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Just as his apogee of fame was being reached abroad, his influence in Vienna began 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. These operas were composed in and respectively.
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Two other operas of little success and long-term importance were composed in , and one great popular success La cifra The Cipher. As Salieri's political position became insecure he retired as director of the Italian opera in He continued to write new operas per imperial contract until when he voluntarily withdrew from the stage.
Of his late works for the stage only two works gained wide popular esteem during his life, Palmira, regina di Persia Palmira, Queen of Persia and Cesare in Farmacusa [ de ] Caesar on Pharmacusa , both drawing on the heroic and exotic success established with Axur. His late opera based on William Shakespeare 's The Merry Wives of Windsor , Falstaff ossia Le tre burle Falstaff, or the three tricks has found a wider audience in modern times than its original reception promised.
His last opera was a German-language Singspiel Die Neger [ de ] The Negroes , a melodrama set in colonial Virginia with a text by Georg Friedrich Treitschke the author of the libretto for Beethoven's Fidelio ; it was performed in and was a complete failure.
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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.
As the political situation threatened and eventually overwhelmed Austria, which was repeatedly crushed by French political forces, Salieri's first and most important biographer Ignaz von Mosel described the emotional effect that this political, social, and cultural upheaval had on the composer. Mosel noted that these radical changes, especially the invasion and defeat of Austria, and the occupation of Vienna intertwined with the personal losses that struck Salieri in the same period, led to his withdrawal from operatic work.
Related to this Mosel quotes the aged composer concerning the radical changes in musical taste that were underway in the age of Beethoven, "From that period [circa ] I realized that musical taste was gradually changing in a manner completely contrary to that of my own times. Eccentricity and confusion of genres replaced reasoned and masterful simplicity.
As his teaching and work with the imperial chapel continued, his duties required the composition of a large number of sacred works, and in his last years, it was almost exclusively in religious works and teaching that Salieri occupied himself. Among his compositions written for the chapel were two complete sets of vespers, many graduals, offertories, and four orchestral masses.
During this period he lost his only son in and his wife in Salieri continued to conduct publicly, including the performance on 18 March of Haydn 's The Creation during which Haydn collapsed, and several premieres by Beethoven including the 1st and 2nd Piano Concertos and Wellington's Victory. He also continued to help administer several charities and organize their musical events.
His remaining secular works in this late period fall into three categories: first, large-scale cantatas and one oratorio Habsburg written on patriotic themes or in response to the international political situation, pedagogical works written to aid his students in voice, and finally simple songs, rounds or canons written for home entertainment; many with original poetry by the composer.
He also composed one large-scale instrumental work in intended as a study in late classical orchestration: Twenty-Six Variations for the Orchestra on a Theme called La Folia di Spagna. This simple melodic and harmonic progression had served as an inspiration for many baroque composers and would be used by later romantic and post-romantic composers.
Salieri's setting is a brooding work in the minor key, which rarely moves far from the original melodic material, its main interest lies in the deft and varied handling of orchestral colors. La Folia was the most monumental set of orchestral variations before Brahms ' Variations on a Theme by Haydn.
Vasco e maurizio salieri biography death: Partito da Napoli e giunto a Modena, Solieri conosce Vasco Rossi e insieme raggiungono Milano in treno. Vasco dopo averlo sentito suonare in treno, decide di avviare con lui una collaborazione musicale che sarebbe durata più di trent'anni.
His teaching of budding young musicians continued, and among his pupils in composition usually vocal were Ludwig van Beethoven , Antonio Casimir Cartellieri , Franz Liszt and Franz Schubert. He also instructed many prominent singers throughout his career, including Caterina Canzi. All but the wealthiest of his pupils received their lessons for free, a tribute to the kindness Gassmann had shown Salieri as a penniless orphan.
In November Salieri attempted suicide. At his memorial service on 22 June , his own Requiem in C minor — composed in — was performed for the first time. His remains were later transferred to the Zentralfriedhof. His monument is adorned by a poem written by Joseph Weigl , one of his pupils:. Ruh sanft! Rest in peace!
Uncovered by dust Eternity shall bloom for you. In eternal harmonies Your spirit now is set free. He expressed himself in enchanting notes, Now he is floating to everlasting beauty. During his time in Vienna, Salieri acquired great prestige as a composer and conductor, particularly of opera, but also of chamber and sacred music. Salieri's earliest surviving work is a Mass in C major.
He would write four major orchestral masses, a requiem, and many offertories, graduals, vesper settings, and sacred cantatas and oratorios. Much of his sacred music dates from after his appointment as Hofkapellmeister in His small instrumental output includes two piano concerti , a concerto for organ written in , a concerto for flute , oboe and orchestra , a triple concerto for oboe, violin and cello, and a set of twenty-six variations on " La folia di Spagna " In the s, while Mozart lived and worked in Vienna, he and his father Leopold wrote in their letters that several "cabals" of Italians led by Salieri were actively putting obstacles in the way of Mozart's obtaining certain posts or staging his operas.
