GIOACHINO See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

ANTONIO See also:

• GIOACHINO ANTONIO ROSSINI (1792-1868)

ROSSINI (1792-1868)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PESARO (anc. Pisaurum, q.v.)

Pesaro on the 29th of See also:

• FEBRUARY

February 1792 . His See also:

• FATHER

father was See also:

• TOWN

town See also:

• TRUMPETER

trumpeter and inspector of slaughter-houses, his See also:

• MOTHER

mother a See also:

• BAKER, HENRY (1698-1774)
• BAKER, SIR BENJAMIN (1840-1907)
• BAKER, SIR RICHARD (1568-1644/5)
• BAKER, SIR SAMUEL WHITE (1821-1893)
• BAKER, THOMAS (1656-1740)
• BAKER, VALENTINE [BAKER PASHA] (1827-1887)

baker's daughter . The See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• ROSSINI, GIOACHINO ANTONIO (1792-1868)

Rossini's sympathies for the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French became a source of trouble when, after the occupation of the papal See also:

• STATE
• STATE, GREAT OFFICERS OF

state by the French in 1796, the Austrians restored the old regime . He was sent to See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison, and his wife took Gioachino to See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, earning her living as a prima donna See also:

• BUFF (from Fr. bu.ffie, a buffalo)

buff a at various theatres of the Romagna, where she was ultimately rejoined by her See also:

• HUSBAND

husband . Gioachino remained at Bologna in the care of a pork See also:

• BUTCHER

butcher, while his father played the See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn in the bands of the theatres at which his mother sang . The boy had three years' instruction in the See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord from Prinetti of See also:

• NOVARA

Novara, but Prinetti played the See also:

• SCALE
• SCALE (1) A

scale with two fingers only, combined his profession of a musician with the business of selling liquor, and See also:

• FELL
• FELL, JOHN (1625-1686)

fell asleep while he stood, so that he was a See also:

• FIT

fit subject for ridicule with his See also:

• CRITICAL (in alphabetical order of authors)

critical See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil . Gioachino was taken from him and apprenticed to a See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

smith . In Angelo Tesei he found a congenial See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, and learned to read at sight, to See also:

• PLAY

play accompaniments on the piano-forte, and to sing well enough to take See also:

• SOLO, OR SOLO WHIST

solo parts in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church when he was ten years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . At thirteen he appeared at the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre of the See also:

• COMMUNE (Med. Lat. communia, Lat. communis, common)
• COMMUNE, MEDIEVAL

Commune in See also:

• PAER, FERDINANDO (1771-1839)

Paer's Camilla— his only See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance as a public See also:

• SINGER, SIMEON (1846-1906)

singer (18o5) . He was also able to play the horn . In 1807 he was admitted to the See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint class of Padre P . S .

Mattei, and soon after to that of Cavedagni for the 'cello at the Conservatorio of Bologna . He learned to play the 'cello with ease, but the pedantic severity of Matters views on counterpoint only served to accentuate the tendency of his See also:

• GENIUS (from Lat. genere, gignere)

genius towards a freer school of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, and his insight into orchestral resources is to be ascribed rather to knowledge gained by scoring the quartets and symphonies of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn and See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart, than to any prescribed rules for the composition of See also:

• MUSIC

music . At Bologna he was known as " it Tedeschino " on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of his devotion to Mozart . Through the friendly interposition of the See also:

• MARQUIS

Marquis See also:

• CAVALLI, FRANCESCO (1599?-1676)

Cavalli, his first See also:

• OPERA (Italian for " work ")

opera, La Cambiale di Matrimonio, was produced at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice when he was a youth of eighteen . But two years before this he had already received the See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize at the Conservatorio of Bologna for his See also:

• CANTATA (Italian for a song or story set to music)

cantata Il pianto d' armonia per la ',torte d'Orfeo . Between 1810 and 1813, at Bologna, See also:

• ROME
• ROME (Roma)

Rome, Venice and See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, Rossini produced operas of which the successes were varying . All memory of them is eclipsed in that of Tancredi . The libretto was an arrangement of See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire's tragedy by J . A . See also:

• ROSSI, LUIGI DE
• ROSSI, PELLEGRINO LUIGI EDOARDO, COUNT (1787-1848)

Rossi . Traces of Path- and See also:

• PAISIELLO (or PAESIELLO), GIOVANNI (1741-1816)

Paisiello were undeniably See also:

• PRESENT

present in fragments of the music . But all critical feeling on the See also:

• PART

part of the public was drowned in the effect of sweetness and clarity produced by such melodies as " Mi rivedrai, ti rivedro " and " Di tanti palpiti," the former of which became so popular that the Italians would sing it in crowds at the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law courts until called upon by the See also:

• JUDGE (Lat. judex, Fr. juge)

judge to desist .

