The archetype of Rossini's overture is defined in order to test attributions of dubious pedigree from his first period of compositional practice (1808-1813). Rossini's self-borrowings in his overtures are examined indirectly but in great detail since they are a very prominent characteristic of his compositional style and can help to solve matters of authorship. An alternate overture to La scala di seta is shown not to be by Rossini on the basis of its borrowing technique. This overture quotes in full two melodies that will appear in later operas by Rossini and Gossett shows that Rossini never uses melodies from an earlier overture in the body of a future opera unless he intends to preface the latter with the same overture. A table with comments about Rossini's self-borrowings is shown on page 15.

Works: Rossini: Zelmira (3), Otello (7, 8), Il Turco in Italia (8), Sigismondo (8), Elisabetta, regina d'Inghilterra (8), Matilde di Sahbran (8), Il barbiere di Siviglia (12, 18), La cambiale di matrimonio (14, 15, 24), L'inganno felice (14), Ciro in Babilonia (14), Il signor Bruschino (15, 24, 25), Adelaide di Borgogna (15), Tancredi (15), Aureliano in Palmira (18), alternative overture to La scala di Seta (22), Bianca e Falliero (22), Le siège de Corinthe (30), L'equivoco stravagante (30, 31).

Index Classifications: 1800s

Contributed by: Luiz Fernando Lopes