· ...... FROM YOUTH TO THE "SINS OF OLD AGE" THE CHORAL MUSIC OF ROSSINI by William Braun

This article coincides with the 200th Rossini began composition and come. As Richard Osborne, Rossini's anniversary of Rossini's birth, counterpoint studies in 1804 with most recent biographer, points out: February 29, 1792. Padre Stanislao Mattei (a pupil of Martini) in Bologna. While a student Much of the part-writing for FTER INITIAL SUC­ there, Rossini wrote some sacred chorus is wooden and the writing cesses in Venice, Milan, music and a secular cantata for for tenor solo lacks Rossini's later Naples, and Rome, where tenor, chorus, and orchestra, entitled melodic fluency. Perhaps he was Rossini dominated striving too hard for a both opera seria certain "German" cut to and opera bujja the phrasing and with such master­ harmony. There is, pieces as Trancredi though, some characterful and Il barbiere di Siviglia, orchestral writing, with he conquered the opera lovely wind solos and a stages of the rest of Europe, glimpse of Rossini's new­ including finally Paris, then found love, the solo the opera capital of the cello. 2 world. In Paris in 1829 Rossini produced his Rossini wrote a number of masterpiece of grand opera, similar "occasional" cantatas his 40th opera, Guillaume throughout his career, 3 Tell, and subsequently although oftentimes they did settled into semi-retirement not survive in their original for the next 40 years of his form. Rossini, never one to life.! Although this early waste an idea, would take retirement might be some of the ideas which considered a loss for the began in his (or other opera world, Rossini composers') works and continued to compose - remake them into new primarily chamber works for compositions. Such is the performer friends. He case with the choral triptych collectively entitled these Trois Choeurs religieux of compositions "peches de 1844 (subtitled La Foi, vieillesse" (Sins of Old Age). L'Esperance, La Charite). This article briefly surveys The first two pieces of this the choral music of Rossini set were revisions of choruses (including some choral taken from the incidental pieces written before his music for Edipo a Colono retirement, but excluding opera Il pianto d'Armonia sulla morte (written around 1816). The third choruses) as we celebrate the d'Orjeo, for which he won an piece was written at the request of bicentennial of his birth. academic prize and the opportunity the publisher Troupenas to complete of performance in August, 1808. It is St. Paul's trinity of moral Braun is Associate Professor of Music at obviously a student work, but one imperatives: faith, hope, and Arkansas College in Batesville, Arkansas. that shows the promise of things to charity. These pieces are scored for

