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Updated: May 31, 2025
It is quite enough for them to walk in procession to some piece of Rossini's; and as far as regards the organ, all they care about is that it must play slowly, very slowly. The slower it plays, the more religious they think it, even though the organist may be playing a Habanera." He continued looking at the little door with melancholy eyes as though he were ready to weep over the decay of music.
Beethoven's correspondence with Count Brühl of the Berlin Theatre in the matter of an opera for that city, led him, owing to the apathy of the Vienna public at this time toward his works, to offer the new Symphony and the Mass for a first hearing in Berlin. At this time, and for some years previously, Rossini's music had captured the Vienna public so completely that no other was desired.
Meretricious embellishment, shakes, runs, and cadences are carefully avoided in this work, which is natural and characteristic throughout; even the melodies have not the stamp and style of Rossini's earlier times, but only their graceful charm and lively coloring."
In 1829 came his last and greatest work, 'Guillaume Tell, which was written for the Grand Opéra in Paris. The libretto was the work of many hands, and Rossini's own share in it was not a small one. It follows Schiller with tolerable closeness.
"The orchestra commenced with Rossini's Overture to "William Tell" perhaps the finest piece of instrumental picture music since Haydn's Creation and the Pastoral Symphony of Beethoven. Its fresh and vivid coloring, its atmospheric changes, its smart Alpine vigor and heroic ensemble, were made as present and as real as any sixty instruments could make them.
Of Rossini's lighter works, 'Il Barbiere' is certainly the most popular, though, musically speaking, it is perhaps not superior to 'La Gazza Ladra, which, however, is saddled with an idiotic libretto. None of his tragic operas except 'Guillaume Tell, which belongs to a later period, have retained their hold upon the affections of the public.
"Lama," said she, at last, in a low, sad voice, "let us go to the piano." "Will you sing the Ave Maria" he asked, mournfully. "I dare not," said she, hastily. "No, anything but that. I will sing Rossini's Cujus Animam." Then followed those words which tell in lofty strains of a broken heart: Cujus animam gementem Contristatam et flebentem Pertransivit gladius! When Mrs.
Without any embarrassment, she instantly improvised not merely the ornament, but the melody, pouring out a flood of dazzling vocalization which elicited noisy enthusiasm. It was not Rossini's "Il Barbiere," but it was successful in arousing a most flattering approbation. It may be fancied, however, that, when she sang the rôle of Rosina a second time, she knew the music as Rossini wrote it. Mlle.
In Vienna, during the season of 1823, the Rossini furore was so great that none but Rossini's operas were sung; and in Germany almost everyone of the three dozen big and little potentates supported his own Italian operatic company. To-day you look in vain through Germany or Austria for a single Italian company.
He says that after Tell Rossini's pride would not allow him to return to his earlier Italian manner, while the hard work needed to produce more Tells was more than his laziness could stomach.... Perhaps, but it must be remembered that Rossini did not retire to his library or his music room, but to his kitchen. He could cook risotto better than any one else he knew.
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