Gioachino Rossini |

UGioachino Rossini

Kodwa ukuhlwa okuluhlaza sekuya kuba mnyama, Sekuyisikhathi sokuthi siye ku-opera maduze; Kukhona iRossini ejabulisayo, isithandwa saseYurophu - Orpheus. Ukunganaki ukugxekwa okunokhahlo Uyafana phakade; phakade entsha. Uthulula imisindo - iyabila. Ziyageleza, ziyasha. Njengokwanga kwabancane Konke kusentokozweni, elangabini lothando, Njengomlolozelo ohayizayo Umfudlana nokuchaphaza kwegolide ... A. Pushkin

Phakathi abaqambi Italian ekhulwini XIX. URossini uthatha indawo ekhethekile. Ukuqala kwendlela yakhe yokudala iwela ngesikhathi lapho ubuciko be-operatic base-Italy, obungakabi isikhathi eside bubusa iYurophu, buqala ukulahlekelwa umhlabathi. I-opera-buffa yayicwile ekuzijabuliseni okungenangqondo, futhi i-opera-seria yonakala yaba ukusebenza okuqinile nokungasho lutho. URossini akagcinanga nje ngokuvuselela futhi walungisa i-opera yase-Italy, kodwa futhi waba nomthelela omkhulu ekuthuthukisweni kwawo wonke ubuciko be-operatic baseYurophu bekhulu leminyaka elidlule. "I-Divine Maestro" - ebizwa kanjalo umqambi omkhulu wase-Italy u-G. Heine, owabona eRossini "ilanga lase-Italy, lichitha imisebe yalo emangalisayo emhlabeni jikelele."

URossini wazalelwa emndenini womculi we-orchestra ompofu kanye nomculi we-opera wesifundazwe. Ngeqembu elihambayo, abazali bazulazula emadolobheni ahlukahlukene ezwe, futhi umqambi wesikhathi esizayo kusukela ebuntwaneni wayesevele ejwayele ukuphila namasiko ayebusa izindlu ze-opera zase-Italy. Umoya ovuthayo, ingqondo ebhuqayo, ulimi olubukhali kwahlala endaweni ye-Gioacchino encane enomculo ocashile, ukuzwa okuhle kakhulu kanye nenkumbulo emangalisayo.

Ngo-1806, ngemva kweminyaka eminingana yezifundo ezingahlelekile zomculo nokucula, uRossini wangena eBologna Music Lyceum. Lapho, umqambi wesikhathi esizayo wafunda i-cello, i-violin nepiyano. Amakilasi nomqambi wesonto odumile u-S. Mattei ngethiyori nasekwakhiweni, ukuzifundisa okujulile, ukufunda ngentshiseko umculo ka-J. Haydn kanye no-WA ​​Mozart - konke lokhu kwavumela uRossini ukuthi ashiye i-lyceum njengomculi ophucukile owazi kahle ikhono. yokuqamba kahle.

Kakade ekuqaleni komsebenzi wakhe, uRossini wabonisa uthando oluvelele kakhulu lwemidlalo yaseshashalazini yomculo. Wabhala i-opera yakhe yokuqala ethi Demetrio kanye nePolibio eneminyaka engu-14. Kusukela ngo-1810, umqambi ubelokhu eqamba ama-opera amaningana ezinhlobo ezihlukahlukene minyaka yonke, kancane kancane ezuza udumo emibuthanweni ebanzi ye-opera futhi enqoba izigaba zamathiyetha amakhulu kakhulu ase-Italy: Fenice eVenice. , San Carlo e Naples, La Scala e Milan.

