Cherubini – Requiem in C minor
Luigi Cherubini /// The Complete String Quartets
OBRA:
Vocal secular:
Opera:
Il giocatore, intermezzo en tres parts estrenada el 1775 a Florència.
Armida abbandonata, òpera en tres actes representada el 25 de gener de 1782 a la Pergola de Florència.
Adriano in Siria, òpera en tres actes representada el 16 d’abril de 1782 al Armeni de Livourne.
Il Mesenzio re d’Etruria, òpera en tres actes representada el 8 de setembre de 1782 a la Pergola de Florència.
Il cinquè Fabio, òpera en tres actes representada el gener de 1783 a la Torre Argentina de Roma.
Lo sposo di tre i Marito vaig nessuna, òpera bufa en dos actes representada al novembre de 1783 a Venècia
Alessandro nell’Indie, òpera en dos actes representada a principis de 1784 a Màntua.
L’Idalide, òpera en dos actes representada en la Pergola de Florència el 26 desembre 1784.
Demetrio, òpera en tres actes representada al teatre Haymarket de Londres el 8 gener 1785.
La finta principessa, òpera bufa en dos actes representada el 2 abril 1785 al King’s Theatre de Londres.
Il Giulio Sabino, òpera en dos actes representada el 30 de març de 1786 al King’s Theatre de Londres.
Ifigenia in Aulide, òpera en tres actes representada el 12 de gener de 1788 a al Teatro Reale de Torí.
Demophoon, òpera en tres actes representada el 5 de desembre de 1788 a l’Òpera de París.
Lodoïska, comèdia heroica en tres actes representada el 18 de juliol de 1791 al teatre Feydeau de París.
Eliza ou li voyage au glaciers du Mont Saint-Bernard, òpera en dos actes representada al teatre Feydeau el 13 desembre de 1794.
Médée, òpera en tres actes (primera versió) representada el 13 de març de 1797 al teatre Feydeau de París.
L’hôtellerie portugaise, òpera còmica en un acte representada el 25 de juliol de 1798 al teatre Feydeau.
La prisonnière ou la Punition, comèdia en un acte representada al teatre Feydeau el 25 de febrer de 1799.
Les Deux Journées ou li Portejar d’eau, òpera còmica en tres actes representada el 16 de gener de 1800 al teatre Feydeau.
Médée, òpera en tres actes (segona versió) representada el 6 de novembre de 1802 a Viena.
Anacréon ou l’Amour fugitif, òpera-ballet en dos actes representada el 4 d’octubre de 1803 a l’Òpera de París.
Faniska, òpera en tres actes representada al teatre Kärntnertor de Viena el 25 de febrer de 1805.
Pygmalion, drama líric representat el 30 de novembre de 1809 a París.
Le crescendo, òpera còmica en un acte representat a l’Òpera de París l’1 de setembre de 1810.
Les Abencérages ou l’Etendard de Grenada, òpera en tres actes representada el 6 d’abril de 1813 a l’Òpera de París.
Ali-Baba ou els Quarante voleurs, òpera amb un pròleg i quatre actes representada el 25 de juliol de 1833 a l’Òpera de París.
Other vocal:
Rondo, duet, aria buffa, Florence, Accademia degli Ingegnosi, 17 March 1776, lost
63 canons, Florence, 1779, F-Pc*
Amato padre addio, recit, aria, 1781, PL-Kj*
Se vi giunge, Caro consorte amato, Distaccati al primo, Questa è causa d’onore, Agitata tutta io sono; arias for op by another composer, Milan, 1781, Kj*
Caro padre, aria, Morte, morte fatal, recit and duet; for Lucio Silla, Venice, 1781, Kj*
Non bramo il merito, aria for La semiramide, pasticcio, Florence, 1782, Kj*
Io che languir, E mentre dolcemente; octaves (Marino), 1v, pf, Florence, 1782, Kj*
Ella dinanzi al petto (Tasso), octave, 1v, pf, Florence, 1782, Kj*
Bella rosa porporina (Chiabrera), canzonetta, 1v, pf, Florence, 1782, Kj*
Solitario bosco ombroso (Leipzig, 1815), Compagni amor lasciate, Il pastor se torna aprile, Il rivedrò sovente; nocturnes, 2 S, pf/hp, Florence, 1782, Kj*
Se viver non poss’io, Auretta grata, Se tu m’ami, Or che la notte, Parti coll’ ombra, Son lungi e non mi brami; nocturnes, 2vv, pf, Florence, 1782 (London, n.d.)
