Gioachino Rossini Born: February 29, 1792, in Pesaro, Italy
Died: November 13, 1868, in Passy, near Paris, France
Rossini is famous for: Writing 39 operas, plus sacred music, chamber pieces, and songs with sparkling melodies, rhythmic vitality, and dramatic flair.
His most iconic Operas include
The Barber of Seville (Il barbiere di Siviglia, 1816): A comic masterpiece still beloved today
Cinderella (La Cenerentola, 1817): A lyrical retelling of the fairy tale
William Tell (Guillaume Tell, 1829): His final opera, famous for its overture
Semiramide (1823): A grand opera with dramatic intensity
He was raised in a musical family, his father was a trumpeter, his mother a singer and studied at Bologna’s Philharmonic School, composing his first opera at age 14.
Despite his fame, Rossini retired from opera composition at age 37. The reasons remain unclear but may have been due to health, wealth, or changing musical tastes
IN his later Ylars he composed smaller works like Péchés de vieillesse (“Sins of Old Age”) for salon gatherings.
His final major work was the Petite messe solennelle (1863), blending sacred and operatic styles
Rossini’s music is celebrated for its wit, elegance, and emotional depth. His overtures—especially the one from William Tell—have become cultural icons, used in everything from cartoons to film scores.
Rossini's Une Larme (A Tear) is a beautiful and poignant lament which is ideally suited to the double bass. Originally for cello, this new edition…
Rossini’s Une Larme (A Tear) is a beautiful and poignant lament which is ideally suited to the double bass. Originally for cello, this new edition returns to the cello version [Theme & Variations] adding an extended (but optional) piano introduction and demonstrates the dark and soulful colors of the solo double bass.
Long flowing phrases allow the intermediate bassist to demonstrate both musical and technical accomplishment in an accessible range of the instrument. The soulful and wistful melody transcribes beautifully for double bass allowing the instrument to display its bel canto and lyrical capabilities.
A three-bar phrase towards the end of the piece is playable as written or an octave higher, giving bassists the opportunity to play high harmonics within a beautiful and evocative melody.
