Gioachino Rossini - Revision history

Brett at 16:15, 20 August 2023

2023-08-20T16:15:07Z

← Older revision		Revision as of 18:15, 20 August 2023
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	* [[wikipedia:Gioacchino_Rossini\|Wikipedia]]		* [[wikipedia:Gioacchino_Rossini\|Wikipedia]]
	* {{IMSLP\|Rossini,_Gioacchino}}		* {{IMSLP\|Rossini,_Gioacchino}}
			* {{viaf\|34644407}}

	==Notes and References==		==Notes and References==
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	<ref name="note1">{{bib\|1997/94\|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 41, 116.</ref>		<ref name="note1">{{bib\|1997/94\|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 41, 116.</ref>
	<ref name="note2">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxx-xxxi.</ref>		<ref name="note2">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxx-xxxi.</ref>
	<ref name="note3">[[Herman Laroche]], {{bib\|1893/31\|Воспоминания о П. И. Чайковском}} (1893), reprinted in {{bib\|1979/18\|Воспоминания о П. И. Чайковском}} (1979), p. 44; English translation in ~~David Brown,~~ {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 19.</ref>		<ref name="note3">[[Herman Laroche]], {{bib\|1893/31\|Воспоминания о П. И. Чайковском}} (1893), reprinted in {{bib\|1979/18\|Воспоминания о П. И. Чайковском}} (1979), p. 44; English translation in {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 19.</ref>
	<ref name="note4">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxi.</ref>		<ref name="note4">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxi.</ref>
	<ref name="note5">[[Letter 751]] to [[Anatoly Tchaikovsky]], 4/16-8/20 February 1878.</ref>		<ref name="note5">[[Letter 751]] to [[Anatoly Tchaikovsky]], 4/16-8/20 February 1878.</ref>
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	[[Category:People\|Rossini, Gioachino]]		[[Category:People\|Rossini, Gioachino]]
	[[Category:Composers\|Rossini, Gioachino]]		[[Category:Composers\|Rossini, Gioachino]]
			__NOTOC__

Tony: /* Notes and References */

2022-11-20T10:45:22Z

Notes and References

← Older revision		Revision as of 12:45, 20 November 2022
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	<ref name="note2">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxx-xxxi.</ref>		<ref name="note2">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxx-xxxi.</ref>
	<ref name="note3">[[Herman Laroche]], {{bib\|1893/31\|Воспоминания о П. И. Чайковском}} (1893), reprinted in {{bib\|1979/18\|Воспоминания о П. И. Чайковском}} (1979), p. 44; English translation in David Brown, {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 19.</ref>		<ref name="note3">[[Herman Laroche]], {{bib\|1893/31\|Воспоминания о П. И. Чайковском}} (1893), reprinted in {{bib\|1979/18\|Воспоминания о П. И. Чайковском}} (1979), p. 44; English translation in David Brown, {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 19.</ref>
	<ref name="note4">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}}(1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxi.</ref>		<ref name="note4">[[Herman Laroche]], {{bib\|1898/15\|Предисловие}} [Foreword] in {{bib\|1898/24\|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib\|2000/42\|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxi.</ref>
	<ref name="note5">[[Letter 751]] to [[Anatoly Tchaikovsky]], 4/16-8/20 February 1878.</ref>		<ref name="note5">[[Letter 751]] to [[Anatoly Tchaikovsky]], 4/16-8/20 February 1878.</ref>
	</references>		</references>
	[[Category:People\|Rossini, Gioachino]]		[[Category:People\|Rossini, Gioachino]]
	[[Category:Composers\|Rossini, Gioachino]]		[[Category:Composers\|Rossini, Gioachino]]

