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(i–ii) Marche religieuse; (i; iv–v) Mass in F (Di Chimay); (i–iii) Mass for the Coronation of Charles X; (vi) Medea: aria: Dei tuoi figli la madre tu vedi; (i; iv; vii) Missa solemnis in D min.; (i; iv; viii) Missa solemnis in E; (i–iii) Missa solemnis in G (for the Coronation of Louis XVIII); (i; ix) Motets: Antifona sul canto fermo 8; Nemo gaudeat. (i–ii; x) Requiem in C min.; Requiem in D min.; (xi) Overtures: Les Abencérages; Anacréon; Les deux journées; Eliza; Faniska; L’Hôtellerie portugaise; Medea. (xi–xii) Sonata 2 (for horn and strings)
EMI (ADD) 6 29462-2 (7). (i) Muti; (ii) Philh. O; (iii) Philh. Ch.; (iv) Bav. R. Ch. & SO; (v) Ziesak, Lippert, Abdrazakov; (vi) Callas, La Scala, Milan, O, Serafin; (vii) Tilling, Fulgoni, Streit, Tómasson, Suzuki, Schulist; (viii) Ziesak, Pizzolato, Lippert, Abdrazakov; (ix) Fleckenstein, Müller, Schneider, Meyer, Hartkopf, Bav. R. Ch.; (x) Amb. S.; (xi) ASMF, Marriner; (xii) Tuckwell
Cherubini’s religious works came generally later in his career after his prime success as an opera composer. They combine the melodic flow he learned from his youthful studies with Sarti and the dramatic elements he had learned from the theatre.
His Mass in F (Di Chimay), written in 1809, broke a creative block. In his enthusiasm, Cherubini wrote what was then his most ambitious work. It is a massive 75-minute structure which in its inventiveness brings out the drama of the liturgy just as Haydn’s last Masses had achieved in the immediately preceding years. Muti delivers his characteristic energy to this music, recorded live in 2003; his performances are not always perfectly polished, but in thrust and concentration they are most compelling, with the hushed account of the Crucifixus bringing a rapt choral response. Characterful soloists too, with the soprano Ruth Ziesak singing radiantly.
The Missa solemnis in D minor, written in 1811, is even longer and approaches Beethoven’s Missa solemnis in its lyrical gravitas and depth. Cherubini makes great demands on his soloists, both individually and in concert, and on this live recording (2001) they are consistently impressive. The woodwind playing which opens the Et resurrexit is very beautiful indeed and the regal trumpets show the composer at his theatrical best. The sound is excellent, though the chorus could be more sharply focused.
The Missa solemnis in E of 1818 begins rather hauntingly in E minor. In terms of drama, this work is very much from a composer who wrote for the theatre, with its flamboyant Amen fugue at the end of the Credo. The bright trumpet fanfare which open the following Sanctus continues that theatrical atmosphere, though that is not to imply that this is in any way a work without deeper feelings; it includes a setting of the prayer, O salutaris hostia (not a usual part of the Mass), which is beautifully reflective. The Mass is followed by two beautiful Motets (Antifona sul canto fermo and Nemo gaudeat), rich in harmony and melody, and performed with great beauty.
The Missa solemnis in G ( for the Coronation of Louis XVIII) was finished in 1819, but meanwhile Louis XVIII had postponed his coronation a number of times, and in the end it never took place. So Cherubini’s Mass remained unperformed and the full score was prepared for publication only recently. Again, as is so often the case with Cherubini, the musical inspiration is not merely dignified but noble – and on occasion inspired. Muti (recorded in 1988) seems persuaded of its distinction and performs it with the LPO Chorns and Orchestra.
The Coronation Mass for Charles X dates from 1825, and there are signs in the Gloria that Cherubini was influenced by both Beethoven’s Fidelio and the Ninth Symphony, and in the Gloria Incarnatus and Crucifixus by the Missa solemnis. But Cherubini’s church music has a character of its own, beautifully crafted, with moments of real inspiration, such as in the closing bars of the Kyrie. Muti presents this music with an intensity to hide any limitations, and the chorus and orchestra both respond superbly. He secures the widest dynamic refinements, and the digital sound (1984) is bold and full, with ceremonial trumpets braying magnificently. There is a musical appendix following this work in the form of a Marche religieuse, a very fine piece.
