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ROSSINI
Oct 29, 2004 11:40:26 GMT -5
Post by Charity on Oct 29, 2004 11:40:26 GMT -5
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ROSSINI
Nov 1, 2004 11:49:48 GMT -5
Post by Charity on Nov 1, 2004 11:49:48 GMT -5
Rossini, Gioacchino (1792 - 1868) Rossini occupied an unrivalled position in the Italian musical world of his time, winning considerable success relatively early in his career. The son of a horn-player and a mother who made a career for herself in opera, as a boy he had direct experience of operatic performance, both in the orchestra pit and on stage. His operas from his first relative success in 1810 until 1823 were first performed in Italy. There followed a period of success in Paris, leading to his final opera, Guillaume Tell, staged in Paris in 1829. The revolution of 1830 prevented the fulfilment of French royal commissions for the theatre, but in his later life he continued to enjoy considerable esteem, both in Paris, where he spent much of his last years, and in his native Italy. There he spent the years from 1837 until 1855, before returning finally to France, where he died in 1868. more... www.naxos.com/composer/rossini.htm
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ROSSINI
Nov 1, 2004 11:50:41 GMT -5
Post by Charity on Nov 1, 2004 11:50:41 GMT -5
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ROSSINI
Nov 1, 2004 11:51:30 GMT -5
Post by Charity on Nov 1, 2004 11:51:30 GMT -5
Both his parents were musicians, his father a horn player, his mother a singer; he learnt the horn and singing and as a boy sang in at least one opera in Bologna, where the family lived. He studied there and began his operatic career when, at 18, he wrote a one-act comedy for Venice. Further commissions followed, from Bologna, Ferrara, Venice again and Milan, where La pietra del paragone was a success at La Scala in 1812. This was one of seven operas written in 16 months, all but one of them comic. This level of activity continued in the ensuing years. His first operas to win international acclaim come from 1813, written for different Venetian theatres: the serious Tancredi and the farcically comic L'italiana in Algeri, the one showing a fusion of lyrical expression and dramatic needs, with its crystalline melodies, arresting harmonic inflections and colourful orchestral writing, the other moving easily between the sentimental, the patriotic, the absurd and the sheer lunatic. Two operas for Milan were less successful. But in 1815 Rossini went to Naples as musical and artistic director of the Teatro San Carlo, which led to a concentration on serious opera. But he was allowed to compose for other theatres, and from this time date two of his supreme comedies, written for Rome, Il barbiere di Siviglia and La Cenerentola. The former, with its elegant melodies, its exhilarating rhythms and its superb ensemble writing, has claims to be considered the greatest of all Italian comic operas, eternally fresh in its wit and its inventiveness. It dates from 1816; initially it was a failure, but it quickly became the most loved of his comic works, admired alike by Beethoven and Verdi. The next year saw La Cenerentola, a charmingly sentimental tale in which the heroine moves from a touching folksy ditty as the scullery maid to brilliant coloratura apt to a royal maiden. More... w3.rz-berlin.mpg.de/cmp/rossini.html
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ROSSINI
Nov 1, 2004 11:53:14 GMT -5
Post by Charity on Nov 1, 2004 11:53:14 GMT -5
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ROSSINI
Nov 1, 2004 12:03:30 GMT -5
Post by Charity on Nov 1, 2004 12:03:30 GMT -5
Gioachino Rossini: William Tell Overture, "Finale" Grades 3-5 Cross-Disciplinary Lesson Plans Lesson: Mapping Rossini's Operas Demonstrate map skills by: Identifying various major reference points on the earth; Locating major landforms and bodies of water; or Using a number/letter grid system to locate places on a map, a map key to understand map symbols, a linear scale to measure distances on a map, and a direction indicator. Objective Students will map the locations of various Rossini operas took place. Materials World map or individual regions map for students to mark. 1. Many of Rossini's Opera's were in different geographical places. Have students locate theses places on the maps and create a unique symbol, which represents each place. The Turk in Italy, The Italian Girl in Algiers Moses in Egypt William Tell The Journey to Riems. 