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Education » Literary
Rossini (The Master Musicians Series) 2nd Edition by Richard Osborne screenshot
English | Publisher: Oxford University Press, 2007 | 417 Pages | PDF | 23 MB
Gioachino Rossini was one of the most influential, as well as one of the most industrious and emotionally complex of the great nineteenth-century composers. Between 1810 and 1829, he wrote 39 operas, a body of work, comic and serious, which transformed Italian opera and radically altered the course of opera in France. His retirement from operatic composition in 1829, at the age of 37, was widely assumed to be the act of a talented but lazy man. In reality, political events and a series of debilitating illnesses were the determining factors.

After drafting the Stabat Mater in 1832, Rossini wrote no music of consequence for the best part of twenty-five years, before the clouds lifted and he began composing again in Paris in the late 1850s.

During this glorious Indian summer of his career, he wrote 150 songs and solo piano pieces his 'Sins of Old Age' and his final masterpiece, the Petite Messe solennelle.

The image of Rossini as a gifted but feckless amateur-the witty, high-spirited bon vivant who dashed off The Barber of Seville in a mere thirteen days-persisted down the years, until the centenary of his death in 1868 inaugurated a process of re-evaluation by scholars, performers, and writers.

The original 1985 edition of Richard Osborne's pioneering and widely acclaimed Rossini redefined the life and provided detailed analyses of the complete Rossini oeuvre.

Twenty years on, all Rossini's operas have been staged and recorded, a Critical Edition of his works is well advanced, and a scholarly edition of his correspondence, including 250 previously unknown letters from Rossini to his parents, is in progress.

Drawing on these past two decades of scholarship and performance, this new edition of Rossini provides the most detailed portrait we have yet had of one of the worlds best-loved and most enigmatic composers.

- Influential volume on a major canonical composer
- Incorporates composer biography and survey of his choral, vocal, and piano music
- Provides insights into a previously "misunderstood" and incredibly complex composer



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comments

  Member 19.02.2014 83
+29
Thanks for suprafiles:)
  Resident 5.12.2012 816 21276
+14951
  Resident 5.12.2012 816 21276
+14951
the Comment has been Removed
  Resident 21.04.2014 1591
+330
I love all this edition for all composers.
  Member 24.08.2016 2 41
+67
There's a wonderful story that goes something like this: when Donizetti heard that Rossini had composed Il Barbiere in a mere month, Donizetti said "Ha, that's because Rossini's so lazy".
Rossini was not particularly adventurous in his harmony, his melodies ranged from good to outstanding, but it's his sense of theatre that makes him a Great One. His pacing and character creation is second to none.
And I have always found it appropriate that he was born on a 29 February. That makes him about 52 by now.
  Resident 21.04.2014 1591
+330
Wonderful story 'VintageDOC'
Donizetti another amazing clever Italian, just wrote the high number of 70 operas, against Rossini with 39 operas.
Donizetti produced 3 operas per year, while Rossini spent more time composing his italian pasta.
Once the maestro 'Sir Charles Halle' asked Donizetti if he believed that Rossini composed the 'The Barber of Seville' in just two weeks, when Donizetti with his sense of humor and self-promotion replied:
"Oh, I believe that, he's always been such a lazy man"

Donizetti made melody faster, as it adjusted the popular taste, being easier to hear, but today for popular taste, we can only evaluate 5 compositions of his operas as supreme, against 2 for popular taste of Rossini; 'The Barber of Seville' and 'Guillaume Tell'. That's why I always say: "get in the wheel, say at least one pretty verse, say goodbye and walk away".
And today we have two wonderful Italian compatriots who join Monteverdi, Leoncavallo, Puccini, Bellini and Verdi's team and show the power of the Italian opera. Yeah, Salieri should not have left Italy, a country that undoubtedly influenced Mozart to the extreme.

Rossini having been born on February 29, a leap year, makes things slow to arise.

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