February 1992 Page 7 SSA chorus and piano (the third include the , the Petite sent the Neapolitans into piece contains a short soprano solo). Mes~e Solennelle, both composed in paroxysms of delight. It is built on Contemporary reaction to the music his retirement, and a work, written two figures, an impish pizzicato was considerably varied. Adolphe in 1820 at the height of his and a swirling second theme Adam, critic for the La France compositional career, Messe di which follows it in a brilliant musicale, reported that La Foi Gloria. In the late 1970s, after ritornello, joyously crowned by would establish a lesser composer's nearly 150 years of neglect, the soloists and chorus. 6 title to glory; L'Esperance earned Messe di Gloria was rediscovered, praise by its "majestic opening, edited, and performed by Herbert Philip Gossett comments on the happy development, and the Handt. (It has been published in significance of this work: beautiful simplicity of its epilogue"; piano score by Edition Kunzelmann, "La Charite gave proof of GM 791, and recorded by Handt The Messe di Gloria is not only a compositional genius."4 with the BBC Singers and the beautiful work, but a work of the Berlioz, on the other hand, a critic utmost importance. It is the first for the' Journal des debats, wrote a sacred music of Rossini's maturity, critical review of the 1844 premiere and indeed the only sacred work of the triptych: to come from this period of active Rossini's "Sins of Old Age" composition. It shows the La Foi will not move mountains; represent a mixture of influence of his Neapolitan operas, L'Esperance lulled us sweetly; as particularly Mose in Egitto, in its for La Charite, which M. Rossini both sacred and secular mastery of orchestration, its fine just has prepared for us, it must sense of detail, and its firm be conceded that it cannot have works which are small in command of a wide range of interfered greatly with the growth scope and are scored for, musical structures, while of his musical fortune, and that manifesting the composer's search his alms-giving will not ruin him.5 or were originally for a sacred style. 7 performed by, an SATB was impressed enough The Italian scholar and critic, with the last chorus to make a quartet or double quartet Paolo Isotta, places an even greater transcription of it for voice and of singers and piano. value on the Mass: organ which he occasionally performed, Osborne notes that this Certainly, it is the least known of chorus "is full of distinctive touches, (his) great (works) [parentheses notably in the harmonization of the sic]: but, on the other hand, it is piano part which keeps English Chamber Orchestra.) While the most important or, at least, it sentimentality at bay." doing research on the music of vies for this honor with the Petite Lucca, Handt discovered the Mass Messe, winning out (in the same As noted earlier, Rossini composed and found that it had been context) over the Stabat Mater . ... a number of sacred works during his composed for Holy Week of 1820. With the Messe di Gloria, Rossini student years. These included a Scored for SA TB choir, SA TB solos, widely expanded his possibilities: complete mass (1808) and a number and orchestra, it consists of only the it is a sample of his aspiration to of mass parts, mostly scored for sol6 . first two parts of the Ordinary, the be, and of what he could daas, a voices and male chorus. His most Kyrie and Gloria, and is divided into composer in the "learned" and significant sacred choral works 10 movements in the manner of a dramatic styles. 8 Baroque cantata mass. Osborne describes the choral sections in the While Rossini was writing operas, LYRIC CHOIR GOWNS following manner: he did not compose many independent or shorter works for from $25.95 The Kyrie, in E-flat major, starts vocal ensemble; however, there are "Professionallytailored gowns of boldly in A-flat minor and is several pieces from the early 1820s lasting beauty: ' richly scored for the larger that deserve our attention. One of FREE instrumental and vocal forces these, Il Carnevale di Venezia, was catalog and Rossini was deploying in his later the result of a collaboration between Neapolitan works. By contrast, Rossini and Paganini at the carnival IfaDIilc samples. the E minor choral sections of the festivities approaching the Lenten Write today. Qui tollis belong to a style evolved season of 1821 in Rome. Rossini, Since 1955 ... LYRIC by Rossini in the Scene of the Paganini, Lipparini, and Massimo Shadows in Mose in Egitto with d' Azeglio, looking for a way to its winding ostinatos and hushed celebrate the coming festivities, choral entries. The jauntiest decided to dress up as blind people movement, aptly enough, is the and sing for charity during the Gloria itself, a movement which carnival. They drew up the

Page 8 CHORAL JOURNAL following four lines of text which originally commissioned by a Spanish Aulagnier in 1841, Rossini decided to Rossini set to music: state counselor, Fernandez Varela. revise the work, substituting the Rossini, completing six of the movements written by Tadolini with Siamo ciechi; siamo nati (We are proposed 12 movements in 1831, his own settings. The Italian blind. We were born) delegated the composition of the premiere of the revised Mass took Per campar di cortesia (To earn remaining six movements to a friend place 150 years ago, on March 17, our living from kindness) and fellow composer, Giovanni 1842, under the direction of Rossini's In giornata d'allegria (On a happy Tadolini. When the manuscript was friend and soon to be successor in the day,) acquired by the Parisian publisher field of opera, Gaetano Donizetti. Non si nega carita. (Do not refuse charity.) Example 1: Il Carnevale di Venezia