Unyaka we-1813 wawuyinkathi yoshintsho emsebenzini wokuculwa komqambi, izingoma ezi-2 ezadlalwa ngalowo nyaka - "isiNtaliyane e-Algiers" (onepa-buffa) kanye ne-"Tancred" (i-opera yamaqhawe) - zanquma izindlela eziyinhloko zomsebenzi wakhe owengeziwe. Ukuphumelela kwemisebenzi akubangelwanga kuphela umculo omuhle kakhulu, kodwa futhi okuqukethwe yi-libretto, egcwele imizwa yokushisekela izwe, ehambisana kakhulu nenhlangano yenkululeko kazwelonke yokuhlanganiswa kabusha kwe-Italy, okwenzeka ngaleso sikhathi. Ukukhala komphakathi okudalwe ama-opera kaRossini, ukwakhiwa kwe "Hymn of Independence" ngesicelo sabathandi bezwe baseBologna, kanye nokubamba iqhaza emibonisweni yabalweli benkululeko e-Italy - konke lokhu kwaholela emaphoyiseni omshoshaphansi wesikhathi eside. ukugada, okwasungulelwa umqambi. Akazange nakancane azibheke njengomuntu othanda ipolitiki futhi wabhala kwenye yezincwadi zakhe: “Angikaze ngigxambukele kwezombusazwe. Ngangingumculi, futhi akuzange kungifikele ukuthi ngibe omunye umuntu, ngisho noma ngithola ukuhlanganyela okuphilayo kulokho okwenzeka emhlabeni, ikakhulukazi esiphethweni sezwe lakithi.

Ngemva "Italian in Algiers" kanye "Tancred" Rossini umsebenzi ngokushesha ukhuphuka futhi ngemva 3 iminyaka ifinyelela omunye eziqongweni. Ekuqaleni kuka-1816, i-Premiere ye-Barber yaseSeville yenzeke eRoma. Ibhalwe ezinsukwini ezingama-20 nje kuphela, le opera yayingeyona nje impumelelo ephezulu kakhulu yobuhlakani be-comedic-satirical kaRossini, kodwa futhi yaba umvuthwandaba cishe eminyakeni eyikhulu yokuthuthukiswa kohlobo lwe-opera-buifa.

Nge-Barber yaseSeville, udumo lomqambi lwadlulela ngaphesheya kwe-Italy. Isitayela sikaRossini esihle sivuselele ubuciko base-Europe ngokujabula okukhazimulayo, ubuhlakani obucwebezelayo, uthando olugcwele amagwebu. URossini wabhala: “I-My The Barber iya iphumelela kakhulu usuku nosuku, futhi ngisho nakubaphikisi abamnkantsh’ ubomvu besikole esisha wakwazi ukuncela ukuze, ngokuphambene nentando yabo, baqale ukuthanda lo mfana okhaliphile futhi. Okuningi." Isimo sengqondo sokushisekela ngokweqile kanye nokukha phezulu ngomculo kaRossini womphakathi wezicukuthwane kanye nezicukuthwane zonxiwankulu kube nesandla ekuveleni kwabaningi abamelene nomqambi. Kodwa-ke, phakathi kwe-European intelligentsia kwezobuciko kwakukhona nochwepheshe abakhulu bomsebenzi wakhe. U-E. Delacroix, O. Balzac, A. Musset, F. Hegel, L. Beethoven, F. Schubert, M. Glinka babengaphansi komculo kaRossin. Futhi ngisho no-KM Weber noG. Berlioz, ababenesikhundla esibucayi maqondana noRossini, abazange bangabaze ubuhlakani bakhe. “Ngemva kokushona kukaNapoleon, kwakunomunye umuntu okuhlale kukhulunywa ngaye yonke indawo: eMoscow naseNaples, eLondon naseVienna, eParis naseCalcutta,” uStendhal wabhala ngoRossini.

Kancane kancane umqambi ulahlekelwa isithakazelo ku-onepe-buffa. Ibhalwe maduze kulolu hlobo, i-“Cinderella” ayibonisi abalaleli izambulo ezintsha zokudala zomqambi. I-opera ethi The Thieving Magpie, eyaqanjwa ngo-1817, yeqa imingcele yohlobo lwamahlaya ngokuphelele, iba imodeli yedrama yomculo yansuku zonke engokoqobo. Kusukela ngaleso sikhathi, uRossini waqala ukunaka kakhulu ama-opera amaqhawe. Kulandela u-Othello, kuvela imisebenzi yomlando eyinganekwane: UMose, Inkosikazi YaseLake, uMohammed II.

