Luigi Cherubini - Symphony in Dmajor (1815) :케루비니의 유일한 교향곡

Luigi Cherubini as member of the Institut Royal de France, Académie des Beaux-Arts, c. 1820.

Luigi Cherubini (/ˌkɛrʊˈbiːni/ KERR-uu-BEE-nee, Italian: [luˈiːdʒi keruˈbiːni]; 8 or 14 September^[1] 1760 – 15 March 1842) was an Italian Classical and Romantic ^[2][3] 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 Dmajor (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.