The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-01-13
CCISyERsATIONs WITH ROssINI.

raxainand Hitler. one OF the ne aDaesS aesni - momenI
of the day. wliii interest. Te T6ey exhibit many OF
tnc chsraoterstcs Of the esSSPsss and geniality,
every anprRGSinaIv napRGSi memory and vast knowieuSee e
OF music, and that absence odistinguisaed him
Jealousy wni tban his wonderful genius Ine .,1
conversati when anae to time in the pages of
be continued roin
this journal
,rmn OF 1855 happy chance led
IN sTS sTT,onville-that curious mixture OF the
me mSonable " bathing place and the quiet coun-
.o..,,, Rossini, at the time Of my visit,
". ~ tba great lion of the place, and the object
NJ The most universal and extraordinary at
tentions. He had only to show his face to be
surronnded by the best and handsomest
neople in the place; the front seats at the con-
certs were always his; streets were named
after him, and, to crown all, a tailor's sign
hoard in the principal thoroughfare bears, or
bore. the name Of "Cuiller, Tailleur de Mon
sieur G.. Rossini."
Nv first introduction to the great composer
was as a very young man in Paris. Both there
and at Milan l saw him often, and was always
treated by him with the greatest kindness and
During my three weeks at Trouville, we
snent most of our time together. We pro-
menaded for hours on the terrace by the sea,
only occasionally suspending our walk for a
1one at dominoes. But even that serious
occupation hardly interrupted our converse
tion. and Rossini would continue through it
all inexhaustible in his stories and Unsuitable
in his questions. Our chief topic was music,
notwithstanding, or perhaps BECAUSE owing
10 the want of good piano, l was able to
MAY to him but seldom.
Though sixty three years OF age, his features
were still almost unchanged. 1t would be
difficult to find more intelligent face, more
delicately cut nose, more expressive
mouth, more speaking eyes, or nobler
forehead. There was southern vivscity about
his countenance which was immensely efec-
tive both in fun and in earnest; and inimita-
BILE in irony, anger, or drollery. His voice
was no leEs pleasant than flexible, and could
be infinitely sweet when he chose. His nature
was the most sociable one can imagine, and he
never tired Of chatting and talking, or-often
more difficult still-of listening He had that
eGuanimity characteristic of the nations of
the south-for old or young great or small,
always the right word aud always the
same demeanor tc all. In short, he had
one Of those happy dispositions in which
everything is native and spontaneous
nothing forced. AS his music, so was he. His
memory was prodigious, and his knowledge
of music and musicians-not only of Italy, but
ct other countries-far greater than most of
my countrymen will give him credit for while
his Judgment always seemed to me perfectly
clear, sensible, and unbiased, and ever ready
to be convinced by argument.
"Those terrible newspaper people!' cried
Rossini, one day, "one OF them says that
hate railways almost as much as | do German
music. What do you think OF that Besides
really loving the great German composers, |
studied them, as lad, of my own accord, and
never lost an opportunity of knowing them
better and better What pleasure have had
in hearing you play Bach 20
~ certainly have never played his glorious
music with more pleasure than when playing
to You"
mass of music in such style 1t is incon-
oeivable. What to others would be difficult
or impossible was mere child's play to him"
"Bach's portrait is splendid, began Ros
sini again, $50 full of life and vigor. He must
surely have been great player"
"Yes. He is said to have improvised things
equal to those which the best composers Of
the day are glad to be able to master, u
said l.
"Are his works much performed in Ger.
many?"
''Not so much as they should be; but still a
good deal"
''That is impossible in Italy, and now more
80 than ever. We cannot get together large
amateur choirs as yOu do. We used to have
good singers in our churches and chapels
but that's all over now. Since BainiS deatt
even the sistine is going backwards. Apropos
how stands the question about the authen
ITCHY of Mozart's Requiem? Has anythin,
definite been discovered ?''
''Nothng new," said l.
"Anyhow, no one but Mozart wrote tn
COntuaatiS. Isn't it grand And the soft
UOce at the end What modulations | al
ways had liking for Soto vOce in chorus
but this one sends cold chill down my back
Poor Mozart"
Gin biography which concerns you, it |
said that Mozart laughed, at most, three time
In his life. What do you think of such non
sensef BY the by, there are several things il
that book which l want to ask you about
For instance, is it true that, after you ha
been learning short time with Padre Mattel
you asked him if you knew enough to writ
an opera; and, on his saying Yes, at ono
made OFF,"
'Not bit of it shad studied thre
years at the Liceo at Bologna, during whic
time l had to support myself and help m
parents. This managed, though very scar
tily. accompanied the recitatves at th
theatre at six pauls per night. | also had
good voice, and sang in church. Then, beside
my exercises for Mattel, l used to wri
things for Zamboni and other singers to intr
duce into operas or to sing at concerts, al
this also brought me in trihe. When hi
got through oounterpoint and fugue, ask
Mattel what l might do next. F'Pleincha
and canon" was his reply. How much tir
must Il give to them "About two years
That was too long for me, SO told the go
padre, and he perfectly understood, and nev
bore me a grudge. But / have often
GREETED since that l did not work longer wi
him"
81 suppose you had written a great ma
things before you went to Mattel 2'