Gioachino Rossini

Gioachino Antonio Rossini [ dʒoaki ː no ː antɔ njo rossi ː ni ] (* February 29, 1792 in Pesaro, † November 13, 1868 in Paris -Passy ) was an Italian composer. He is considered one of the greatest opera composer of bel canto; his opera The Barber of Seville and La Cenerentola ( "Cinderella" ) worldwide the standard repertoire of opera houses.

Life

Gioachino Rossini was the only son from the marriage of horn players Giuseppe Rossini (1758-1839) with the singer Anna Rossini born Guidarini ( 1771-1827 ). Actually, the Son was baptized on the day of his birth in Pesaro on the name Giovacchino, but it became known his name without the " v", and Rossini himself wrote it almost always as Gioachino, which is why this unusual form of the name is now generally used by musicologists.

As a child, learned Rossini, violin and harpsichord playing; besides, he had a good singing voice. His mother, however, refused energetically her brother's proposal to preserve the soprano voice of her child as Sängerkastrat what their Rossini was grateful later. When the family moved to Lugo in 1802, Gioachino Rossini made ​​the acquaintance of the wealthy Giuseppe Malerbi, from which emanated a lasting influence. In Malerbis library Rossini learned the works of Haydn and Mozart know. On April 22, 1804, the twelve -year-old Rossini had in common with his mother, a first public appearance in the municipal theater of Imola. That same year, Rossini wrote his first composition for two violins, cello and double bass, the Be sonate a quattro, the complete original version in 1954 appeared in print.

1805 the family moved to Bologna, where Gioachino Rossini appeared as a singer. Since April 1806 he attended the Liceo Musicale. His classmates were Francesco Morlacchi and Gaetano Donizetti. Here he received lessons in composition and cello, horn, piano and vocals. 1810 left the Liceo Rossini without qualifications and went to Venice. At this time he had with Demetrio e Polibio already composed his first opera and a few other pieces. For his achievements as a singer, he was honored by inclusion in the Accademia Filarmonica di Bologna. In Venice, the twenty -year-old Rossini went to the premiere of the opera La cambiale di matrimonio on November 3, 1812 for the first time as a composer to the public.

In the following years, Rossini wrote several operas that were known but not much. Only with Tancredi 1813 he composed his first really successful opera. After a few more opera compositions, including The Italian Girl in Algiers, for various opera houses in Italy, he became in 1815 director of two opera houses in Naples. He was there though contracted to write for each of the two houses an opera per year, but could next be working for other cities. Not all of his operas were equally celebrated from the beginning: The first performances of The Barber of Seville and La Cenerentola in Rome were not a great success, only by later performances, the works were popular. In Naples Rossini Colbran Isabella learned, an opera singer, with whom he was married from 1823 to 1836. After a five -month stay in London, where he had been rewarded generously at King 's Theatre and worked with 7000 pounds, he took in 1824 to the post of conductor of the Italian opera in Paris. Two years later he was a royal court composer and Inspector General of song in France.

1829 wrote Rossini William Tell, the last opera of his life. Overall, he had written 39 operas in two decades. During this time he had his reputation as a master of opera buffa, comic opera acquired, although he had also composed serious operas. The year 1830 brought Rossini for the loss of his office, as the French king was forced to abdicate during the July Revolution. However, it was Rossini, judicially enforce a pension for life.

From 1836 to 1848 Rossini worked in Bologna as Director of Music Lyceum. He was still active as a composer, but devoted himself more sacred and chamber music. In 1846 he married his second wife, Olympe Pélissier the Frenchwoman; this marriage lasted until his death. Because of political unrest in Bologna Rossini in 1848 fled to Florence. In 1855 he moved again to Paris ( Passy ) and lived there for the rest of his life.

Among the well-known works after his time as an opera composer include Stabat Mater and Petite Messe solennelle, which is a least ninety minute work despite their name ( "little fair" ). Rossini's compositions are known for their wit, and also the titles of some of his Péchés de viellesse ( "Old sins "), a collection of smaller compositions, bear witness to the humor of Rossini, among others tortured waltz, asthmatic Etude, chromatic turntable or miscarriage a polka - mazurka.

Rossini suffered - especially in its second half of life - from depression that may have been the result of gonorrhea, which he had contracted at a young age. He died of an intestinal surgery. He was initially buried in the Paris cemetery Père Lachaise, prior to transfer his remains in 1887 in the church of Santa Croce in Florence.

Under the influence of Rossini's death, Giuseppe Verdi invited the twelve most important composers of Italy one of his time, to participate in the community composition of a Requiem Mass for Rossini, to be listed on the first anniversary of his death. The Messa per Rossini was completed in 1869, a performance was, however, not materialize because of adverse circumstances. The community composition was performed posthumously for the first time in 1988. Verdi took his own contribution, the final Libera me, as a nucleus for the composition of his own Requiem.