Massimo d' Azeglio describes the Allegro giusto jolly quartet as they acted out their 22 staccato ~" II l! P ~ ~ masquerade: tJ r r Ii' 7 Rossini and Paganini had to act as Sia- mo tut- ti po- ve rel-li che suo - nando i cam- pa nel - Ii che suo - the orchestra, strumming two P s~acc~t guitars, and they decided to dress 1\ II II as women. Rossini filled out his . . tJ r r already abundant form with Sia- mo tut- ti po-ve rel - Ii che suo - bundles of straw, looking 'lJ staccato absolutely nonhumanl Paganini, " II l! as thin as a door, and with a face that seemed to be the handle of ,; che suo - 'lJstaccato his violin, appeared twice as thin " and loose-limbed when dressed as : a woman. I ought not to say so, sai - mo but we created a furor, first at ~ two of three homes where we 27 went to sing, then in the Corso, '" II II f.'\ ~ ~ then on the festal night.9 tJ ~ r r r r nando 1 cam- pa - nel- Ii e scuo ten- do Ii ba toc- chi, col do, re mi fa sol f.'\ Rossini reworked the piece in 1847 10. " II II ~ = into a buffo ensemble of SSTB voices and piano that preserved the original tJ lament and added a rollicking nando i cam- pa - nel- Ii e scuo ten- do Ii ba toc- chi, col do, !e mi fa sol f.'\ pseudo-imitative solfege exercise " II l/ (Example 1). The female ranges cover el to f-sharp2, while the male ,; nando i cam- pa mel-Ii e scuo ten- do Ii ba toc- chi, f.'\ ranges go from A for the bass and e A " ...... for the tenor up to f-sharpl for both : . parts. Two other vocal ensemble pieces tut- ti po-ve- mel-Ii e scuo- ten-do Ii ba-toc-chi, from Rossini's early years are ~ Ridiamo cantiamo, and Dall' Jl : Oriente l'astro del giomo. Both are 32 II === 10. 10. F" scored for a vocal quartet of STTB voices and piano, and both have tJ i' I r. la col do re mi fa sol la do - man diam la ca - fl - ta extreme vocal ranges. In addition, the technical adroitness of the parts " Jl l/=== ~ ~ F" (especially the Soprano I) is equal to tJ r rli' that of some of Rossini's opera arias la col do re mi fa sol la do- man diam la ca - ri - ta (Example 2). " Jl l/ ~ ~ l' Ten years after the completion of Messe di Gloria, Rossini worked on ,; r col do re mi fa sol la do - man diam la ca - ri - ta his next sacred choral piece, the F" Stabat Mater; however, the : " definitive form of this work did not r r come about until 1842. It was do - man - diam la ca - ri - ta

February 1992 Page 9 The Stabat Mater was modeled composers' theatrical and emotional ABA, with the middle section set as after Pergolesi's Stabat Mater, inspiration. As Nancy Fleming points a short solo line for each of the although Rossini scored his work for out in her article on the Petite Messe voices. The vocal parts are not larger forces: strings, a standard set Solennelle, composed in 1864: "The musically difficult; however, the of woodwinds, four horns, two mass must be evaluated within the piano part is extremely challenging. trumpets, three trombones, timpani, parameters of the composer's own La Passeggiata (also taken from two solo sopranos, tenor solo, bass musical aesthetic, which was based Volume I) is similar to I Gondolieri, solo, and mixed chorus. on tuneful melody and buoyant opening with an extended and The 10 movements of the Stabat rhythm. To compare the Petite challenging piano introduction. La Mater are musically independent of messe unfavorably with weightier Passeggiata is through composed, one another except for the first and and more learned mass settings is to however, and the vocal parts contain last movements which share musical unjustly accuse the composer of some imitative writing. material. The fifth and ninth move­ insincerity."!! Toast pour le nouvel an (from ments are unique in their a cappella Volume II, Album francais) is a settings, and were admired even by The remaining choral music to be delightfully energetic piece in which hostile critics such as Richard discussed is drawn from Rossini's Rossini not only toasts the New Year, Wagner .!O The fifth movement "Sins of Old Age." These pieces but also celebrates both champagne recalls an early liturgical practice represent a mixture of both sacred and the blessed Virgin Mary. It is in with its antiphonal pairing of the and secular works which are small in five part rondo form, ABACA, with bass with the full chorus, while the scope (most of them last less than the toast to the new year making up ninth movement is scored for solo five minutes) and are scored for, or the A section (Example 4). The quartet. were originally performed by, an harmonies in this homophonic setting The Stabat Mater was hailed as a SA TB quartet or double quartet of are simple, but the tongue-twister masterpiece by contemporary critics singers and piano. The compositions text, sudden shifts of key, and such as Adam and Heine, but were devised for the numerous rhythmic density make the piece suffered criticism in subsequent Friday or Saturday evening sound virtuosic. It is scored for years. Part of the criticism is a result musicales (samedi soirs) that Rossini a cappella SATB choir with no solo of the public's view of Romantic and his second wife, Olympe sections. Pelissier, held in their sumptuous La Nuit de Noel (number six in Paris home. Those in attendance at the Album francais) is an Italian­ these musicales included well-known style pastorale scored for baritone, artists, composers, politicians, and SATB choir, piano, and harmonium, the upper crust of society. Featured with texts in both French and composers included Auber, Boito, Italian. The solo, ensemble, and Counod, Liszt, Meyerbeer, Saint­ piano writing are simple and not Saens, and Verdi, and performers given to any vocal pyrotechnics. were represented by Alboni, Patti, Unfortunately, this piece has not Diemer, Thalberg, and Joachim. been commercially published and The musicales included, in addition can only be found in the collected to Rossini's own compositions, those works.!3 of Pergolesi, Haydn, Mozart, There are two pieces for male Counod, Liszt, and VerdL12 chorus and percussion contained in I Gondolieri (from Volume I, the peches de vieillesse that are subtitled Album per canto italiano) worth noting. The first, taken from opens with a delightful barcarolle­ Volume II, is a splendid hunting like piano figure suggesting the chorus entitled Choeur de chasseurs motion of a gondola across the sea democrates. It was written in 1862 when Baron James de Rothschild Beautiful (Example 3). It is in three part form, Choir & Pulpit Robes FREE Full-Color Portfolio Example 2: Ridiamo cantiamo 55 custom designs, over ninety fabric 6 6 samples. Complete planning guide. Write 3 or call toll-free today. CALL TOLL-FREE 800-537-2575 3 non mal n - tor - no die_ un- bac- io al-l

