Educated by his/her parents musicians randomly of their rounds, Gioacchino Rossini, which never will not receive deepened music group, wrote at twelve years his sonatas with four whole while acquiring the bases of the counterpoint by the reading of the partitions of Haydn and Mozart.
From 1804 to 1810, it followed the courses of the musical college of Bologna while earning its living as singer, then like repeater and guide: it practices harpsichord, violin, viola, violoncello and horn, and composes sinfonias, masses and cantatas various, as well as the opera Demetrio E Polibio.
Classicism with the romanticism
Rossini makes known himself since 1810 with Cambial the di matrimonio, which, given to Venice, opens to him the doors of the large theaters of Italy of North, for which he writes some works which assoient its reputation in Venice, Ferrare and Milan. The year 1813 is that of the dedication. After he Signor Bruschino, Venice applauds its first grand opera, Tancrède, and the dramma giocoso the Italian in Algiers. After the Turk in Italy (1814), Elisabeth, Queen of England (1815), Rossini reaches maturity. From now on, he writes especially for Naples, where calls the Barbaja business manager, and for Rome, where he successfully gives, in 1816, the Barber of Seville.
He connects, consequently, the operas at phenomenal intervals: Armide, Cenerentola, the Black and white robber, these two last partitions marking in 1817 its good-byes with opera-puffs out. It is devoted to the renewal of the kind seriated, developing the role of the orchestra and the ch.urs, important in Moïse (1818), and gives rise to the romantic opera with Gave LED lago. But, wearied by the critics caused by its innovations, it decides to leave Naples, and goes to Vienna, where it unchains the enthusiasm of crowd. Invited by Metternich with the congress of Vérone, it leaves Italy after the half-failure of Sémiramis (1823), which encourages it to leave for London, from where it goes then to Paris.
A Parisian composer In the French capital, it first of all occupies the post of inspector of the song, then that of director of the Theater-ltalien, finally, until 1830, that of composer of the king and general inspector of the song, while being committed producing a work per annum for the Opera of Paris. After altered for public French a certain number of his operas former, it writes Count Ory (1828), which constitutes a return to the comic kind, and makes represent Guillaume Tell (1829), political opera which disappoints the public but which becomes the model of the French grand opera and by which it puts voluntarily fine at its career of lyric composer. Thereafter, it gives hardly than its Stabat MATER (1832-1841), the Musical evenings (1836), and writes more than two hundred various parts joined together under the title of Sins of old age, where the satire and humor precede Satie.
After having written the Small solemn Mass (1863), it dies out in its house of Passy. It is buried in Paris, then its skin is transferred in large pumps to Florence. The music of Rossini is remarkable by his acute sense of the theater, its rhythmic dynamism, its melody invention and its moderated orchestration, characters which present a perfect synthesis of the kinds seriated, semiseria and buffa.
Rossini and the philharmonic Academy of Bologna © Commune di Bologna
Rossini had a fertile and durable relationship with the town of Bologna and the philharmonic Academy (always located in the downtown area). After having studied the composition with the Academy with Angelo Tesei, then with the famous academician Father Mattei, Rossini was allowed with the philharmonic Academy of Bologna in 1806, at the fifteen years age. It was initially initially allowed as a singer, preceded a few years before by his father, the horn player Giuseppe Rossini, then in 1801 as musician, and 1826 as honorary Maître.
At that time, Rossini lived in Paris, but in 1830 (the year when the Academy appointed it Trésorier) he moved in Bologna where he resided of 1838 to 1848. With Rossini in Bologna, the institution was only more active; it offered to him to be member (with right to vote and loads) and elected it Directeur in 1852. Unfortunately, Rossini had to decline these tasks for health reason.
During ten years lived in Bologna, but also thereafter, its activities in favor of the musical life of the city are numerous: to advise honorary in Liceo Musical in 1839, execution of Stabat MATER in Archiginnasio (directed per G. Donizetti) and direction of the Requiem of Mozart. Its activities allowed the creation of a mutual Case for the philharmonic academicians needy, whose was founded the Rossini Institute in 1877 (always sitting at the Academy), which has still today the important function of assistance and musical promotion.
The philharmonic Academy keeps today still some objects of Rossini. One can find the rod with which it directed the concerts in Liceo Musicale, an inkstand, a printed paper form with dedication autograph, and also of the letters, the musical manuscripts and the manuscript (partly autograph) of Cenerentola. One can also admire a drawing touching with the pencil of G. Gilded, which represents the dying musician; drawing yielded to the academician and friendly Domenico Liverani by the artist himself.
On December 9th, 1868, in the church of San Giovanni in Goes up, the philharmonic academicians carried out a Requiem which they had composed in honor of the famous late member and in the most faithful academic tradition.