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Well, I'm not an expert, but:
One of the most important components of Rossini's style as it relates to his overtures is the application of a technique that has been called the "Rossini Crescendo" because of his ubiquitous use of it.
After the secondary theme and before the codetta in both the first and second half of the overture, Rossini inserts a section usually outlined as follows:
* A 4 measure phrase consisting of a rhythmic and/or melodic device, 2 measures in the tonic (I) and 2 measures in the dominant (V), pianissimo, with minimal orchestration;
* The same 4 measure phrase repeated, with the addition of instruments, crescendo;
* The same 4 measure phrase repeated a third time, with the full orchestra, forte;
* 4 measures of stretto based upon the same pattern, each measure alternating between I and V, fortissimo.
The result is a rather exciting buildup of tension, followed by a very satisfying cadence into the codetta, which similarly follows a predictable harmonic pattern - usually 2 measures of I, 2 measures of vi, 2 measures ii (first inversion), 1 measure of I (second inversion) and 1 measure of V7 - often repeated.
Beyond that, one might think of Rossini as a transitional composer between the Italian opera style of the 18th Century and the Bel Canto style beginning with such composers Bellini and Donizetti. Rossini had a way of figuring out a pattern that worked for him and sticking to it.
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Mar 2 2006, 1:15 PM
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