Ngemva kwenguquko yokuqala yase-Italy (1820-21) nokucindezelwa kwayo ngesihluku ngamasosha ase-Austrian, uRossini wavakashela eVienna neqembu le-opera laseNeapolitan. Ukunqoba kweViennese kwaqinisa nakakhulu udumo lomqambi waseYurophu. Ebuyela isikhashana e-Italy ukuze kukhiqizwe iSemiramide (1823), uRossini waya eLondon wabe eseya eParis. Uhlala lapho kuze kube ngu-1836. EParis, umqambi uhola i-Italian Opera House, eheha abantu bakubo abasebasha ukuthi basebenze kuyo; ilungisela kabusha i-Grand Opera i-opera ethi Moses no-Mohammed II (eyokugcina yadlalwa eParis ngaphansi kwesihloko esithi, The Siege of Corinth); uyabhala, eyalwe yi-Opera Comique, i-opera ephambili i-Le Comte Ory; futhi ekugcineni, ngo-August 1829, ubeka esiteji se-Grand Opera umsebenzi wakhe wobuciko wokugcina - i-opera "William Tshela", eyaba nomthelela omkhulu ekuthuthukisweni okwalandela kohlobo lwe-opera yamaqhawe yase-Italy emsebenzini ka-V. Bellini. , G. Donizetti kanye no-G. Verdi.

"UWilliam Tshela" uqedele umsebenzi wesiteji somculo kaRossini. Ukuthula kwe-operatic ye-maestro ekhaliphile eyamlandela, eyayinama-opera angaba ngu-40 ngemuva kwakhe, yabizwa abantu besikhathi esifanayo ngokuthi imfihlakalo yekhulu leminyaka, ezungeze lesi simo ngazo zonke izinhlobo zokuqagela. Umqambi ngokwakhe kamuva wabhala: “Yeka ukuthi, ngiseyinsizwa engakavuthwa, ngaqala kanjani ukuqamba, ngokushesha nje, ngaphambi kokuba noma ubani ayengakubona kusengaphambili, ngayeka ukubhala. Kwenzeka njalo empilweni: noma ubani oqala kusenesikhathi kumele, ngokwemithetho yemvelo, aqede kusenesikhathi.

Kodwa-ke, ngisho nangemva kokuyeka ukubhala ama-opera, uRossini waqhubeka nokuhlala enkabeni yokunakwa komphakathi womculo waseYurophu. IParis yonke yalalela igama lomqambi eligxeka ngokufanelekile, ubuntu bakhe baheha abaculi, izimbongi, nabaculi njengozibuthe. U-R. Wagner wahlangana naye, u-C. Saint-Saens wayeziqhenya ngokuxhumana kwakhe noRossini, uLiszt wabonisa imisebenzi yakhe ku-maestro wase-Italy, u-V. Stasov wakhuluma ngentshiseko ngokuhlangana naye.

Eminyakeni eyalandela uWilliam Tell, uRossini wadala umsebenzi omangalisayo ongokomoya i-Stabat mater, i-Little Solemn Mass kanye neNgoma ye-Titans, iqoqo lokuqala lezingoma ezibizwa nge-Evening Musical, kanye nomjikelezo wezingcezu zepiyano ezinesihloko esidlalwayo esithi Sins of Old. Ubudala. . Kusukela ngo-1836 kuya ku-1856 uRossini, ezungezwe inkazimulo nodumo, wayehlala e-Italy. Lapho, waqondisa i-Bologna Musical Lyceum futhi wahlanganyela emisebenzini yokufundisa. Lapho ebuyela eParis, wahlala lapho kwaze kwaba sekupheleni kwezinsuku zakhe.

