: Great Italian and French Composers by Ferris George T George Titus - Musicians Italy; Musicians France

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t and greatest opera, "William Tell." But of this more hereafter.

He continued for a minute or two to bow respectfully to the audience, and then gave the signal for the overture to begin. He appeared stout and somewhat below the middle height, with rather a heavy air, and a countenance which, though intelligent, betrayed none of the vivacity which distinguishes his music; and it was remarked that he had more of the appearance of a sturdy, beef-eating Englishman, than a fiery and sensitive native of the south."

The last-named opera, which will ever be Rossini's crown of glory as a composer, was written with his usual rapidity while visiting the ch?teau of M. Aguado, a country-seat some distance from Paris. This work, one of the half-dozen greatest ever written, was first produced at the Acad?mie Royale on August 3, 1829. In its early form of libretto it had a run of fifty-six representations, and was then withdrawn from the stage; and the work of remodeling from five to three acts, and other improvements in the dramatic framework, was thoroughly carried out. In its new form the opera blazed into an unprecedented popularity, for of the greatness of the music there had never been but one judgment. F?tis, the eminent critic, writing of it immediately on its production, said, "The work displays a new man in an old one, and proves that it is in vain to measure the action of genius," and follows with, "This production opens a new career to Rossini," a prophecy unfortunately not to be realized, for Rossini was soon to retire from the field in which he had made such a remarkable career, while yet in the very prime of his powers.

"Guillaume Tell" is full of melody, alike in the solos and the massive choral and ballet music. It runs in rich streams through every part of the composition. The overture is better known to the general public than the opera itself, and is one of the great works of musical art. The opening andante in triple time for the five violoncelli and double basses at once carries the hearer to the regions of the upper Alps, where amid the eternal snows Nature sleeps in a peaceful dream. We perceive the coming of the sunlight, and the hazy atmosphere clearing away before the newborn day. In the next movement the solitude is all dispelled. The raindrops fall thick and heavy, and a thunderstorm bursts. But the fury is soon spent, and the clouds clear away. The shepherds are astir, and from the mountain-sides come the peculiar notes of the "Ranz des Vaches" from their pipes. Suddenly all is changed again.

Trumpets call to arms, and with the mustering battalions the music marks the quickstep, as the shepherd patriots march to meet the Austrian chivalry. A brilliant use of the violins and reeds depicts the exultation of the victors on their return, and closes one of the grandest sound-paintings in music.

The original cast of "Guillaume Tell" included the great singers then in Paris, and these were so delighted with the music, that the morning after the first production they assembled on the terrace before his house and performed selections from it in his honor.

With this last great effort Rossini, at the age of thirty-seven, may be said to have retired from the field of music, though his life was prolonged for forty years. True, he composed the "Stabat Mater" and the "Messe Solennelle," but neither of these added to the reputation won in his previous career. The "Stabat Mater," publicly performed for the first time in 1842, has been recognized, it is true, as a masterpiece; but its entire lack of devotional solemnity, its brilliant and showy texture, preclude its giving Rossini any rank as a religious composer.

He spent the forty years of his retirement partly at Bologna, partly at Passy, near Paris, the city of his adoption. His hospitality welcomed the brilliant men from all parts of Europe who loved to visit him, and his relations with other great musicians were of the most kindly and cordial character. His sunny and genial nature never knew envy, and he was quick to recognize the merits of schools opposed to his own. He died, after intense suffering, on November 13, 1868. He had been some time ill, and four of the greatest physicians in Europe were his almost constant attendants. The funeral of "The Swan of Pesaro," as he was called by his compatriots, was attended by an immense concourse, and his remains rest in P?re-Lachaise.

"The never-failing stream of conversation flowed on until eleven o'clock, when I was favored with the inevitable kiss, which on this occasion was accompanied by special farewell blessings."

Shortly after Moscheles had left Paris, his son forwarded to him most friendly messages from Rossini, and continues thus: "Rossini sends you word that he is working hard at the piano, and, when you next come to Paris, you shall find him in better practice.... The conversation turning upon German music, I asked him 'which was his favorite among the great masters?' Of Beethoven he said: 'I take him twice a week, Haydn four times, and Mozart every day. You will tell me that Beethoven is a Colossus who often gives you a dig in the ribs, while Mozart is always adorable; it is that the latter had the chance of going very young to Italy, at a time when they still sang well.' Of Weber he says, 'He has talent enough, and to spare' . He told me in reference to him, that, when the part of 'Tancred' was sung at Berlin by a bass voice, Weber had written violent articles not only against the management, but against the composer, so that, when Weber came to Paris, he did not venture to call on Rossini, who, however, let him know that he bore him no grudge for having made these attacks; on receipt of that message Weber called and they became acquainted.

An ardent disciple of Wagner sums up his ideas of the mania for the Rossini music, which possessed Europe for fifteen years, in the following: "Rossini, the most gifted and spoiled of her sons sallied forth with an innumerable army of Bacchantic melodies to conquer the world, the Messiah of joy, the breaker of thought and sorrow. Europe, by this time, had tired of the empty pomp of French declamation. It lent but too willing an ear to the new gospel, and eagerly quaffed the intoxicating potion, which Rossini poured out in inexhaustible streams." This very well expresses the delight of all the countries of Europe in music which for a long time almost monopolized the stage.

The charge of being a mere tune-spinner, the denial of invention, depth, and character, have been common watchwords in the mouths of critics wedded to other schools. But Rossini's place in music stands unshaken by all assaults. The vivacity of his style, the freshness of his melodies, the richness of his combinations, made all the Italian music that preceded him pale and colorless. No other writer revels in such luxury of beauty, and delights the ear with such a succession of delicious surprises in melody.

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