigenia in Aulide - Ouverture

    4:52

    Luigi Cherubini

    Work: Ifigenia in Aulide, opera seria in three acts, first performance 12 January 1788, Teatro Regio, Turin.

    Libretto: Moretti

    Ouverture

    Orchestra: Orchestra delle Toscana

    Conductor: Donato Renzetti

  • Luigi Cherubini: Veni Jesu Choir conducted by William Godfree

    1:39

    Luigi Cherubini: Veni Jesu
    LMFL Firenze 2016 Student Concert
    Choir - LMFL Firenze 2016 Student Concert (1/4)

  • Luigi cherubini -eliza,ou Le Voyage aux glaciers du Mont St.Bernard overture

    7:26

    Eliza, ou Le Voyage aux glaciers du Mont St. Bernard

  • Cherubini: Overture in G Major

    10:37

    Provided to YouTube by Universal Music Group

    Cherubini: Overture in G Major · Orchestra Filarmonica Della Scala · Riccardo Chailly

    Cherubini Discoveries

    ℗ 2020 Decca Music Group Limited

    Released on: 2020-02-07

    Orchestra: Orchestra Filarmonica Della Scala
    Conductor: Riccardo Chailly
    Producer, Executive Producer: Dominic Fyfe
    Producer, Recording Producer: John Fraser
    Studio Personnel, Recording Engineer: Philip Siney
    Studio Personnel, Asst. Recording Engineer: Ian Watson
    Studio Personnel, Editor: Julia Thomas
    Composer: Luigi Cherubini

    Auto-generated by YouTube.

  • Luigi Cherubini - First Sonata for natural horn and string quartet

    2:37

    Alessandro Denabian (natural horn) & Quartetto Delfico perform the first Sonata for horn and string quartet by Luigi Cherubini (1760-1842).

    Live recording 12/7/2018
    T.R.A. Teatro Rossi Aperto - Pisa

    ALESSANDRO DENABIAN - Natural horn

    QUARTETTO DELFICO:
    Mauro Massa, Andrea Vassalle: violins
    Gerardo Vitale: viola
    Valeria Brunelli: cello


  • Luigi Cherubini - Faniska - Ouverture

    7:40

    Luigi Cherubini (8 or 14 September 1760 -- 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.

    Work: Faniska, opéra comique in three acts, first performance 26 February 1806, Theater am Kärntnertor, Vienna.

    Libretto: Joseph Sonnleithner after Les mines de Pologne by René Charles Guilbert de Pixérécourt

    Ouverture

    Orchestra: Orchestra Sinfonica di Sanremo

    Conductor: Piero Bellugi

  • 7.- O SALUTARIS HOSTIA

    5:11

    O SALUTARIS HOSTIA (Luigi CHERUBINI)

  • Luigi Cherubini - In Paradisum

    7:52

    Luigi Cherubini

    Work: In Paradisum (1807)

    Chorus: Chorus Musicus

    Orchestra: Das Neue Orchester

    Conductor: Christoph Spering

  • Luigi Cherubini: Requiem in C minor - Frieder Bernius

    8:54

    Luigi Cherubini (1760 - 1842)

    Reqiem in C minor (1816)

    4. Sequentia (00:01)
    Dies irae - Lacrimosa

    Kammerchor Stuttgart
    Hofkapelle Stuttgart
    Frieder Bernius

  • Luigi Cherubini-Medea, Hibla Gerzmava , part 1

    13:54

    Medea at the Stanislavski and Nemirovich-Danchenko Moscow Music Theatre.
    Production by Alexander Titel.
    Conductor Felix Korobov
    Soprano Hibla Gerzmava
    Tenor Nikolay Erokhin

  • Luigi Cherubini. Lodoïska, obertura

    11:00

    Temporada 2017-2018. Sinfónico 09: «La revolución francesa»
    Notas al programa:

    Orquesta de Extremadura
    Thomas Rösner, director

    Luigi Cherubini. Lodoïska, obertura (1791)

    El concierto en fotos:

    Grabado y editado por:
    Sonido: Alberto Terrón

  • Luigi Cherubini - Ouverture Démophoon

    7:03

    Orchestra del Collegium Musicum Almae Matris, Bologna
    direttore Piero Monti
    13 giugno 2010, Aula Magna di Santa Lucia

  • Veni Jesu Bas Luigi Cherubini

    1:55

    Oefening baart kunst.

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