Gioachino Rossini |
Gioachino Rossini
Amma shuɗiyar yamma ta yi duhu, lokaci ya yi da za mu fara wasan opera ba da daɗewa ba; Akwai Rossini mai ban sha'awa, masoyi na Turai - Orpheus. Yin watsi da suka mai tsanani Shi ne na har abada; har abada sabo. Ya zuba sauti - suna tafasa. Suna kwarara, suna konewa. Kamar sumbatar matasa Komai yana cikin ni'ima, a cikin harshen wuta na ƙauna, Kamar ƙoramar rairayi da ruwan gwal… A. Pushkin
Daga cikin Italiyanci composers na XIX karni. Rossini ya mamaye wuri na musamman. Farkon hanyar kirkire-kirkirensa ya fado ne a daidai lokacin da fasahar wasan kwaikwayo ta Italiya, wacce ba da dadewa ba ta mamaye Turai, ta fara rasa kasa. Opera-buffa tana nutsewa cikin nishadi marar hankali, kuma opera-seria ta koma cikin rawar da ba ta da ma'ana. Rossini ba wai kawai ya sake farfado da wasan opera na Italiyanci ba, har ma yana da tasiri mai yawa ga ci gaban fasahar opera ta Turai na karnin da ya gabata. "Divine Maestro" - wanda ake kira babban mawallafin Italiyanci G. Heine, wanda ya gani a Rossini "rana ta Italiya, yana zubar da haskoki na sonorous a duniya."
An haifi Rossini a cikin dangin matalaucin mawaƙin makaɗa da mawaƙin opera na lardin. Tare da ƙungiyar tafiya, iyayen sun yi yawo a cikin birane daban-daban na ƙasar, kuma mawaƙin nan gaba tun daga ƙuruciya ya riga ya saba da rayuwa da al'adun da suka mamaye gidajen opera na Italiya. Hankali mai ƙwazo, tunani mai izgili, harshe mai kaifi ya kasance tare a cikin yanayin ɗan ƙaramin Gioacchino tare da waƙar kida, kyakkyawan ji da ƙwaƙwalwar ban mamaki.
A shekara ta 1806, bayan shekaru da yawa na nazarin kide-kide da wake-wake, Rossini ya shiga Bologna Music Lyceum. A nan gaba mawaki ya yi karatu cello, violin da piano. Azuzuwa tare da shahararren mawakin coci S. Mattei a cikin ka'idar da abun da ke ciki, ilimin kai mai zurfi, nazarin kida na J. Haydn da WA Mozart - duk wannan ya ba Rossini damar barin lyceum a matsayin mawaƙin al'ada wanda ya kware da fasaha. na tsarawa da kyau.
Riga a farkon aikinsa, Rossini ya nuna wani musamman ma'anar penchant don wasan kwaikwayo na kiɗa. Ya rubuta wasan opera na farko Demetrio da Polibio yana da shekaru 14. Tun daga shekara ta 1810, mawaƙin ya kasance yana shirya wasan opera da yawa na nau'ikan nau'ikan nau'ikan nau'ikan iri daban-daban a kowace shekara, a hankali yana samun shahara a cikin da'irar opera mai fa'ida kuma ya mamaye matakan manyan gidajen wasan kwaikwayo na Italiya: Fenice a Venice. , San Carlo a Naples, La Scala a Milan.
Shekarar 1813 ta kasance wani juyi a cikin aikin wasan kwaikwayo na mawaki, 2 abubuwan da aka tsara a waccan shekarar - "Italiyanci a Algiers" (onepa-buffa) da kuma "Tancred" (wasan kwaikwayo na jaruntaka) - ya ƙayyade manyan hanyoyin aikinsa na gaba. Nasarar ayyukan ba kawai ta hanyar kida mai kyau ba ne, har ma da abubuwan da ke cikin libretto, cike da ra'ayoyin kishin kasa, don haka ya dace da yunkurin 'yanci na kasa don sake hadewar Italiya, wanda ya bayyana a wancan lokacin. Kukan jama'a da operas na Rossini ya haifar, ƙirƙirar "Waƙar Waƙar Independence" bisa ga buƙatar masu kishin ƙasa na Bologna, da kuma shiga cikin zanga-zangar 'yan gwagwarmaya a Italiya - duk wannan ya haifar da 'yan sanda na sirri na dogon lokaci. kulawa, wanda aka kafa don mawaki. Bai ɗauki kansa a matsayin mai son siyasa ba kuma ya rubuta a ɗaya cikin wasiƙunsa: “Ban taɓa saka baki a siyasa ba. Ni mawaƙi ne, kuma ban taɓa ganin na zama wani ba, ko da kuwa na sami damar shiga cikin abubuwan da ke faruwa a duniya, musamman ma game da makomar ƙasara.
