FOOTNOTES:

FOOTNOTES:[1]Cenni di una donna gia contante sopra il maestro Rossini.[2]If Miçkiewicz had known, that the composer of the “Barber of Seville” was descended from the Russini, he would have claimed him as a Slavonian.[3]The Italian theatres are for the most part named after the parishes in which they stand.[4]The serious opera consisted of the following persons: Thesopranoorprimo uomo[homo, but notvir], prima donna (generally amezzo sopranoorcontralto) and tenor; thesecondo uomo(soprano)seconda donnaandultima parte(bass). The company for the comic opera consisted of theprimo buffo(tenor)prima buffa,buffo caricato(bass),seconda buffaandultima parte(bass). There were also theuomo serioanddonna seria, generally the second man or woman of the serious opera.[5]Durante passed from one Conservatory at Naples to another, and was necessarily professor at all three.[6]M. Azevedo’s idea on the subject is certainly the best. “Since its production,” he says, “on the stage and in the universe it has been made the subject of a canticle for the Catholic Church, like all other successful airs. But a litany before the air and a canticle after the air are not the same thing.” M. Azevedo also rejects the rice.[7]“Le ombreggiature per le messe di voce, il cantar di partarrenti, l’arte di fermare la voce per farla fluire equale nel canto legato, l’arte di prender flato in modo insensibile e senza troncare il lungo periodo vocale delle arte antiche.” This passage is from Carpani. Stendhal, not finding it easy to translate, gives it, in Italian, as his own, and endeavours to explain his use of the Italian language by saying that he finds “an almost insurmountable difficulty in writing about singing in French.” This mania for “adaptation” makes one doubt the originality of everything Stendhal has done.[8]There is nothing to prove that Rossini entertained any such opinion of Velluti’s singing.[9]A: Théâtres Lyriques de Paris, “L’Opéra Italien,” p. 317.[10]Cardinal Gonsalvi was devoted to music and had a sincere attachment to Cimarosa, the greatest Italian composer of his time. “At the commencement of my ministry (secretaryship of state),” he writes in his memoirs, “I experienced two very great afflictions, not to speak of many others. One had no connection with my office: it was the death of my great friend Domenico Cimarosa, the first composer, in my opinion, both for inspiration and science, as Raphael is the first of painters.” In Cardinal Gonsalvi’s will the following passage occurs:—“Fifty masses a year for the repose of the soul of the celebrated maestro Domenico Cimarosa, to be said in the church of the Rotunda on the 11th of January, the anniversary of his death, with the gift of the paoli.” Cimarosa had then been dead upwards of twenty years, but the Cardinal forgot neither him nor his family, as will be seen from the following clauses in the same will:—“To the nun Cimarosa at the convent of the Infant Jesus, one hundred ounces of silver and the snuff-box with the portrait of her father; moreover the annual pension of forty crowns spoken of in the will to be increased to eighty. To Paulina Cimarosa one hundred ounces of silver and all the music of her father with his large portrait, the whole free of carriage to Naples; moreover an annual pension of seventy-two crowns.”[11]Dictionnaire Musicale, ArticleOrchestre. Rousseau wrote the dictionary in 1754, though it was not published for some years afterwards.[12]See Ferdinand Hiller’s Conversations with Rossini.[13]Beaumarchais gave music lessons to Louis XV.’s daughters. To put forward a more positive proof of his acquirements in this art, he composed the incidental music of his own dramas.[14]Préface du “Barbier de Seville,” 1775.[15]Words quoted by M. de St. Georges in his speech at Rossini’s funeral.[16]Rossini sa vie et ses œuvres, par les frères Escudier.[17]M. Azevedo (G. Rossini sa vie et ses œuvres par A. Azevedo) says that “Rossini, consulted as to the correctness of these figures, thought there must be an error of 100 scudi. He was under the impression that he had only received 300 scudi for the “Barber.”[18]Théâtres Lyriques de Paris:—Histoire du Théâtre Italien.[19]In the avvertimento al pubblico the title of the comedy is given in Italian “Il Barbiere di Siviglia Ossia l’inutile precauzione.”[20]L’Ape Italiana, Paris, 1836.[21]One of the worst puns ever made was made in verse on the production of Verdi’s highly instrumental “Nabuchodonosore” at Paris in 1845. It is contained in the following quatrain:—Vraiment l’affiche est dans son tort,En faux on devrait la poursuivre:Pourquoi nous annoncerNabuchodonos—orQuand c’estNabuchodonos—cuivre?[22]Page 21.[23]Meyerbeer et son Temps.[24]See “La Revue de Paris,” March 1, 1856.[25]There are opera-goers still living who have heard Cimarosa’s “Matrimonio Segretto,” but no opera seria by an Italian composer anterior to Rossini has been heard even by the oldest habitué.[26]Rousseau wrote the “Dictionnaire Musicale” in 1754.[27]Preface to Victor Hugo’s libretto of “Esmeralda” (set to music by Mademoiselle Bertin).[28]Seepage 21.[29]Ferdinand Hiller’s Conversations. M. Azevedo says it was in conformity with Rossini’s advice that Habeneck produced Beethoven’s Symphonies.[30]Conversations with Rossini by Ferdinand Hiller.—Musical World, 1856.[31]This letter was made public at a sale of autographs which took place in Paris last March, and was printed by most of the French papers immediately afterwards.[32]D. F. E. Auber, sa Vie et ses Œuvres. Par B. Jouvin.[33]See the contract for the production of this work, p. 128.[34]“Mémoires pour servir à l’Histoire de mon Temps,” vol. ii. p. 74.