Tony at 10:42, 20 November 2022

2022-11-20T10:42:37Z

← Older revision		Revision as of 12:42, 20 November 2022
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	==Tchaikovsky and Rossini==		==Tchaikovsky and Rossini==
	The orchestrina whose tunes so captivated little Pyotr in [[Votkinsk]] introduced him not just to [[Mozart]] but also to Rossini and other masters of Italian bel canto, for which he retained a life-long affection, as his brother [[Modest]] observed in his biography of the composer. From the family reminiscences gathered by [[Modest]] we also find out that in [[Saint Petersburg]], in 1852, the twelve-year-old Tchaikovsky studied a complicated duet from Rossini's ''Semiramide ''with his aunt [[Yekaterina Alekseyeva]], the only relative of his who was seriously interested in music at the time <ref name="note1"/>. At the age of 17 he was subjected to more energetic propaganda in that respect by his Neapolitan singing-master, Luigi Piccioli, who recognized no other composers apart from the great Italian melodists. In his brief ''[[Autobiography]]'' of 1889 Tchaikovsky would recall how under Piccioli's influence he had become "a fervent admirer of Rossini, [[Bellini]], and [[Donizetti]]". Even if his passion for Italian opera abated somewhat in later years — even to the extent that in 1871 he could speak of the "stereotypically banal episodes" which abounded in Rossini's works ([[TH 260]]) — he did emphasize in his ''[[Autobiography]]'' that "to this day I feel a certain satisfaction when I hear the richly ornamented arias, cavatinas, and duets of Rossini, with all their roulades". It is interesting that, as [[Herman Laroche]] later noted, Tchaikovsky during his years at the Conservatory preferred Rossini's serious operas — ''Tancredi'' (1813), ''Mosè in Egitto'' (1818), ''Semiramide'' (1823), and ''Guillaume Tell ''(1829) — and was sceptical towards'' Il barbiere di Siviglia'' (1816) <ref name="note2"/>. In this respect, as in his other musical tastes (for example, his indifference to [[Gounod]]'s ''Faust'' or to [[Wagner]]'s '' Lohengrin'' at the time), the young Tchaikovsky was very much swimming against the tide, for Rossini's comic masterpiece was incredibly popular in Russia, especially among those who still remembered the 1843–44 Italian Opera season in [[Saint Petersburg]], when [[Pauline Viardot-García]] as Rosina, Antonio Tamburini (1800–1876) as Figaro, and Giovanni Battista Rubini (1794–1854) as Count Almaviva had delighted Russian audiences.		The orchestrina whose tunes so captivated little Pyotr in [[Votkinsk]] introduced him not just to [[Mozart]] but also to Rossini and other masters of Italian bel canto, for which he retained a life-long affection, as his brother [[Modest]] observed in his biography of the composer. From the family reminiscences gathered by [[Modest]] we also find out that in [[Saint Petersburg]], in 1852, the twelve-year-old Tchaikovsky studied a complicated duet from Rossini's ''Semiramide ''with his aunt [[Yekaterina Alekseyeva]], the only relative of his who was seriously interested in music at the time <ref name="note1"/>. At the age of 17, he was subjected to more energetic propaganda in that respect by his Neapolitan singing-master, Luigi Piccioli, who recognized no other composers apart from the great Italian melodists. In his brief ''[[Autobiography]]'' of 1889, Tchaikovsky would recall how under Piccioli's influence he had become "a fervent admirer of Rossini, [[Bellini]], and [[Donizetti]]". Even if his passion for Italian opera abated somewhat in later years — even to the extent that in 1871 he could speak of the "stereotypically banal episodes" which abounded in Rossini's works ([[TH 260]]) — he did emphasize in his ''[[Autobiography]]'' that "to this day I feel a certain satisfaction when I hear the richly ornamented arias, cavatinas, and duets of Rossini, with all their roulades". It is interesting that, as [[Herman Laroche]] later noted, Tchaikovsky during his years at the Conservatory preferred Rossini's serious operas — ''Tancredi'' (1813), ''Mosè in Egitto'' (1818), ''Semiramide'' (1823), and ''Guillaume Tell ''(1829) — and was sceptical towards'' Il barbiere di Siviglia'' (1816) <ref name="note2"/>. In this respect, as in his other musical tastes (for example, his indifference to [[Gounod]]'s ''Faust'' or to [[Wagner]]'s '' Lohengrin'' at the time), the young Tchaikovsky was very much swimming against the tide, for Rossini's comic masterpiece was incredibly popular in Russia, especially among those who still remembered the 1843–44 Italian Opera season in [[Saint Petersburg]], when [[Pauline Viardot-García]] as Rosina, Antonio Tamburini (1800–1876) as Figaro, and Giovanni Battista Rubini (1794–1854) as Count Almaviva had delighted Russian audiences.