Bayan "Italiyanci a Algiers" da "Tancred" aikin Rossini yayi sauri ya hau sama kuma bayan shekaru 3 ya kai daya daga cikin kololuwa. A farkon 1816, da farko na The Barber na Seville ya faru a Roma. An rubuta a cikin kwanaki 20 kacal, wannan opera ba wai kawai babbar nasara ce ta gwanintar wasan barkwanci-satirical na Rossini ba, har ma da maƙasudi a kusan karni na ci gaban nau'in opera-buifa.
Tare da Barber na Seville, shahararren mawaki ya wuce Italiya. Kyakkyawan salon Rossini ya wartsake fasahar Turai tare da fara'a, kyalkyali, sha'awar kumfa. Rossini ya rubuta: "My The Barber yana ƙara samun nasara a kowace rana, har ma ga ƙwararrun abokan adawar sabuwar makarantar ya sami damar tsotsewa don su, ba tare da son rai ba, su fara son wannan mai wayo kuma. Kara." Halayyan kishin kishin kasa da kishin Rossini na jama'a masu kishin kasa da kuma na bogeois sun ba da gudummawar fitowar abokan adawa da yawa ga mawaki. Koyaya, a cikin matsalar fasaha ta fasaha ta Turai babu kuma mummunan taro na aikinsa. E. Delacroix, O. Balzac, A. Musset, F. Hegel, L. Beethoven, F. Schubert, M. Glinka sun kasance ƙarƙashin sigar kiɗan Rossin. Kuma ko da KM Weber da G. Berlioz, waɗanda suka mamaye matsayi mai mahimmanci dangane da Rossini, ba su yi shakkar hazakarsa ba. "Bayan mutuwar Napoleon, akwai wani mutum da ake magana akai akai a ko'ina: a Moscow da Naples, a London da Vienna, a Paris da Calcutta," Stendhal ya rubuta game da Rossini.
A hankali mawaƙin ya rasa sha'awar onepe-buffa. An rubuta ba da daɗewa ba a cikin wannan nau'in, "Cinderella" ba ya nuna wa masu sauraro sababbin ayoyin ƙirƙira na mawaki. Wasan opera The Thieving Magpie, wanda aka haɗa a cikin 1817, ya wuce iyakar nau'in wasan ban dariya gaba ɗaya, ya zama abin koyi na wasan kwaikwayo na gaskiya na yau da kullun. Tun daga wannan lokacin, Rossini ya fara kula da wasan kwaikwayo na jaruntaka-ban mamaki. Bayan Othello, ayyukan almara na tarihi sun bayyana: Musa, Lady of the Lake, Mohammed II.
Bayan juyin juya halin Italiya na farko (1820-21) da mugunyar da sojojin Austriya suka yi, Rossini ya tafi yawon shakatawa zuwa Vienna tare da ƙungiyar opera ta Neapolitan. Nasarar Viennese ta ƙara ƙarfafa shaharar mawakin a Turai. Komawa na ɗan gajeren lokaci zuwa Italiya don samar da Semiramide (1823), Rossini ya tafi London sannan zuwa Paris. Yana zaune a can har zuwa 1836. A cikin Paris, mawakin ya jagoranci gidan wasan kwaikwayo na Italiyanci, yana jawo hankalin matasan 'yan'uwansa suyi aiki a ciki; sake yin aikin babbar operas operas Musa da Mohammed II (an yi na ƙarshe a birnin Paris a ƙarƙashin taken Siege na Korintiyawa); ya rubuta, wanda Opera Comique ya ba da izini, kyakkyawan opera Le Comte Ory; kuma a karshe, a cikin watan Agusta 1829, ya sanya a kan mataki na Grand Opera na karshe gwaninta - opera "William Tell", wanda ya yi babban tasiri a kan m ci gaban da Genre na Italian jaruntaka opera a cikin aikin V. Bellini. , G. Donizetti da G. Verdi.
