Mozart and Salieri
It is true that Salieri and Mozart were professional rivals, and that and sold as Mozart's, he was the one being jealous of Salieri's position and. It tells of how Antonio Salieri plotted to defeat Mozart. It is full of Later it was thought to be a “liver condition with terminal uremia.” Currently. Antonio Salieri, Salieri cleverly took advantage of Mozart's fondness for drink, his financial crisis, There was no need for Salieri to kill Mozart to get him out of the way; Salieri's position in the industry gave him all the power he needed.
Why Mozart has to be kept as the very peek of the non-existing musical pyramid and hierarchy I don't know: But personally, it is impossible for me to acknowledge any such a structure, especially after hearing works of hundreds of masters of music, Salieri amongst them. One important lesson we must keep before our eyes: Anton Eberl, it was mentioned in his obituary, was famous for composing ''out of his head'': Mozart, on the other hand, needed the piano --he says so in his own letter.
And Eberl's works were in lifetime of both attributed and sold as Mozart's, he was the one being jealous of Salieri's position and achievements - not Salieri of Mozart's.
Salieri already had a considerable and formidable mileage to his credit, Mozart scarcely any. Mozart didn't have a perfect memory Allegri: Miserere, copies of which were circling around since before Mozart wrote it down, as the chief gatherer of music and instruments for Archbishop - Leopold was also in contact with two out of three of possessors of Vatican copies: Other copies were made by others and loooong before that. Mozart did not compose with ease revisions of two years of writing the Haydn quartetshe was not originator of many of his works publishers were forging his name so that the compositions sold - he also made copies of works of others for his library - which ended up attributed to him, etc.
He was not born with knowledge nor did he ever fully grow as a composer - but was learning to the last. Meaning not all of his music is of high or the best or perfectly accomplished or of whichever ''quality'' music can not be judged through or described in such terms anyway: He was not so much a revolutionary than the follower of what others did and invented before him. He then skilfully used their knowledge, like he did Vogler's, and he did not write ''Requiem for himself'' as later about ' anecdote by Aloysia?
Michael Haydn said that at his own death bed whilst composing his unfinished Req No. A lot of what was done and achieved by other composers became a conglomerate of what Mozart supposedly is Only now are we free to get to know real Mozart, without perfect romantic prejudice, warts and all: The figure of Mozart has been a constant source of manipulation and lies since he was 4 years old, first by his father, then by himself, then by his widow and his worshippers.
Romantic stories Hollywood used to swear by needed a Brilliant Hero who's been wronged, but prevails at the end: But it's also pure fiction. These works were written for mostly unknown occasions and artists. They include two concertos for pianoforte, one in C major and one in B flat major both ; a concerto for organ in C Major in two movements the middle movement is missing from the autograph score, or perhaps, it was an improvised organ solo also ; and two concertante works: These works are among the most frequently recorded of Salieri's compositions.
Upon Gassmann's death on 21 January,  most likely due to complications from an accident with a carriage some years earlier, Salieri succeeded him as assistant director of the Italian opera in early During the next three years Salieri was primarily concerned with rehearsing and conducting the Italian opera company in Vienna and with teaching. His three complete operas written during this time show the development of his compositional skills, but included no great success, either commercially or artistically.
After the financial collapse of the Italian opera company in due to financial mis-management, Joseph II decided to end the performance of Italian opera, French spoken drama, and ballet. Instead, the two court-owned theaters would be reopened under new management, and partly subsidized by the Imperial Court, as a new National Theater.
The re-launched theaters would promote German-language plays and musical productions that reflected Austrian or as Joseph II would have said German values, traditions and outlook. The Italian opera buffa company was therefore replaced by a German language Singspiel troupe. Joseph and his supporters of Imperial reform wanted to encourage pan-national pride that would unite his multi-lingual and ethnic subjects under one common language, and hoped to save a considerable amount of money in the process.
Beginning in the Emperor wished to have new works, in German, composed by his own subjects and brought on the stage with clear Imperial support.
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This in effect left Salieri's role as assistant court composer in a much reduced position. Salieri also had never truly mastered the German language, and he now felt no longer competent to continue as assistant opera director. A further blow to his career was when the spoken drama and musical Singspiel were placed on an equal footing. For the young composer there would be few, if any, new compositional commissions to receive from the court. Salieri was left with few financial options and he began casting about for new opportunities.
Mozart and Salieri
Upon the suggestion of Joseph II and with the approval of Gluck, Salieri was offered the commission, which he gratefully accepted. Joseph II granted Salieri permission to take a year-long leave of absence later extendedenabling him to write for La Scala and to undertake a tour of Italy. Salieri's Italian tour of —80 began with the production of Europa riconosciuta Europa Recognized for La Scala revived in for the same opera house's re-opening following extensive renovations. Of his Italian works one, La scuola de' gelosi The School for Jealousya witty study of amorous intrigue and emotion, would prove a popular and lasting international success.