Page10 CHORAL JOURNAL asked Rossini to compose a Example 3: I Gorurolieri ceremonial piece for Napoleon IIfs visit to Rothschild's new Chateau de Andantino 3 A Ferrj(~res.14 The robust energy of the ) piece reminds one of Weber's "Hunters Chorus" in Der Freischutz.

Rossini'sthan the pieceWeber is chorusconsiderably and is longer i~~~~i'P.~'P~¥II~i~~iji~~~ii~ijli~~i~!~i harmonically more sophisticated. Unlike most of the other pieces in ~ the peches de vieillesse, this one is scored for a full choral ensemble (more than just a double quartet). The percussion instruments called for are a tam-tam and a snare drum. Chant junebre (found in Volume III - Morceaus reserves) was written as a funeral chorus in 1864 in memory of Rossini's friend and fellow composer, Giacomo Meyerbeer (although the text does not specifically mention him by name). This dirge, scored for TTBB and tenor drum, is cast in a two-part form, opening with two measures of solo drum rolls and taps. Cantemus Domino (also found in Volume III) illustrates Rossini's interest in music of the past (he was a subscriber to the then new critical edition of Bach's works). Rossini desired not merely to imitate the past but rather "to return to Example 4: Toast pour Ie nouvel an historical traditions while holding fast to a modern compositional Allegretto brillante, , vocabulary."15 Cantemus Domino is " ~ l' ff,>· • .. :::::::=- 1'1' . scored for an a cappella double choir oJ (SATB-SATB) and is reminiscent of En ce jour si do~x to~s au ren- dez-vo~s, nOll-vel m ,J~:~,",_ ,1, ,fro- the antiphonal motets of Palestrina. ~ Jj #. l' f.f =-J'J' It appears that Rossini wanted to test oJ .. ,"" .. . ~ ... ' . . himself or match himself up against En ce jour si doux taus au ren- dez-vous, nOll-vel an so it f,,- te par Inous_ des plai- the masters of the past. After ~ Jj # l' 1'1'. =-J'J'. finishing the piece, Rossini, with his . r . . . r ~ ~ . . r 11 ·r, . ironic sense of humor, wrote "Voila En ce jour si doux taus au ren- dez-vous, nOll-vel an soit f&- te par no us_ des plai- du temps perdulll" (Now there's 1'. . 1'1'. .~ =-J'J''' .. some wasted time). The piece has a II II II II V r joyful character, and although it is En ce jour si doux taus au ren- dez-vous, nOll-vel" an soit f~- te par nous_ des plai- not very intricate or demanding, it ~ demonstrates Rossini's genius. 6 , ~ (Cantemus Domino has not yet been # f=- 16 commercially published. ) oJ ,r ~. r Three small motet-like settings of sirs, des chan-sons, des ca- deaux, des bon- bo rez flI-les et gar s;ons.-- sacred texts also deserve mentioning: ~ -= f: two settings of the Ave Maria and a oJ . . . . ~ . 9. . setting of the text 0 Salutaris Hostia. sirs, des chan-sons, des ca- deaux, des bon- bans, ac- cou - *rez. ffl-I~s et gar s;ons..- __ The first Ave Maria, in F-major (in # , , -= f: the Kaplan edition listed in Table I), ~ r r r r 11 111 includes piano; however, the piano sirs, des chan-sons, des ca- deaux, des bon-bans, ac-cou - rez flI-les et gar s;ons.-- plays only a supporting role with no ~ " . -:-==; f: independent parts. The second Ave Maria, in E-flat major (not r r sirs, des chan-sons, des ca - deaux, des bon- bons, ac- cou - rez flI-les et gar - s;ons.-- published commercially), utilizes an

