1837, vol. 1: Cherubini, Mercadante, Donizetti

There was not a state of Italy in 1837, but the Italian unification movement was well underway. The Italian peninsula at the time was a collection of city-states and duchies and kingdoms, which had been reconstituted by the Congress of Vienna in 1815, after the Napoleonic wars. [...] Click here to continue reading a transcript of this podcast.

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Listen Online to Music Featured on This Episode:


AYICM: 1837, vol. 1 — I. Cherubini, Donizetti


AYICM: 1837, vol. 1 — II. Donizetti: Maria de Rudenz

Click the links above to listen to the music discussed on this episode on Classical Archives™ (www.classicalarchives.com) playlists. A subscription to the Classical Archives™ streaming service ($7.99 per month) allows unlimited online listening to these AYICM playlists, and to recordings of more than 620,000 other classical works. They offer a free two-week trial period to this service, so you can try before you buy. (The recordings we recommend on the AYICM shows are not always available for online listening; in these cases we include the best available alternate recording whenever possible. Please note that some of the recordings on these playlists are available only to Classical Archives™ subscribers in the U.S.)

Shop for CD Recordings Featured on This Episode:

Cherubini, String Quartet no. 6
Cherubini, String Quintet in E Minor
Mercadante, Il Giuramento
Donizetti, Messa di Gloria
Donizetti, Pia de’ Tolomei (highlights)
Donizetti, Pia de’ Tolomei
Donizetti, Roberto Devereux
Donizetti, Maria de Rudenz
1 Comment

One Response to 1837, vol. 1: Cherubini, Mercadante, Donizetti

  1. Hi Brian,
    A very worthy commencement of AYICM 1837. I’m beginning to feel that I should address you as “Professor Linnell”! I always appreciate the historical context in which you set the composers and selections – helps to clear away the cobwebs and fill in many blanks in my memory. Three Italians and all opera composers, of course. I have to confess that I don’t consider myself an “opera lover” though I genuinely love the beauty, power, range, expression, etc. of the operatically trained voice. Usually I’m looking for a good tune in opera music.
    The only work of Cherubini that I knew of was his very lovely Requiem. It would be interesting to know what composition(s) caused Beethoven to make such an unqualified endorsement. I sampled all his string quartets and found #2 in C to be very inventive and #5 in F to have wonderfully independent part writing. I found that iTunes allows up to one and one half minutes of each selection as a teaser/sampler.
    The composer S. Mercadante is basically new to me. I sampled the each part of “Il guiramento” and enjoyed the orchestration which you referred to as part of the “reform” style.
    Donizetti is of course a familiar name. My favorite parts of the Messa di Gloria were the Kyrie and the Cum Sanctu Spiritu. I especially enjoyed your unravelling of the plot of Maria Rudenz (this time she’s really dead) and thought the chorus from Part 3 Scene 5 sounded like it could have been in the first act of La Traviata.
    Very nice writing.
    William

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