When the Revolutionists gained the upper hand, Mademoiselle Colbran used to get hissed; but the discomfiture of the popular party was always followed by renewed triumphs for the singer.
Then the anti-Royalists, afraid to express their disapprobation openly, would leave the theatre in a body, pretending that Mademoiselle Colbran sang out of tune.
One can guess what Rossini’s own politics must have been, from his temperament. Plots and stratagems were not to his taste. He had “music in his soul,” and a horror of discord.
Nevertheless, overtaken by a revolutionary movement just as he was about to leave Bologna to enter upon his new duties at Naples, he could not refuse to compose a hymn in honour of Italian liberty. Indeed, without having the least affection for brawlers and Red Republicans, Rossini may all the same have felt an antipathy for the Austrian domination in Italy. Without entering too far into this profound and really inscrutable question, it may be enough to mention that Rossini’s cantata, or hymn, of the year 1815, gained for its composer some reputation as an Italian patriot.
But this was nothing to the fame he derived from a little transaction he was reported to have had with the Austrian governor of Bologna, to whom he had to apply for permission to leave the town.
The patriotic hymn had been sung day and night at Bologna until the arrival of the Austrians, without its being generally known as the work of Rossini. The Austrian governor was a great dilettante, and rather piqued himself on his musical knowledge; so, on going to him for a passport, Rossini, with whose name the general was, of course, familiar, presented to him a piece of music set to verses full of enthusiasm on behalf of the Austrians.
The governor read the words, and approved. He looked at the music with the eye of a connoisseur, and approved more than ever. He called to one of his secretaries to make out Rossini’s passport forthwith, thanked the composer cordially for his attention, and in wishing him farewell, informed him that the music should be executed that very afternoon by the military band.
Rossini’s anthem in praise of Austria and paternal government was soon arranged for the regimental orchestra, and the same evening was played in the market-place before a large concourse of curious amateurs.
The townspeople knew that they were about to hear their patriotic hymn. Its performance was decidedly effective; but Rossini had started some hours before, and the musical governor had no opportunity of renewing to him the expression of his thanks.
If any one doubts the truth of this story, let him refer to the list of Rossini’s works, from which he will see that Rossini did really write a patriotic cantata in the year 1815.