Luigi Cherubini (1760–1842) was an Italian composer who spent most of his w… Read Full Bio ↴Luigi Cherubini (1760–1842) was an Italian composer who spent most of his working life in France. Although his music is not well known today, it was greatly admired in his time. Beethoven regarded him as the greatest of his contemporaries.
Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini on 14th September 1760 in Florence. His instruction in music began at the age of six with his father, himself a musician. By the age of thirteen he had composed several religious works. From 1778 to 1780, he studied music in Bologna and Milan. Cherubini's early operas, settings of Italian libretti by Metastasio, adhered closely to the conventions of opera seria.
In 1788, Cherubini made a brief visit to London, where he started work on a setting of a French libretto by Jean-François Marmontel, Démophon. Cherubini's music began to show more originality and daring. Later the same year he settled in Paris. His first major success here was Lodoïska/i] (1791) which was admired for its realistic heroism. This was followed by Eliza (1794), set in the Swiss Alps, and Médée (1797), which is Cherubini's best-known work. Les deux journées (1800), in which Cherubini simplified his style somewhat, was a popular success. These and other operas were premiered at the Théâtre Feydeau.
Cherubini's popularity declined markedly after Les deux journées, with Parisian audiences turning to younger composers such as Boieldieu. His opera-ballet Anacréon was an outright failure. In 1805, Cherubini received an invitation from Vienna to write an opera and to direct it in person. Faniska was produced the following year and was enthusiastically received, in particular, by Haydn and Beethoven. Les abencérages (1813), an heroic drama set in Spain during the last days of the Moorish kingdom of Granada, was Cherubini's attempt to compete with Spontini's La Vestale. It brought the composer critical praise, but was given few performances.
Disappointed with his lack of success in the theater, Cherubini turned increasingly to church music, writing seven masses, two requiems and many shorter pieces. During this period, he was also appointed surintendant de la musique du roi under the restored monarchy (his relations with Napoleon had been decidedly cool). In 1815, the London Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performance of which he went especially to London to conduct, and this increased his international fame.
Cherubini's requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France, was a huge success. The work was greatly admired by Beethoven, Schumann, and Brahms. In 1836, Cherubini wrote a requiem in D minor to be performed at his own funeral. It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work.
Although chamber music does not make up a large portion of his output, what he did write was important. Wilhelm Altmann, writing in his Handbuch für Streichquartettspielers (Handbook for String Quartet Players) about Cherubini's six string quartets,states that they are first rate, and regarded numbers 1 and 3 as masterworks. His string quintet for two violins, viola, and two cellos is also considered a first-rate work.
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 would bring him into conflict with the young Hector Berlioz, who went on to portray the old composer as a crotchety pedant in his memoirs. Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity, and it must be remembered that Berlioz himself was a great admirer of much of Cherubini's music. There are many allusions to Cherubini's personal irritibality among his contemporaries; Adolphe Adam wrote, "some maintain his temper was very even, because he was always angry". Nevertheless, Cherubini had many friends, including Rossini, Chopin and, above all, the artist Ingres. The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin. In 1841, Ingres produced the most celebrated portrait of the old composer.
Cherubini died in Paris on 15th March 1842 at the age of eighty-one, and was buried in Père Lachaise cemetery.
Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini on 14th September 1760 in Florence. His instruction in music began at the age of six with his father, himself a musician. By the age of thirteen he had composed several religious works. From 1778 to 1780, he studied music in Bologna and Milan. Cherubini's early operas, settings of Italian libretti by Metastasio, adhered closely to the conventions of opera seria.
In 1788, Cherubini made a brief visit to London, where he started work on a setting of a French libretto by Jean-François Marmontel, Démophon. Cherubini's music began to show more originality and daring. Later the same year he settled in Paris. His first major success here was Lodoïska/i] (1791) which was admired for its realistic heroism. This was followed by Eliza (1794), set in the Swiss Alps, and Médée (1797), which is Cherubini's best-known work. Les deux journées (1800), in which Cherubini simplified his style somewhat, was a popular success. These and other operas were premiered at the Théâtre Feydeau.