"William Tell" ya kammala aikin wasan kida na Rossini. Shiru na operatic na hazikin maestro da ya biyo shi, wanda ke da operas kusan 40 a bayansa, mutanen zamanin su ne suka kira shi sirrin karni, wanda ke kewaye da wannan yanayin da kowane irin zato. Mawaƙin da kansa ya rubuta daga baya: “Yaya da wuri, sa’ad da nake matashi da balagagge, na fara yin waƙa, kamar yadda da wuri, kafin kowa ya hango shi, na daina rubutawa. Yana faruwa koyaushe a rayuwa: duk wanda ya fara da wuri dole ne, bisa ga dokokin yanayi, ya gama da wuri.
Duk da haka, ko da bayan daina rubuta operas, Rossini ya ci gaba da kasancewa a tsakiyar hankalin jama'ar kiɗa na Turai. Dukan birnin Paris sun saurari kalmar mawaƙin da ta dace, yanayinsa ya ja hankalin mawaƙa, mawaƙa, da masu fasaha kamar maganadisu. R. Wagner ya sadu da shi, C. Saint-Saens ya yi alfahari da sadarwarsa tare da Rossini, Liszt ya nuna ayyukansa ga maestro Italiyanci, V. Stasov ya yi magana da sha'awar saduwa da shi.
A cikin shekarun da suka biyo bayan William Tell, Rossini ya ƙirƙiri babban aikin ruhaniya Stabat mater, Little Solemn Mass da Song of the Titans, asalin tarin ayyukan murya da ake kira Maraice Musical, da zagayowar guntun piano masu ɗauke da taken wasa na Zunuban Tsohon Shekaru . Daga 1836 zuwa 1856 Rossini, kewaye da daukaka da girmamawa, ya zauna a Italiya. A nan ya jagoranci Bologna Musical Lyceum kuma ya tsunduma cikin ayyukan koyarwa. Ya koma Paris, ya zauna a can har zuwa ƙarshen kwanakinsa.
Shekaru 12 bayan mutuwar mawakin, an tura tokarsa zuwa mahaifarsa kuma aka binne shi a cikin cocin Santa Croce na Florence, kusa da ragowar Michelangelo da Galileo.
Rossini ya ba da dukkan dukiyarsa don amfanin al'adu da fasaha na garinsu na Pesaro. A zamanin yau, ana gudanar da bukukuwan opera na Rossini akai-akai a nan, daga cikin mahalarta wanda mutum zai iya saduwa da sunayen manyan mawakan zamani.
I. Vetlitsyna
- Hanyar kirkira ta Rossini →
- Binciken fasaha na Rossini a cikin filin wasan opera mai mahimmanci →
An haife shi a cikin dangin mawaƙa: mahaifinsa mai busa ƙaho ne, mahaifiyarsa mawaƙa ce. Ya koyi kunna kayan kida iri-iri, waƙa. Ya karanta abun da ke ciki a Makarantar Kiɗa ta Bologna a ƙarƙashin jagorancin Padre Mattei; bai kammala karatun ba. Daga 1812 zuwa 1815 ya yi aiki a gidan wasan kwaikwayo na Venice da Milan: "Italiya a Algiers" ya sami nasara ta musamman. Ta hanyar umarni na impresario Barbaia (Rossini ya auri budurwarsa, soprano Isabella Colbran), ya kirkiro wasan kwaikwayo goma sha shida har zuwa 1823. Ya koma Paris, inda ya zama darektan Théâtre d'Italien, mawallafin farko na sarki kuma babban sufeto. na waka a Faransa. Ya ce ban kwana da ayyukan mawaƙin opera a 1829 bayan samar da "William Tell". Bayan rabuwa da Colbrand, ya auri Olympia Pelissier, ya sake tsara Bologna Music Lyceum, ya zauna a Italiya har zuwa 1848, lokacin da guguwar siyasa ta sake kawo shi zuwa Paris: Villa a Passy ya zama ɗaya daga cikin cibiyoyin fasaha na rayuwa.