†Non mi negate, Perfida Clori, Evviva Bacco, canons, 3–4vv, pf, 1782 (c1800)
†Perfida Clori, Evviva Bacco, Solitario bosco, La mia fille, 2 canons and 2 duets, 3 S, 1782 (London, 1785)
2 duets for Lord Cowper, with 2 corni d’amore, 1782, lost
Saprò scordarmi ingrata, aria for Adriano in Siria, Livorno, 1782, Kj* [for Crescentini]
Non bramo il merito, cavatina for La semiramide, pasticcio, Florence, 1782, Kj* [for Babbini]
Ninfa crudel, madrigal, 5vv, bc, 1783, F-Pc*, Pn*, I-Mc*
Forza è pur bell’idol mio, Pensate che la femmina, arias, T, Florence, 1783; PL-Kj*
Aria, Bar, Florence, 1783, lost
Se tutti i mali miei [? aria for Il Quinto Fabio], London, 1785, Kj*
Fra cento affanni e cento, [ ?aria for Il Quinto Fabio], London, 1785, Kj
Al mio bene al mio tesoro, aria, T, Nobile al par che bella, duet, Per salvarti, rondo, Madamina siete bella, aria, T, Assediato è Gibilterra, aria, Bar, Cosa vuole il marchesino, addn to 1st finale; pieces for Paisiello’s Il marchese Tulipano, London, 1786, Kj
A tanto amore, aria for Cimarosa’s Giannina e Bernardone, London, 13 Jan 1787, F-Pc*
18 romances (Florian: Estelle), acc. pf/hp, 1787 (1788)
†Che ascoltai qual fredda mano, trio, S, T, B, orch, 1788 (London, after 1800), B-Bc*, I-Mc*, Nc*
Sarete alfin contenti, recit, aria, for Mme Todi, Paris, Loge Olympique, 1788, PL-Kj
†Conservati fedele, Vuoi ch’io viva, 2 sonnets, 2 S, insts, 1788, I-Vnm*
Aria for Mme Galli in Cimarosa’s Il fanatico burlato, Paris, Théâtre de Monsieur, Tuileries, 28 Nov 1789, lost
Se il duol che il cor m’affanna, aria for Guglielmi’s La pastorella nobile, Paris, Théâtre de Monsieur, Tuileries, 11 Dec 1789 (?1789), PL-Kj*
Ti lascio adorato mio ben, recit, rondo, Paris, 1789, Kj* [for Mlle Balletti]
Non so più dove io sia, recit, aria, Paris, 1789, Kj [for Mlle Balletti]
D’un alma incostante, Mi sta nell’ anima, Vedrai nel suo bel viso, Piano, piano, Scritti addio, Ah! ho male al core, Del caro ben che adoro, Or m’accorgo dell’ errore, Viva amor; arias and final chorus for Paisiello’s La molinarella, Paris, Théâtre de Monsieur, Tuileries, 31 Oct 1789, Kj*
Allegro of aria for Mlle Balletti in Sarti’s Le gelosie villane, Paris, Théâtre de Monsieur, 14 April 1790, lost
D’un dolce amor la face, aria, Che avvenne che fu, duet; for Paisiello’s La grotta di Trofonio, Paris, Théâtre de Monsieur, Tuileries, 1790, Kj*
Di valore armato il petto, Mirate, oh Dio qūel; arias for Guglielmi’s Le due gemelle, St Germain, 29 May 1790, F-Pc*, PL-Kj*
Fa ch’io veda il dolce aspetto, Perdonate, mio signore; arias for Paisiello’s La frascatana, Paris, Théâtre de Monsieur, St Germain, June 1790, Kj*
Cara da voi dipende, qt (?1790), Volgi o cara, aria, Evviva amore, finale; pieces for Anfossi’s I viaggiatori felici, Paris, Théâtre de Monsieur, Foire, St Germain, 30 June 1790, Kj*
