Memoirs Of Rossini (1824)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1824. Excerpt: ... 242 CHAP. XVII. On Rossini's Style. Before concluding, it will be proper to say a word on the peculiarities of Rossini's style. Good music may be considered as nothing more than our emotion. The pleasure created by it seems to arise from its power of leading the imagination through a series of exquisite but evanescent illusions. These illusions are not calm and sublime, like those of sculpture, nor tender and pensive, like those of painting, as exhibited, for example, in the works of Corregio. The chief characteristic of Rossini's music is an extraordinary rapidity, which does not permit the mind to indulge in those profound emotions and soothing reveries that the slow and sustained movements of Mozart are so calculated to awaken. Yet this velocity is accompanied by a sparkling freshness that calls up involuntary delight. Hence it is, that all other music appears heavy and wearisome after that of Rossini. Were Mozart to make his debut at the present day, such, in all probability, is the judgment that would be formed of his music. To be pleased, we must listen to his music for a fortnight together; but he would be hissed on the first day. If Mozart maintains his ground against Rossini, if we frequently prefer him, it is because he is strong in that antiquity which he has already attained by anticipation, and in our recollection of the pleasure we have derived from his works. But, if the music of Rossini is never heavy, it is of a kind to weary by long repetition. But this ever-varying brilliancy is perhaps the chief reason why his compositions leave no profound impressions behind them. They may be said, in the words of Shakspeare, " To be too rash, too unadvised, too sudden; Too like the lightning, which doth cease to bo Ere one can say, it lightens." The ...