[1]Cenni di una donna gia contante sopra il maestro Rossini.

[1]Cenni di una donna gia contante sopra il maestro Rossini.

[2]If Miçkiewicz had known, that the composer of the “Barber of Seville” was descended from the Russini, he would have claimed him as a Slavonian.

[2]If Miçkiewicz had known, that the composer of the “Barber of Seville” was descended from the Russini, he would have claimed him as a Slavonian.

[3]The Italian theatres are for the most part named after the parishes in which they stand.

[3]The Italian theatres are for the most part named after the parishes in which they stand.

[4]The serious opera consisted of the following persons: Thesopranoorprimo uomo[homo, but notvir], prima donna (generally amezzo sopranoorcontralto) and tenor; thesecondo uomo(soprano)seconda donnaandultima parte(bass). The company for the comic opera consisted of theprimo buffo(tenor)prima buffa,buffo caricato(bass),seconda buffaandultima parte(bass). There were also theuomo serioanddonna seria, generally the second man or woman of the serious opera.

[4]The serious opera consisted of the following persons: Thesopranoorprimo uomo[homo, but notvir], prima donna (generally amezzo sopranoorcontralto) and tenor; thesecondo uomo(soprano)seconda donnaandultima parte(bass). The company for the comic opera consisted of theprimo buffo(tenor)prima buffa,buffo caricato(bass),seconda buffaandultima parte(bass). There were also theuomo serioanddonna seria, generally the second man or woman of the serious opera.

[5]Durante passed from one Conservatory at Naples to another, and was necessarily professor at all three.

[5]Durante passed from one Conservatory at Naples to another, and was necessarily professor at all three.

[6]M. Azevedo’s idea on the subject is certainly the best. “Since its production,” he says, “on the stage and in the universe it has been made the subject of a canticle for the Catholic Church, like all other successful airs. But a litany before the air and a canticle after the air are not the same thing.” M. Azevedo also rejects the rice.

[6]M. Azevedo’s idea on the subject is certainly the best. “Since its production,” he says, “on the stage and in the universe it has been made the subject of a canticle for the Catholic Church, like all other successful airs. But a litany before the air and a canticle after the air are not the same thing.” M. Azevedo also rejects the rice.

[7]“Le ombreggiature per le messe di voce, il cantar di partarrenti, l’arte di fermare la voce per farla fluire equale nel canto legato, l’arte di prender flato in modo insensibile e senza troncare il lungo periodo vocale delle arte antiche.” This passage is from Carpani. Stendhal, not finding it easy to translate, gives it, in Italian, as his own, and endeavours to explain his use of the Italian language by saying that he finds “an almost insurmountable difficulty in writing about singing in French.” This mania for “adaptation” makes one doubt the originality of everything Stendhal has done.

[7]“Le ombreggiature per le messe di voce, il cantar di partarrenti, l’arte di fermare la voce per farla fluire equale nel canto legato, l’arte di prender flato in modo insensibile e senza troncare il lungo periodo vocale delle arte antiche.” This passage is from Carpani. Stendhal, not finding it easy to translate, gives it, in Italian, as his own, and endeavours to explain his use of the Italian language by saying that he finds “an almost insurmountable difficulty in writing about singing in French.” This mania for “adaptation” makes one doubt the originality of everything Stendhal has done.

