LITMIR.BIZ

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When the French army entered Pesaro in 1796, after the Italian campaign, the enthusiasm of old Rossini, in spite of his official position, was so marked that on the withdrawal of the Republican troops he was first deprived of his place, and afterwards thrown into prison.

      Then it was (1798) that Signora Rossini, who had been in the habit of accompanying her husband to fairs and other musical gatherings, and singing small parts on the stage, while he played the horn in the orchestra, obtained a regular engagement; and it was probably under her auspices that the child Rossini made his first appearance in public.

      This much, however, is certain, that Rossini, while still very young, joined his parents in their musical excursions, and took the second horn in the orchestras where the part of first horn was assigned to his father. No wonder that in after life he had an affection for wind instruments!

      When young Rossini was twelve years old, he was taken to Bologna to see Professor Tesei of that city, who was much pleased with the little boy, gave him lessons in singing and pianoforte playing, and put him in the way of earning money by singing solos in the churches. At the end of two years he could execute the most difficult music at first sight, and was able to act as musical director to a travelling company, which gave performances at Lugo, Ferrari, Forli, Sinigaglia, and other little towns in the Romagna. In 1807 he returned to Bologna, and was admitted to the Lyceum, where he studied composition under Father Mattei with so much success, that in the following year he was chosen to write the cantata which was expected annually from the Lyceum’s best pupil.

      “Pianto d’Armonia per la Morte d’Orfeo” was the subject of this, Rossini’s first work, written when he was sixteen years of age, and executed at Bologna in August, 1808.

      The success of the cantata was such that it procured for its composer the appointment of director of the Philharmonic concerts, in which capacity he superintended the production of Haydn’s “Seasons.” He had previously got up a performance of the “Creation” in the Lyceum itself; and it is interesting to know that at this period Rossini devoted himself ardently to the study of Haydn’s symphonies and quartets.

      While on the subject of Rossini’s early studies it would be wrong to forget his eccentric pianoforte professor, Prinetti, who had two remarkable peculiarities: he never went to bed, and he taught his pupils to play the scales with two fingers, the first finger and the thumb. Pianoforte music “for four hands” is common enough; but pianoforte music for two fingers was probably never heard of except in connexion with Prinetti and his scales.

      In 1809 Rossini produced a symphony and a quartet, and in the year following made his début as a composer for the stage. The Marquis Cavalli, impresario of the theatre of Sinigaglia, where Rossini had officiated as musical conductor, was also director of the San Mosè3 theatre at Venice, and invited the young composer to write an opera for the latter establishment. This, the first work addressed by Rossini to the general public, was a trifle in one act, called “La Cambiale di Matrimonio.” It was produced in 1810, and Rossini received about eight pounds for it.

      The opera or operetta of “La Cambiale di Matrimonio” was followed by the cantata of “Didone Abbandonata,” which Rossini composed for a relation, the afterwards celebrated Esther Mombelli, in 1811.

      He produced the same year, also at Bologna, an opera buffa in two acts, called “L’Equivoco Stravagante.” This work, of which not even fragments have been preserved, seems nevertheless to have been thoroughly successful. One of Rossini’s very earliest productions, it was probably written, less in what we now consider his own particular style, than in that of his immediate predecessors. The concerted pieces, however, were much remarked, as was also a final rondo for the prima donna, Madame Marcolini. The rondo is especially noticeable as the first of those final airs for which Rossini seemed to have a particular liking, until he produced the most brilliant specimen of the style in the “Non piu Mesta” of “Cenerentola” – and then abandoned it to the after-cultivation of other composers.

      “L’Inganno Felice,” written in 1812 for Venice, is the first of Rossini’s operas which, many years after its production, was thought worthy of revival. It was played at Paris in 1819, and some years later at Vienna, where the illustrious Barbaja, for whom Rossini wrote so many fine works, at Naples, between the years 1814 and 1823, brought it out.

      After the success of “L’Inganno Felice” at Venice, Rossini was invited to write an oratorio for the Teatro Communale of Ferrara. The result was “Ciro in Babilonia,” produced at the beginning of Lent, 1812. Madame Marcolini, the prima donna of the “Equivoco Stravagante,” played a principal part in this work, which, as a whole, was not very successful. Rossini saved from the remains of “Ciro,” a chorus which he introduced into “Aureliano in Palmira” (and from which he afterwards borrowed the beautiful theme of Almaviva’s air, “Ecco ridente il Cielo,” in “Il Barbiere”), and a concerted finale which re-appeared, in the year 1827, in the French version of “Mosè in Egitto.”

      One would like, as a curiosity, to hear the air Rossini wrote in this opera of “Ciro” for the seconda donna. The poor woman, as Rossini himself told Ferdinand Hiller, had only one good note in her voice, and he accordingly made her repeat that note and no other, while the melody of her solo was played by the orchestra.

      In addition to the two works just mentioned, Rossini wrote “La Pietra del Paragone,” for Milan, and two one act operettas, “La Scala di Seta” and “L’occasione fa il ladro,” for Venice, in this fertile year of 1812.

      “La Pietra del Paragone” contained leading parts for Galli, the afterwards celebrated basso, and Madame Marcolini, who, as in the “Equivoco Stravagante,” was furnished with a brilliant and very successful final rondo.

      The libretto of “La Pietra” is based on an idea not absolutely new, and which, for that very reason perhaps, is generally successful on the stage. Count Asdrubal, a rich and inquisitive man, wishes to know whether his friends and a certain young lady, the heroine of the piece, are attracted to him by his wealth or really esteem and love him for his own sake. To decide the question he causes a bill for an immense sum drawn in favour of a Turk (the Turk was a great operatic character in those days) to be presented at his house. He himself, in Turkish costume, appears to receive the money, which the steward, having been instructed to recognise the signature as that of the Count’s father, duly pays.

      Some of the friends bear the test, others prove insincere. As for the young lady she comes out in the most brilliant colours. Too timid and too scrupulous before the appearance of the Turk to manifest in an unmistakeable manner the love she really feels for Count Asdrubal, she has now to force the count to make a declaration to her. For this purpose she finds it necessary to appear before him in the uniform of a captain of hussars; in which becoming costume Madame Marcolini sang her final rondo, saluting the public with her sabre in acknowledgment of their reiterated applause.

      A still more successful piece in “La Pietra del Paragone” was the finale to the first act, known as “La Sigillara,” in which the sham Turk insists that seals shall be placed on all Count Asdrubal’s property.

      It was the destiny of this work to be demolished, that its materials might be used for building up “Cenerentola,” in which the air “Miei rampolli,” the duet “Un soave non so che,” the drinking chorus, and the baron’s burlesque proclamation, all belonged originally to “La Pietra del Paragone.” Indeed the air now known as “Miei rampolli,” before finding its last resting-place in “Cinderella,” figured first in “La Pietra del Paragone,” and afterwards in “La Gazzetta,” a little opera of the year 1816.

      The success of “La Pietra del Paragone” was an event in Rossini’s life; for just after its production the young composer, then twenty years of age, was claimed by the army. He had a narrow escape of making the Russian campaign; and though Paisiello and Cimarosa had both been to Russia with profit to themselves, it is doubtful whether Rossini, undertaking the journey under quite different circumstances, would have derived from it the same advantages. Fortunately Prince Eugene, the Viceroy of Italy – not the only one of Napoleon’s generals who, like Napoleon himself, had a cultivated taste for music – could appreciate the merit of “La Pietra del Paragone;”

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