托斯蒂是意大利19世纪,唯一不受歌剧形式干扰,而潜心创作其他音乐形式作品的作曲家。他将自己完全投身于室内歌曲的创作(早期创作的部分神圣歌曲除外)。这在19世纪的意大利音乐界的确是一种十分特殊的情况,当然,这也证明了托斯蒂的才华和天赋。托斯蒂并不是一位开派拓流的大作曲家,但他写的许多室内乐声乐作品,如《再见》《理想佳人》《玛莱卡莱》《小夜曲》等,一直深受世人喜爱。然而在当时,托斯蒂及本人却并没有得到相应的重视甚至是尊重,而且这一片面的观点在意大利音乐学界的各个层面一直存在了数十年。因此,把托斯蒂说成“非同寻常的音乐案例”就不难理解了。 Torsti, the only composer in Italy in the 19th century, was the only opera to disrupt other forms of music. He devoted himself entirely to the creation of interior songs (except for some of the early creative divine songs). This is indeed a very special case of the Italian music industry in the 19th century, of course, which also testifies to Tusti’s talent and talent. Totti is not a big composer who is a drafters, but many of his chamber music vocals, such as Goodbye, The Ideal Lady, The Melissa, The Serenade, have always been loved by the world. At that time, however, Torsti and himself did not receive the corresponding attention or even respect, and this one-sided view has existed for decades at all levels of Italian musicology. Therefore, it is easy to understand that Torsti is “an unusual musical case.”