February 1992 Page11 ._.u,_._ ...... ,_ ... _. ___ .. _~ ...... "... '''" .. ""':'1 organ part with a number of Table! ,', ",. ,.' ' .""" >, , independent sections. 0 Salutaris The following pieces are listed under "Rossini'~ in Ch()ral Music, in Print (both Sacred 'I; and Secular)., Those pieces marked with anasteriskwereknowh to be outqf printas, of Hostia is an a cappella setting with August 1991. I would like to thank F. Caroline,Wyli('latJ;'epper Music for her help.in I straight-forward rhythms and determining the availability of these selections., , ' ", intervals in a two-part form similar

Name of Piece s.conng ", , " 'Pub., Order. No. 11 to that of the Chant junebre. All Ave Maria Mix Cdr, '>. ' Laws()n LG 51852, ' three of these settings are for SA TB II Carnivale Di VenezaSSTBiprio, Hanssler 40.281-40 La Carita (Erbarmen)SSA(Ssolo;pno RicoI'di~EngJ22237 ' ! choir and would make suitable Jiirgens ,SSA,pilD Schotf ED 7655 I anthems for a church choir. Both of , Dicks 'SATB ,', Banks Mus 607 ""11 the commercial editions listed in Carnovale SATB " .' Anans Table I underlay the text in Latin Chant Funebre ,1'TBB,Or~s Boonin B 103 Cum Sancto Spiritu SATB;pno,harrriPly'Iridlitli ,:RM-105 I and English. (from Messe Solennele) The Duetto bujjo di due gatti · * Dolcissima Maria ';;SAlS~I~)'; ,',Keili, "" y ' "• ' .''7480",', .' '< "II' (Duet of Two Cats), one of Rossini's Dall' .oriente l'astro del giorno ST:rB,pno Hamsler, 40.281-50 I * La Danza (from Soirees Musicales) SA"." Allan!;", '.1 most popular vocal/ choral works, is actually the joining of a Rossini " The· Dance "~~~~r·><~ri6~~cEng#i.?~~3;1 cabaletta from Otello by C. Berthold g~dr:~, '~S~7~~s~lb<~i~~~n ",'~1453 .,. I to the "Katte-Cavatine" of the Kubik, '2/3eq.\i()ices' Ricdrdi-Arg, BA9265' Danish composer C.E.F. Weyse. 17 1 Kubik SA,TB{Ssolo,pno Ricoidi~Arg" BA9.22H3~641' Sektberg SSA" '", •• """". ',' ," < Galaxy. ,; ,.1,0944.1 Recordings containing a number · "La Foi (La Fede - Die Treue) Stone..SSA pno: "Unicorri, 1:01071 Jiirgens SSA;prio Schott ED 7656 I of the pieces discussed above can be · I Gondolieri SA1'B,pnq,.,. ',HHi?nns,s'hSlaElwr40.281c10 '\ found as follows: Rossini - Sins of Jenni~gs '.SA1'B;prio",. , ,IDvi:C50$, My Old Age, by the Los Angeles Hear Us, Lord Heute Feiern Wir Frohgemut .... Carltdni'~J!6hor~~~~~rt t~~87 'I Vocal Arts Ensemble, Nonesuch Holy, Holy, Holy (from Messe Solennele) Hiltori SATE'" 'PreSser 352C00478 i D-79027; Excerpts from Sins of My r I Will Give Thanks unto Thee,O Lord lnjlammatus (from Stabat Mater) . "When Thou Comest" FitzhUgh:1:1SS~10' ,·.··.·:zser .. :::10313~11' M~~~~~s~hlb~~~8~b~c:th~~CEn~~~bl~l?ca, SATBlS solo.G.Schirmer 2041 .. i usic e ections y e nsem e SATB ' . . . Belwiri .1159, ' ' 1 Vocal Michel Piquemal Paris: 1981 .TTBB Plymouth. DC-303 '.'1 (1987) 13.205-2 (CD). SATB' Staff 688 SA'I'B,org Carus ; .... 40,'197, . While we remember and enjoy SA1'B. '" ,La~sori LG-51943i Rossini's opera masterpieces during 4ptrilen/Oicll ' I)oblinger 46776 1 this year of his bicentennial, let us

