Great Italian and French Composers

of his successors, was to be associated with French music, though never departing from his characteristic quality as an original and creative mind. He modified French music, and lef

reat honors. "When Rossini entered,"* says a writer in a London paper of that date, "he was receive

appearance in publ

of January, 1824,

ra, "Ze

hat below the middle height, with rather a heavy air, and a countenance which, though intelligent, betrayed none of the vivacity which distinguishes

have admired his English Majesty, treated the monarch with much independence, not to say brusqueness, on one occasion, as if to signify his disdain of even royal patronage. At a grand concert at St. James's Palace

by his lightning-like execution. When he had finished I looked mechanically at the ivory keys. I fancied I could see them smoking." Rossini was richer by seven thousand pounds by this visit to the English metropolis. Though he had been under engagement to produce a new opera as well as to conduct those which had already made him famous, he failed to keep this part of his contract. Passages in his

apted from his old work, "Maometto II.," was the first opera presented to the Parisian public, and, though admired, did not become a favorite. The French amour propre was a little stung when it was made known that Rossini had

sentations, and was then withdrawn from the stage; and the work of remodeling from five to three acts, and other improvements in the dramatic framework, was thoroughly carried out.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. Fétis, the eminent critic, writing of it immediately on

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 moveme

erd patriots march to meet the Austrian chivalry. A brilliant use of the violins and reeds depicts t

se were so delighted with the music, that the morning after the first production they a

"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, ha

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 so