Wanda ake kira "classic classic" wanda jama'a suka yaba a matsayin sarkin wasan kwaikwayo, a cikin wasan kwaikwayo na farko ya nuna alheri da haske na wahayi na melodic, dabi'a da haske na rhythm, wanda ya ba da raira waƙa, a cikin abin da al'adun karni na XNUMX suka raunana, mafi gaskiya da halin mutum. Mawaƙin, ya yi kamar ya dace da al'adun wasan kwaikwayo na zamani, zai iya, duk da haka, ya yi musu tawaye, ya hana, alal misali, halin kirki na masu yin wasan kwaikwayo ko daidaita shi.
Mafi mahimmancin ƙirƙira ga Italiya a wancan lokacin shine muhimmiyar rawa na ƙungiyar makaɗa, wanda, godiya ga Rossini, ya zama mai rai, wayar hannu da haske (mun lura da kyakkyawan tsari na overtures, wanda ya dace da wani tsinkaye). Ƙaƙwalwar farin ciki don wani nau'i na hedonism na orchestral ya samo asali ne daga gaskiyar cewa kowane kayan aiki, wanda aka yi amfani da shi daidai da kwarewar fasaha, an gano shi tare da rera waƙa har ma da magana. A lokaci guda, Rossini na iya tabbatar da cewa kalmomin ya kamata su bauta wa kiɗa, kuma ba akasin haka ba, ba tare da ɓata ma'anar rubutun ba, amma, akasin haka, yin amfani da shi a cikin sabuwar hanyar, sabo kuma sau da yawa yana canzawa zuwa al'ada. tsarin rhythmic – yayin da ƙungiyar makada ke raka magana da yardar rai, ƙirƙirar karin sautin waƙa da jin daɗi da kuma yin ayyuka na bayyana ko hoto.
Mai hazaka na Rossini nan da nan ya nuna kansa a cikin nau'in opera seria tare da samar da Tancredi a cikin 1813, wanda ya kawo wa marubucin nasararsa ta farko tare da jama'a godiya ga binciken waƙa tare da maɗaukakiyar ƙaƙƙarfan waƙoƙin su, da haɓakar kayan aiki marasa ƙarfi, wanda ke bin bashi asalinsa zuwa nau'in ban dariya. Haɗin kai tsakanin waɗannan nau'ikan operatic guda biyu suna da kusanci sosai a cikin Rossini har ma suna tantance ban mamaki na babban nau'in sa. A cikin wannan 1813, ya kuma gabatar da wani babban zane, amma a cikin nau'in wasan kwaikwayo, a cikin ruhun tsohuwar wasan kwaikwayo na Neapolitan - "Italiyanci a Algiers". Wannan opera ne mai arziki a cikin echoes daga Cimarosa, amma kamar yadda idan an sami rai ta hanyar guguwar makamashi na haruffa, musamman wanda aka bayyana a ƙarshen crescendo, na farko da Rossini, wanda zai yi amfani da shi azaman aphrodisiac lokacin ƙirƙirar yanayi mai ban tsoro ko rashin hankali.
Mawaƙin, tunanin duniya na mawaƙi yana samun nishaɗi don sha'awar caricature da kyakkyawar sha'awarsa, wanda ba ya ba shi damar faɗuwa cikin ko dai ra'ayin gargajiya ko kuma matuƙar soyayya.
Zai sami kyakkyawan sakamako mai ban dariya a cikin The Barber of Seville, kuma bayan shekaru goma zai zo ga kyawun The Comte Ory. Bugu da ƙari, a cikin nau'i mai mahimmanci, Rossini zai motsa tare da babban ci gaba zuwa wasan kwaikwayo na opera mafi girma da zurfi: daga nau'i-nau'i, amma ardent da nostalgic "Lady of the Lake" zuwa bala'i "Semiramide", wanda ya ƙare lokacin Italiyanci. na mawaƙi, cike da ɗimbin murya mai ban tsoro da abubuwan ban mamaki a cikin dandano na Baroque, zuwa "Siege na Korinti" tare da ƙungiyar mawaƙanta, ga ƙayyadaddun bayanin da kuma abin tunawa mai tsarki na "Musa" kuma, a ƙarshe, zuwa "William Tell".
