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In the early nineteenth century, Luigi Cherubini's Requiem in C minor (1816) was often compared to Wolfgang Amadeus Mozart's Requiem in D minor, which preceded it by 15 years. In our own time, the recordings of these works by Martin Pearlman and the Boston Baroque afford us an opportunity to consider them side by side; because both are historically informed performances on authentic instruments, of works that are similar in substance and form, comparisons are reasonable.