Composition

The collection Michotte takes approximately six running meters and consists of autographs, printed music, books, libretti, iconographical documents and objects. All these documents are connected to Rossini. The largest part consists of pieces from the Italian composer, supplemented by documents collected by Michotte.

The collection focuses mainly on Italian and French composers from the 19th century.

There are around 300 music manuscripts in the collection, of which about hundred with music by Rossini. Among these there are about 30 autographs.

Among the circa 40 manuscripts of other composers, there are some autographs too. Worth mentioning is the autograph score of the ‘6 Polonaises’, D 824, by Franz Schubert. How this pieces for piano four-handed by Schubert came in the collection of Rossini, is an unanswered question.

Autograph score of the ‘6 Polonaises’ for piano four-handed by Franz Schubert, D 824. FEM-043.

The remaining manuscripts, about 150, take a separate place, because they arrived in the collection via Isabella Colbran (1785-1845). She was a well-known prima donna and the first wife of Rossini. Her scores were bound in 1911 with a clear label ‘Répertoire de la Colbran’ in gold print on the back of the books.

The ‘Répertoire de la Colbran’, scores from the 18th and 19th century, bound in 1911.

The collection contains approximately 420 printed scores, of which 120 with works by Rossini. The other compositions are mostly Italian and French editions from the 19th century. Rather unexpected for an Italian opera composer, is Rossini’s subscription to the collected works edition of Johann Sebastian Bach. This prestigious edition project, existing of 47 volumes, was initiated in 1851 and lasted till 1899. ‘Joachim Rossini’ was the only Italian composer that subscribed on the series. The last volume from his collection has the number 16 and dates from 1818, the year of his death.

Volumes of the complete works of J. S. Bach, acquired by Rossini, 1847-1858. FEM-709.     Fragment of the list of subscribers of the complete works edition of J. S. Bach, with the name of ‘Joachim Rossini’ in the Paris’ list. FEM-709.

Besides music, the collection also contains texts in manuscripts and imprints.

There are approximately 200 manuscripts, of which about 100 autograph letters. The texts are very diverse: there are autograph pieces such as invitations and programs, next to an content table of the ‘Péchés de vieillesse’, some odes to the composer and an impressive list of the visitors at the deathbed of Rossini, and condolences. About 30 letters are written by Rossini, the others are addressed to him.

Content table of the ‘Péchés de vieillesse’ in Rossini’s handwriting.     Content table of the ‘Péchés de vieillesse’ in Rossini’s handwriting.

The collection contains 76 documents with printed text. Their content is also very diverse. Some pieces belonged undoubtedly to the private library of Rossini, like for example ‘La Divina Commedia’ by Dante, edited in 1818. Many of the editions are dedicated to Rossini. This dedication is printed, or a manuscript message from the author to Rossini.

‘L’Art du chant’ by Duprez, Paris 1846, with an autograph dedication by the author to Rossini. B-Bc P-1-16.     ‘L’Art du chant’ by Duprez, Paris 1846, with an autograph dedication by the author to Rossini. B-Bc P-1-16.

‘Stabat mater’ by Gaetano Bonetti, with a dedication to Rossini on the cover. FEM-810.

Rossini’s personal copy of Dante’s ‘Divina Commedia’ in the original bindings from 1818. At the left, more recent book bindings ordered by Michotte. FEM-791.

A ‘new and pleasent Chinese game’, an edition from Milano, with the initials of Isabella Colbran on the cover. FEM-847.     A ‘new and pleasent Chinese game’, an edition from Milano, with the initials of Isabella Colbran on the cover. FEM-847.

Worth mentioning are the circa 35 libretti of the operas by Rossini, collected by his father Giuseppe Rossini. Each libretto has a decorative, paper binding and a charming label in handwriting.

Giuseppe Rossini (ca. 1760-1839), father of Gioachino, collected the libretti of the premieres of the operas and cantatas of his son. He gave these booklets a simple paper binding, usually with color printing, on which he applied self-made labels. FEM-858-863.     Giuseppe Rossini (ca. 1760-1839), father of Gioachino, collected the libretti of the premieres of the operas and cantatas of his son. He gave these booklets a simple paper binding, usually with color printing, on which he applied self-made labels. FEM-858-863.

Iconographic pieces are also well represented in the collection with no less than 140 items. Portraits of Rossini are very well represented, mostly engravings, lithographs and photos, besides a number of caricatures of the composer and a portrait, oil on canvas. There is also the medal of the centenary of Rossini’s birth and a sweet, small bust.

Anonymous caricature by Rossini, based on an image by Jean-Pierre Dantan (1800-1869) that clearly refers to the culinary reputation of Rossini. He is sitting in a plate of pasta, with a winch in the arms. On the base stands a chicken on the spit on the left, on the right a musical staff. To see Rossini's thoughtful look, a difficult choice for him. FEM-185.

The silver-plated medal in the ivory box was made in Milan in 1892, on the occasion of the centennial of Rossini's birth in 1792. FEM-857.     The silver-plated medal in the ivory box was made in Milan in 1892, on the occasion of the centennial of Rossini's birth in 1792. FEM-857.

Rossini with Roman gowns, small bust from the collection Michotte. FEM-856.

The collection contains also about ten objects. The most striking object is the fan-shaped vase, from around 1850, with seven musical quotes from Rossini’s famous works. The white swan in front of the portrait in terracotta is a very clear reference to his nickname, the ‘Swan of Pesaro’. The Michotte collection contains a number of Rossini utensils, such as this stylish letter opener and his pince-nez.

Other pieces have a strong sentimental value, like the palm branch of Rossini’s death bed and some flowers, originating from the wreaths when the corpse of Rossini was removed to the Santa Croce church in Firenze.

In the center is the bas-relief with Rossini’s terracotta portrait. The composer is also represented allegorically by the white swan and the coat of arms of his hometown: a very clear reference to his nickname 'the swan of Pesaro'. Rossini's best-known works are shown around the central plaque. FEM-851.     In the center is the bas-relief with Rossini’s terracotta portrait. The composer is also represented allegorically by the white swan and the coat of arms of his hometown: a very clear reference to his nickname 'the swan of Pesaro'. Rossini's best-known works are shown around the central plaque. FEM-851.

Stylish letter opener of Rossini: a putto in bronze on a natural stone sphere. FEM-866.     Pince-nez of Rossini, in a velvet box, commissioned by Michotte. FEM-855.

Palm branch of Rossini’s death bed. FEM-921.     Michotte's last tangible memory from 1887 to the Italian maestro: dried flowers originating from the deposition of Rossini's remains in the Santa Croce in Florence, Rossini's final resting place. FEM-262.