Many turbulent events occurred in 1864. The Civil War saw heavy fighting, a Polish uprising was put down, and after a short but bloody war Denmark was forced to cede Schleswig and Holstein to Prussia. Two happy anniversaries will be celebrated this Sunday (May 19th) in Dublin’s landmark Parnell Square by the Choral Society of Our Lady under the direction of Proincius Ó Duin. That year saw the completion of the abbey Presbyterian church known to most Dubliners as Findlater Church in honor of its benefactor, and the completion of Rossini’s Petit Messe Solenelle (Little Majestic Mass) in Paris. premiered.
Gallic influence unites the two. Findlater Church is recognized as a prime example of French Gothic Revival architecture, and Rossini’s masterpiece was composed during his extended stay in Paris.
Rossini’s early operas have long held a special place among Irish music lovers. The first Italian opera season, held in Dublin in 1829, honored Rossini’s five of his operas, establishing an enduring presence that continues to this day. James Joyce, an avid opera fan, became obsessed with Rossini, with many colorful anecdotes stemming from his fondness for performances of William Tell by Irish tenor John Sullivan. . Interestingly, among the many operatic references that appear in Ulysses, the key reference to Rossini is not to opera, but to his highly operatic religious work, Stabat Mater.
Although Rossini composed a bit more traditional sacred music in his early years, his later music is notable for two important reasons. As was the case with Sibelius, he stopped composing his most acclaimed musical works at a relatively young age. In Rossini’s case it was an opera when he was 37 years old, and in Sibelius’ case it was a symphony when he was 60 years old. Both lived for more than 30 years.
Another notable feature of Rossini’s return to composing at the age of 67 was that his sense of humor and absurdity came to the fore. It was designed primarily for small-scale, private performances in his famous Saturday Salon, frequented by a variety of prominent composers and performers, and of the many musical forms used. Associated with complete mastery. His preponderance of solo piano pieces reflects his reputation as an accomplished pianist, and the range and variety of his compositions is astonishing.
The title of his collection, “Péchés de vieillesse” (The Sins of Old Age), encapsulates the playfully ironic approach of these works. This humor is further reflected in the titles of his individual works. “My Hygienic Morning Prelude.” Ah, that Petit Pois. Little Waltz, Castor Oil. His depiction of asthma in Asthma Etudes provides an interesting aural insight into how asthma was experienced in the 19th century.
Unjustly ignored in their original forms, these works are perhaps best known through their orchestrations as ballet suites, Respighi’s Boutique Fantasque and Rossiniana, and Benjamin Britten’s matinee and soirée musicals.
The apotheosis of his late creativity was the extraordinary Petit Messe Solenelle. As Napoleon III joked, it is neither small nor solemn nor particularly religious.
A notable feature at the beginning, which defies conventional wisdom in every way, is the completely novel and effective accompaniment of two pianos and a harmonium. Rossini would later arrange an orchestral version. Although Rossini preferred the original accompaniment, he thought that his orchestration would interfere with other composers’ arrangements of the mass.
His dedication to this work embodies the same sentiment. As you know, I was born for opera buffa. A little technique, a little heart, that’s all. Be blessed and grant me paradise. ”
This work combines Rossini’s theatrical instincts with a deeply felt spirituality, intertwining drama, pathos, color and intensity in a mesmerizing musical experience.
One deviation in modern performance is in the combination of voices used.
Rossini specified that “twelve singers of three sexes, male, female, and castrato, will be sufficient for the performance; that is, eight in the chorus and four in the solo, twelve cherubim in total.”
The angelic voice is distributed in a more common quartet of soprano, alto, tenor and bass.
But it is hoped that they will follow his advice: Lord, please be at ease. . . May my songs sing properly, praising you and mourning this little song, which is sadly the last sin of my old age. ”