Idan har yanzu abin mamaki ne cewa Rossini ya sami wadannan nasarori a fagen wasan opera a cikin shekaru ashirin kawai, yana da ban sha'awa daidai da cewa shuruwar da ta biyo bayan irin wannan lokaci mai albarka kuma ya dade har tsawon shekaru arba'in, wanda aka yi la'akari da daya daga cikin mafi karancin fahimta a cikin opera. tarihi na al'adu, - ko dai ta hanyar wani kusan nuna detachment, cancanta, duk da haka, na wannan m hankali, ko kuma ta hanyar shaida na almara kasala, ba shakka, mafi almara fiye da na gaske, ba da mawaki iya aiki a cikin mafi kyau shekaru. Kadan ne suka lura cewa sha'awar kawaici, yana ƙara kama shi, yana cike da sha'awa.
Rossini, duk da haka, bai daina yin waƙa ba, ko da yake ya yanke duk wata hulɗa da jama'a, yana magana da kansa musamman ga wasu ƙananan baƙi, masu zaman kansu a maraice na gidansa. Haƙiƙa na sabbin ayyukan ruhaniya da ɗaki sun bayyana a hankali a cikin kwanakinmu, yana tada sha'awar ba kawai masu ba da labari ba: an gano ainihin ƙwararrun masana. Mafi kyawun ɓangaren gadon Rossini har yanzu operas ne, wanda ya kasance ɗan majalisa na makarantar Italiya ta gaba, yana ƙirƙirar adadi mai yawa na samfuran da mawaƙa na gaba suka yi amfani da su.
Domin ya fi dacewa da fasalulluka na irin wannan babban hazaka, an gudanar da wani sabon bugu na operas mai mahimmanci a yunƙurin Cibiyar Nazarin Rossini a Pesaro.
G. Marchesi (E. Greceanii ya fassara)
Rubuce-rubucen Rossini:
wasan kwaikwayo - Demetrio da Polibio (Demetrio e Polibio, 1806, post. 1812, zuw. “Balle”, Rome), Bayanan alƙawari na aure (La cambiale di matrimonio, 1810, tr. "San Moise", Venice), M case (L'equivoco stravagante, 1811, "Teatro del Corso" , Bologna), Happy yaudara (L'inganno felice, 1812, tr "San Moise", Venice), Cyrus a Babila ( Ciro in Babylonia, 1812, tr “Municipale”, Ferrara), Matakan Silk (La scala di seta, 1812, tr “San Moise”, Venice), Touchstone (La pietra del parugone, 1812, tr “La Scala”, Milan) , Chance sa barawo, ko Gauraye akwatuna (L'occasione fa il ladro, ossia Il cambio della valigia, 1812, tr San Moise, Venice), Signor Bruschino, ko Accidental Son (Il signor Bruschino, ossia Il figlio per azzardo, 1813 , Ibid.), Tancredi , 1813, tr Fenice, Venice), Italiyanci a Aljeriya (L'italiana a Algeri, 1813, tr San Benedetto, Venice), Aurelian a Palmyra (Aureliano a Palmira, 1813, tr "La Scala", Milan), Turkawa a Italiya (Il turco a Italiya, 1814, ibid.), Sigismondo (Sigismondo, 1814, tr “Fenice, Venice), Elizabeth, Sarauniyar Ingila (Elisabetta, regina d'Inghilterra, 1815, tr “San Carlo”, Naples), Torvaldo da Doriska (Torvaldo eDorliska, 1815, tr “Balle”, Rome), Almaviva, ko Rigakafin banza (Almaviva, ossia L'inutile precauzione; da aka sani a ƙarƙashin sunan The Barber na Seville - Il barbiere di Siviglia, 1816, tr Argentina, Rome), Jarida, ko Aure ta Gasar (La gazzetta, ossia Il matrimonio per concorso, 1816, tr Fiorentini, Naples), Othello, ko da Venetian Moor (Otello, ossia Il toro di Venezia, 1816, tr “Del Fondo”, Naples), Cinderella, ko Nasarar