Al par dell’onda, aria; Senza il caro, aria; Lungi del caro, aria, F-Po*, PL-Kj*, ; Son tre, sei, nove, trio, B-Bc*, F-Pn*; Van girando per la testa, aria, Pn*, PL-Kj*; Ah generoso amico, recit obbl, Kj*; pieces for Cimarosa’s L’italiana in London, 1790, Paris, Tuileries, Sept 1791
†Romance d’Essex à Elizabeth (A. Tilly), gui acc., 1790 (1790)
6 romances, 1v, pf, 1791, lost
Dors mon enfant, romance (Berquin), 1791, PL-Kj*
Le portrait de Thémire, romance, 1791, Kj*
Le veuf inconsolable, romance (Lamaisonfort), 1791 (1801), Kj*
Moro, manco, Fuggite o donne amore; aria and polonaise for Paisiello’s Il tamburo notturno, Paris, Feydeau, 7 April 1791, Kj*
Penso, rifletto, aria for Martín y Soler’s Il burbero di buon cuore, Paris, Feydeau, 22 Feb 1791, Kj*
Ti rasserena o cara, sextet for Gazzaniga’s Le vendemmie, Paris, Feydeau, 1 June 1791, lost
Quest’è l’ora, recit obbl for Paisiello’s La pazza per amore, Paris, Feydeau, 1791, Kj*; Ah quelle ivresse, cavatina, S, for same opera, B-Bc*
A ces traits je connais ta rage, duo for Lodoïska, not used, lost; Cette indigne barbarie, aria for same opera, not used, PL-Kj*
L’amitié, romance for Mlle C. Tourette, 1792, Kj*
Non ti fidar o misera, qt for Gazzaniga’s Don Giovanni, Paris, Feydeau, 1792, Kj*
Di qual rigido marmo, recit, aria, for Martín y Soler’s Una cosa rara, Paris, Feydeau, 1792, F-Pc*, PL-Kj*
Le dolci sue maniere, aria, Kj*, Ma se tu fossi amore, aria, F-Pc*, Io mi sento un non so che, aria, PL-Kj*, Il core col pensiero, trio, Kj*, Compassione ad una donna, duet, Kj*; pieces for Salieri’s La locandiera scaltra, Paris, Feydeau, 1792
La libertà, La palinodia a Nice; duets (Metastasio), 2vv, pf, 1793 (London, after 1800), D-Bsb*
Tandis que tu sommeilles, Dans ce paisible azile; trios, with vn, 1793, PL-Kj*
Berenice che fai, recit, aria, for Mme Ethis, 1793, Kj
L’exil, romance, 1v, hpd, 1793, Kj*
Romance de Selico, inc., 1794, D-Bsb*
Viens voir sur l’écorce légère (Compigny), romance, 1v, kbd/hp, 1796 (1796), PL-Kj*
Blessé par noire perfidie, romance, 1v, pf, 1798, Kj*
Canzone, 1798, lost
Voyez cette naissante rose (T. Tasso), romance, 1v, pf, 1798, Kj*
2 anacreontic odes [Gk. text], 1v, 1799, Fr. trans. (1800)
La cintura d’Armida (Tasso), S, pf, 1801 (1801), I-Pc*, PL-Kj*
†Le réveil (Ferrary), romance, 1801 (1801)
L’écho, romance, 1v, pf, 1801, Nouveau journal d’Apollon (1802)
Un jour échappé de Cythère, romance, 1v, pf, 1801, Nouveau journal d’Apollon (1802), Kj*
Tu les brisas ces noeuds charmants (C. de Longchamps), romance, 1v, pf, 1801, Nouveau journal d’Apollon (1802), Kj*
Solitario bosco ombroso, nocturne, 2vv, pf, 1801 (1801)
Duet, chorus, for an inc. comic opera, 1802, D-Bsb*
Aria for Les arrêts, inc. opera, 1804, Bsb*
†10 canons, 3vv, 1806, F-Pc*
Credimi sì mio sole, recit, aria, for Crescentini, 1806, D-Bsb*
Chorus, melodrama, for an inc. opera, 1807, Bsb*
12 canons, 2–4vv, 1779–1807 (?1807), Bsb*
Le mystère (Bernard), romance, 1v, pf, 1808, Pl-Kj* [for Count Metternich]
La rose, romance, Chimay, 1809, D-Bsb*