	[[Laroche]] pointed out that it took Tchaikovsky many years before he began to appreciate '' Il barbiere di Siviglia''. Whist at the Conservatory, however, Tchaikovsky, who had a pleasant baritone voice and liked Italian coloratura, would sing mainly arias and duets from Rossini's serious operas: ''Semiramide'' and ''Otello'' <ref name="note3"/>. Nevertheless by the early 1870s Tchaikovsky in his music review articles was referring to'' Il barbiere'' as "a priceless pearl of Italian music" and an "inimitable opera" (more details in the list below). It is likely that his re-evaluation of that opera was influenced by Adelina Patti's brilliant performances as Rosina during her visits to Russia.		[[Laroche]] pointed out that it took Tchaikovsky many years before he began to appreciate '' Il barbiere di Siviglia''. Whist at the Conservatory, however, Tchaikovsky, who had a pleasant baritone voice and liked Italian coloratura, would sing mainly arias and duets from Rossini's serious operas: ''Semiramide'' and ''Otello'' <ref name="note3"/>. Nevertheless, by the early 1870s Tchaikovsky in his music review articles was referring to'' Il barbiere'' as "a priceless pearl of Italian music" and an "inimitable opera" (more details in the list below). It is likely that his re-evaluation of that opera was influenced by Adelina Patti's brilliant performances as Rosina during her visits to Russia.

	In view of Tchaikovsky's critical remarks in an 1873 article about ''Guillaume Tell'' (1829) as an opera in which Rossini had been unfaithful to his Italian genius by aspiring to seriousness and profundity (see below), it is surprising that [[Laroche]] should later have suggested that the music of '' Tell'' influenced some parts of ''[[The Voyevoda (opera)\|The Voyevoda]]'' (1867–68), ''[[The Oprichnik]]'' (1870–72), and, even later, ''[[The Maid of Orleans]]'' (1878–79). Perhaps [[Laroche]] had in mind Rossini's successful evocation of historical colour in his last stage work <ref name="note4"/>. Tchaikovsky himself, in a letter from [[San Remo]] in February 1878, described a feverish dream he had recently had after catching the flu: "Among other things, I dreamt how, in an astonishingly lifelike scene, I was dining with Rossini and fiercely criticizing the overture to ''Guillaume Tell'', and that he felt offended" <ref name="note5"/>.		In view of Tchaikovsky's critical remarks in an 1873 article about ''Guillaume Tell'' (1829) as an opera in which Rossini had been unfaithful to his Italian genius by aspiring to seriousness and profundity (see below), it is surprising that [[Laroche]] should later have suggested that the music of '' Tell'' influenced some parts of ''[[The Voyevoda (opera)\|The Voyevoda]]'' (1867–68), ''[[The Oprichnik]]'' (1870–72), and, even later, ''[[The Maid of Orleans]]'' (1878–79). Perhaps [[Laroche]] had in mind Rossini's successful evocation of historical colour in his last stage work <ref name="note4"/>. Tchaikovsky himself, in a letter from [[San Remo]] in February 1878, described a feverish dream he had recently had after catching the flu: "Among other things, I dreamt how, in an astonishingly lifelike scene, I was dining with Rossini and fiercely criticizing the overture to ''Guillaume Tell'', and that he felt offended" <ref name="note5"/>.

