Misplaced Pages

#877122

37-591: It is named after the Italian composer Luigi Cherubini , who wrote six string quartets. The Cherubini Quartet has won international acclaim with its interpretations of nineteenth-century string quartets, winning prizes such as the Grand Prix in Evian/France. The Cherubini Quartet has performed string quartets by Wolfgang Amadeus Mozart , Franz Schubert , Felix Mendelssohn , and Robert Schumann . This article about

74-454: A classical ensemble is a stub . You can help Misplaced Pages by expanding it . Luigi Cherubini Maria Luigi Carlo Zenobio Salvatore Cherubini ( / ˌ k ɛr ʊ ˈ b iː n i / KERR -uu- BEE -nee ; Italian: [luˈiːdʒi keruˈbiːni] ; 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

111-615: A family of three children. The fallout from the French Revolution affected Cherubini until the end of his life. Politics forced him to hide his connections with the former aristocracy and seek governmental appointments. Although Napoleon found him too complex, Cherubini wrote at least one patriotic work per year for more than a decade. He was appointed Napoleon's director of music in Vienna for part of 1805 and 1806, whereupon he conducted several of his works in that city. In 1808 Cherubini

148-412: A position he would hold until the fall of Charles X (1830). In 1815 London's Royal Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performances of which he went especially to London to conduct, increasing his fame. Cherubini's Requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France ,

185-515: Is his first name, Maria, which is traditional for a child born on 8 September, the feast-day of the Nativity of the Virgin. His instruction in music began at the age of six with his father, Bartolomeo, maestro al cembalo ("Master of the harpsichord ", in other words, ensemble leader from the harpsichord ). Considered a child prodigy , Cherubini studied counterpoint and dramatic style at an early age. By

222-507: The Chevalier de la Légion d'honneur (1814) and Membre de l'Académie des Beaux-Arts (1815). In 1841, he was made Commandeur de la Légion d'honneur , the first musician to receive that title. Cherubini died in Paris in 1842 at age 81 and is buried at Père Lachaise Cemetery , just four metres from his friend Chopin. His tomb was designed by the architect Achille Leclère and includes a figure by

259-562: The Opéra-Comique , and objections by Jean Sylvain Bailly , the mayor of Paris, permission was granted in April. The new theatre on the rue Feydeau was built in just over six months in a neoclassical style to the designs by the architects Jacques Legrand and Jacques Molinos and had a capacity of 1700–1900. These designers were not too concerned with the practicality of the theatre space, but more with

296-973: The Théâtre de Monsieur . It began performing in the Salle des Tuileries , located in the north wing of the Tuileries Palace , then moved to the Salle des Variétés at the Foire Saint-Germain , and beginning in 1791, settled into its own custom-built theatre, the Salle Feydeau located on the rue Feydeau. The company was renamed Feydeau after the royal family was arrested during the French Revolution . The company first presented Italian opera by composers such as Giovanni Battista Pergolesi , Giuseppe Sarti , and Giovanni Paisiello and later French plays , vaudevilles , and opéras comiques , as well as symphonic concerts, and

333-654: The Académie Royale de Musique in 1788. With Viotti's help, the Théâtre de Monsieur in the Tuileries appointed Cherubini as its director in 1789. Three years later, after a move to the rue Feydeau and the fall of the monarchy, the company became known as the Théâtre Feydeau. This position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament. Cherubini's music began to show more originality and daring. His first major success

370-480: 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

407-666: The Salle des Machines, but had been greatly modified and reduced in size by the architects Jacques-Germain Soufflot and Ange-Jacques Gabriel for the Paris Opera in 1763. Since the Théâtre de Monsieur was opened for the King's brother and was at the Tuileries Palace, the King allowed the performers to live at the palace. While most theatres of the time were only permitted to do one kind of drama,

SECTION 10

#1732858878878

444-524: The Salle des Variétés at the Saint-Germain Fair . The company's last performance at the Tuileries was on 23 December, and it opened at the Salle des Variétés on 10 January 1790. Piccini 's La buona figliuola was warmly received on 3 February 1790 with the composer conducting, but Pasquale Anfossi 's I viaggiatori felici was less highly regarded, on account of both its music and its libretto, with

481-415: The Théâtre de Monsieur performed French drama, opéra comique, vaudeville, and Italian opera buffa. On 6 October 1789 Louis XVI and Marie-Antoinette moved to the Tuileries Palace after being forced to leave Versailles for Paris by rioters . It was decided that the Théâtre de Monsieur would have to find new quarters, and that a new theatre would be built, but in the interim, the company would perform in