Romance, Chimay, 1809, Bsb*
2 trios, Chimay, 1809, Bsb*
Romance (de Nivernais), 1811, Bsb*
Romance sur un enfant (Mme de Genlis), 1811, Bsb
Madrigal, 4vv, 1811, Bsb
†Canon, 8vv, 1811, MS
La ressemblance, romance, 1813, Bsb
Chant guerrier, La rançon de Duguesclin, Paris, Français, 1814, Bsb*
Eng. aria for Mme C, 1815, Bsb*
Vive le roi!, acc. pf, 1815, Bsb* [for St Louis]
Je ne t’aime plus, romance, 2vv, pf, Malabri, 1818 (?1818), Bsb*
Prière (Invocation) à Bacchus, drinking song, 3vv, 1819 (?1819), F-Pc*
Scène de table, 2vv, pf ad lib, 1820, D-Bsb*
Canon, 2vv, 1820, lost
L’amant trompé, romance, 1823, lost
Le bon Médore, romance, 1823, Bsb
Trio, unacc., 1825, lost
Canon, 3vv, 1829, lost
†Arietta, 1830, I-Fc(?*)
Exhortation villageoise (A. de Beauchesne), canzonetta, 1834, F-Pc*
†Octave (Tasso: Gerusalemme liberata), 1v, vn, pf, 1834, US-Wc*
2 It. ariettas, 1834–5: Ch’io mai vi possa, I-Fc*; ?lost
†Romance (de Vernes), 1835, F-Pc*
Vive le bric-à-brac, canon, 2vv, 1835, lost
†Ch’io mai vi possa, arietta, 1837, Pc* [2nd setting]
Arietta, 1839, lost
†Canons, 1779–1841, Pc*
†Souhaits heureux, 1v, 1841, Pc* [for New Year 1842]
O Ingres amabile, canon, 3vv, 1842, Musée Montauban*
Vocal religiosa:
Masses:
Mass [Kyrie and Gloria], D, soli, 4vv, orch, 1773, Florence, PL-Kj*
Mass [Kyrie and Gloria], C, soli, 4vv, orch, 1774, Florence, Kj
Mass [Kyrie and Gloria], C, soli, 4vv, orch, 1775, Florence, SS Annunziata, 23 Aug 1775, Kj
†Mass, chorus, orch, 1776, Florence, Compagnia di S Niccolò, 3 Aug 1776, lost
†Mass ‘Te laudamus Domine’, 4vv, org, op.20, 1779, I-Md*
Mass, F, S, T, B, chorus, orch, 1808–9 (1810), F-Pc* [Mass of Chimay]
Mass, d, 4vv, orch, 1811 (1825; ed. 1985), D-Bsb*, F-Pc*
Solemn Mass, C, 4vv, orch, 1816 (?1825), Bsb*
Requiem Mass, c, 4vv, orch, 1816, St Denis, 21 Jan 1817 (c1820; ed. 1967), Bsb*, F-Pc* [for anniversary of death of Louis XVI]
Solmen Mass, E , S, 4vv, orch, 1816 (1994), D-Bsb
†Petite messe de la Sainte Trinité, d, 3vv, c1817, with org acc. by L. Séjan (c1835)
Solemn Mass, E, 4vv, orch, 1818, O v, D-Bsb
Solemn Mass, G, 4vv, orch, 1819, C, O iv (1985), Bsb* [intended for coronation of Louis XVIII]
Solemn Mass, B , 4vv, 1821, C, O i, Bsb*
Mass, A, 3vv, orch, 1825, Rheims, 29 May 1825 (1825; ed. 1986), Bsb* [for coronation of Charles X]
Requiem Mass no.2, d, 3 male vv, orch, 1836, Paris, Conservatoire, 23 March 1838 (1837; ed. 1962), Bsb* [for composer’s own obsequies]
Other sacred:
Dixit, 4vv, orch, 1774, lost
Dixit Dominus, 1v, chorus, org, 1775, PL-Kj*
Magnificat, 4vv, orch, 1775, lost
†Tantum ergo, T, orch, 1775, lost
2 Lamentations of Jeremiah, 2vv, orch, 1776, lost
Miserere, 4vv, orch, 1776, lost
Exulta e laude, motet, 4vv, orch, 1777, Kj*
Te Deum, 4vv, orch, Florence, Crociferi, 15 July 1777, lost
Oratorio, Florence, S Pietro, 1777, lost