Cherubini's popularity declined markedly after Les deux journées, with Parisian audiences turning to younger composers such as Boieldieu. His opera-ballet Anacréon was an outright failure. In 1805, Cherubini received an invitation from Vienna to write an opera and to direct it in person. Faniska was produced the following year and was enthusiastically received, in particular, by Haydn and Beethoven. Les abencérages (1813), an heroic drama set in Spain during the last days of the Moorish kingdom of Granada, was Cherubini's attempt to compete with Spontini's La Vestale. It brought the composer critical praise, but was given few performances.
Disappointed with his lack of success in the theater, Cherubini turned increasingly to church music, writing seven masses, two requiems and many shorter pieces. During this period, he was also appointed surintendant de la musique du roi under the restored monarchy (his relations with Napoleon had been decidedly cool). In 1815, the London Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performance of which he went especially to London to conduct, and this increased his international fame.
Cherubini's requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France, was a huge success. The work was greatly admired by Beethoven, Schumann, and Brahms. In 1836, Cherubini wrote a requiem in D minor to be performed at his own funeral. It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work.
Although chamber music does not make up a large portion of his output, what he did write was important. Wilhelm Altmann, writing in his Handbuch für Streichquartettspielers (Handbook for String Quartet Players) about Cherubini's six string quartets,states that they are first rate, and regarded numbers 1 and 3 as masterworks. His string quintet for two violins, viola, and two cellos is also considered a first-rate work.
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 would bring him into conflict with the young Hector Berlioz, who went on to portray the old composer as a crotchety pedant in his memoirs. Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity, and it must be remembered that Berlioz himself was a great admirer of much of Cherubini's music. There are many allusions to Cherubini's personal irritibality among his contemporaries; Adolphe Adam wrote, "some maintain his temper was very even, because he was always angry". Nevertheless, Cherubini had many friends, including Rossini, Chopin and, above all, the artist Ingres. The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin. In 1841, Ingres produced the most celebrated portrait of the old composer.
Cherubini died in Paris on 15th March 1842 at the age of eighty-one, and was buried in Père Lachaise cemetery.
Requiem: Agnus Dei
Luigi Cherubini Lyrics
We have lyrics for 'Requiem: Agnus Dei' by these artists:
Gounod Charles-François Agnus Dei qui tollis peccata mundi Miserere nobis Agnus Dei …
St. Florian Boys' Choir Agnus Dei Agnus Dei Agnus Dei, qui tollis peccata mundi, don…
Wolfgang Amadeus Mozart CHORUS AGNUS DEI, qui tollis peccata …
We have lyrics for these tracks by Luigi Cherubini:
Sanctus Sanctus, Sanctus, Sanctus, Dominus, Deus Sabaoth Pleni sun…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@pedrohenriqueprata
Sed signifer sanctus Michael [rather let the standard-bearer Saint Michael]
repraesentet eas in lucem sanctam, [bring them forward into holy light]
quam olim Abrahae et semini ejus promisisti,[ as you once promised to Abraham and his seed.]
Hostias et preces, Domine, tibi laudis offerimus. [Prayers and sacrifices of praise, Lord, we offer to you.]
Tu suscipe pro animabus illis, [Receive them on behalf of those souls]
quarum hodie memoriam facimus… [whom we today commemorate:]
fac eas, Domine, de morte transire ad vitam, [grant, Lord, that they pass from death to life,]
quam olim Abrahae promisisti et semini ejus. [as you once promised to Abraham and his seed.]
35:52 SANCTUS
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! [Holy, holy, holy Lord God of Hosts!]
Pleni sunt coeli et terra gloria tua. [Heaven and earth are full of your glory,]
Hosanna in excelsis. [Hosanna in the highest!]
