Cherubini - Requiem

Cherubini - Requiem

Cherubini - Requiem
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CD Details

Composer: Ludwig van Beethoven
Composer: Luigi Cherubini
Conductor: Martin Pearlman
Orchestra: Boston Baroque
Edition: Music CD
CD Release Date: 2007-01-23
Music Label: Telarc
Soundtracks:
  1. Elegiac Song, Op. 118Luigi Cherubini Requiem in C minor
  2. Introit and Kyrie
  3. Graduale
  4. Sequence: Dies Irae
  5. Offertory: Domine Jesu Christe
  6. Offertory: Hostias
  7. Sanctus and Benedictus
  8. Pie Jesu
  9. Agnus DeiCherubini
  10. Marche funebre

Music reviews of Cherubini - Requiem

Music Review: They All Agreed...Cherubini was great.
Rating: 5 Stars

Ok, so if you aare new to choral music, this may not be the best way into it...as the two reviewers above can testify. But let there be no doubts about it, this IS great music. If Beethoven, Berlioz, Brahms and Wagner can all agree on something (as the CD blurb tells us), you know it has to be good. Well, they all admired this composer (Cherubini), and this work in particular. If you think this work occasionaly sounds like another composer, then you have it backwards. Other composers sound like Cherubini. Even Beethoven looked up to him.

This reading by the Boston Baroque is superb: as far as mainstream performances go, there are few better than this.

I'm still a little confused by the lukewarm reaction by the two above reviewers; perhaps Cherubini is more of a composer's composer, rather than a people's composer? I personally think he is accessible. Enjoy this music.
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Description of Cherubini - Requiem

Cherubini's Requiem in C minor, by turns ethereal, highly dramatic and ultimately transcendent, was triumphantly premiered on January 21, 1817 in a memorial concert below the abbey church of St. Denis to commemorate the anniversary of the executions of Louis XVI and Marie Antoinette. The bodies of the long deposed monarchs had been searched for and found a few years earlier and were finally being laid to rest in the crypt of St. Denis. Though held in the highest esteem by many of the greatest composers of his time, this first of Cherubini's two Requiems fell into obscurity by the end of the 19th century. The new recording gives the work a new lease on life and invites listeners who have long treasured - and even helped popularize - the great and varied Requiems by composers such as Mozart, Brahms, Fauré, Verdi and even Britten to discover a deeply satisfying and unjustly neglected masterpiece. Cherubini's Requiem is scored for chorus and orchestra, but, surprisingly, does not feature vocal soloists. As Martin Pearlman observes, "It is as if the composer has distanced himself as far as possible from his other life in opera." Violins are omitted in the opening two movements, creating an especially somber orchestral color. A single dramatic stroke of the tam-tam (gong) at the opening of the Dies irae (Day of wrath) is no doubt the work's most famous moment (or perhaps infamous, as some early listeners found it ill-suited for a religious work)-- and must have terrified listeners at the work's premiere. Also notable is the work's unusual ending, where the music fades away in a long, haunting diminuendo that Berlioz said, "surpasses anything of the kind that has been written." The new album opens, appropriately, with another rarely heard work of transcendent cast, Beethoven's sublime Elegiac Song, Op. 118. Written in the summer of 1814 for a friend whose wife had died in childbirth, the simple anonymous text, sung in German, is tenderly set by the composer: Gently, as you lived, thus have you died, too holy for sorrow! Let no eye shed tears for the heavenly spirit's return home. As Martin Pearlman explains in the liner notes, "Beethoven composed this small gem at the beginning of a difficult time in his life, a period in which he produced a few major works but appeared to be rethinking his musical vocabulary...While the Elegiac Song can hardly be said to anticipate the style of the late quartets, it does reflect a sense of searching, a sense that nothing is conventional, even in a small pièce d'occasion."

An additional Cherubini work, the March funèbre (1820), closes the album in dramatic fashion. Referring to its repeated gong strokes and "passionate dissonances," Martin Pearlman observes, "As we might expect from a march, this is ceremonial music, very different in spirit from the profoundly emotional Requiem, and it indulges much more freely in theatrical effects."


Cherubini's C minor Requiem, full of drama and austere beauty, is a masterpiece of 19th-century choral and church music. Although famous for his operas, Cherubini did not include vocal solos in the work (nor in the D minor Requiem for male chorus composed in his later years). The opening Kyrie is swathed in soft mystery, the Domine Jesu and the Offertory's final Amen have sturdy rhythmic underpinnings, and the Requiem's finale features a closing diminuendo as powerful as it is surprising. Cherubini opens the Dies Irae with a stupendous tam-tam crash, shocking to its first audiences and still packing a wallop, especially as captured by Telarc's engineers. In the Marche Funèbre, which follows the Requiem on this disc, Cherubini returned to the tam-tam, along with brass and percussion for a stirring, sad march. The disc opens with Beethoven's rarely performed, quietly effective short Elegiac Song. Pearlman and his period instrument band and chorus are exemplary throughout. Tempos are apt, the orchestra plays with feeling, without the annoying tics heard from many such ensembles, and the well-drilled chorus sings with color and delicacy, as well as with a wide dynamic range. --Dan Davis

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