Cherubini’s finest achievements in his religious music are his two settings of the Requiem Mass. His C minor Requiem was an instant success and achieved lasting fame. It was commissioned by the government for the 1816 anniversary of the execution of Louis XVI, and was composed at a very happy and secure time in the composer’s life when his creative powers were burning brightly. Its admirers were many: Beethoven said that if he should write a Requiem, Cherubini’s would be his model; Schumann and Brahms were equally enthusiastic about it, and so too was Berlioz (it may have influenced his own Grande Messe des morts). Muti directs a tough and incisive reading of this most dramatic setting of the Requiem, which reminds one that Toscanini also recorded it some decades ago. Muti in the religious music of his own country believes in underlining the drama, and he is superbly well served both by his orchestra and by his relatively small professional choir, and the full clear recording (from 1982) is most satisfying.
It was also, incidentally, played at the funeral of Boïeldieu and, when the Archbishop of Paris objected to its use of women’s voices, Cherubini wrote his D minor Requiem, sans women, to be played at his own funeral! Variety is produced in his using three-part textures in the choral writing, first and second tenors, and basses, although the first tenor part is conceived for a high tenor, similar to a counter-tenor, a voice which was then common in France. The darkness of tone in the use of the male voices goes with much solemn minor-keyed music and some striking anticipations of Verdi.
Rather like Rossini in his religious music, Cherubini sometimes lurches into what can only be described as jauntiness, such as the writing 75 seconds in from the beginning of the dramatic Dies irae. In this fine, committed performance under Muti (dating from 1973), the listener forgets the scarcity of really memorable melodies, and relishes the drama and the distinctive textures, particularly in this outstandingly fine recording.
Included throughout these discs are Marriner’s 1991 performances of Cherubini’s overtures, and if his performance of Anacréon does not have the sheer incandescent energy of Toscanini, it is still brilliantly done. All these overtures, which are brimming with attractive invention, are played with characteristic warmth and finesse by the Academy of St Martin-in-the-Fields. L’Hôtellerie portugaise has much dexterity and charm, and the combination of drama, energy