Superb individual players yet perfectly integrated tonally. They are also thoroughly at home in Cherubini's sound-world. In short these modern-instrument performances could hardly be bettered.

The present recording honors three important composers celebrating major anniversaries in 2009: Handel, Mendelssohn and Haydn. George Frideric Handel’s Dettinger Te Deum is presented here not in its original version, but rather in an arrangement by Felix Mendelssohn Bartholdy, who rendered outstanding service to music not only through the revival of Bach’s choral works, but also through those of Handel. In addition, The Storm, the little-known choral work by Joseph Haydn, is also to be heard here. He composed it during his first visit to England and later arranged it for a large ensemble.

Luigi Cherubini's Chant sur la mort de Joseph Haydn was not, in the event, written after Haydn's death in 1809, but in response to a premature report of that event in 1804. The revival of Classical-period music has thus far given Cherubini short shrift, which is surprising in connection with the man whom Beethoven called the greatest living composer. Maybe this German release, by the veteran historical-instrument ensemble Cappella Coloniensis, will stimulate fresh activity. The chief attraction here is the seldom recorded tribute to Haydn. It's a wonderful work, with an unorthodox form that seems to bespeak strong feeling. Cherubini worked from an existing funeral text by Masonic author Louis Guillemain de Saint-Victor, but the shape of the piece is his own. He opens with a slow, profound polyphonic introduction that not only must have appealed to Beethoven but perhaps even influenced the idiom of his late works.

Acclaimed mezzo-soprano Mary-Ellen Nesi presents thirteen arias most of them recorded here for the first time inspired by ten Greek female archetypes. George Petrou and the brilliant Armonia Atenea add fire to this exciting collection of 18th-century masterpieces. MDG listeners will be familiar with Mary-Ellen Nesi from several outstanding Handel recordings. In her most recent recital the acclaimed mezzo-soprano turns to dramatic roles from Baroque and classical operas.

The Venice Baroque Orchestra and a fine line-up of singers present a pasticcio setting of a libretto by Metastasio, with contributions from composers including Caldara, Vivaldi, Galuppi, Hasse and Paisiello. In the eighteenth century, 1,300 years after the last Olympic Games in ancient times, the Olympic theme was highly fashionable. Many composers based operas on the libretto L'Olimpiade by Metastasio. This recording has been structured to contain all of Metastasio’s original arias; it is a pasticcio in the sense that the music is by 16 different composers amongst the many that set the libretto between 1733 and the end of the century.

Open-minded listeners looking for unfamiliar string quartets by a master composer of the same period as Beethoven and Schubert will likely be delighted by the six quartets of Luigi Cherubini. Written mostly between 1829 and 1837, the Italian-French composer's quartets are in the standard forms in the usual four movements. He fills those forms with entirely new content, which, if not as vigorously argued as Beethoven's nor as gloriously lyrical as Schubert's, is nevertheless elegantly expressive, consummately dramatic, and often utterly unexpected. Cherubini's quartets have received occasional recordings, but none have matched this set from Germany's Melos Quartet.

Following acclaimed discs exploring some of the more fascinating byways of the Italian eighteenth century, Auser Musici and its founder-director Carlo Ipata turn to the man Beethoven regarded as the finest of his contemporaries, Luigi Cherubini. It’s not difficult to understand why Beethoven was so impressed: this is music full of character and seriousness of intent, from the strong-jawed Sinfonia for the opera Armida abandonnata, written when Cherubini was just twenty-two, to the dark drama of the Overture to Démophon (which unaccountably failed to wow the sniffy Parisian audiences). And there are vocal delights too, showcasing a virtuosity that looks forward to Rossini and sung here with effortless agility by Maria Grazia Schiavo.

The Kammerchor Stuttgart, under the direction of Frieder Bernius is one of the finest choirs worldwide. Their many prizewinning recordings have set a standard. Now Frieder Bernius presents Beethoven's "Missa in C major" (op. 86). With its tonal language of subjective avowal, the first of Beethoven's two masses opens up new worlds of expression which are expressly modern and point towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely independent work which set standards for the further development of settings of the Mass in the 19th century. The world premiere recording of Luigi Cherubini's "Sciant gentes" (1829) rounds out this CD.

Documenting more than a hundred years of Italian operatic music in France, Benjamin Bernheim’s new album Boulevard des Italiens. Music stretching from Spontini’s La Vestale to Mascagni’s Amica – all sung in French – receives gold-star treatment from Bernheim, a tenor ideally placed to sing this repertoire in his native language. As he explains, “The aim was really to show the history of the French language in opera houses in Paris by way of these Italian composers who brought their pieces there. With the Opéra Garnier at one end, and the Opéra-Comique at the other, the Boulevard des Italiens is where it all happened.”

This 10 CD-Set offers a collection of the most popular Mass compositions from the Viennese Classics up to the romantic period. It includes famous masterpieces like Mozart’s „Coronation Mass“, Beethoven Missa solemnis, Haydn „Harmony Mass“, Gounod St. Cecilia Mass but also rarities like „Missa Sancti Joannis Nepomuceni“ by Michael Haydn, the „Coronation Mass“ by Cherubini, „Missa sacra“ by Robert Schumann and the „Misa solemnis“ of the german romantic composer Friedrich Kiel. Performed by well known artists like the Vienna Boys’ Choir, RIAS Chamber Choir, Tölzer Boys’ Choir, Wiener Akademie and last but not least also includes the spectacular recording of Beethoven’s Missa solemnis with conductor Michael Gielen.

Continuing their collaboration in the Discoveries series, the latest Decca album from Riccardo Chailly and the Filarmonica della Scala features works by Luigi Cherubini, including his Symphony in D Major, Marche FunŠbre, and nine world premiere recordings.

Conductor Wilhelm Furtwangler already enjoyed a worldwide legendary standing during his lifetime - he was considered the German conductor and performances were greeted with rapturous applause. Today, more than 50 years after his death, Wilhelm Furtwangler is still an icon and his work has become an integral part ofthe music scene.

Composed in 1783, Thrice Betrothed, Never Wed was the young Cherubini’s fifth opera and his first opera buffa. While it echoes its era—Paisiello, Cimarosa, Haydn, and early Mozart—it displays an almost Rossinian rhythmic bite and a few harmonic touches that look forward to the dramatic masterpieces of Cherubini’s Paris years (Lodoiska, Medée, Les deux journées, Anacréon, the C-Minor Requiem). Despite decades-long exploration of Cherubini, I have never encountered the opera before; this claims to be its first recording. The plot is filled with the expected inanities: disguises, mistaken identities, and Commedia dell’arte shenanigans.

Written in 1797, Cherubini's faithful version of Euripides' ancient tragedy is one of the most savage and powerful works of the opera repertoire, relating the cruel vengeance of a wounded woman for whom infanticide seems to be the only solution to her humiliation in love. As a continuation of Gluck's music, Cherubini's work is of boundless emotion, at once a refined, terrifying and desperate portent of a tragic outcome.

Tout le monde devrait connaitre certaines oeuvres classiques. Les requiems de Mozart ou de de Saint Sens en font parti, à mes yeux.