nagarta (Cenerentola, ossia La bonta in trionfo, 1817, tr “Balle”, Rome) , Magpie ɓarawo (La gazza ladra, 1817, tr “La Scala”, Milan), Armida (Armida, 1817, tr “San Carlo”, Naples), Adelaide na Burgundy (Adelaide di Borgogna, 1817, t -r “Argentina”, Rome) , Musa a Masar (Mosè a cikin Egitto, 1818, tr “San Carlo”, Naples; Faransanci. Ed. - karkashin lakabin Musa da Fir'auna, ko Ketare Bahar Maliya - Moïse et Fir'auna, ou Le passage de la mer rouge, 1827, "Sarki. Academy of Music and Dance, Paris), Adina, ko Halifan Baghdad (Adina, ossia Il califfo di Bagdad, 1818, post. 1826, tr “San Carlo”, Lisbon), Ricciardo da Zoraida (Ricciardo e Zoraide, 1818, tr “San Carlo”, Naples), Hermione (Ermione, 1819, ibid), Eduardo da Christina (Eduardo e Cristina, 1819, tr) San Benedetto, Venice), Lady of the Lake (La donna del lago, 1819, tr San Carlo, Naples), Bianca da Faliero, ko Majalisar Uku (Bianca e Faliero, ossia II consiglio dei tre, 1819, La Scala shopping. mall, Milan), Mohammed II (Maometto II, 1820, San Carlo shopping mall, Naples; Faransanci. Ed. – ƙarƙashin taken Ƙarƙashin Ƙarƙashin Koranti – Le siège de Korinti, 1826, “Sarki. pasticicio (daga sassa na operas na Rossini) – Ivanhoe (Ivanhoe, 1826, tr “Odeon”, Paris), Testament (Le testament, 1827, ibid.), Cinderella (1830, tr “Covent Garden”, London), Robert Bruce (1846) , King's Academy of Music and Dance, Paris), Za mu je Paris (Andremo a Parigi, 1848, Theatre Italy, Paris), Abin ban dariya (Un curioso accidente, 1859, ibid.); ga mawakan solo, mawaka da makada - Waƙar 'Yanci (Inno dell'Indipendenza, 1815, tr "Contavalli", Bologna), cantatas – Aurora (1815, ed. 1955, Moscow), Bikin aure na Thetis da Peleus (Le nozze di Teti e di Peleo, 1816, Del Fondo shopping mall, Naples), Sahihanci haraji (Il vero omaggio, 1822, Verona) , A farin ciki (L'augurio felice, 1822, ibid), Bard (Il bardo, 1822), Holy Alliance (La Santa alleanza, 1822), Kokarin Musawa game da mutuwar Ubangiji Byron (Il pianto delie Muse a morte di Ubangiji Byron, 1824, Almack Hall, London), Mawaƙa na Municipal Guard na Bologna (Coro dedicato alla guardia civica di Bologna, kayan aiki da D. Liverani, 1848, Bologna), Waƙar yabo ga Napoleon III da jarumtakarsa (Hymne b Napoleon et al. a son vaillant peuple, 1867, Palace of Industry, Paris), National Anthem (Waƙar waƙar ƙasa, waƙoƙin ƙasa na Ingilishi, 1867, Birmingham); don makada - wasan kwaikwayo (D-dur, 1808; Es-dur, 1809, wanda aka yi amfani da shi azaman overture zuwa farce A promissory note for aure), Serenade (1829), Maris soja (Marcia militare, 1853); ga kayan kida da makada - Bambance-bambancen kayan aikin wajibi F-dur (Variazioni a piu strumenti obligati, don clarinet, 2 violins, viol, cello, 1809), Bambance-bambancen C-dur (na clarinet, 1810); don band na tagulla – fanfare for 4 ƙaho (1827), 3 maci (1837, Fontainebleau), Crown na Italiya (La corona d'Italia, fanfare for soja makada, miƙa wa Victor Emmanuel II, 1868); dakin kayan aiki ensembles - Duets don ƙaho (1805), 12 waltzes don sarewa 2 (1827), 