2. Extension: Adding in other events or map locations from that time era Lesson: Patterns in Music- Form or not Use patterns to make generalizations and predictions by; a) Determining a rule and identifying missing numbers in a sequence. Students will conclude that sometimes composers follow the rules about form and sometimes they do not. Objectives Large form: Students will be able to identify the overall form of William Tell as ABA with an introduction and a coda. Small Form: Students will be able to identify the inner parts of the form to be in a freer form - but consistent with it's thematic material. They will use a listening map to help them grasp this concept. Materials Listening Map for William Tell Overture 1. Students listen to the beginning of "William Tell Overture" Is there any melody or theme that seems to repeat itself? - Yes, Call it A The Next theme call B and then C 2. Introduce the Listening Map and them follow it while listening to the music. Why is the second A and B different than the first? Why is the Third set of A and B back to Blue. (same as the first set) 3. Discuss conclusions: The overall form of the music is in the form A B A= a very normal musical form The inner form is not regular: it is designed the way the composer wanted it. Conclusion: Composers do have to follow the rules for musical form. Lesson: Predict the number of seeds in one apple. Collect data, create a table, picture graph, bar graph, circle graph, or line graph and use them to solve application problems. Use patterns to make generalizations and predictions Objective Students will predict the number of seeds they find in an apple. They will then open several apples and chart their results. Materials Several Apples of various sizes and colors 1. Have students predict the number of seeds they will find in an apple. Does this prediction change depending on the size or color of the apple? 2. Chart the results. more www.classicsforkids.com/teachers/lessonplans/rossini/rossini35O.asp
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ROSSINI
Nov 1, 2004 12:05:27 GMT -5
Post by Charity on Nov 1, 2004 12:05:27 GMT -5
MUSIC-COMPOSER'S QUIZ
NAME______________________DATE_______
1. NAME OF THIS WEEK'S COMPOSER____________________________
2. NICKNAME?_____________________________________
3. WHAT COUNTRY WAS COMPOSER BORN________________________________
4. WHAT YEAR WAS COMPOSER BORN________________________________
5. WHAT YEAR DID COMPOSER DIE________________________
6. NAME ONE OF COMPOSER'S FAMOUS WORKS______________________________
7. HOW MANY OPERA'S OR CONCERTO'S DID COMPOSER WRITE_____________________
8. WHAT WAS THE FIRST OR PRIMARY INSTRUMENT COMPOSER PLAYED_______________________________
9. TELL OF TWO THINGS YOU LEARNED THAT WAS INTERESTING ABOUT THIS COMPOSER_____________________________ ______________________________________
10. WHAT WAS COMPOSER'S CONDITION AT DEATH________________________________ _____________________________________
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ROSSINI
Nov 4, 2004 15:35:04 GMT -5
Post by Charity on Nov 4, 2004 15:35:04 GMT -5
Pictures of Gioacchino Rossini Italian composer (1792-1868) Rossini was an opera composer, and is especially well-known for his comic operas. Some of his great operas include Tancredi, The Italian Girl in Algiers, The Barber of Seville, Semiramide, William Tell and Cinderella. Much more at this site: www.music-with-ease.com/rossini-pictures.html
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ROSSINI
Nov 4, 2004 15:36:33 GMT -5
Post by Charity on Nov 4, 2004 15:36:33 GMT -5
The Barber of Seville (Italian title: Il Barbiere di Siviglia) An Opera by Gioacchino Antonio Rossini The libretto of this comic masterpiece is founded on Beaumarchais’ comedy of the same name. It was prepared by the poet Sterbini, who lived in the same house with Rossini while the work was in progress. Briefly, the story is as follows: The ardent Count Almaviva has fallen in love with Rosina, the pretty ward of Doctor Bartolo, who wants to marry her himself. So far, Almaviva is known to her only under the assumed name of Lindoro. After a serenade and an exchange of letters, he disguises himself as a tipsy dragoon, and manages to get into Bartolo’s house by aid of the factotum Figaro. But his stratagem is foiled by the entrance of the guard, who arrest the would-be wooer and carry him to gaol. In the second Act he appears as Deputy for Basilio, the singing-master, said to be sick. In order, however, to gain the suspicious Bartolo’s confidence, he produces one Rosina’s letters to himself, declaring that it was given him by a mistress of Almaviva. Bartolo thinks he will inflame Rosina’s jealousy by telling the scandal to Rosina, whose disappointment nearly frustrates Almaviva’s deep-laid schemes. Happily, Almaviva secures an interview with Rosina, convinces her of his constancy, and induces her to elope before Bartolo discovers the trick that has been played upon him. The music of this immortal work is too well known to required detailed analysis. It exhibits the composer in his gayest and most exhilarating mood, and sparkles with wit and fancy. Amongst his most familiar numbers are the Count’s serenade, Figaro’s celebrated description of his various duties, Basilio’s plotting aria, Rosina’s chamber aria, the ingenious dragoon finale of first Act, and the music-lesson. The delicate trio, "Zitti Zitti," is a much-appreciated number; but the melody of this is taken, note for note, from Simon’s air in Haydn’s "Seasons." The overture, as now played, was not originally composed for the opera, but had done varied service in other directions. Rossini wrote "The Barber" to the commission of the manager of the Argentina Theatre, at Rome, where it was first produced in February 1816. According to contract, it had to be finished by a very near date, and for thirteen days poet and composer had scarcely time to eat, while they slept -- on a sofa -- only when they could no longer keep their eyes open. Rossini did not even stop to shave, and when some wit