ed, that now we seem to hear Gluck, now
Traetta, now Sacchini, now Mozart, now Handel; for the gravity, the
learning, the naturalness, the suavity of their conceptions, live and
blossom again in 'Zelmira.' The transitions are learned, and inspired
more by considerations of poetry and sense than by caprice and a mania
for innovation. The vocal parts, always natural, never trivial, give
expression to the words without ceasing to be melodious. The great
point is to preserve both. The instrumentation of Rossini is really
incomparable by the vivacity and freedom of the manner, by the variety
and justness of the coloring." Yet it must be conceded that, while this
opera made a deep impression on musicians and critics, it did not please
the general public. It proved languid and heavy with those who could not
relish the science of the music and the skill of the combinations. Such
instances as this are the best answer to that school of critics,
who have never ceased clamoring that Rossini could write nothing but
beautiful tunes to tickle the vulgar and uneducated mind.

"Semiramide," first performed at the Fenice theatre in Venice on
February 3, 1823, was the last of Rossini's Italian operas, though it
had the advantage of careful rehearsals and a noble caste. It was not
well received at first, though the verdict of time places it high among
the musical masterpieces of the century. In it were combined all of
Rossini's, ideas of operatic reform, and the novelty of some of the
innovations probablv accounts for the inability of his earlier public to
appreciate its merits. Mme. Rossini made her last public appearance in
this great work.

IV.

Henceforward the career of the greatest of the Italian composers, the
genius who shares with Mozart the honor of having impressed himself more
than any other on the style and methods of his successors, was to
be associated with French music, though never departing from his
characteristic quality as an original and creative mind. He modified
French music, and left great disciples on whom his influence was
radical, though perhaps we may detect certain reflex influences in his
last and greatest opera, "William Tell." But of this more hereafter.

Before finally settling in the French capital, Rossini visited London,
where he was received with great honors. "When Rossini entered,"* says
a writer in a London paper of that date, "he was received with loud
plaudits, all the persons in the pit stan