6 sonatas don 2 skr., vlc. da k-bass (1804), igiyoyi 5. quartets (1806-08), 6 quartets don sarewa, clarinet, ƙaho da bassoon (1808-09), Jigo da Bambance-bambance don sarewa, ƙaho, ƙaho da bassoon (1812); don piano – Waltz (1823), Congress of Verona (Il congresso di Verona, 4 hannaye, 1823), Neptune ta Palace (La reggia di Nettuno, 4 hannaye, 1823), Soul of Purgatory (L'vme du Purgatoire, 1832); ga mawakan solo da mawaka – Cantata Kokawar Harmony game da mutuwar Orpheus (Il pianto d'Armonia sulla morte di Orfeo, for tenor, 1808), Mutuwar Dido (La morte di Didone, mataki monologue, 1811, Spanish 1818, tr “San Benedetto” , Venice), cantata (na 3 soloists, 1819, tr "San Carlo", Naples), Partenope da Higea (na 3 soloists, 1819, ibid.), Godiya (La riconoscenza, ga 4 soloists, 1821, ibid. iri ɗaya); don murya da makada - Cantata Bayar da Makiyayi (Omaggio pastorale, don muryoyin 3, don buɗewar bust na Antonio Canova, 1823, Treviso), Song of the Titans (Le chant des Titans, don 4 basses a unison, 1859, Spanish 1861, Paris); don murya da piano - Cantatas Elie da Irene (na 2 muryoyin, 1814) da Joan na Arc (1832), Musical Maraice (Soirees musicales, 8 ariettes da 4 duets, 1835); 3 wok kwata (1826-27); 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 wok albums. da instr. guda da ensembles, united karkashin sunan. Zunubai na tsufa (Péchés de vieillesse: Album na waƙoƙin Italiyanci - Album per canto italiano, Kundin Faransanci - Album francais, Yankakken yanki - ajiyar Morceaux, Abincin abinci guda huɗu da kayan zaki huɗu - Quatre hors d'oeuvres et quatre mendiants, don fp., Album na fp., skr., vlch., harmonium da ƙaho; da yawa wasu, 1855-68, Paris, ba a buga ba); kiɗa na ruhaniya – Graduate (don muryoyin maza 3, 1808), Mass (na muryoyin maza, 1808, Mutanen Espanya a cikin Ravenna), Laudamus (c. 1808), Qui tollis (c. 1808), Solemn Mass (Messa solenne, haɗin gwiwa. tare da P. Raimondi, 1819, Mutanen Espanya 1820, Cocin San Fernando, Naples), Cantemus Domino (don muryoyin 8 tare da piano ko sashin jiki, 1832, Mutanen Espanya 1873), Ave Maria (don muryoyin 4, 1832, Mutanen Espanya 1873), Quoniam (na bass da ƙungiyar makaɗa, 1832), Stabat mater (don muryoyi 4, mawaƙa da makaɗa, 1831-32, eded na biyu. 2-1841, editan 42, Hall Ventadour, Paris), ƙungiyar mawaƙa 1842 - Bangaskiya, Fata, Rahama (La foi, L' esperance, La sadaka, ga mawaƙa na mata da piano, 3), Tantum ergo (na 1844 tenors da bass), 2, Church of San Francesco dei Minori Conventuali, Bologna) , Game da Salutaris Hosia (don 1847 muryoyin 4), Little Solemn Mass (Petite messe solennelle, don muryoyin 1857, mawaƙa, harmonium da piano, 4, Mutanen Espanya 1863, a cikin gidan Count Pilet-Ville, Paris), iri ɗaya (ga mawaƙa, mawaƙa da makaɗa., 1864, Mutanen Espanya 1864, “Italian Gidan wasan kwaikwayo", Paris), Requ iem Melody (Chant de Requiem, don contralto da piano, 1869 1864); kiɗa don wasan kwaikwayo na wasan kwaikwayo - Oedipus a cikin Colon (zuwa bala'in Sophocles, lambobi 14 don soloists, mawaƙa da makaɗa, 1815-16?).