Benedictus, qui venit in nomine Domini. [Blessed is he who comes in the name of the Lord.]
Hosanna in excelsis [Hosanna in the highest!]
37:12 PIE JESU
Pie Jesu Domine, Dona eis requiem. [Holy Jesus, Lord, grant them rest.]
Pie Jesu Domine, Dona eis réquiem sempiternam. [Holy Jesus, Lord, grant them eternal rest.]
41:02 AGNUS DEI
Agnus Dei, qui tollis peccata mundi, [Lamb of God, who takes away the sins of the world,]
dona eis requiem. [grant them rest.]
Agnus Dei, qui tollis peccata mundi, [Lamb of God, who takes away the sins of the world,]
dona eis requiem sempiternam. [grant them eternal rest.]
lux perpetua luceat eis, Domine [Let eternal light shine upon them, Lord,]
cum sanctis tuis in aeternum, Domine, quia pius es. [with your saints for ever, for you are holy.]
Requiem aeternam dona eis, Domine [Grant them eternal rest, Lord,]
et lux perpetua luceat eis. [and let perpetual light shine upon them.]
@pascalmayer9421
Bel enregistrement sous la baguette de Ricardo Muti ,magnifique ...https://fr.wikipedia.org/wiki/Requiem_en_do_mineur_de_Cherubini
Né le 14 septembre 1760 à Florence, Luigi Cherubini est le fils d’un célèbre claveciniste. Après une bonne éducation (à la fois religieuse et musicale) dans sa ville natale, Cherubini étudia à Bologne et à Milan. Son professeur, Giuseppe Sarti, est un compositeur renommé. En 1780, son premier opéra (Il Quinto Fabio) le fait connaître, mais ce succès ne procure pas à Cherubini de stabilité financière.
En 1785, on donne deux de ses œuvres à Londres qu’il rejoint en automne 1787, engagé par le roi. Il compose quelques morceaux pour le souverain, dont le King’s Theatre, mais ils ne remportent pas de succès particulier. Puis, après un an, Cherubini commence une période parisienne. En 1789, il dirige le Théâtre de Monsieur, troupe qu’il a créée avec son ami Giovanni Battista Viotti, compositeur de la cour. Mais, avec la révolution, il perd son poste en 1792. En 1795, Cherubini exerce la fonction d’inspecteur à l’Institut National de Musique, qui deviendra par la suite Conservatoire de Paris (il en deviendra directeur en 1822). C’est à la fin du XVIIIème siècle qu’il compose ses plus belles œuvres, par exemple Médée en 1797 (écouter des extraits sur Youtube : 01, 02 et final)..
À la naissance de l’Empire, il tombe en disgrâce et émigre à Vienne en 1805 où il compose Faniska (créée en 1806). Par son succès, il regagne les faveurs de Napoléon (qui jusque là ne l’appréciait pas vraiment et qui lui préférait Gaspare Spontini) et il retourne en France. Il s’y adonne à plusieurs sciences ou arts : botanique, peinture et bien sûr composition musicale.
Mort le 15 mars 1842 à Paris, un mois après avoir été promu au grade de Commandeur de la légion d’honneur (ce fut d’ailleurs le premier musicien à l’être), Cherubini a été admiré par de nombreux compositeurs : Ludwig van Beethoven en parle comme du meilleur compositeur de son époque, Robert Schumann le juge « magnifique« , Carl Maria von Weber s’extasie sur ses « chefs-d’œuvre« . Cherubini possédait à fond son métier de compositeur. Même Hector Berlioz avec qui les rapports étaient particulièrement tendus au Conservatoire voyait en lui un « modèle sous tous les rapports« .
