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 of scores, documents and objects from Rossini, assembled in the Edmond Michotte fund. Mauro Giuliani (who died in 1829) wrote six sets of variations for guitar on themes by Rossini, Opp. 119–124 (c. 1820–1828). Each set was called "Rossiniana", and collectively they are called "Rossiniane". This was the first known tribute by one composer to another using a title with the ending -ana. In 1925, Ottorino Respighi orchestrated four pieces from "Péchés de vieillesse" as the suite "Rossiniana" (he had earlier used pieces from the same collection as the basis of his ballet "La Boutique fantasque"). According to the "Oxford