Eminyakeni engu-12 ngemva kokufa komqambi, umlotha wakhe wadluliselwa ezweni lakubo futhi wangcwatshwa endaweni yeSonto LaseSanta Croce eFlorence, eduze nezinsalela zikaMichelangelo noGalileo.

URossini ushiye yonke ingcebo yakhe ukuze kuzuze isiko nobuciko bedolobha lakubo iPesaro. Namuhla, imikhosi ye-opera yaseRossini iqhutshwa njalo lapha, phakathi kwabahlanganyeli lapho umuntu angahlangana khona namagama abaculi abakhulu besimanje.

I. Vetlitsyna

• Indlela yokudala ka-Rossini →
• Usesho lobuciko lukaRossini emkhakheni "we-opera ebucayi" →

Wazalelwa emndenini wabaculi: uyise wayengumshayi wecilongo, unina wayengumculi. Ufunda ukudlala izinsimbi zomculo ezihlukahlukene, ukucula. Ufundela ukuqamba eSikoleni Somculo sase-Bologna ngaphansi kokuqondisa kukaPadre Mattei; akazange aqedele isifundo. Kusukela ngo-1812 kuya ku-1815 wasebenzela yaseshashalazini Venice futhi Milan: "Italian in Algiers" waba nempumelelo ekhethekile. Ngomyalo we-impresario Barbaia (uRossini ushada nentombi yakhe, u-Isabella Colbran wesoprano), udala ama-opera ayishumi nesithupha kwaze kwaba ngu-1823. Wathuthela eParis, lapho aba khona umqondisi we-Théâtre d'Italien, umqambi wokuqala wenkosi nomhloli jikelele. yokucula eFrance. Uvalelisa ngemisebenzi yomqambi we-opera ngo-1829 ngemuva kokukhiqizwa kuka "William Tell". Ngemva kokuhlukana noColbrand, ushada no-Olympia Pelissier, uhlela kabusha i-Bologna Music Lyceum, ehlala e-Italy kuze kube ngu-1848, lapho iziphepho zezombangazwe ziphinde zamletha eParis: i-villa yakhe ePassy iba ngesinye sezikhungo zempilo yobuciko.

Lowo owayebizwa ngokuthi "i-last classic" futhi umphakathi owamshayela ihlombe njengenkosi yohlobo lwamahlaya, kuma-opera okuqala ngqa wabonisa umusa nokukhalipha kokuphefumulelwa kwezingoma, ubumvelo nokukhanya kwesigqi, esinikeza ukucula, lapho amasiko ekhulu lesi-XNUMX enziwa buthaka, umlingiswa oqotho futhi ongumuntu. Umqambi, ezenza sengathi uzivumelanisa namasiko emidlalo yaseshashalazini yesimanje, noma kunjalo, angabavukela, avimbele, isibonelo, ukubandlulula okuhle kwabadlali noma ukumodareyitha.

Ukuqamba okusha okubaluleke kakhulu e-Italy ngaleso sikhathi kwakuyindima ebalulekile ye-orchestra, okwathi, ngenxa kaRossini, yaphila, yahambahamba futhi yacwebezela (siphawula uhlobo oluhle kakhulu lwama-overtures, oluhambisana ngempela nombono othile). I-penchant ejabulisayo yohlobo lwe-hedonism ye-orchestra ivela eqinisweni lokuthi insimbi ngayinye, esetshenziswa ngokuhambisana namandla ayo obuchwepheshe, ibonakala ngokucula ngisho nenkulumo. Ngesikhathi esifanayo, uRossini angagomela ngokuphepha ukuthi amagama kufanele asebenze umculo, hhayi okuphambene nalokho, ngaphandle kokuphazamisa incazelo yombhalo, kodwa, ngokuphambene nalokho, ukuwasebenzisa ngendlela entsha, esanda futhi evame ukushintshela kokujwayelekile. amaphethini anesigqi - kuyilapho i-orchestra ihambisana ngokukhululekile nenkulumo, idala ukukhululeka kwe-melodic ne-symphonic futhi yenza imisebenzi evezayo noma eyisithombe.

