l'orchestre' (1753), which may still be read with pleasure. The æsthetic part of the 'Dictionnaire de musique,' which he finished in 1764 at Motiers-Travers, is admirable both for matter and style. He obtained the privilege of printing it in Paris, April 15, 1765, but did not make use of the privilege till 1768; the Geneva edition, also in one vol. 4to, came out in 1767. In spite of mistakes in the didactic, and serious omissions in the technical portions, the work became very popular, and was translated into several languages; the English edition (London, 1770, 8vo.) being by Waring.
Rousseau's other writings on music are: 'Lettre à M. Grimm, au sujet des remarques ajoutées à sa Lettre sur Omphale,' belonging to the early stage of the 'Guerre des Bouffons'; 'Essai sur l'origine des langues,' etc. (1753), containing chapters on harmony, on the supposed analogy between sound and colour, and on the music of the Greeks; 'Lettre à M. l'Abbé Raynal au sujet d'un nouveau mode de musique inventé par M. Blainville,' dated May 30, 1754, and first printed in the 'Mercure de France'; 'Lettre à M. Burney sur la Musique, avec des fragments d'Observations sur l'Alceste italien de M. le chevalier Gluck,' an analysis of ' Alceste' written at the request of Gluck himself; and 'Extrait d'une réponse du Petit Faiseur à son Prête-Nom, sur un morceau de l'Orphée de M. le chevalier Gluck,' dealing principally with a particular modulation in 'Orphée.' From the two last it is clear that Rousseau heartily admired Gluck, and that he had by this time abandoned the exaggerated opinions advanced in the 'Lettre sur la musique Française.' The first of the above was issued in 1752, the rest not till after his death; they are now only to be found in his 'Complete Works.'
On Oct. 30, 1775, Rousseau produced his 'Pygmalion' at the Comédie Française; it is a lyric piece in one act, and caused some sensation owing to its novelty. Singing there was none, and the only music were orchestral pieces in the intervals of the declamation. He also left fragments of an opera 'Daphnis et Chloé' (published in score, Paris, 1780, folio), and a collection of about a hundred romances and detached pieces, to which he gave the title 'Consolations des Misères de ma vie' (Paris, 1781, 8vo), all now forgotten. Rousseau was accused of having stolen the 'Devin du Village' from a musician of Lyons named Granet, and the greater part of 'Pygmalion' from another Lyonnais named Coigniet. Among his most persistent detractors is Castil-Blaze (see 'Moliere musicien,' ii. 409), but he says not a word of the 'Consolations.' Now any one honestly comparing these romances with the 'Devin du Village,' will inevitably arrive at the conviction that airs at once so simple, natural, and full of expression, and so incorrect as regards harmony, not only may, but must have proceeded from the same author. There is no doubt, however, that the instrumentation of the 'Devin' was touched up, or perhaps wholly re-written, by Francœur, on whose advice, as well as on that of Jelyotte the tenor singer, Rousseau was much in the habit of relying.—'Rousseau's Dream' was at one time a popular tune in this country. An air ('de trois notes') and a duettino, melodious and pretty but of the simplest style, are given in the 'Musical Library,' vol. iii.
ROUSSEAU'S DREAM. A very favourite air in England in the early part of this century. Its first appearance under that name is presumably as 'an Air with Variations for the Pianoforte, composed and dedicated to the Rt. Hon. the Countess of Delaware, by J. B. Cramer. London, Chappell' [1812].
But it is found (with very slight changes) a quarter of a century earlier, under the title of 'Melissa. The words by Charles James, Esq., adapted to the Pianoforte, Harp, or Guitar. London, J. Dale, 1788.' Whether the air is Rousseau's or not the writer has not ascertained. It is not in his 'Les Consolations,' etc. (Paris, 1781).
ROUSSELOT, Scipion, was born about the commencement of this century, entered the Conservatoire at Paris as a pupil of Baudiot on the cello, and took the first prize in 1823. He then studied composition under Reicha, and on Feb. 9, 1834, produced a symphony of his composition at the concert of the Conservatoire; he also attempted opera, but was not happy in that department, though he is said to have rendered important assistance to Bellini in the instrumentation and harmonious arrangement of 'I Puritani.' His quartets, quintets, variations for the cello, and other chamber music, were much esteemed and played in Paris. In 1844 or 45, Rousselot came to England; he took the cello at the Musical Union concerts of the latter year. He was one of the party with Vieuxtemps, Sivori, Sainton, and Hill, who performed the whole of Beethoven's quartets at the house of Mr. Alsager, in a series of meetings beginning April 28, 1845, and a prime mover in that memorable undertaking, which introduced Beethoven's later quartets to England. After Mr. Alsager's death early in 1847, Rousselot carried on the performances at his own risk, under the name of the 'Beethoven Quartet Society'; and on May 4, 1847, gave a concert to Mendelssohn of his own works—the Quartet in D op. 44, no. i; the Trio in C minor, op. 66; and the Ottet, op. 20; Mendelssohn himself playing Beethoven's 32 [1]variations, besides joining in the Trio, etc. Rousselot was deservedly popular in London, not only with the public but with his fellow artists; but the increasing admiration for Piatti's superior playing withdrew attention from him,
- ↑ Mendelssohn played without book, and left out Var. 30. in 3-4, as he admitted afterwards to Mr. J. W. Davison.