Rossini continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of Tancredi . In 1815 he retired to his See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home at Bologna, where Barbaja, the impresario of the See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples theatre, who had once been a waiter in a See also:

• COFFEE (Fr: cafe, Ger. Kaffee)

coffee-See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house and now combined the business of theatrical management with that of farming the public gaming-tables, concluded an agreement with him by which he was to take the musical direction of the Teatro See also:

• SAN

San Carlo and the Teatro Del Fondo at Naples, composing for each of them one opera a See also:

• YEAR

year . His See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment was to be 200 ducats (about £35 or $175) per See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month; he was also to receive a See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the gaming-tables amounting to about moo ducats (£175 or $875) per annum . The presence of Zingarelli and Paisiello in Naples was an incentive to intrigue against the success of the youthful composer, but all hostility was made futile by the See also:

• ENTHUSIASM

enthusiasm which greeted the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court performance of his Elisabetta See also:

• REGINA

regina d' Inghilterra, in which See also:

• ISABELLA (1451-15o4)
• ISABELLA, ISABEAU

Isabella Colbran, who subsequently became the composer's wife, took a leading part . The libretto of this opera by See also:

• SCHMIDT, H
• SCHMIDT, HEINRICH JULIAN (1818-1886)
• SCHMIDT, KARL VON (1817-1875)
• SCHMIDT, WILHELM ADOLF (1812-1887)

Schmidt was in many of its incidents an anticipation of those presented to the See also:

• WORLD

world a few years later in See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott's See also:

• KENILWORTH

Kenilworth . The opera was the first in which Rossini wrote the ornaments of the airs instead of leaving them to the See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy of the singers, and also the first in which the recitativo See also:

• SAC

sac() was replaced by a recitative accompanied by a quartet of strings . In Almaviva, produced in the beginning of the next year in Rome, the libretto, a version of See also:

• BEAUMARCHAIS, PIERRE AUGUSTIN CARON DE (1732-1799)

Beaumarchais' See also:

• BARBIER, ANTOINE ALEXANDRE (1765–1825)
• BARBIER, HENRI AUGUSTE (1805-1882)
• BARBIER, LOUIS

Barbier de See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville by Sterbini, was the same as that already used by Paisiello in his Barbiere, an opera which had enjoyed See also:

• EUROPEAN

European popularity for more than a See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of a See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . The indignation of Paisiello's admirers expressed itself strongly on the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the new setting, but in the thirteen days devoted to the composition of his Almaviva, Rossini had created such a masterpiece of musical See also:

• COMEDY

comedy that the fame of Paisiello's opera was transferred to his, to which the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Il Barbiere di Siviglia passed as an inalienable heritage . Between 1815 and 1823 Rossini produced twenty operas . Of these Otello formed the See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject at a similar point of See also:

• ARTISTIC

artistic development by the composer See also:

• VERDI, GIUSEPPE FORTUNINO FRANCESCO (1813-1901)

Verdi . In Rossini's See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time the tragic See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello; and there are still places in See also:

• ITALY
• ITALY (Italia)

Italy in which the Shakespearian end of the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story can never be performed without interruption from the See also:

• AUDIENCE (from Lat. audire, to hear)

audience, who warn Desdemona of Otello's deadly approach . Conditions of See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage mechanism in 1817 are illustrated by Rossini's See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance of the subject of See also:

• CINDERELLA (i.e. little cinder girl)

Cinderella for a libretto only on the See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition that the supernatural See also:

• ELEMENT (Lat. elementum)

element should be omitted .

The opera Cenerentola is to be ranked with the Barbiere . The See also:

• ABSENCE (Lat. absentia)

absence of a similar precaution in the construction of his Mose in Egitto led to disaster in the See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene depicting the passage of the Israelites through the Red See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea, when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the See also:

• CHORUS (Gr. xopbs)Z

chorus " Dal tuo stellato Soglio " to divert See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention from the dividing waves . In 1821, three years after the production of this See also:

• WORK

work, Rossini married Isabella Colbran . In 1822 he directed his Cenerentola in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, where Zelmira was also performed . After this he returned to Bologna; but an invitation from See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince Metternich to come to See also:

• VERONA
• VERONA, CONGRESS OF

Verona and " assist in the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general re-establish- ment of See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony " was too tempting to be refused, and he arrived at the See also:

• CONGRESS (Lat. congressus, coming together, from congredi; cum, with, and gradus, step)

