Autograph letter signed, three pages (on two conjoined sheets) - also addressed on the fourth page, 7,25 x 9 inch, Paris, 19.11.1819, in French, to Joseph-Jacques-Marie Savene fils in Toulouse - concerning his religious music, and the organist of the Saint-Jérôme church (in Toulouse), signed in black ink "L. Cherubini", with intersecting letter folds, a few very small holes, browning, and an area of paper loss (text unaffected) - in nearly fine condition.
In parts:
"Je vous remercie infiniment de m'avoir instruit de l'exécution de ma messe, qui est certainement bien loin d'être un chef-d'oeuvre ; tout son merite, est dans l'indulgence de ceux qui l'ont entendue. Étant Surintendant de la musique du Roi, je ne compose de musique religieuse que pour sa chapelle, pas autrement ; c'est donc vous dire, Monsieur, que je n'ai d'autres occasions que celles que me fournit la necessité du service de laditte chapelle, et que je ne composerai ni de Magnificat, ni de motet que le besoin de ce service ne l'exige. J'ai publié au commencement de l'année ma messe de Requiem que j'ai composée pour l'anniversaire de la mort de Louis XVI. Elle s'execute tous les ans à St Denis, lieu de la sepulture du Roi de France. J'ignore si cette publication vous était connue. Relativement aux mouvements de la messe à 3 voix exprimés par des mots italiens, le mot sostenuto en italien signifie un mouv vement presque Lent, et les musiciens qui l'ont interpretré ainsi ont eu raison. Quant ensuite à l'andante con moto du Cum Sancto, et plus vif de ce qui le précède, au lieu d'etre plus grave, parce que andante est déjà d'un mouvement plus acceleré que le sostenuto, et le con moto ajoute encore quelques degrés de plus de vitesse. Au surplus, monsieur, si vous avez la bonté de me faire savoir si vous possedez à Toulouse le Métronome de Maelzel j'aurai le plaisir de vous envoyer les mouvements divers de cette messe, reglés d'une manière precise d'après ce regulateur. J'ai pris l'habitude de marquer tous mes ouvrages par les indications de ce metronome afin que tout le monde ne prenne d'equivoque sur les mouvemens. [...]"
Translated:
"I thank you infinitely for having instructed me in the performance of my mass, which is certainly far from being a masterpiece; all its merit, is in the indulgence of those who have heard it. Being Superintendent of the King's music, I only compose religious music for his chapel, not otherwise; this is therefore to tell you, Monsieur, that I have no other opportunities than those afforded me by the necessity of the service of the said chapel, and that I will not compose either a Magnificat or a motet unless the need for this service does not requires it. I published at the beginning of the year my Requiem mass which I composed for the anniversary of the death of Louis XVI. It is performed every year in St Denis, the burial place of the King of France. I don't know if this publication was known to you. With respect to the movements of the Mass for 3 voices expressed by Italian words, the word sostenuto in Italian means an almost Slow movement, and the musicians who interpreted it in this way were right. As for the `andante con moto` of the `Cum Sancto`, and more lively than what precedes it, instead of being more serious, because the andante is already of a more accelerated movement than the sostenuto, and the con moto adds still a few more degrees of speed. Moreover, sir, if you are kind enough to let me know if you have Maelzel's Metronome in Toulouse, I will have the pleasure of sending you the various movements of this mass, regulated in a precise manner according to this regulator. I got into the habit of marking all my works with the indications of this metronome so that everyone does not get confused about the movements. [...]"
