Gioachino Rossini most famously associated. A characteristic mannerism in Rossini's orchestral scoring is a long, steady building of sound over an ostinato figure, known as a "Rossini crescendo", which earned him the nickname of "Signor Crescendo". A few of Rossini's operas remained popular throughout his lifetime and continuously since his death; others were resurrected from semi-obscurity in the last half of the 20th century, during the so-called "Rossini Renaissance". Rossini himself correctly predicted that his "Barber of Seville" would continue to find favor with posterity, telling a friend:"One thing I believe I can assure you: that of my works, the second act
Gioachino Rossini twelve other Italian composers on a "Requiem for Rossini", to be performed on the first anniversary of Rossini's death, conducted by Angelo Mariani. The music was written, but the performance was abandoned shortly before its scheduled premiere. Verdi re-used the "Libera me, Domine" he had written for the Rossini Requiem in his 1872 "Requiem for Manzoni". In 1989 the conductor Helmuth Rilling recorded the original "Requiem for Rossini" in its world premiere. In 1900, Giuseppe Cassioli created a monument to Rossini in the Basilica of Santa Croce, Florence. The Library of the Royal Conservatory of Brussels possesses an important collection