Rossini overtures




During the latter part of the nineteenth century until the latter part of the twentieth, most of Rossini’s operas (the chief exception being The Barber of Seville) disappeared from the repertoire. Many of their overtures, at the same time, became mainstays of the orchestral repertoire. It is therefore ironic that Rossini hated writing them and put them off as long as possible. In an undated letter he advised a young colleague: Wait till the evening before the opening night. Nothing primes inspiration like necessity, whether it takes the form of  a copyist waiting for your work or the coercion of … Continue reading

When “classical”; music was “popular”–Part 1




Everyone knows that Rossini’s operas are part of “classical music,” but it hasn’t always been that way. During Rossini’s lifetime, he was widely reviled by lovers of “classical” music, as were many other operatic composers. One writer in a French journal proclaimed that there were only two kinds of musicians: classicists and Rossinists. Like nearly everyone else who wrote for the major journals, he was a Rossini-disdaining classicist. I have put “classical” in quotation marks, but when that French critic used it, it meant something very specific. For one brief, shining moment in music history (the late eighteenth century), everyone … Continue reading