For example, Mozart wrote in December to his father that "the only one who counts in the Emperor's eyes is Salieri". Mozart wrote to his father in May about Salieri and Lorenzo Da Ponte , the court poet: "You know those Italian gentlemen; they are very nice to your face! Enough, we all know about them. And if Da Ponte is in league with Salieri, I'll never get a text from him, and I would love to show him what I can really do with an Italian opera.
Vasco e maurizio salieri biography
Decades after Mozart's death, a rumor began to circulate that Mozart had been poisoned by Salieri. This rumor has been attributed by some to a rivalry between the German and the Italian schools of music. Ironically, Salieri's music was much more in the tradition of Gluck and Gassmann than of the Italians like Paisiello or Cimarosa. While Italian by birth, Salieri had lived in imperial Vienna for almost 60 years and was regarded by such people as the music critic Friedrich Rochlitz as a German composer.
The following year Mozart once again failed to be selected as the princess's piano teacher. In addition, when Lorenzo Da Ponte was in Prague preparing the production of Mozart's setting of his Don Giovanni , the poet was ordered back to Vienna for a royal wedding at which Salieri's Axur, re d'Ormus would be performed.
Mozart was not pleased by this.
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Mozart was considered the loser of this competition. However, there is also evidence attesting to Mozart and Salieri sometimes appearing to support each other's work. For example, when Salieri was appointed Kapellmeister in , he chose to revive Figaro instead of introducing a new opera of his own, and when he attended the coronation festivities for Leopold II in , Salieri had no fewer than three Mozart masses in his luggage.
Salieri and Mozart even jointly composed a cantata for voice and piano, Per la ricuperata salute di Ofelia , which celebrated the return to the stage of the singer Nancy Storace. In his last surviving letter from 14 October , Mozart told his wife that he had picked up Salieri and Caterina Cavalieri in his carriage and driven them both to the opera; about Salieri's attendance at his opera The Magic Flute , speaking enthusiastically: "He heard and saw with all his attention, and from the overture, to the last choir there was not a piece that didn't elicit a 'Bravo!
Salieri and his music were largely forgotten from the 19th century until the late 20th century. His music today has regained some modest popularity via recordings.
It is also the subject of increasing academic study, and a small number of his operas have returned to the stage. In addition, there is now a Salieri Opera Festival sponsored by the Fondazione Culturale Antonio Salieri and dedicated to rediscovering his work and those of his contemporaries. It is developing as an annual autumn event in his native town of Legnago, where a theatre has been renamed in his honor.
In , mezzo-soprano Cecilia Bartoli released The Salieri Album , a CD with 13 arias from Salieri's operas, most of which had never been recorded before. Contact Us Privacy Policy Sitemap. It uses material from the Wikipedia article Antonio Salieri. Antonio Salieri Biography. Antonio Salieri August 18, - May 7, , born in Legnano, Italy, near the Austrian dukedom of Mantua, was a composer and conductor who received considerable public acclaim in his day.
He studied violin and harpsichord with his brother Francesco, who was a student of Giuseppe Tartini.
After the death of his parents, he moved to Padua, then to Venice, where he studied thoroughbass with Giovanni Pescetti. In Salieri met Florian Leopold Gassmann, who invited him to attend the court of Vienna and there trained him in composition based on Fux's Gradus ad Parnassus. If that were not enough to ruffle the feathers of any aspiring musician, the following year Mozart again applied to teach the princess, this time in piano: He was again denied the position in favor of Salieri.
This did not go well with Mozart or with his father Leopold. Their letters suggest that both Mozart and his father, being Austrians, resented the special place that Italian composers had in the courts of the Austrian princes. Mozart had died at a fairly young age, but some decades after his death a rumor began making its way into the popular culture of Vienna suggesting that Salieri was somehow responsible.
As rumors go, this one seemed to take on a life of its own, culminating with a declaration that Salieri had actually murdered Mozart by means of poison. A possible elemental cause of such a rumor might be attributed to the rivalry which existed between the German and Italian schools of music in Vienna. It was rumored that in his later years, Salieri actually confessed to murdering Mozart.
Although there is no evidence of such a confession, screen writers and film makers, in their haste to produce Amadeus, were quick to use the hundred-year-old rumor to add intrigue to their Hollywood production by portraying, in the opening scenes, Salieri confessing that he had killed Mozart. It is interesting to note that throughout his life, Mozart was prone to many illnesses, suffering from smallpox, tonsillitis, bronchitis, pneumonia, typhoid fever, rheumatism and gum disease.
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