Luigi Cherubini


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Cherubini, Luigi

(lwē`jē kāro͞obē`nē), 1760–1842, Italian composer, who lived in Paris after 1788. Before he was 16 he wrote masses and other sacred works; he later composed Italian opera. In Paris he assimilated French operatic tradition and wrote operas of broad dramatic scope with rich orchestration, such as Médée (1797) and Les Deux Journées (1800), which influenced Beethoven's vocal music. In 1816 he became professor of composition at the Paris Conservatory, and in 1822 he became its director. Renowned for his contrapuntal skill, in his later years he wrote mostly sacred music, including his masses in F Major (1809) and A Major (1825) and his Requiem in D Minor (1836).
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Following the suggestions received from Bonaventura, who was now librarian of the Conservatorio di musica Luigi Cherubini, the Commission asked the Ministry to move the music collection from the BNCF to the library of the Conservatorio, where access would have been improved.
His Luigi Cherubini Youth Orchestra -- named after an Italian composer -- features violinist Anne-Sophie Mutter and a bunch of musicians under the age of 30, having a rich repertoire from baroque to 20th century music.
Mozart and Luigi Cherubini. Kramer will be featured on Mozart's Piano Concerto No.
The Luigi Cherubini whom Felix met in Paris in 1825 would become the Cherubini who was the "bane of the young Hector Berlioz" (p.
And if one is wondering why Hummel omitted Mozart's overtures to Don Giovanni and La clemenza di Tito from the present set of twelve overtures while including those to Le nozze di Figaro and Die Zauberflote, it was probably because he wanted to save them for his second set of twelve overtures, which similarly mixes the familiar with the now unfamiliar, with overtures by Beethoven (Fidelio), Francois Adrien Boieldieu (Le calife de Bagdad), Luigi Cherubini (Les deux journees), Domenico Cimarosa (Il matrimonio segreto), Friedrich Heinrich Himmel (Fanchon), Gioacchino Rossini (Il barbiere di Siviglia, La gazza ladra, and L'italiana in Algeri), Johann Christoph Vogel (Demophon), and Peter Winter (Das unterbrochene Opferfest).
Much of what we hear orchestrally in Die drei Pintos might be indistinguishable in timbre and texture from operatic accompaniment in Franz Schubert, Luigi Cherubini, Louis Spohr, Albert Lortzing, Otto Nicolai, or Weber himself.
She gives a strong sense of Halevy's own character, his relationships with his teacher and father substitute Luigi Cherubini and his collaborator Eugene Scribe, and his interactions with a young, revering Richard Wagner.
His topics include: Luigi Cherubini and the counterpoint teaching at the Paris Conservatory (the model for other conservatories), the Cecilian movement, the association of unaccompanied polyphony with monarchy and stability in the nineteenth-century, Protestant reactions to Palestrina's music, and Richard Wagner.
In restricting his focus to Berlioz's relationship to Weber, Heidlberger, of course, runs the risk of over-looking other formative influences on the French composer, In particular, the fact that much of Weber's dramatic and compositional technique was gleaned from operas-comiques by Etienne-Nicolas Mehul, Luigi Cherubini, and their contemporaries suggests that Berlioz could have observed many of the effects cited by Heidlberger in French works.
Starting with the apparently curious fact that few pyrotechnicians of the piano were graduates of the Conservatorie at a time when pianistic fireworks were toute la rage in Paris, Cecile Raynaud inquires into the attitude toward virtuosity of the indomitable Luigi Cherubini, who directed the school from 1822 until his death twenty years later.