Ubuhlakani bukaRossini ngokushesha bazibonakalisa ohlotsheni lwe-opera seria ngokukhiqizwa kwe-Tancredi ngo-1813, okwaletha umbhali impumelelo yakhe yokuqala nomphakathi ngenxa yokutholwa komculo ngezingoma zabo ezipholile nezimnene, kanye nokuthuthukiswa kwezinsimbi okungavinjelwe, okukweletayo. umsuka wayo ohlotsheni lwamahlaya. Izixhumanisi phakathi kwalezi zinhlobo ezimbili ze-operatic empeleni zisondelene kakhulu e-Rossini futhi zinquma nokubukisa okumangalisayo kohlobo lwakhe olubucayi. Ngo-1813 ofanayo, waphinde wethula umsebenzi wobuciko, kodwa ohlotsheni lwamahlaya, ngomoya we-opera yamahlaya yaseNeapolitan - "Italian in Algiers". Lena i-opera ecebile ngama-echoes avela ku-Cimarosa, kodwa njengokungathi ivuselelwe amandla anesiphepho abalingiswa, ikakhulukazi abonakaliswe ku-crescendo yokugcina, eyokuqala nguRossini, ozoyisebenzisa njenge-aphrodisiac lapho edala izimo ezixakayo noma ezijabulisayo.

Umqondo we-caustic, wasemhlabeni womqambi uthola kumnandi ithuba lokunxanela i-caricature nomdlandla wakhe onempilo, ongamvumeli ukuba awele ku-conservatism ye-classicism noma ukweqisa kwe-romanticism.

Uzozuza umphumela ophelele wamahlaya ku-The Barber of Seville, futhi eminyakeni eyishumi kamuva uzofika ebuhleni be-The Comte Ory. Ngaphezu kwalokho, ohlotsheni olubucayi, uRossini uzohamba ngegxathu elikhulu ebheke ku-opera ehlala iphelele futhi ijule: isuka ku-"Lady of the Lake" ehlukahlukene, kodwa eshisekayo nengenangqondo iye enhlekeleleni ethi "Semiramide", ephetha isikhathi sase-Italy. womqambi, egcwele ukuphimisela okudidayo kanye nezigigaba ezingaqondakali ekunambitheni kweBaroque, ukuya “ekuvinjezelweni kweKorinte” namakhwaya ayo, ekuchazeni okunesizotha nesikhumbuzo esingcwele sika “Mose” futhi, ekugcineni, ku “William Tshela”.

Uma kusamangaza ukuthi uRossini uzuze lezi zimpumelelo emkhakheni we-opera eminyakeni engamashumi amabili nje kuphela, kuyamangaza ngokufanayo ukuthi ukuthula okwalandela isikhathi esithela kangaka futhi kwathatha iminyaka engamashumi amane, okubhekwa njengelinye lamacala angaqondakali kakhulu umlando wesiko, – kungaba yiqembu elicishe libe yisibonakaliso, elifanele, nokho, lo mqondo ongaqondakali, noma ngobufakazi bobuvila bakhe obuyinganekwane, yiqiniso, obuqanjiwe kunobungempela, uma kubhekwa ikhono lomqambi lokusebenza eminyakeni yakhe engcono kakhulu. Bambalwa abaqaphela ukuthi wayeya ngokuya ebanjwa ukulangazelela ukuba yedwa, okwakuvala ukuthambekela kokuzijabulisa.

