When the orchestra had given out the three chords in C major, placed
at the opening by the composer to announce that the overture will be
sung--for the real overture is the great movement beginning with this
stern attack, and ending only when light appears at the command of
Moses--the Duchess could not control a little spasmodic start, that
showed how entirely the music was in accordance with her concealed
distress.

"Those three chords freeze the blood," said she. "They announce
trouble. Listen attentively to this introduction; the terrible lament
of a nation stricken by the hand of God. What wailing! The King, the
Queen, their first-born son, all the dignitaries of the kingdom are
sighing; they are wounded in their pride, in their conquests; checked
in their avarice. Dear Rossini! you have done well to throw this bone
to gnaw to the _Tedeschi_, who declared we had no harmony, no science!

"Now you will hear the ominous melody the maestro has engrafted on to
this profound harmonic composition, worthy to compare with the most
elaborate structures of the Germans, but never fatiguing or tiresome.

"You French, who carried through such a bloodthirsty revolution, who
crushed your aristocracy under the paw of the lion mob, on the day
when this oratorio is performed in your capital, you will understand
this glorious dirge of the victims on whom God is avenging his chosen
people. None but an Italian could have written this pregnant and
inexhaustible theme--truly Dantesque. Do you think that it is nothing
to have such a dream of vengeance, even for a moment? Handel,
Sebastian Bach, all you old German masters, nay, even you, great
Beethoven, on your knees! Here is the queen of arts, Italy
triumphant!"