remarked on the strange fact the that "The Barber" should cause him to let his beard grow, he replied that to get shaved meant going out, and if he went out he would not return so soon as he ought. The statement, frequently made, that the entire opera was written in thirteen days is doubtfully correct, but the time was certainly within a month. Rossini declared that he received just £60 from the Argentina for the work. That sum did not compensate him, he said, for the agony he endured at the premiere. The "agony" was probably not acute, for Rossini took such things very philosophically. But assuredly there was cause for agony. It so happened that Paisiello, a living composer in good local repute, had made an opera on the same subject thirty-six years before; and his admirers would not forgive the young Rossini for presuming to do better, or even differently. It was said that Paisiello looked confidently forward to Rossini’s failure, and was even prepared to help towards it himself. At any rate, the audience came primed for a row. Circumstances were on their side. First, and apart from their allegience to Paisiello, they were used in the way of buffo music to the style in which the pathetic often mingles with and sometimes effaces the comic. Then, to make matters worse, Rossini wore a coat the texture and colour of which displeased them -- a kind of vicuna. Again, when Almaviva enter to sing his serenade to Rosina, all the strings on his guitar snapped. A few minutes later, the like mishap befell Figaro’s instrument; and instead of tripping sedately on to the stage, Basilio made his entrance head foremost. Picking himself up, he made the mistake of wiping the blood flowing from his nose with his gown. As if this were not enough, the finely built concerted piece which closes the first Act was just beginning when a cat appeared on the stage. Chased in one direction by Figaro, in another by Bartolo, in a third by Basilio, the animal, in a wild endeavour to escape, ran into the skirt of Rosina’s dress. In a word, the cat and not the music received the attention of the audience, who laughed uproariously. Then the storm broke; but instead of bowing his head to it, Rossini rose from the piano at which composers then presided, and not only applauded his interpreters, but with a gesture asked the audience to do the same! The whole thing ended in hissing and hooting. But Rossini remained perfectly calm. He went home to bed, and, when the principal singers called in half-an-hour, he was fast asleep. At the second performance, "The Barber" was comparatively well received. Being then actually heard, it was naturally admired. After a few representations it began to excite enthusiasm, and in a little over a week it was being received nightly with "frantic applause." By-and-by it not only took the musical world by storm, but it has kept the stage to the present day, though its appearances are few and far between. www.music-with-ease.com/rossini-barber-seville.html
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ROSSINI
Nov 4, 2004 15:38:52 GMT -5
Post by Charity on Nov 4, 2004 15:38:52 GMT -5
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ROSSINI
Nov 4, 2004 15:48:09 GMT -5
Post by Charity on Nov 4, 2004 15:48:09 GMT -5
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ROSSINI
Nov 4, 2004 15:51:15 GMT -5
Post by Charity on Nov 4, 2004 15:51:15 GMT -5
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ROSSINI
Nov 4, 2004 15:52:41 GMT -5
Post by Charity on Nov 4, 2004 15:52:41 GMT -5
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ROSSINI
Nov 4, 2004 15:54:24 GMT -5
Post by Charity on Nov 4, 2004 15:54:24 GMT -5
Gioacchino Rossini - Composer Dates: Born in Pesaro, Italy, 1792 Died in Paris, France, November 13, 1868 Nationality: Italian Style/Period: Romantic Famous Works: William Tell, The Barber of Seville Bio: Rossini, a robust Italian man with an outgoing personality, was born in a small town, Pesaro, on the east coast of Italy on February 29, 1792, leap day. His father was a musician and his mother was an opera singer. As a boy, he was a singer and played the cello and horn. At 15, he entered a music school in bologna, Italy where he learned to compose music. Rossini once said to give him a laundry list and he would set it to music! His first successful composition was completed at age 18 in Venice, Italy, and his masterpiece, "The Barber of Seville," was first performed in Rome, Italy, when he was only 24 years of age. He composed more than fifty operas, the last of which was "William Tell," with its famous overture, storm scene, and ballet music. Rossini was a lazy man, fond of women, and a very good cook. He liked to host dinner parties for his friends, among whom was Franz Liszt, another famous composer. He had fun teasing and playing tricks on his friends. (Those characteristics are also found in his music.) Rossini was married two times and both wives were opera singers. When criticized about his life-style, he responded that one should not expect much more of a man born on leap day! www.dsokids.com/2001/dso.asp?PageID=532
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ROSSINI
Nov 4, 2004 16:06:05 GMT -5
Post by Cody on Nov 4, 2004 16:06:05 GMT -5
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