By Richard Taruskin
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Additional info for The Oxford History of Western Music, Volume 3: Music in the 19th Century
25 Inevitably, Rossini had named Bellini's greatest and most famous aria, Norma's cavatina in the opera that bears her name. And what was most telling was the fact that he referred to it not by the opening words of the cabaletta, but by those of the cantabile, for that was precisely the difference between the opera seria of Rossini's generation and the romantic melodramma of Bellini's. The great music now was the slow music, a music rarefied into fantastic melodie lunghe, lunghe, lunghe (“long, long, long melodies,” as an admiring Verdi called them),26 for composing which Bellini had an unparalleled gift.
The Oxford History of Western Music. Oxford University Press. New York, USA. d. Web. 27 Jan. 2011. xml>. Citation (APA): Taruskin, R. ). Chapter 1 Real Worlds, and Better Ones. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 27 Jan. xml Citation (Chicago): Richard Taruskin. " In Music in the Nineteenth Century, Oxford University Press. ). Retrieved 27 Jan. xml Oxford University Press Copyright © 2010. All rights reserved. 27. com/view/Volume3/actrade-9780195...
Citation (APA): Taruskin, R. ). Chapter 1 Real Worlds, and Better Ones. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 27 Jan. xml Citation (Chicago): Richard Taruskin. " In Music in the Nineteenth Century, Oxford University Press. ). Retrieved 27 Jan. 27. com/view/Volume3/actrade-9780195... Oxford University Press Copyright © 2010. All rights reserved. 27. com/view/Volume3/actrade-9780195... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Gaetano Donizetti Lucia di Lammermoor UTOPIA Chapter: CHAPTER 1 Real Worlds, and Better Ones Source: MUSIC IN THE NINETEENTH CENTURY Author(s): Richard Taruskin Even more adjustment became necessary when the object of “librettization” was a narrative rather than a dramatic work.