Brett: 1 revision imported

2022-07-12T11:20:06Z

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Brett: Text replacement - "Modest Tchaikovsky, {{bib|1997/94|" to "{{bib|1997/94|"

2019-02-17T18:51:02Z

Text replacement - "Modest Tchaikovsky, {{bib|1997/94|" to "{{bib|1997/94|"

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{{picture|file=Gioachino Rossini.jpg|caption='''Gioachino Rossini''' (1792-1868)}}
Italian composer (b. 29 February 1792 {{NS}} in Pesaro; d. 13 November 1868 {{NS}} in [[Paris]]), born '''''Gioachino Antonio Rossini'''''.

==Tchaikovsky and Rossini==
The orchestrina whose tunes so captivated little Pyotr in [[Votkinsk]] introduced him not just to [[Mozart]] but also to Rossini and other masters of Italian bel canto, for which he retained a life-long affection, as his brother [[Modest]] observed in his biography of the composer. From the family reminiscences gathered by [[Modest]] we also find out that in [[Saint Petersburg]], in 1852, the twelve-year-old Tchaikovsky studied a complicated duet from Rossini's ''Semiramide ''with his aunt [[Yekaterina Alekseyeva]], the only relative of his who was seriously interested in music at the time <ref name="note1"/>. At the age of 17 he was subjected to more energetic propaganda in that respect by his Neapolitan singing-master, Luigi Piccioli, who recognized no other composers apart from the great Italian melodists. In his brief ''[[Autobiography]]'' of 1889 Tchaikovsky would recall how under Piccioli's influence he had become "a fervent admirer of Rossini, [[Bellini]], and [[Donizetti]]". Even if his passion for Italian opera abated somewhat in later years — even to the extent that in 1871 he could speak of the "stereotypically banal episodes" which abounded in Rossini's works ([[TH 260]]) — he did emphasize in his ''[[Autobiography]]'' that "to this day I feel a certain satisfaction when I hear the richly ornamented arias, cavatinas, and duets of Rossini, with all their roulades". It is interesting that, as [[Herman Laroche]] later noted, Tchaikovsky during his years at the Conservatory preferred Rossini's serious operas — ''Tancredi'' (1813), ''Mosè in Egitto'' (1818), ''Semiramide'' (1823), and ''Guillaume Tell ''(1829) — and was sceptical towards'' Il barbiere di Siviglia'' (1816) <ref name="note2"/>. In this respect, as in his other musical tastes (for example, his indifference to [[Gounod]]'s ''Faust'' or to [[Wagner]]'s '' Lohengrin'' at the time), the young Tchaikovsky was very much swimming against the tide, for Rossini's comic masterpiece was incredibly popular in Russia, especially among those who still remembered the 1843–44 Italian Opera season in [[Saint Petersburg]], when [[Pauline Viardot-García]] as Rosina, Antonio Tamburini (1800–1876) as Figaro, and Giovanni Battista Rubini (1794–1854) as Count Almaviva had delighted Russian audiences.

[[Laroche]] pointed out that it took Tchaikovsky many years before he began to appreciate '' Il barbiere di Siviglia''. Whist at the Conservatory, however, Tchaikovsky, who had a pleasant baritone voice and liked Italian coloratura, would sing mainly arias and duets from Rossini's serious operas: ''Semiramide'' and ''Otello'' <ref name="note3"/>. Nevertheless by the early 1870s Tchaikovsky in his music review articles was referring to'' Il barbiere'' as "a priceless pearl of Italian music" and an "inimitable opera" (more details in the list below). It is likely that his re-evaluation of that opera was influenced by Adelina Patti's brilliant performances as Rosina during her visits to Russia.