URossini, nokho, akazange ayeke ukuqamba, nakuba akunqamula konke ukuxhumana nomphakathi jikelele, ekhuluma naye ikakhulukazi eqenjini elincane lezivakashi, ezivamile kusihlwa ekhaya lakhe. Ukugqugquzelwa kwemisebenzi yakamuva engokomoya nesekamelweni kuye kwavela kancane kancane ezinsukwini zethu, kwavusa isithakazelo sochwepheshe abangebona nje kuphela: kutholwe imisebenzi yobuciko yangempela. Ingxenye egqame kakhulu yefa likaRossini kuseyimidlalo yama-opera, lapho ayengumshayamthetho wesikole sase-Italy sesikhathi esizayo, edala inani elikhulu lamamodeli asetshenziswa abaqambi abalandelayo.

Ukuze kugqanyiswe kangcono izici zesici zethalente elikhulu kangaka, uhlelo olusha olubucayi lwama-opera akhe lwenziwa ekuqaleni kweSikhungo Sokufunda saseRossini ePesaro.

G. Marchesi (ihunyushwe ngu-E. Greceanii)

Amazwana ngo Rossini:

ama-opera - UDemetrio kanye nePolibio (Demetrio e Polibio, 1806, okuthunyelwe. 1812, tr. “Balle”, Rome), Inothi lesithembiso somshado (La cambiale di matrimonio, 1810, tr. “San Moise”, Venice), Strange case (L'equivoco stravagante, 1811, “Teatro del Corso” , Bologna), Happy Deception (L'inganno felice, 1812, tr “San Moise”, Venice), Cyrus in Babylon ( Ciro in Babilonia, 1812, tr “Municipale”, Ferrara), Silk Stairs (La scala di seta, 1812, tr “San Moise”, Venice), Touchstone (La pietra del parugone, 1812, tr “La Scala”, Milan) , Ithuba lenza isela, noma amapotimende Ahlanganisiwe (L'occasione fa il ladro, ossia Il cambio della valigia, 1812, tr San Moise, Venice), Signor Bruschino, noma Indodana Yengozi (Il signor Bruschino, ossia Il figlio per azzard1813o, , ibid.), Tancredi , 1813, tr Fenice, Venice), isiNtaliyane e-Algeria (L'italiana e-Algeri, 1813, tr San Benedetto, Venice), Aurelian ePalmyra (Aureliano ePalmira, 1813, tr “La Scala”, Milan), Turks in Italy (Il turco in Italia, 1814, ibid.), Sigismondo (Sigismondo, 1814, tr “Fenice”, Venice),Elizabeth, Queen of England (Elisabetta, regina d'Inghilterra, 1815, tr “San Carlo”, Naples), Torvaldo kanye noDorliska (Torvaldo eDorliska, 1815, tr “Balle”, Rome), Almaviva, noma Vain precaution (Almaviva, ossia L'inutile precauzione; eyaziwa ngaphansi kwegama elithi The Barber of Seville - Il barbiere di Siviglia, 1816, tr Argentina, Rome), Iphephandaba, noma Umshado Ngomncintiswano (La gazzetta, ossia Il matrimonio per concorso, 1816, tr Fiorentini, Naples), Othello, noma I-Venetian Moor (Otello, ossia Il toro di Venezia, 1816, tr “Del Fondo”, Naples), Cinderella, noma i-Triumph of Virtue (Cenerentola, ossia La bonta in trionfo, 1817, tr “Balle”, Rome) , isela laseMagpie (La gazza ladra, 1817, tr “La Scala”, Milan), Armida (Armida, 1817, tr “San Carlo”, Naples), Adelaide of Burgundy (Adelaide di Borgogna, 1817, t -r “Argentina”, Rome) , Moses eGibhithe (Mosè in Egitto, 1818, tr “San Carlo”, Naples; French. Umq. - ngaphansi kwesihloko esithi Moses noFaro, noma Ukuwela uLwandle Olubomvu - Moïse et Pharaon, ou Le passage de la mer