Congress in time for its opening on the 20th of See also:

• OCTOBER

October 1822 . Here he made See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends with See also:

• CHATEAUBRIAND, FRANCOIS RENE, VICOMTE DE (1768–1848)

Chateaubriand and Madame de Lieven . In 1823, at the See also:

• SUGGESTION

suggestion of the manager of the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's Theatre, See also:

• LONDON

London, he came to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, being much feted on his way through See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . In England he was given a generous welcome, which included an introduction to King See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George IV. and the See also:

• RECEIPT (M.E. receite, derived through Fr. from Lat. recepta, participle of recipere, to receive)

receipt of f7000 after a See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence of five months . In 1824 he became musical director of the Theetre Italien in Paris at a See also:

• SALARY

salary of £800 per annum, and when the agreement came to an end he was rewarded with the offices of See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief composer to the king and inspector-general of singing in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, to which was attached the same income . The production of his See also:

• GUILLAUME
• GUILLAUME, JEAN BAPTISTE CLAUDE EUGENE (1822-1905)

Guillaume Tell in 1829 brought his career as a writer of opera to a close . The libretto was by See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne See also:

• JOLLY (from O. Fr. jolif; Fr. joli, the French word is obscure in origin; it may be from late Lat. gaudivus, from gaudere, to rejoice, the change of d to 1 being paralleled by cigada and cigale, or from O. Norse jol, Eng. " yule," the northern festival of

Jolly and Hippolyte Bis, but their version was revised by Armand Marrast . The music is remarkable for its freedom from the conventions discovered and utilized by Rossini in his earlier See also:

• WORKS

works, and marks a transitional stage in the See also:

• HISTORY

history of opera .

In 1829 he returned to Bologna . His mother had died in 1827, and he was anxious to be with his father . Arrangements for his subsequent return to Paris on a new agreement were upset by the See also:

• ABDICATION (Lat. abdicatio, disowning, renouncing, from ab, from, and dicare, to declare, to proclaim as not belonging to one)

abdication of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles X. and the See also:

• JULY

July Revolution of 183o . Rossini, who had been considering the subject of See also:

• FAUST, or FAUSTUS

Faust for a new opera, returned, however, to Paris in the See also:

• NOVEMBER (Lat. novem, nine)

November of that year . Six movements of his Stabat Mater were written in 1832 and the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest in 1839, the year of his father's See also:

• DEATH

death, and the success of the work bears comparison with his achievements in opera; but his See also:

• COMPARATIVE

comparative silence during the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period from 1832 to 1868 makes his See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography appear almost like the narrative of two lives—the See also:

• LIFE

life of See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

swift See also:

• TRIUMPH (triumphus)

triumph, and the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long life of seclusion, of which the biographers give us pictures in stories of the composer's cynical wit, his speculations in See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish culture, his See also:

• MASK (Fr. masque, apparently from med. Lat. mascus, masca, spectre, through Ital. maschera, Span. mascara)

mask of humility and indifference . His first wife died in 1845, and See also:

• POLITICAL

political disturbances in the Romagna compelled him to leave Bologna in 1847, the year of his second See also:

• MARRIAGE

marriage with Olympe See also:

• PELISSIER, AIMABLE JEAN JACQUES (1794-1864)

Pelissier, who had sat to See also:

• VERNET

Vernet for his picture of " See also:

• JUDITH, THE BOOK OF

Judith and Holofernes." After living for a time in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence he settled in Paris in 1855, where his house was a centre of artistic society . He died at his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country house at Passy on the 13th of November 1868 . He was a See also:

• FOREIGN

foreign See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute, See also:

• GRAND

grand officer of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour, and the recipient of innumerable orders . In his compositions Rossini plagiarized even more freely from him-self than from other musicians, and few of his operas are without such admixtures frankly introduced in the See also:

• FORM (Lat. forma)

form of arias or overtures . A characteristic mannerism in his musical See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing earned for him the See also:

• NICKNAME

nickname of " See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur Crescendo." His music is associated with the names of the greatest singers in lyrical See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, such as Tamburini, See also:

• MARIO, GIUSEPPE, COUNT OF CANDIA (1810-1883)

Mario, Rubini, Delle Sedie, See also:

• ALBANI
• ALBANI, or ALBANO, FRANCESCO

Albani, See also:

• GRISI, GIULIA (1811-1869)

Grisi, See also:

• PATTI
• PATTI, ADELINA JUAKA MARIA [BARONESS CEDERSTROM] (1843- )

Patti and See also:

• NILSSON, CHRISTINE (1843– )

Nilsson .