In view of Tchaikovsky's critical remarks in an 1873 article about ''Guillaume Tell'' (1829) as an opera in which Rossini had been unfaithful to his Italian genius by aspiring to seriousness and profundity (see below), it is surprising that [[Laroche]] should later have suggested that the music of '' Tell'' influenced some parts of ''[[The Voyevoda (opera)|The Voyevoda]]'' (1867–68), ''[[The Oprichnik]]'' (1870–72), and, even later, ''[[The Maid of Orleans]]'' (1878–79). Perhaps [[Laroche]] had in mind Rossini's successful evocation of historical colour in his last stage work <ref name="note4"/>. Tchaikovsky himself, in a letter from [[San Remo]] in February 1878, described a feverish dream he had recently had after catching the flu: "Among other things, I dreamt how, in an astonishingly lifelike scene, I was dining with Rossini and fiercely criticizing the overture to ''Guillaume Tell'', and that he felt offended" <ref name="note5"/>.

==General Reflections on Rossini==
===In Tchaikovsky's Music Review Articles===
* '''[[TH 274]]''' — Tchaikovsky describes Rossini's musical personality as "superficial, cold, but extraordinarily gifted" and argues that he had been untrue to himself in ''Guillaume Tell'', where he had tried to present himself as a "serious and profound" composer; praises ''Il barbiere di Siviglia'' as "an unsurpassable paragon" of comic opera, with its "wholehearted and irresistibly gripping cheerfulness" and criticizes his attempts at'' opera seria''; nevertheless, even in ''Tell'' there were parts which revealed Rossini's genius.
* [[TH 284]] — asserts that ''Moïse et Pharaon'' displays "all the finest qualities of a composer who to this day still enjoys great popularity, as well as receiving respectful attention from the critics".
* '''[[TH 294]]''' — praises Rossini as "a great master in the realm of comic opera", but criticizes the "childish naivety" of his sacred music in'' Stabat Mater'', even though this work, too, offered "beautiful melodies and stylistic brilliance".
* '''[[TH 296]]''' — emphasizes again that Rossini's sphere was the "light comic genre", in which he had no rivals, and calls ''Il barbiere di Siviglia'' a "priceless pearl of Italian music"; enthusiastically describes the qualities of Rossini's music, including his mastery of harmony and instrumentation.

==Views On Specific Works by Rossini==
===In Tchaikovsky's Music Review Articles===
* ''Guillaume Tell'', opera (1829) — '''[[TH 274]]'''
* ''Il barbiere di Siviglia'', opera (1816) — '''[[TH 274]]''', '''[[TH 296]]'''
* ''Moïse et Pharaon'', opera (1827) — TH 260, [[TH 284]]
* ''Otello'', opera (1816) — [[TH 274]]
* ''Semiramide'', opera (1823) — [[TH 274]]
* ''Stabat Mater'', setting of liturgical text (1832–41) — '''[[TH 294]]'''
* ''Tancredi'', opera (1813) — [[TH 274]]

==External Links==
* [[wikipedia:Gioacchino_Rossini|Wikipedia]]
* {{IMSLP|Rossini,_Gioacchino}}

==Notes and References==
<references>
<ref name="note1">{{bib|1997/94|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 41, 116.</ref>
<ref name="note2">[[Herman Laroche]], {{bib|1898/15|Предисловие}} [Foreword] in {{bib|1898/24|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898); here cited from the German translation in {{bib|2000/42|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxx-xxxi.</ref>
<ref name="note3">[[Herman Laroche]], {{bib|1893/31|Воспоминания о П. И. Чайковском}} (1893), reprinted in {{bib|1979/18|Воспоминания о П. И. Чайковском}} (1979), p. 44; English translation in David Brown, {{bib|1993/33|Tchaikovsky Remembered}} (1993), p. 19.</ref>
<ref name="note4">[[Herman Laroche]], {{bib|1898/15|Предисловие}} [Foreword] in {{bib|1898/24|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}}(1898); here cited from the German translation in {{bib|2000/42|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxi.</ref>
<ref name="note5">[[Letter 751]] to [[Anatoly Tchaikovsky]], 4/16-8/20 February 1878.</ref>
</references>
[[Category:People|Rossini, Gioachino]]
[[Category:Composers|Rossini, Gioachino]]