Great Italian and French Composers

at should have been the richest creative period of Rossini's life, his great works, poured forth with such facility, and still retaining their gras

h has not yet subsided. The stiff and stately Oublicheff confesses, with many compunctions of conscience, that, when listening for the first time to one of Rossini's operas, he forgot for the time being all that he had ever known, admired, played, or sung, for he was musically drunk, as if with champagne. Learned Germans might shake their heads and talk about shallowness and contrapuntal rubbish, his crescendo and stretto passages, his tamene

in their visits to fairs and musical gatherings, and was in danger, at the age of seven, of becoming a thorough-paced little vagabond, when maternal alarm trusted his educati

be imagined more tender, more touching, than

ul of his tutor, he made such rapid progress that at the age of sixteen he was chosen to write the cantata, annually awarded to the most promising student. Success greeted the juvenile effort, and thus we see Rossini fairly launched as a composer. Of the early operas which he poured out for five years it is not needful to speak, except that one of them so pleased the austere Marshal Massena that he exempted the composer from conscription. The first opera which made Rossini's name famous through Europe was "Tancredi,"

atre with an opera from the pen of the new idol. For these earlier essays he received a thousand francs each, and he wrote five or six a year. Stendhall, Ro

uffo, a second female singer, and a third basso. The libretto, or poem, purchased for sixty or eighty francs from some lucky son of the muses, who is generally a half-starved abbé, the hanger-on of some rich family

s the care of the financial department to a registrario, who is generally some pettifogging attorney, who holds the position of his steward. The next thing that gene

of the forthcoming music and singers with the eager impetuosity which belongs to the Italian character and climate. The first representation, if successful, is generally followed by twenty or thirty more of the same piece, after which the company breaks up.... From this little sketch of theatrical arrangements in Italy some idea may be formed of the life which Rossini led

ppermost, perhaps a portion of a miserere, to the great scandal of pious Catholics tucked snugly in their beds. At length he reaches his lodging, and shutting himself up in his chamber is, at this, to every-day mortals, most ungenial hour, visited by some of his most brilliant inspirations. These he hastily scratches down on scraps of paper, and next morning arranges them, or, in his own phrase, instruments them, amid the renewed interruptions of his visitors. At length t

Bohemian wanderings made him perpetrate innumerable practical jokes, not sparing himself when he had no more available food for mirth. On one occasion, in traveling from Ancona to Reggio, he passed himself off for a musical professor, a mortal enemy of Rossini, and sang

the Italian theatres, and indulged in the most unwarrantable tricks with his composers. During the first performance of "L'Aureliano," at Naples, the singer loaded the music with such ornaments that Rossini could not recognize the offspring of his own brains. A fierce quarrel ensued between the two, and the composer determined thereafter to write music of such a character that the most stupid singer could not suppose any adornment