518-643: The Théâtre de Monsieur was officially renamed Théâtre Français & Italien de la rue Feydeau, but by July this had been shortened to Théâtre de la rue Feydeau, or simply the Théâtre Feydeau. The first important French work was Cherubini 's Lodoïska , which was premiered on 18 July 1791. This was followed by more French operas by Cherubini, as well as operas by French composers, including Devienne's Les visitandines (7 July 1792); Le Sueur's La caverne (16 February 1793), Paul et Virginie (13 January 1794), and Télémaque (10 May 1796); and Gaveaux's Léonore, ou L'amour conjugal (19 February 1798). The last

555-549: The company from 1795 to 1799, but he also took on the management of two other theatres, the Théâtre de la République and the Théâtre de l'Odéon , and becoming overextended closed the Théâtre Feydeau on 12 April 1801. However, the Opéra-Comique, the Feydeau's chief rival, was also forced to close on 20 July 1801, and it was soon decided to merge the two companies under the name Opéra-Comique, which occurred on 16 September 1801. Since

592-460: The exception of inserted numbers composed by Cherubini, who took a bow at the insistence of the audience. The sixteen-year-old violinist Pierre Rode played a concerto by Viotti between the acts of Giuseppe Sarti 's Le gelosie villane on 18 October. The company continued to perform in the theatre at the Saint-Germain fairground until 31 December 1790. For the new theatre, a site just east of

629-462: The greatest living composer of his era. Cherubini's operas were heavily praised and interpreted by Rossini . Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence in 1760. There is uncertainty about his exact date of birth. Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct. Perhaps the strongest evidence

666-493: The last days of the Moorish kingdom of Granada , was Cherubini's attempt to compete with Spontini 's La vestale ; it received critical praise but few performances. Disappointed with his lack of acclaim in the theater, Cherubini turned increasingly to church music, writing seven masses , two requiems , and many shorter pieces. During this period (under the restored monarchy ) he was appointed Surintendant de la Musique du Roi ,

703-517: The leading Italian composers of the day. The first of his two comic works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783. Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two opere serie and an opera buffa for the King's Theatre . In the same year, he made an excursion to Paris with his friend

740-476: The main part of the building. These features, along with the statues on the outside of the lobby, were novel and attracted a lot of attention. The lobby was highly ornate and was where Legrand and Molnios focused a lot of their attention. The theatre was lit by candlelight and by hanging chandeliers. There were seats in the pit as well as lining the sides of the theatre. There were three balconies and two different standing areas. There were also boxed seats next to

777-559: The merged company performed at the Salle Favart, it continued to perform at the Salle Feydeau until 1829, when it moved to a new theatre, the Salle Ventadour . The Salle Feydeau was demolished shortly thereafter. The company was founded on 26 January 1789 by Marie-Antoinette 's coiffeur Léonard-Alexis Autier and the violinist and composer Giovanni Battista Viotti and at first used the Salle des Tuileries, which had previously been

SECTION 20

#1732858878878

814-411: The north end of the Tuileries Palace, formerly occupied by the "Stables of Monsieur", was first considered. This location was thought advantageous, even at this late date, because the royal family could reach it without having to go out-of-doors. Several other sites were also considered, but by February 1790, a piece of land on the rue Feydeau was selected. Despite its proximity to the Salle Favart, home of

851-610: The previous Opéra-Comique's Salle Favart needed repairs, the merged company performed at the Salle Feydeau. Except for a short period from 23 July 1804 to 4 July 1805, when it performed at the Salle Favart and the Salle Olympique, it continued using the Salle Feydeau until 12 April 1829, after which the Salle Feydeau was demolished, and the new Opéra-Comique moved to a newly built theatre, the Salle Ventadour , opening there on 20 April 1829. In La fille de Madame Angot , an opéra-comique by Charles Lecocq put on on 4 December 1872,

888-509: The rest of his life in France where he was initiated into Grand Orient de France "Saint-Jean de Palestine" Masonic Lodge in 1784. 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, though his Italian name is favored nowadays. Performances of Démophoon were favorably received at

