In the 1940s, composer Alfredo Casella discovered a set of six string sonatas written by Gioachino Rossini. The parts were discovered in the Library of Congress in Washington, D.C., and cleared up many unknown facts about the pieces. It was known that Rossini had composed instrumental chamber music early in life, but the only existing pieces were an out-of-print set of string quartets published by Schott in 1823. This set of quartets had been arranged anonymously into traditional string quartet instrumentation and also existed in a configuration for woodwinds. As it turns out, the original parts (on which the published parts were based) were actually written for the extremely unconventional string quartet form of two violins, a cello, and a double bass.

From Rossini's own handwriting, we know that the pieces were written in 1804 near Ravenna, Italy, when he was still quite young. If we are to believe his comments, which he added to the manuscripts much later in life, he says that he was only 12 years old when he composed these "horrendous" sonatas. He also states that he had no formal training in harmony and that he composed the complete set and performed them in three days. The pieces were written for his friend, Agostino Triossi, who was an accomplished amateur bassist. Triossi, Morini (Triossi's violinist cousin), Morini's cellist brother, and Rossini performed the pieces, apparently in a less-than-stellar fashion. Rossini says his playing (on the second violin part) was the worst of all.

Each of the sonatas follows a similar three-movement format (fast-slow-fast). The second movements contain many soloistic, lyrical passages that foreshadow the style of the composer's great operatic arias; the Andante from Sonata No. 3 is especially striking for the somber quality of the melodic motive. The third movement of No. 3 is a lively theme with variations. The third movement of No. 6 is marked "Tempesta" and depicts music of a stormy nature, a musical predecessor to Rossini's "sturm" operatic style.

It is known that Rossini studied the quartets of Haydn and Mozart in his younger years, but the musical qualities of his string sonatas are not especially characteristic of these compositional influences. The voicing of harmonies is at times clumsy and problematic, no thanks to the strange instrumentation which doubles the lower strings and omits the viola. The pieces are, however, imaginative and lively, carrying Rossini's own stamp of originality. Each instrumental part contains numerous solo passages that require virtuosic skill from the performers—even the oft-neglected bass. The individual parts have a lot of melodic independence, and the pervading lyrical quality of these works suggests more of an Italianate influence than an Austrian one. The string sonatas are performed today not only in their original string quartet form, but also by chamber orchestras.

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String Sonata No.1 in G

Rossini claimed to have composed this and its five companion pieces in 1804, when he was 12, while staying in the country house of a family friend, for performance by Rossini and his benefactor's family. Because of the limitations of the available talent, the original scoring was for two violins, cello, and double bass. In 1823, Rossini spruced up this and four of the other pieces (minus one that too heavily depends on the bass) for publication in conventional string quartet format (with viola). Today, this string symphony, which Rossini clearly intended as chamber music, is generally performed by string orchestras, with bass part restored.

The first string symphony, like those to follow, is based very vaguely on Austrian models, especially the early three-movement string divertimenti of Mozart, although it's not known how Rossini could have been familiar with those particular works. The notion of harmony or accompaniment here is rudimentary. This is a series of good tunes, in the popular Italianate manner of the time.

The Moderato movement begins with a playful, descending figure for violins that spins off into a longer-lined melody and is succeeded by several busy but lyrical tunes, including one that features the cellos, and some of which actually take off from figures in the opening theme. Before long the violins take up an extended section of passagework that seems like embryonic material for an undeveloped Rossini crescendo. A very brief development section is really not much more than a contrasting episode in a minor key, and this is followed by a repeat of the entire first section. Thus, Rossini is relying more on the ABA song pattern than the sonata-allegro structure of a true Classical symphony of his period.

The Andantino is a nocturnal serenade begun in the lower and middle reaches of the orchestra, although the violins eventually slip in with complementary material that soon dominates the score. Next, they play a quiet, angular theme over sustained lines in the middle of the ensemble and pizzicato notes at the bottom. The movement progresses through an unsettled episode sounding rather like minor Mozart quartet-writing, then returns to the opening melody in fuller instrumentation. The concluding Allegro opens with a quick whistling tune, a melody that could serve in a popular song or an operetta aria. This forms the basis of a little rondo, alternating with busier, more "instrumental" writing, including a witty passage for double bass.

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String Sonata No.3 in C

Like Felix Mendelssohn, Giacomo Rossini wrote his string symphonies when he was a mere adolescent. Each of them invariably begins with an exultant playful mood, as if the youth were well familiar with Mozart's operatic overtures. String Symphony No. 3 wastes no time scattering its sparkling melodic ideas about, with its exhilarating scalic interchanges between violins. Its slow second movement begins portentously, then weaves the path of romantic yearning, as the youth dreams of rosy cheeks and auburn tresses. Toward the coda, the portentous theme recapitulates, perhaps implying that his crush ended badly. A dance tune with charming and dazzling variations concludes the piece and all is well again. Notice the sprightly antics of the cellos and basses, unusual for 1804.

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