rouge, 1827, "King. I-Academy of Music and Dance, Paris), Adina, or Caliph of Baghdad (Adina, ossia Il califfo di Bagdad, 1818, post. 1826, tr “San Carlo”, Lisbon), Ricciardo and Zoraida (Ricciardo e Zoraide, 1818, tr “San Carlo”, Naples), Hermione (Ermione, 1819, ibid), Eduardo and Christina ( Eduardo e Cristina, 1819, San Benedetto, Venice), Lady of the Lake (La donna del lago, 1819, tr San Carlo, Naples), Bianca and Faliero, noma Council of Three (Bianca e Faliero, ossia II consiglio dei tre, 1819, La Scala shopping mall, Milan), Mohammed II (Maometto II, 1820, San Carlo shopping mall, Naples; French. Umq. - ngaphansi kwesihloko esithi, Ukuvinjezelwa kweKorinte - Le siège de Corinthe, 1826, "Inkosi. i-pasticcio (ezicashunwe ezicashuniwe ze-opera kaRossini) – Ivanhoe (Ivanhoe, 1826, tr “Odeon”, Paris), iTestamente (Le testament, 1827, ibid.), Cinderella (1830, tr “Covent Garden”, London), Robert Bruce (1846) , Isikole Senkosi Somculo Nomdanso, Paris), Siya eParis (Andremo a Parigi, 1848, Theatre Italien, Paris), Ingozi Ehlekisayo (Un curioso accidente, 1859, ibid.); kwabacula ngabodwana, ikwaya kanye ne-orchestra – Ihubo Lokuzimela (Inno dell`Indipendenza, 1815, tr “Contavalli”, Bologna), ama-cantata – Aurora (1815, ed. 1955, Moscow), The Wedding of Thetis and Peleus (Le nozze di Teti e di Peleo, 1816, Del Fondo shopping mall, Naples), Inhlonipho eqotho (Il vero omaggio, 1822, Verona) , A happy omen (L'augurio felice, 1822, ibid), Bard (Il bardo, 1822), Holy Alliance (La Santa alleanza, 1822), Isikhalazo se-Muses ngokufa kuka-Lord Byron (Il pianto delie Muse in morte di Lord Byron, 1824, Almack Hall, London), Choir of the Municipal Guard of Bologna (Coro dedicato alla guardia civica di Bologna, edlalwa nguD. Liverani, 1848, Bologna), Ihubo likaNapoleon III kanye nabantu bakhe abangamaqhawe (Hymne b Napoleon et a son vaillant peuple, 1867, Palace of Industry, Paris), National Anthem (Ihubo lesizwe, iculo lesizwe lesiNgisi, 1867, Birmingham); ye-orchestra - ama-symphonies (D-dur, 1808; Es-dur, 1809, asetshenziswa njenge-overture to the farce Inothi lesithembiso somshado), u-Serenade (1829), i-Military March (i-Marcia militare, i-1853); yezinsimbi zomculo ne-orchestra – Ukuhluka kwamathuluzi ayisibopho F-dur (Variazioni a piu strumenti obligati, for clarinet, 2 violin, viol, cello, 1809), Ukwahluka C-dur (for clarinet, 1810); okwebhande lethusi - i-fanfare yamacilongo angu-4 (1827), amamashi angu-3 (1837, Fontainebleau), Crown of Italy (La corona d'Italia, fanfare for ochestra yezempi, ukunikela kuVictor Emmanuel II, 1868); ama-ensembles wezinsimbi zegumbi - ama-duets wezimpondo (1805), ama-waltze angu-12 emitshingo emi-2 (1827), ama-sonata angu-6 we-2 skr., vlc. kanye ne-k-bass (1804), izintambo ezi-5. amaquartets (1806-08), 6 quartet for flute, clarinet, horn and bassoon (1808-09), Itimu nokuhlukahluka komtshingo, icilongo, uphondo kanye ne-bassoon (1812); okwepiyano – Waltz (1823), Congress of