The Italian State has Rossini's birthplace in Pesaro, which now houses a museum, also awarded the ABCs of Giacomo Puccini and Giuseppe Verdi, with the European Heritage Label. Rossini was honored many times, including by its inclusion as a foreign member of the Prussian Order Pour le Mérite for Arts and Science on 31 May 1842.

Rossini overtures

Most Opera Overtures by Gioachino Rossini are recipe also composed by a type, the contents of the operas in most cases for the overtures without concern. After a slow, exciting introduction - at the Overture to The Thieving Magpie (1817 ) from the small drum started in the Italian Girl in Algiers ( 1816) with a compositional delicacy and quality that Mozart and Haydn in no way inferior - is a tangy faster part with two contrasting themes, the increase in dynamics and tempo; an implementation in the classical sense is missing, so one could speak of a truncated sonata form, as well as the harmonious flow usually alternates between tonic and dominant. The grand final effects at the end of many overtures, which will serve as snappy Vorhangöffner to Rossini's handling of the crescendo of the orchestra, with short, often two - or four-bar motifs are repeated constantly owe, but this increase in dynamics and instrumentation. Particularly fine examples of this are the overtures to Semiramide and Otello. Despite these frequent formal uniformity show his overtures distinctive melodic inventions, all of which are both individually and typical Rossini - just think of the recitative at the beginning of the William Tell Overture, to the elegiac oboe solos in Otello and the Italian Girl in Algiers, to the anarchic hitting the violin bow on the music stands at Il Signor Bruschino or to the quasi- canonical start of the Scala di seta.

Often only the overtures have survived by his 39 operas as concert pieces, which certainly was more librettos as to the compositions, by the way, originated in the short period from 1813 to 1829. The rest of his long life, he was - contrary to popular stereotypes still - not composing until today known recipes to composing music before. Rossini's cooking skills were related rather to the heating of water for pasta or the occasional planing truffle shavings as to the creation of new dishes - there is only one recipe from Rossini personally, a salad recipe with anchovies from the time of his marriage to Isabella Colbran, so long before his retirement as a composer. From 1858 created numerous, but today is still mostly unknown works, the so-called Péchés de ma viellesse, the "Age sins ," which garnered Rossini in 13 volumes and two supplements. Among them are alone over 100 piano pieces - from a " silencing " by Rossini in 1829 can therefore be no question, if only given the two versions of the Petite Messe solennelle from the 1860s.

Culinary

" Tournedos alla Rossini " or Tournedos Rossini, a method of preparation of beef tenderloin steaks with a slice of foie gras are named after Gioachino Rossini.

Festival

Rossini's work is the focus of several taking place annually Festival. The Rossini Opera Festival in his hometown of Pesaro Rossini in Wildbad Festival (since 1980 ) (since 1989) in Bad Wildbad in Baden- Württemberg lead every year to several rarely performed operas of Rossini and his contemporaries. The Knoxville Opera, Knoxville (Tennessee ) organized since 2001 an annual Rossini Festival, which is accompanied by an Italian street festival.

Quotes

"I admit to have wept three times in my life when my first opera fell through when I heard Paganini play the violin and as a boat picnic a truffled turkey fell overboard. "