[8]There is nothing to prove that Rossini entertained any such opinion of Velluti’s singing.

[8]There is nothing to prove that Rossini entertained any such opinion of Velluti’s singing.

[9]A: Théâtres Lyriques de Paris, “L’Opéra Italien,” p. 317.

[9]A: Théâtres Lyriques de Paris, “L’Opéra Italien,” p. 317.

[10]Cardinal Gonsalvi was devoted to music and had a sincere attachment to Cimarosa, the greatest Italian composer of his time. “At the commencement of my ministry (secretaryship of state),” he writes in his memoirs, “I experienced two very great afflictions, not to speak of many others. One had no connection with my office: it was the death of my great friend Domenico Cimarosa, the first composer, in my opinion, both for inspiration and science, as Raphael is the first of painters.” In Cardinal Gonsalvi’s will the following passage occurs:—“Fifty masses a year for the repose of the soul of the celebrated maestro Domenico Cimarosa, to be said in the church of the Rotunda on the 11th of January, the anniversary of his death, with the gift of the paoli.” Cimarosa had then been dead upwards of twenty years, but the Cardinal forgot neither him nor his family, as will be seen from the following clauses in the same will:—“To the nun Cimarosa at the convent of the Infant Jesus, one hundred ounces of silver and the snuff-box with the portrait of her father; moreover the annual pension of forty crowns spoken of in the will to be increased to eighty. To Paulina Cimarosa one hundred ounces of silver and all the music of her father with his large portrait, the whole free of carriage to Naples; moreover an annual pension of seventy-two crowns.”

[10]Cardinal Gonsalvi was devoted to music and had a sincere attachment to Cimarosa, the greatest Italian composer of his time. “At the commencement of my ministry (secretaryship of state),” he writes in his memoirs, “I experienced two very great afflictions, not to speak of many others. One had no connection with my office: it was the death of my great friend Domenico Cimarosa, the first composer, in my opinion, both for inspiration and science, as Raphael is the first of painters.” In Cardinal Gonsalvi’s will the following passage occurs:—“Fifty masses a year for the repose of the soul of the celebrated maestro Domenico Cimarosa, to be said in the church of the Rotunda on the 11th of January, the anniversary of his death, with the gift of the paoli.” Cimarosa had then been dead upwards of twenty years, but the Cardinal forgot neither him nor his family, as will be seen from the following clauses in the same will:—“To the nun Cimarosa at the convent of the Infant Jesus, one hundred ounces of silver and the snuff-box with the portrait of her father; moreover the annual pension of forty crowns spoken of in the will to be increased to eighty. To Paulina Cimarosa one hundred ounces of silver and all the music of her father with his large portrait, the whole free of carriage to Naples; moreover an annual pension of seventy-two crowns.”

[11]Dictionnaire Musicale, ArticleOrchestre. Rousseau wrote the dictionary in 1754, though it was not published for some years afterwards.

[11]Dictionnaire Musicale, ArticleOrchestre. Rousseau wrote the dictionary in 1754, though it was not published for some years afterwards.

[12]See Ferdinand Hiller’s Conversations with Rossini.

[12]See Ferdinand Hiller’s Conversations with Rossini.

[13]Beaumarchais gave music lessons to Louis XV.’s daughters. To put forward a more positive proof of his acquirements in this art, he composed the incidental music of his own dramas.

[13]Beaumarchais gave music lessons to Louis XV.’s daughters. To put forward a more positive proof of his acquirements in this art, he composed the incidental music of his own dramas.

[14]Préface du “Barbier de Seville,” 1775.

[14]Préface du “Barbier de Seville,” 1775.

[15]Words quoted by M. de St. Georges in his speech at Rossini’s funeral.

[15]Words quoted by M. de St. Georges in his speech at Rossini’s funeral.

[16]Rossini sa vie et ses œuvres, par les frères Escudier.

[16]Rossini sa vie et ses œuvres, par les frères Escudier.

[17]M. Azevedo (G. Rossini sa vie et ses œuvres par A. Azevedo) says that “Rossini, consulted as to the correctness of these figures, thought there must be an error of 100 scudi. He was under the impression that he had only received 300 scudi for the “Barber.”