2ptw,1ptIrilOrchpobliriger . 46,776 .11,1 not forget the choral music of his Messe Solenne .SATB/Soli . 'Ricordi~Eng '41310,', . ".SATB1~oli;,Kalmus.· ' . 'K 0.6877 i youth and his "Sins of Old Age." .0 Blicke Mit Erbarmen .~A1'B Breitkopf~CHB"2012 Together they incorporate a .0 Salutaris Hostia , SATB .. ' .,BrotideBr: BB127· "measure of grace and charm, sharp . SATB '. Wiilton 6012 oJ~:s From Whom All GoodneSS '." Ki~ri1arl 'sA.fB, '.; .. ~ <~pJ:~tt\'~85.! ~:~::ho~~~~~~~:n~~~e~~a~~~ of L'Qrgia~Arletta ("The Waltz") ;2pt¢h6rllS , •.. ,Erioch, ·'··T.P.214 ! sophistication and naivety."18 By .Overture,.(from.,). •...... , ...... ''''''___ ''''_,~~SATBL.: .. ,.. ·.;... LErioch..£_" .. ~:..E.C.,,112 ...·· .. _j • t' I . h' La Pastorella . >,>' ;.": ...... ', .. '.'1 acquam mg ourse yes, our c Olrs, *"Little.Shepherdess":Uniso~Chorus Ricordi~EniLd356:, and our audiences with Rossini's "Peasant Girl" . . 2.ptchoitIs. . Endch '. T:P.205'11 choral music, we will pay a fitting La Passeggiata ", SATB;prio HiiilSslet40:281-20., tribute to the man and the music 'PiantoV'Armonia Sulld MorteD'QjreoT()zziMen'schbrus. .Schotts ;...... I Preghiera Del Mose (from Mose) .. . Wiiltei ... ChbrtIS, prioGa~iScli' iS22(L I created by his genius. Quando Corpus (from StabatMater)SATB .... 'Ricbrcli~Eng SYl21' I VanCarnpSATB ..MtisicM70-20~ I Notes Ridiamo Cantiamo . "; STTB,pno : H~nssler. 40.281-60' i iSanctus (from Messe Solennele) • SATB;.Ricordi~Eng SY123. . II I K. Marie Stolba, The Development ot] Chitridler.SATB '. National' 'WHC,37'

>Fer~siri ·~~~,Prio.~~:tf;~a~g9 ii' :r:=;~¥:~e~~ul~~6)~'p~\~~ii' ~La Speranza (Die Hoffnung) .SS,A.;,pno . RicordicEng '122236 2 Richard Osborne, Rossini (London: J.M. .. SSA pno<' ~chqtt "". . ED 7657 I Dent & Sons Ltd., 1986), p. 8. ·Stabat Mater SATB/Soli/Orch\Kalmus ' 6398'" 3 These pieces are outside the scope of this SATB/Soli/Orch:Novello , .... 6398. "'" " • article; however, some of these occasional .. SA'r131Soli!Orch Ricdrdi-Eng49182' '. pieces which use chorus include La morie di SATB/Soli' .' ., . G:Schirmer356 I Didone (1811); a wedding cantata entitled Le ··SATBZSoli!()rchScb.ott· .'. 1067, ! nozze di Teti e di Peleo (1816); Qmaggio Ver Tanz '4pt menlT; prio SbhottSC39 098. I umiliato upon the recovery of King Ferdinand 'To the. Tap oj the Drum . SA . 'Allaris ·156 .. ' from an illness (1819); La riconoscenza 'TOastPU1' Le Nouvel ·SA,!B...... •...... fHinsslef .. _...... • 40.:.~81c3.0 written by Rossini for a concert in his honor lTyrolienne (from CuillaumeTezn :S,'\