Verona (Il congresso di Verona, 4 izandla, 1823), Neptune sika Palace (La reggia di Nettuno, 4 izandla, 1823), Soul of Purgatory (L'vme du Purgatoire, 1832); kwabacula yedwa kanye nekhwaya – cantata Isikhalazo seHarmony ngokufa kuka-Orpheus (Il pianto d'Armonia sulla morte di Orfeo, for tenor, 1808), Death of Dido (La morte di Didone, stage monologue, 1811, Spanish 1818, tr “San Benedetto” , I-Venice), i-cantata (yabacula yedwa abangu-3, ​​1819, tr “San Carlo”, Naples), i-Partenope ne-Higea (yabacula yedwa abangu-3, ​​1819, ibid.), Ukubonga (La riconoscenza, kwabacula yedwa abangu-4, 1821, ibid. okufanayo); yezwi ne-orchestra – Cantata The Shepherd’s Offing (Omaggio pastorale, for 3 voices, for the esinely of the bust of Antonio Canova, 1823, Treviso), Song of the Titans (Le chant des Titans, for 4 basses in united, 1859, Spanish 1861, eParis); okwezwi nopiyano – Cantatas Elie and Irene (for 2 voices, 1814) and Joan of Arc (1832), Musical Evenings (Soirees musicales, 8 ariettes kanye 4 duets, 1835); 3 wok quartet (1826-27); I-Soprano Exercises (Gorgheggi e solfeggi per soprano. Vocalizzi e solfeggi per rendere la voce agile ed apprendere a cantare secondo il gusto moderno, 1827); 14 ama-albhamu wok. kanye ne-instr. izingcezu nama-ensembles, ahlanganiswe ngaphansi kwegama. Izono zokuguga (Péchés de vieillesse: I-albhamu yezingoma zesiNtaliyane - I-albhamu nge-canto italiano, i-albhamu yesiFulentshi - I-albhamu francais, Izingcezu Ezivinjelwe - Iziqiwi ze-Morceaux, Iziphuzo ezine kanye nama-dessert amane - Quatre hors d'oeuvres et quatre mendiants, ye-fp., I-albhamu ye-fp ., skr., vlch., i-harmonium ne-horn; abanye abaningi, 1855-68, eParis, engashicilelwe); umculo wokomoya - Uthweswe iziqu (kumazwi angu-3 abesilisa, 1808), iMisa (lamazwi wesilisa, 1808, iSpanishi eRavenna), uLaudamus (c. 1808), Qui tollis (c. 1808), Solemn Mass (Messa solenne, joint. with P. Raimondi, 1819, Spanish 1820, Church of San Fernando, Naples), Cantemus Domino (ngamazwi ayi-8 anopiyano noma i-ogani, 1832, Spanish 1873), Ave Maria (for 4 voices, 1832, Spanish 1873), Quoniam (for bass and orchestra, 1832), Stabat mater (for 4 voices, choir and orchestra, 1831-32, 2nd ed. 1841-42, ehlelwe 1842, Ventadour Hall, Paris), 3 choirs – Faith, Hope, Mercy (La foi, L' esperance, La charite, yekwaya yabesifazane nopiyano, 1844), Tantum ergo (ye-tenor 2 nama-bass), 1847, Church of San Francesco dei Minori Conventuali, Bologna), About Salutaris Hostia (for 4 voices 1857), Little Solemn Mass (Petite messe solennelle, for 4 voices, choir, harmonium and upiano, 1863, Spanish 1864, endlini ka-Count Pilet-Ville, Paris), okufanayo (kwabacula yedwa, ikwaya kanye ne-orchestra., 1864, Spanish 1869, “Italien Ithiyetha”, eParis), Requ iem Melody (Chant de Requiem, ye-contralto nepiyano, 1864 XNUMX); umculo wemidlalo yeshashalazi – Oedipus in Colon (enhlekeleleni kaSophocles, izinombolo eziyi-14 zabacula ngabodwana, ikhwaya ne-orchestra, 1815-16?).