' s ▁ability ▁to ▁progress ▁this ▁technique ▁in ▁the ▁genre ▁of ▁opera ▁seria . ▁G os sett ▁in ▁a ▁very ▁detailed ▁analysis ▁of ▁the ▁first - act ▁finale ▁of ▁Tan cre di ▁ident ifies ▁several ▁the ▁elements ▁in ▁Ross ini ' s ▁practice . ▁These ▁include ▁the ▁contrast ▁of ▁" kin etic " ▁action ▁sequences , ▁often ▁character ised ▁by ▁orch est ral ▁mot ifs , ▁with ▁" static " ▁expressions ▁of ▁em otion , ▁the ▁final ▁" static " ▁section ▁in ▁the ▁form ▁of ▁a ▁cab alle tta , ▁with ▁all ▁the ▁characters ▁joining ▁in ▁the ▁final ▁cad ences . ▁G os sett ▁claims ▁that ▁it ▁is ▁" from ▁the ▁time ▁of ▁Tan cre di ▁that ▁the ▁cab alle tta   ... ▁becomes ▁the ▁oblig atory ▁closing ▁section ▁of ▁each ▁musical ▁unit ▁in ▁the ▁oper as ▁of ▁Ross ini ▁and ▁his ▁contempor aries ." ▁ ▁Early ▁works ▁ ▁With ▁extremely ▁few ▁exceptions , ▁all ▁Ross ini ' s ▁compos itions ▁before ▁the ▁P éch és ▁de ▁vie ill esse ▁of ▁his ▁ret irement ▁involve ▁the ▁human ▁voice . ▁His ▁very ▁first ▁surv iving ▁work ▁( ap art ▁from ▁a ▁single ▁song ) ▁is ▁however ▁a ▁set ▁of ▁string ▁son at as ▁for ▁two ▁viol ins , ▁c ello ▁and ▁double - b ass , ▁written ▁at ▁the ▁age ▁of ▁ 1 2 , ▁when ▁he ▁had ▁bare ly ▁begun ▁instruction ▁in ▁composition . ▁T une ful ▁and ▁eng aging , ▁they ▁indicate ▁how ▁remote ▁the ▁tal ented ▁child ▁was ▁from ▁the ▁influence