[17]M. Azevedo (G. Rossini sa vie et ses œuvres par A. Azevedo) says that “Rossini, consulted as to the correctness of these figures, thought there must be an error of 100 scudi. He was under the impression that he had only received 300 scudi for the “Barber.”

[18]Théâtres Lyriques de Paris:—Histoire du Théâtre Italien.

[18]Théâtres Lyriques de Paris:—Histoire du Théâtre Italien.

[19]In the avvertimento al pubblico the title of the comedy is given in Italian “Il Barbiere di Siviglia Ossia l’inutile precauzione.”

[19]In the avvertimento al pubblico the title of the comedy is given in Italian “Il Barbiere di Siviglia Ossia l’inutile precauzione.”

[20]L’Ape Italiana, Paris, 1836.

[20]L’Ape Italiana, Paris, 1836.

[21]One of the worst puns ever made was made in verse on the production of Verdi’s highly instrumental “Nabuchodonosore” at Paris in 1845. It is contained in the following quatrain:—Vraiment l’affiche est dans son tort,En faux on devrait la poursuivre:Pourquoi nous annoncerNabuchodonos—orQuand c’estNabuchodonos—cuivre?

[21]One of the worst puns ever made was made in verse on the production of Verdi’s highly instrumental “Nabuchodonosore” at Paris in 1845. It is contained in the following quatrain:—

Vraiment l’affiche est dans son tort,En faux on devrait la poursuivre:Pourquoi nous annoncerNabuchodonos—orQuand c’estNabuchodonos—cuivre?

Vraiment l’affiche est dans son tort,En faux on devrait la poursuivre:Pourquoi nous annoncerNabuchodonos—orQuand c’estNabuchodonos—cuivre?

Vraiment l’affiche est dans son tort,En faux on devrait la poursuivre:Pourquoi nous annoncerNabuchodonos—orQuand c’estNabuchodonos—cuivre?

[22]Page 21.

[22]Page 21.

[23]Meyerbeer et son Temps.

[23]Meyerbeer et son Temps.

[24]See “La Revue de Paris,” March 1, 1856.

[24]See “La Revue de Paris,” March 1, 1856.

[25]There are opera-goers still living who have heard Cimarosa’s “Matrimonio Segretto,” but no opera seria by an Italian composer anterior to Rossini has been heard even by the oldest habitué.

[25]There are opera-goers still living who have heard Cimarosa’s “Matrimonio Segretto,” but no opera seria by an Italian composer anterior to Rossini has been heard even by the oldest habitué.

[26]Rousseau wrote the “Dictionnaire Musicale” in 1754.

[26]Rousseau wrote the “Dictionnaire Musicale” in 1754.

[27]Preface to Victor Hugo’s libretto of “Esmeralda” (set to music by Mademoiselle Bertin).

[27]Preface to Victor Hugo’s libretto of “Esmeralda” (set to music by Mademoiselle Bertin).

[28]Seepage 21.

[28]Seepage 21.

[29]Ferdinand Hiller’s Conversations. M. Azevedo says it was in conformity with Rossini’s advice that Habeneck produced Beethoven’s Symphonies.

[29]Ferdinand Hiller’s Conversations. M. Azevedo says it was in conformity with Rossini’s advice that Habeneck produced Beethoven’s Symphonies.

[30]Conversations with Rossini by Ferdinand Hiller.—Musical World, 1856.

[30]Conversations with Rossini by Ferdinand Hiller.—Musical World, 1856.

[31]This letter was made public at a sale of autographs which took place in Paris last March, and was printed by most of the French papers immediately afterwards.

[31]This letter was made public at a sale of autographs which took place in Paris last March, and was printed by most of the French papers immediately afterwards.

[32]D. F. E. Auber, sa Vie et ses Å’uvres. Par B. Jouvin.

[32]D. F. E. Auber, sa Vie et ses Å’uvres. Par B. Jouvin.

[33]See the contract for the production of this work, p. 128.

[33]See the contract for the production of this work, p. 128.

[34]“Mémoires pour servir à l’Histoire de mon Temps,” vol. ii. p. 74.

[34]“Mémoires pour servir à l’Histoire de mon Temps,” vol. ii. p. 74.

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