925-413: The sculptor Augustin-Alexandre Dumont representing "Music" crowning a bust of the composer with a wreath. [REDACTED] Category Th%C3%A9%C3%A2tre de Monsieur The Théâtre Feydeau ( pronounced [teɑtʁ fɛdo] ), a former Parisian theatre company, was founded in 1789 with the patronage of Monsieur, Comte de Provence (later to become Louis XVIII ), and was therefore initially named

962-457: The splendor of the theatre. It was a rectangular building that was curved on the side of the lobby at the front. On the curved front were seven massive windows that let natural light into the lobby. In between these windows were statues that were the same height as the windows. The architects also included "carriage entrances at ground level that allowed theatre goers to disembark inside a protected vestibule" or entrance hall between an outer door and

999-544: The stage. Several "design flaws of the original plan would continue to haunt the theatre's administration." The proscenium "extended beyond the stage in such a way that it obstructed the view of the stage for most of the side loges". Bad sight lines were a problem with the original design of the theatre. The audience structure caused poor sound reverberations. There were two different remodeling projects, one in 1798 and one in 1801. The opening there took place on 6 January 1791, when Sarti's 3-act comic opera Le nozze di Dorina

1036-555: The time he was thirteen, he had composed several religious works. In 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan . Cherubini's early opere serie used libretti by Apostolo Zeno , Metastasio (Pietro Trapassi), and others that adhered closely to standard dramatic conventions. His music was strongly influenced by Niccolò Jommelli , Tommaso Traetta , and Antonio Sacchini , who were

1073-404: The violinist Giovanni Battista Viotti , who presented him to Marie Antoinette and Parisian society. Cherubini received an important commission to write Démophoon to a French libretto by Jean-François Marmontel that would be his first tragédie en musique . Except for a brief return trip to London and to Turin for an opera seria commissioned by King Victor Amadeus III , Cherubini spent

1110-491: Was Lodoïska (1791), which was admired for its realistic heroism. This was followed by Elisa (1794), set in the Swiss Alps , and Médée (1797), Cherubini's best-known work. Les deux journées (1800), in which Cherubini simplified his style, was a popular success. These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique. Feeling financially secure, he married Anne Cécile Tourette in 1794 and began

1147-486: 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. In 1822, Cherubini became director of the Conservatoire and completed his textbook, Cours de contrepoint et de fugue , in 1835. His role at

Cherubini Quartet - Misplaced Pages Continue

1184-417: Was always angry." Nevertheless, Cherubini had many friends, including Szymanowska , 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. Although chamber music does not make up a large portion of his output, what he did write

1221-645: Was elected an associated member of the Royal Institute of the Netherlands . After Les deux journées , Parisian audiences began to favor younger composers such as Boieldieu . Cherubini's opera-ballet Anacréon was an outright failure and most stage works after it did not achieve success. Faniska , produced in 1806, was an exception, receiving an enthusiastic response, in particular by Haydn and Beethoven. Les Abencérages (1813), an heroic drama set in Spain during

1258-437: Was especially famous for the quality of its orchestra and realistic stagings. The Italian Luigi Cherubini was the house composer, but the French composers Jean-François Le Sueur , François Devienne , and Pierre Gaveaux were also closely associated with the company. In 1801 the Théâtre Feydeau merged with, and took the name of its chief rival, the Opéra-Comique . Except for a brief period from July 1804 to July 1805, when

1295-437: Was important. Wilhelm Altmann , writing in his Handbuch für Streichquartettspieler ( Handbook for String Quartet Players ) about Cherubini's six string quartets, stated that they are first rate and regarded Nos. 1 and 3 as masterworks. His String Quintet for two violins, viola and two cellos is also considered a first-rate work. During his lifetime, Cherubini received France's highest and most prestigious honors. These included

1332-581: Was presented. Up to 1791 the repertory had consisted primarily of Italian opera, with additional music added by Cherubini, but the exclusive privileges of the royal theatres were revoked on 13 January 1791. The company was now free to present French opéras comiques , competing more directly with the nearby Opéra-Comique company at the Salle Favart. Upon the Royal Family's return to Paris on 24 June 1791, after its unsuccessful flight and arrest in Varennes,

1369-509: Was the model for Beethoven's Fidelio . In general, opera alternated evenings with spoken drama, presented by a separate company of actors. The theatre became one of the meeting-places for counter-revolutionaries . Like many theatres of the Revolutionary period, it was frequently banned. However, it re-opened for good on 2 April 1796, becoming one of the most appreciated theatres in Paris. Talma produced there from 1798. Sagaret directed

#877122