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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Shop for CD Recordings Recommended 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

Listen Online to Music Featured on This Episode:

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

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

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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.

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