Symphony in D major

Although he spent the last 56 years of his life in Paris and came to dominate French musical life, not least as director of the Paris Conservatoire, Cherubini remained characteristically Italian: he prefered vocal to instrumental music and was particularly reluctant to engage with the symphony. If the Philharmonic Society hadn’t commissioned his Symphony in D, which was first performed in London in 1815, he probably wouldn’t have written one at all. Certainly - uncomfortably aware of the growing reputation of the symphonies of Beethoven, even in France - he never produced another.

When Cherubini wrote his Symphony in D, Beethoven had already completed his first eight - the Ninth would be commissioined by the Philharmonic Society ten years later - but they were still a largely Viennese phenomenon. There is scarcely a trace of Beethoven in the Symphony in D, which is more inclined to follow the example of his predecessors Haydn and Mozart. It is not, however, an unambitious or, at least in that it clearly anticipates Mendelssohn in places, unprogressive score. Apart from two comparatively intimidating interventions, the slow introduction seems to suggest that a gracious Allegro is to follow. In fact, the main theme is a dramatic inspiration and it is only on the introduction of the second subject, on violins echoed by cellos, that agitation gives way to lyricism. The tension is well sustained through a texturally resourceful development section and effectively renewed before the end of the movement.

While Cherubini’s orchestration is firmly based on the strings, there are attractive solo woodwind episodes in the Larghetto cantabile, which is an eloquently expressive movement with more dramatic interventions from the lower strings and some interesting horn colouring towards the end. The most delightful example of Cherubini’s scoring, however, is the D minor middle section of the Menuetto, which departs from the Viennese model to incorporate an Italian dance tune on flute and oboe over a pressing ostinato on the rest of the wind. The Allegro assai finale reverts to the manner of Cherubini master of the opera overture but also looks forward to the Mendelssohn of the “Italian” Symphony.