Works

Operas

• Demetrio e Polibio ( " Demetrius and Polybius ', before 1809, UA Rome May 18, 1812 )
• La di matrimonio cambiale ( " The Marriage change"; 1810 UA Venice November 3, 1812 )
• L' equivoco stravagante ( "Through cunning to destination"; 1811)
• L' inganno felice ( " The successful fraud"; 1812)
• Ciro in Babilonia, ossia La caduta di Baldassare ( " Cyrus in Babylonia ", in 1812, UA Teatro Comunale Ferrara, March 1812 )
• La scala di seta ( ' The Silken Ladder "; 1812)
• La pietra del Paragone ( "The love test "; 1812)
• Il Signor Bruschino, ossia Il figlio per azzardo ( " Signor Bruschino or The recovered gambling son "; 1813)
• Tancredi (1813 )
• L' italiana in Algeri ( " The Italian Girl in Algiers ", 1813)
• Aureliano in Palmira ( " Aurelian in Palmyr "; 1813)
• Il turco in Italia ( " The Turk in Italy ", 1814)
• Sigismondo (1814 )
• Elisabetta, regina d' Inghilterra ( " Elizabeth, the Queen of England ", 1815)
• Torvaldo e Dorliska (1815 )
• Il Barbiere di Siviglia ( " The Barber of Seville"; 1816)
• La gazzetta, ossia Il matrimonio per concorso ( "The newspaper "; 1816)
• Otello, ossia Il Moro di Venezia ( " Othello or The Moor of Venice"; 1816)
• La Cenerentola, ossia La bontà in trionfo ( "Cinderella", 1817)
• La gazza ladra ( " The Thieving Magpie"; 1817)
• Armida ( " Armide ", 1817)
• Adelaide di Borgogna ( " Adelaide of Burgundy ", 1817)
• Mosè in Egitto ( "Moses in Egypt ", 1818)
• Adina, ossia Il Califfo di Bagdad ( " The Caliph of Baghdad or Adina ", 1818)
• Ricciardo e Zoraida ( " Ricciardo and Zoraida "; 1818)
• Ermione (1819 )
• Eduardo e Cristina ( " Edward and Christine"; 1819)
• La donna del lago ( " The Lady of the Lake ", 1819)
• Bianca e Falliero, ossia Il consiglio dei Tre Maometto ( " Bianca e Falliero "; 1819)
• Maometto secondo ( " Mohammed the Second "; 1820)
• Matilde (di) Shabran, ossia Bellezza e cuor di ferro ( " Matilda of Shabran "; 1821)
• Zelmira (1822 )
• Semiramide ( " Semiramis ", 1823)
• Il viaggio a Reims, ossia L' albergo del giglio d' oro ( " The Journey to Reims or Hotel to the Golden Lily", 1825)
• Le siège de Corinthe ( " The Siege of Corinth "; 1826)
• Ivanhoé (1826 )
• Moïse et Pharaon, ou Le passage de la Mer Rouge ( " Moses and Pharaoh, or the crossing of the Red Sea", 1827)
• Le Comte Ory ( " Le Comte Ory "; 1828)
• Guillaume Tell ( " William Tell "; UA Paris 1829)

Incidental music

• Edipo a Colono (1817 )

Cantatas

• Il d' Armonia sulla morte di pianto Orfeo (1808 )
• La morte di Didone (1811/1818)
• Dalle quiete e pallid ' ombre (1812 )
• Egle ed Irene (1814 )
• L' Aurora ( 1815)
• Le nozze di Teti, e di Peleo (1816 )
• Omaggio umiliato ... (1819 )
• Cantata da eseguirsi ... (1819 )
• La riconoscenza (1821 )
• La Santa National Alliance (1822 )
• Il vero omaggio (1822 )
• Omaggio pastoral (1823 )
• Il pianto delle muse in morte di Lory Byron (1824 )
• Cantata by Aguado (1827 )
• Giovanna d' Arco (1832 )
• Cantata in onore del Pio Nono Sommo Pontefice (1847 )

Hymns, choirs

• Inno dell'Indipendenza (1815 )
• De l' Italie et de la France (1825 )
• Coro in onore del Marchese Sampieri ( 1830)
• Santo Genio de l' Italia terra (1844 )
• Grido di Esultazione ... (1846 )
• Coro delle Guardia Civica di Bologna ( 1848)
• Inno alla Pace ( 1850)
• Hymne à Napoléon III (1867 )

Sacred Music

• Messa (Bologna 1808)
• Messa (Ravenna 1808)
• Messa (Rimini 1809)
• Laudamus
• Quoniam (1813 )
• Miserere
• Messa di Gloria (1820 ) soloists, chorus, orchestra, 65 ' [ Ed. Kunzelmann CH Knives ]
• Deh tu pietoso cielo (1820 )
• Tantum ergo (1824 )
• Stabat mater (1832 /42)
• Trois choeurs religieux (1844 )
• Tantum ergo (1847 )
• O salutaris hostia ( 1857)
• Laus Deo (1861 )
• Petite Messe solennelle (1863 )

Vocal music

• Soirées musicales ( 1830-35 )

Instrumental music

• Be sonate a quattro (1804 )
• Sinfonia di Bologna ( 1807)
• Sinfonia al Conventello (1808 )
• Introduction, Theme and Variations for Clarinet (1809 )
• Duetto for cello and double bass (1824 )
• Le rendez -vous de chasse (1828 )
• Sonata for Harp (1837 )

Péchés de viellesse ( "Old sins " )

• Une caresse à ma femme
• Un petit train de plaisir ( comique - imitatif )
• Petit Caprice (Style Offenbach)
• Prélude inoffensif
• Bolero tartare
• Quatre hors d'oeuvres et quatre mendiants
• Un rêve
• Memento homo - Assez de memento. Dansons
• Un profond sommeil - Un réveil en sursaut
• Petite Fanfare ( à quatre mains )
• Quelques riens pour album ( 24 miniatures)