Page 12 CHORAL JOURNAL l'Italie et de La France (1825); Santo Genio dell'Italia terra - an elaboration of material in the opera La donna dellago (1844); Su jratelli, letizia si canti, written for Pope Pius IX (1848); Le Chant des Titam, written for acfea the erecting of a monument to the honor of Tour Consultants Cherubini (1861); and, Hymne a Napoleon III et cl son Vaillant Peuple (1867). Performing ArtsTours Since 1955 4 Herbert Weinstock, Rossini, A Biography (New York: Alfred A. Knopf, 1968), p. 233. 5 Ibid. • Osborne, Rossini, p. 258. • International and Domestic Tours 7 Philip Gossett, "Rossini in Naples: Some Major Works R~overed," The Musical • Offices in North America and Overseas Quarterly LIV (1986): 54. • Festivals, Homestays and Exchanges 8 Paolo Isotta, "G. Rossini - Mos€: in Egitto .. .1 I diamanti della corona" (Turin: • Staffed by Musicians and Travel Experts Unione Tipografico-Editrice Torinsese, 1974). 9 Weinstock, Rossini, p. 108. • Musical Contacts Worldwide 10 Wagner wrote a rather unsavory review for the "Neue Zeitschrift flir Musik" • Established 1955 in London lampooning Rossini's diet, composition of fugues, and even his religious piety in writing the Stabat Mater. "The earliest stimulus to carry out his expiation seems to have come to him in Spain: in Spain where Don Juan found the amplest, choicest opportunities of sin, Ask about our choral festival in Rossini is said to have found the spur to Karlovy Vary, Czechoslovakia, June 1993 penance." Of note: Wagner did not even sign his own name to this review, but rather signed it "H. Valentino." II Nancy Fleming, "Rossini's ," Choral Journal Vol. XXX, No.7 for more information contact: (February 1990): 17. Tel: 800 886·3355 120 Second Ave. South Edmonds, WA 98020 12 Osborne, Rossini, pp. 112-114. 13 Gioacchino Rossini: The critical edition U.S. offices in: Denver, San Francisco, Seattle, New York of complete works under the joint editorship of Bruno Cagli, Philip Gossett and Alberto Zedda, VII: v. 2, Pesaro: 1987; or Quaderni Rossiniani, a cura Della Fondazione Rossini, preface by Alfredo Bonaccorsi, revised by Ada Melica, VII, Pesaro: 1958. " Weinstock, Rossini, pp. 321-322. 15 Phillip Gossett, "" in The New Grove Dictionary oj Music and Musiciam, 6th ed., Stanley Sadie, gen. ed., vol. 16 (New York: St. Martin's Press, 1980): 243. 19 Cantemus Domino can be found in the Quaderni Rossiniani, a cura Della Fondazione Rossini, VI. 17 Edward J. Crafts, "A Tale of Two Cats" in Bellettino del Centro rossiniano de studi, 1975, no. 3, p. 5. 18 Gossett, "Gioachinio Rossini" in Sadie, New Grove Dictionarrj, p. 242. IiII Notice of Editor Vacancy The position of Editor/Chairman of the Editorial Board of the Choral Journal will be open as of May 1992. Nominations and offers to volunteer from the membership for this important position are now being accepted. Annual salary for the position is $15,000. Letter of application should in­ clude vita and description of editorial and publishing experience. These should be mailed to: William Hatcher School of Music University of Iowa Iowa City, Iowa 52242 Deadline for receipt of application is April 1, 1992.

February 1992 Page 13