9 antiphons (on c.f.), Bologna, 1778: Montes et colles, 2 Lauda Jerusalem, Beati omnes, A viro iniquo libera me, Expectabo Dominum, all 4vv; Angelus ad pastores, 5vv; Petrus apostolus, 6vv, F-Pc*, PL-Kj*; Venit Domine, 6vv, Kj*
8 antiphons (on c.f.), Milan, 1779: Vox clamantis, Non confundetur, Salva nos Domine, Lumen, Ipse invocabit me, Leva Jerusalem, Venit et Dominus, all 4vv; Expectabo Dominum, 5vv Kj*
Litany, 4vv, 1779, lost
†Per unum hominem, off, T, 1779, I-Md*
Ad cultum fidei, ant, 4vv, Milan, 1780, PL-Kj*
Regnavit exultet, 4vv, Milan, 1780, Kj*
Parasti in cospectu meo, 4vv, Milan, 1780, Kj*
Motet for Luigi Marchesi, S, orch, ?Milan, 1780/81, lost
Nemo gaudeat, motet, soli, 2 choirs, 2 org, Milan, 1781, F-Pc*; PL-Kj*
Seconda eterno Dio, Sommi dei che in cura avete, 2 choruses for orat consisting of pieces from ops, Florence, Gesuiti, wint. 1784, Kj*
5 sacred pieces, 3vv, Château de Breuiport, 1790: O salutaris, Domine salvum, Adoremus, Regina coeli, O filii
Credo, 8vv, org, 1806 (Leipzig, c1860) [begun in Italy, 1778–9]
Litanie della Vergine [for Prince Esterházy], 4vv, orch, 1810, O iii (Rome, 1993), D-Bsb*
3 Kyrie; Laudate, recit and chorus; Sanctus; Kyrie, 2vv; Kyrie and Pater noster, 4vv; O salutaris, 1v, orch; O salutaris, 3vv, orch; Pater noster, 4vv, orch (?1816), all 1816, Bsb*
Ecce panis angelorum, off, T, orch, 1816 (?1816), Bsb*
Ave Maria, S, eng hn, 1816 (?1816), Bsb*
Crux alma veneranda, 3vv, 1816 [arr. from canon for 3vv in Faniska]
Lauda Sion, off, 2 S, orch, 1816 (?1816), Bsb*
Gloria, Credo, 4vv, orch, 1816, Bsb*
Ave verum, 3 S; O sacrum convivium, chorus, orch; Iste dies, 4vv, orch: ?all 1816, I-Mc*, F-Pc
Tantum ergo, 5vv, orch, O viii; Tantum ergo, T, 4vv, orch, C, O ii; O salutaris, 2 T, B, bn, vc, O vii (fs); Agnus Dei, 4vv, orch, O viii; Sanctus, O salutaris, T, orch (c1840); Gloria, 1v, chorus, orch Bsb*
Regina coeli, 4vv, orch (?1818), Bsb*; O filii, 4vv, S-Hfryklund*; O salutaris, 4 solo vv, chorus, orch, Bsb*; Adjutor, motet, 4vv, orch, O vii, all 1818
Kyrie, chorus, lost; Christe, qt, Bsb*; Kyrie, 4vv, lost, all 1819
In paradisum, 4vv, orch, 1820, C, O ii, Bds*
Domine, Dominus noster, S, ob, 1820 [adapted from Air d’Eliza in Eliza]
Litanies de la Vierge, 4vv, orch, 1820 (Rome, 1993), Bsb*
O salutaris, O ii; Agnus Dei, C, both 4vv, orch, 1821, Bsb*
O fons amoris, T, chorus (1850); Sanctus, C, both 1822, Bsb*
Kyrie, 4vv, orch; Laetare Jerusalem, motet, 4vv, chorus, orch; Inclina Domine, int, 4vv, orch (n.d.), all 1823, Bsb*
Exundi Domine, 4vv; Adjutor et susceptor meus, chorus; Adoremus in aeternum, 3T (?1824), all 1824
Christus sempiternum, chorus, orch; Confirma hoc, Deus, 3vv, orch, both 1825 (?1825)
O salutaris, Bar, orch, 1826, C, O ii
O salutaris, 2 T, 2 B, 1826, C, O ii, Bsb*, A-Wn*
O salutaris, 2 T, 1 B, 1827, Musée Boieldieu de Boisguillaume*
†Credo, chorus, orch, 1828, F-Pc*
O filii, 1v, chorus, 1828
Sciant gentes, 4vv, orch; Esto mihi, chorus, orch, both 1829, D-Bsb*
Cantatas and ceremonial works (sacred & secular):