@davidrehak3539
Luigi Cherubini:c-moll Requiem
1.Introitus et Kyrie 00:00
2. Graduale 07:20
3. Dies Irae 09:02
4. Offertórium 19:15
5.Sanctus 35:52
6. Pie Jesu 37:12
7.Agnus Dei 41:02
Ambrosian Operakórus
Filharmónia Zenekar
Vezényel:Riccardo Muti
@pedrohenriqueprata
Sed signifer sanctus Michael [rather let the standard-bearer Saint Michael]
repraesentet eas in lucem sanctam, [bring them forward into holy light]
quam olim Abrahae et semini ejus promisisti,[ as you once promised to Abraham and his seed.]
Hostias et preces, Domine, tibi laudis offerimus. [Prayers and sacrifices of praise, Lord, we offer to you.]
Tu suscipe pro animabus illis, [Receive them on behalf of those souls]
quarum hodie memoriam facimus… [whom we today commemorate:]
fac eas, Domine, de morte transire ad vitam, [grant, Lord, that they pass from death to life,]
quam olim Abrahae promisisti et semini ejus. [as you once promised to Abraham and his seed.]
35:52 SANCTUS
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! [Holy, holy, holy Lord God of Hosts!]
Pleni sunt coeli et terra gloria tua. [Heaven and earth are full of your glory,]
Hosanna in excelsis. [Hosanna in the highest!]
Benedictus, qui venit in nomine Domini. [Blessed is he who comes in the name of the Lord.]
Hosanna in excelsis [Hosanna in the highest!]
37:12 PIE JESU
Pie Jesu Domine, Dona eis requiem. [Holy Jesus, Lord, grant them rest.]
Pie Jesu Domine, Dona eis réquiem sempiternam. [Holy Jesus, Lord, grant them eternal rest.]
41:02 AGNUS DEI
Agnus Dei, qui tollis peccata mundi, [Lamb of God, who takes away the sins of the world,]
dona eis requiem. [grant them rest.]
Agnus Dei, qui tollis peccata mundi, [Lamb of God, who takes away the sins of the world,]
dona eis requiem sempiternam. [grant them eternal rest.]
lux perpetua luceat eis, Domine [Let eternal light shine upon them, Lord,]
cum sanctis tuis in aeternum, Domine, quia pius es. [with your saints for ever, for you are holy.]
Requiem aeternam dona eis, Domine [Grant them eternal rest, Lord,]
et lux perpetua luceat eis. [and let perpetual light shine upon them.]
@simonhank697
I realize it's quite randomly asking but do anyone know a good website to watch new movies online ?
@OfficialPlaysomeTV
An absolute masterpiece. Cherubini was a brilliant composer. No wonder Beethoven admired him so much!
@tg4q391
I feel ashamed for having just discovered such a masterpiece. I'm calling it, Cherubini is the most wronged and underrated composer of his time. Period.
@jackarcher7495
Brahms was a great admirer of Cherubini's music. He predicted toward the end of his life that his own music would be forgotten the way Cherubini's was at that time. Fortunately that wasn't the case. But Cherubini still doesn't enjoy the recognition he should, more than a century later. Why that is I am unable to say.
@roideschats8799
écoutez aussi son Requiem en ré (pour choeur d'hommes)... il est aussi magnifique.
@tg4q391
@@roideschats8799 vraiment
@JCalvinSmith
David Lynch made good use of this music. To evoke the climactic emotions and situation in one particular scene whose circumstances were already well-known to the audience of a film, and make them new and tragic, it was perfect.
@donnaknudson7296
Yes, I just came here from watching Twin Peaks- Fire Walk With Me. The music definitely helped tell the story.... going from the horror that can happen in this life to an afterlife using this music. Starting during the most horrific scene towards the end and then following to her dying, seeing the angel, and to her final destination. Intense. Lynch goes beyond your average horror movie.....I'm pretty blown away.
@MebThemes
I believe Luigi needs more recognition. His music is wonderful. Requiem is my favorite. He’s composed truly fantastic stuff, yet I don’t hear his name mentioned enough. He was even greatly praised by legends Beethoven and Rossini. To me, that says a lot.