Middle Viennese period and Parisian operas — [ edit ] Upon his return at imperial behest to Vienna inSalieri wrote one German singspiel, Der Rauchfangkehrer The Chimney Sweepwhich premiered in In the Italian opera company was revived with singers partly chosen and vetted by Salieri during his Italian tour;  the new season opened with a slightly re-worked version of Salieri's recent success La scuola de' gelosi.
Salieri then returned to his rounds of rehearsing, composition and teaching. However, his time at home in Vienna quickly ended when an opportunity to write an opera for Paris arose, again through the patronage of Gluck. Salieri traveled abroad to fulfill an important commission. The plot was based on an ancient Greek legend that had been the basis for the first play in a trilogy by Aeschylusentitled The Suppliants.
Exploding the Salieri myth | Music | The Guardian
The original commission that reached Salieri in —84 was to assist Gluck in finishing a work for Paris that had been all but completed; in reality, Gluck had failed to notate any of the score for the new opera and gave the entire project over to his young friend.
Gluck feared that the Parisian critics would denounce the opera by a young composer known mostly for comic pieces and so the opera was originally billed in the press as being a new work by Gluck with some assistance from Salieri, then shortly before the premiere of the opera the Parisian press reported that the work was to be partly by Gluck and partly by Salieri, and finally after popular and critical success on stage, the opera was acknowledged in a letter to the public by Gluck as being wholly by the young Salieri.
Salieri's first French opera contained scenes of great solemnity and festivity, but overshadowing it all was darkness and revenge. The opera depicted politically motivated murder, filial duty and love in conflict, tyrannicide, and finally eternal damnation. The opera, with its dark overture, lavish choral writing, many ballet scenes, and electrifying finale depicting a glimpse of hellish torture, kept the opera on the stage in Paris for over forty years.
Da Ponte wrote his first opera libretto for Salieri, Il ricco d'un giorno A rich man for a day inwhich was not a success. Salieri next turned to Giambattista Casti as a librettist; a more successful set of collaboration flowed from this pairing.
Antonio Salieri - Wikipedia
In Salieri produced one of his greatest works with the text by Casti, La grotta di Trofonio The cave of Trophoniusthe first opera buffa published in full score by Artaria. Salieri collaborated with Casti to produce a parody of the relationship between poet and composer in Prima la musica e poi le parole 'First the music and then the words. This short work also highlighted the typical backstage antics of two high flown sopranos.
This was intended to be the nec plus ultra of reform opera, a completely new synthesis of poetry and music that was an 18th-century anticipation of the ideals of Richard Wagner. Late Viennese operas — [ edit ] In Salieri returned to Vienna, where he remained for the rest of his life.
In that year he became Kapellmeister of the Imperial Chapel upon the death of Giuseppe Bonno ; as Kapellmeister he conducted the music and musical school connected with the chapel until shortly before his death, being officially retired from the post in His Italian adaptation of Tarare, Axur would prove to be his greatest international success.
Axur was widely produced throughout Europe and it even reached South America with the exiled royal house of Portugal in Axur and his other new compositions completed by would mark the height of Salieri's popularity and his influence. Just as his apogee of fame was being reached abroad, his influence in Vienna would begin to diminish with the death of Joseph II in Joseph's death deprived Salieri of his greatest patron and protector.
During this period of imperial change in Vienna and revolutionary ferment in France, Salieri composed two additional extremely innovative musical dramas to libretti by Giovanni Casti.
Due, however, to their satiric and overtly liberal political inclinations, both operas were seen as unsuitable for public performance in the politically reactive cultures of Leopold II and later Francis II. This resulted in two of his most original operas being consigned to his desk drawer, namely Cublai, gran kan de' Tartari Kublai Grand Kahn of Tartary a satire on the autocracy and court intrigues at the court of the Russian TsarinaCatherine the Greatand Catilina a semi-comic-semi-tragic account of the Catiline conspiracy that attempted to overthrow the Roman republic during the consulship of Cicero.
These operas were composed in and respectively. Two other operas of little success and longterm importance were composed inand one great popular success La cifra The Cipher.
The beginning of Salieri's opera Palmira, regina di Persia As Salieri's political position became very insecure he was retired as director of the Italian opera in He continued to write new operas per imperial contract untilwhen he voluntarily withdrew from the stage.
His late opera based on William Shakespeare 's The Merry Wives of WindsorFalstaff ossia Le tre burle Falstaff, or the three tricks has found a wider audience in modern times than its original reception promised. Life after opera — [ edit ] When Salieri retired from the stage, he recognized that artistic styles had changed and he felt that he no longer had the creative capacity to adapt or the emotional desire to continue. Also as Salieri aged he moved slowly away from his more liberal political stances as he saw the enlightened reform of Joseph II's reign, and the hoped for reforms of the French revolution, replaced with more radical revolutionary ideas.