La pubblica felicità (cant.), 4vv, chorus, Florence Cathedral, 27 Sept 1774, ?CZ-Pnm
†Il trionfo dell’Arno (cant.), 3vv, Volterra, S Filippo, 26 Aug 1784, lost
Amphion (cant.), Paris, Loge Olympique, 1786, unperf., PL-Kj*
Circé, solo cant., Paris, Loge Olympique, 1789, Kj
Hymne à la fraternité (T. Desorgues), 1v, chorus, 1794 (1794), P, F-Pc*
Clytemnestre (cant.), 1v, ?orch, 1794, D-Bsb*
Hymne au Panthéon (J. Chénier), 3vv, orch, 1794, P, Bsb*
Hymne à la fraternité (Desorgues), solo, 4vv, orch, 1794, P, F-Pc*
Le salpêtre républicain, chorus for opening of saltpetre mines, 1794 (1798), D-Bsb*, P
†Hymne du combat (Davrigny), 1794, lost
Chant du 10 août (P.-D.E. Lebrun), solo v, 4vv, orch, 1795 (1795), P, F-Pc*
Cantata for inauguration of statue of Apollo, 1796, inc., D-Bsb*
†Hymne de l’agriculture (Pipelet), 1796, lost
Hymne à la victoire (C.M.L. Carbon de Flins), 4vv, 1796 (1796), P, Bsb
Hymne et marche funèbre (J. Chénier), 3 solo vv, chorus, orch, 1797 (1797), P, Bsb [on death of General Hoche]
Ode sur le 18 fructidor (F.G.J.S. Andrieux), 3vv, orch, 1798 (1798), P, F-Pc*, D-Bsb*
Hymne pour la fête de la jeunesse (Parny), T, chorus, 1799, P
Hymne pour la fête de la reconnaissance (Mahérault), 1v, chorus, orch, 1799, P, Bsb
†Cher aux amours (Chaussard), funeral hymn for General Joubert, 1799 (1799), P [music from Hoche’s hymn, 1797]
Chant sur la mort de Haydn, S, 2 T, orch, 1805, vs (1809), fs (1980), D-Bsb* [premature tribute, instigated by false rumour of Haydn’s death]
Ode à l’Hymen, 1810, Bsb* [for Napoleon’s marriage]
Cantate sur la naissance de S.M. le Roi de Rome (Arnault), 1811, collab. Méhul, Catel, Bsb* [for opening of new Conservatoire concert hall]
Cantata for ‘la Goguette’, 1812, Bsb*
Cantata in honour of the National Guard and Royal Bodyguards (Rougemont), 3vv, orch, 1814 (?1814), Bsb*
Cantata in honour of Louis XVIII (de Millevois), several vv, chorus, orch, 1814, Bsb*
Inno alla primavera (cant., C.S. Vestri), 4vv, orch, London, 1815 (c1820), Bds*
Chorus and couplets for St Louis, 1815, Bsb*
Cantata in honour of National Guard and Royal Bodyguards, several vv, chorus, orch, 1816, Bsb*
Le mariage de Salomon (Dureau de la Malle), cantata for the marriage of the Duke of Berry and Princess Caroline of Naples, 1v, chorus, orch, 1816, Bsb*
Cantata for the Duke of Bordeaux’s baptism (Baour Lormian), several vv, chorus, 1821, Bsb*
Stanze, solo vv, chorus, 1823, Bsb* [for return of the Duke of Angoulême; taken from opera Il Quinto Fabio]
Instrumental:
Sonata, 2 org, Milan, 1780 (Rome, 1982), PL-Kj
6 sonatas, hpd, F, C, B , G, D, E , Milan, 1780 (Florence, 1783)
Chaconne, ?orch, London, 1785, lost
Capriccio, study, pf, Paris, 1789 (Rome, 1982), Kj
March for prefect of Eure-et-Loire, band, Chartres, 1800, D-Bsb
March for prefect’s return from tour of département, ?band, Paris, 1800, Bsb
2 sonatas, studies, hn, orch, 1804, ed. J. Wojciechowski (Hamburg, 1954), Bsb* [pf acc.]