and elegance in Les deux journées and Faniska is most winning. Here, and even more in the witty touches in Les Abencérages, there are hints of Rossini, but Cherubini’s style is a bit weightier and the very fine Concert Overture, with its grave opening, is both dramatic and full of grace. These superb recordings remind us again why Beethoven admired Cherubini so much. The Sonata No. 2 for Horn and Strings is very pleasing indeed (with a rather catchy Allegro movement), and the Callas excerpt from Médée (one of her most famous roles) is a nice addition.
凯鲁比尼的宗教作品大多创作于其歌剧事业鼎盛期之后的晚年阶段。这些作品既融合了他青年时期跟随萨蒂学习时掌握的流畅旋律技法，又汲取了他在戏剧创作中积累的舞台表现力。
1809年创作的《F大调弥撒（迪希迈）》打破了他的创作瓶颈。在创作激情驱使下，凯鲁比尼完成了当时最具野心的作品——这部75分钟的鸿篇巨制以其丰富的创意，如同海顿晚期弥撒曲那样深刻展现了礼仪经文中的戏剧性。穆蒂在2003年现场录音中注入了标志性的活力演绎，虽非尽善尽美，但其强劲的推进力与高度专注力极具感染力，尤其在《被钉十字架》段落中，合唱团营造出令人屏息的虔诚氛围。人声独唱部分同样精彩，女高音露丝·齐莎克的演唱光芒四射。
1811年《d小调庄严弥撒》篇幅更为宏大，其抒情的庄严感与思想深度已接近贝多芬的《庄严弥撒》。凯鲁比尼对独唱家们提出了极高要求，而2001年现场录音中的艺术家们表现始终令人赞叹。《复活》乐章开端的木管演奏美得令人心醉，皇家小号的辉煌音色则展现出作曲家最精湛的戏剧表现力。录音效果出色，不过合唱部分层次感可更清晰。
1818年《E大调庄严弥撒》以萦绕心头的e小调起始。这部作品充满戏剧张力， Credo乐章结尾华丽的"阿门"赋格明显出自戏剧大师手笔。随后《圣哉经》中明亮的小号华彩延续了剧场效果，但这绝非意味着作品缺乏深刻情感——其中包含非常规弥撒曲段的《O salutaris hostia》祈祷文段落就展现出动人的沉思性。弥撒曲后附有两首优美的经文歌（《基于固定调的交替圣歌》与《无人可幸灾乐祸》），和声与旋律都极为丰富，演绎亦充满美感。
1819年完成的《G大调庄严弥撒（路易十八加冕礼）》因国王屡次推迟最终未举行的加冕仪式而未能上演，全本乐谱直至近年才出版。如同凯鲁比尼多数作品，这部弥撒不仅庄严肃穆，更透着高贵气质，某些段落堪称神来之笔。穆蒂（1988年录音）显然认同其卓越品质，带领伦敦爱乐乐团及合唱团进行了精彩诠释。
1825年为查理十世加冕创作的《加冕弥撒》中，荣耀经可见贝多芬《费德里奥》与《第九交响曲》的影响，降世与钉十字架段落则带有《庄严弥撒》痕迹。但凯鲁比尼的教堂音乐自有其特色，如垂怜经结尾处的神来之笔。穆蒂以强烈的演绎掩盖了作品局限，合唱团与乐团表现绝佳，动态对比极其丰富，1984年数码录音效果饱满震撼，仪式小号更显壮丽。作品后附有《宗教进行曲》作为音乐附录，实为佳作。
凯鲁比尼宗教音乐最高成就当属两部《安魂曲》。《c小调安魂曲》作为纪念路易十六处决日的委约作品，创作于作曲家生活安定、才思泉涌的幸福时期，问世即获成功并享誉后世。贝多芬曾言若创作安魂曲必以其为范本；舒曼、勃拉姆斯及柏辽兹（可能影响其《亡灵大弥撒》）都推崇备至。穆蒂对此戏剧性安魂曲的诠释刚劲犀利，令人想起托斯卡尼尼数十年前的经典录音。在诠释本国宗教音乐时，穆蒂着力凸显戏剧冲突，1982年清晰饱满的录音中，乐团与精干的专业合唱团表现堪称典范。
值得一提的是，该作曾在布瓦尔迪厄葬礼上演奏。当巴黎大主教反对使用女声时，凯鲁比尼又创作了全男声的《d小调安魂曲》用于自己葬礼。合唱采用三声部织体（第一、第二男高音与男低音），其中第一男高音声部要求近似假声男高音的音域——这种嗓音当时在法国很常见。全男声的暗色调配合庄严的小调音乐，某些段落甚至预示了威尔第的风格。
与罗西尼的宗教音乐相似，凯鲁比尼偶尔会显现某种轻快特质，如戏剧性的《末日经》开始后75秒处的写法。在穆蒂1973年充满信念的演绎中，听众会忽略难忘旋律的稀缺，而沉醉于戏剧张力与独特织体，杰出录音效果更添光彩。
整套唱片还收录了马里纳1991年指挥的凯鲁比尼序曲集。虽然《阿那克里翁》序曲不及托斯卡尼尼版本那般炽热，但仍精彩纷呈。圣马丁室内乐团以特有的温暖与精巧演绎这些充满创意的序曲：《葡萄牙旅馆》尽显灵巧魅力，《两天》与《法尼斯卡》结合了戏剧性、活力与优雅，《阿本塞拉赫人》中机智的笔触更透出罗西尼的影子。不过凯鲁比尼风格更为厚重，那首以凝重开场的精妙《音乐会序曲》既富戏剧性又不失优雅。这些卓越录音再次印证了贝多芬对其推崇的原因。《第二号圆号与弦乐奏鸣曲》同样悦耳动听（快板乐章尤其抓耳），而卡拉斯在经典角色《美狄亚》中的选段则是意外惊喜。
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Cherubini, Luigi - Masses, overtures, motets - Riccardo Muti & Neville Marriner [EMI]
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发表于 2025-6-16 13:02