March, ob, cl, hn, bn, db, Vienna, 1805, Bsb
Sonata, cylinder org, Vienna, 1805, frag., F-Pc*, D-Bsb
Air à écho, panharmonicon, Paris, 1806, Bsb* [qt]
†Trio, ?1807, I-Pc [pf]
March, ww, Chimay, 1808, D-Bsb*
6 contre danses, orch, Chimay, 1808, Bsb*
Minuet, orch, Chimay, 1808, Bsb*
Aria di danza, orch, Chimay, 1808, Bsb*
2 romances, pf, Chimay, 1808, Bsb*
March, ww, Chimay, 1809, Bsb*
La rose, romance, pf, Chimay, 1809, Bsb*
Romance, pf, Chimay, 1809, Bsb*
3 contredanses, orch, Chimay, 1809, Bsb*
Fantasia, C, pf, 1810, C, O ii (Milan, 1984)
March, ww, Chimay, 1810, Bsb*
Aria di danza, orch, Chimay, 1810, Bsb*
2 contredanses, orch, Chimay, 1810, Bsb*
3 trios, orch, Chimay, 1810, Bsb*
Stanze, pf, 1811, Bsb*
Le mystère, romance, pf, 1811, Bsb* [for P.N. Guérin]
March, band, 1814, Bsb* [for National Guard]
Pas redoublé, band, 1814, Bsb* [for National Guard]
6 pas redoublés and 2 marches, tpt, 3 hn, trbn, 1814, ed. K. Haas (London, 1962), Bsb* [for Prussian Regiment]
Str Qt [no.1], E , 1814 (Paris, 1836), Bsb*, F-Pc*
Ov., G, orch, London, 1815, ed. F. Grützmacher (Leipzig, 1892), D-Bsb* [for London Philharmonic Society]
Sym., D, London, 1815, (Leipzig, 1890), Bsb* [for London Philharmonic Society]
Funeral March, d, orch, 1820 (Rome, 1983), Bsb* [for royal chapel]
Souvenir pour quatuor, E , str, 1828, inc. (Rome, 1983), F-Pc*
Adagio, for Str Qt [no.2], C, 1829 (Paris, 1836) [for arr. of Sym., D; Adagio replaces Larghetto]
Str Qt no.3, d, 1834 (Paris, 1836), D-Bsb*
Str Qt no.4, E, 1835 (Leipzig, 1869), Bsb*
Str Qt no.5, F, 1835 (Leipzig, 1869), Bsb*
Str Qt no.6, a, 1837 (Leipzig, ?1869), Bsb*
Str Qnt no.1, e, 1837, ed. C. Banck (Leipzig, ?1907; Milan, 1986), Bsb*
Obra pedagògica:
39 figured basses, 1798, Bsb*
Solfège contenant des leçons, 65 solfèges, 1799 (1800)
†Méthode de chant, 1800 (1804)
Solfèges contenant des leçons (1838)
†Figured basses, 1818–40, F-Pc*
†ed. P. Vidal: 52 leçons d’harmonie (1904)
Many other solfèges, 1800–40, variously pubd Paris, Pc*, D-Bsb*, lost
Fragmentary and doubtful works, A-Wn, F-Pc, Pn, Po, I-Bc, Fc, Mc, Nc, PAc, PS, Vnm (see Damerini, 1962, p.186–7)
Literatura:
with F. Halévy: Cours de contrepoint et de fugue (Paris, 1835; Ger. trans., 1836; Eng. trans., 1837)
ed.: Marches d’harmonie (Paris, 1847)
with F.J. Gossec, A. Grétry, E.-N. Méhul, J.F. Le Sueur: Eclaircissements sur le Conservatoire de musique (Paris, 1797) [addresses by Conservatoire inspectors]
with Méhul and others: Rapport à S.E. le Ministre de l’intérieur (Paris, 1811) [on new instrument, ‘l’orgue expressif’]
with R.J. Haüy, C. de Prony and others: Académie des sciences: mémoire (Paris, 1819) [on construction of string instruments]
Académie royale de France: discours prononcé aux funérailles de M. Catel, le 30 novembre 1830 (Paris, 1830)
Académie royale des beaux-arts: discours prononcé aux funérailles de M. Boieldieu, le lundi 16 octobre 1834 (Paris, 1834)
Prefaces to C. Baudiot: Traité de composition and Traité de transposition musicale (Paris, 1837)
ed. A. Pougin: ‘Notice sur Méhul par Cherubini’, RMI, xvi (1909), 750–71