Antonio Salieri - Knowledge (XXG)

811:. The original commission that reached Salieri in 1783–84 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 scores 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. 663:

although they show some development toward the late classical, they reflect a general weakness in comparison to his operatic works of the same and later periods. 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 1773); 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 1773); and two concertante works: a concerto for oboe, violin and cello in D major (1770), and a flute and oboe concerto in C major (1774). These works are among the most frequently recorded of Salieri's compositions.

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German, composed by his own subjects and brought on the stage with clear Imperial support. 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 an 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.

51: 257:. Salieri remembered little from his childhood in later years except for passions for sugar, reading, and music. He twice ran away from home without permission to hear his elder brother play violin concertos in neighboring churches on festival days and he recounted being chastised by his father after failing to greet a local priest with proper respect. Salieri responded to the reprimand by saying the priest's organ playing displeased him because it was in an inappropriately theatrical style. Sometime between 1763 and 1764, both of Salieri's parents died, and he was briefly taken in by an anonymous brother, a monk in 303:, which Salieri translated during each Latin lesson. As a result, Salieri continued to live with Gassmann even after Gassmann's marriage, an arrangement that lasted until the year of Gassmann's death and Salieri's own marriage in 1774. Few of Salieri's compositions have survived from this early period. In his old age Salieri hinted that these works were either purposely destroyed or had been lost, with the exception of a few works for the church. Among these sacred works there survives a 1668:. 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. 1039: 123: 5650: 5129: 4606: 4193: 1822:, featuring Robert Redford and James Gandolfini. It is a story that builds on the rivalry between a meticulous but untested officer (Gandolfini) serving as the warden of a military prison and an imprisoned but much admired and highly decorated general (Redford). The Salieri piece is used as the warden's theme music, seemingly to invoke the image of jealousy of the inferior for his superior. In 2006, the movie 5660: 1449:, 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." In July 1783, he again wrote to his father of "a trick of Salieri's", one of several letters in which Mozart accused Salieri of trickery. 5722: 1146:

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 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."

5139: 780:), were the only two major successes to emerge from the German Singspiel experiment, and only Mozart's opera survived on the stage beyond the close of the 18th century. In 1783 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 989:

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

5710: 1187:. 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. 5698: 1445:

letters suggest that both Mozart and his father, being Austrians who resented the special place that Italian composers had in the courts of the Austrian nobility, blamed the Italians in general and Salieri in particular for all of Mozart's difficulties in establishing himself in Vienna. Mozart wrote to his father in May 1783 about Salieri and

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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 1781 to his father that "the only one who counts in the Emperor's eyes is Salieri". Their

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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

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in Milan. 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 extended), enabling him to write for La Scala and to undertake a tour of Italy.

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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

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featured characters singing in three languages, a bustling portrayal of the Ascension-tide Fair and Carnival in Venice, and large and lengthy ensembles and choruses. It also included an innovative scene that combined a series of on-stage dances with singing from both solo protagonists and the chorus.

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Salieri and Gassmann arrived in Vienna on 15 June 1766. Gassmann's first act was to take Salieri to the Italian Church to consecrate his teaching and service to God, an event that left a deep impression on Salieri for the rest of his life. Salieri's education included instruction in Latin and Italian

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in 1791 at the age of 35 was followed by rumors that he and Salieri had been bitter rivals, and that Salieri had poisoned the younger composer; however, this has been proven untrue because the symptoms displayed by Mozart's illness did not indicate poisoning and it is likely that they were, at least,

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used the Larghetto movement from Salieri's Piano Concerto in C major. The scene where Obadiah Stane, the archrival of Tony Stark, the wealthy industrialist turned Iron Man, tells Tony that he is being ousted from his company by the board, Obadiah plays the opening few bars of the Salieri concerto on

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referred to Salieri in a more positive light. In this movie, a young female music student hired by Beethoven to copy out his Ninth Symphony is staying at a monastery. The abbess tries to discourage her from working with the irreverent Beethoven. She notes that she too once had dreams, having come to

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and his other new compositions completed by 1792 marked the height of Salieri's popularity and his influence. Just as his apogee of fame was being reached abroad, his influence in Vienna began to diminish with the death of Joseph II in 1790. Joseph's death deprived Salieri of his greatest patron and

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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

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The majority of Salieri's modest number of instrumental works also date from this time. Salieri's instrumental works have been judged by various critics and scholars to lack the inspiration and innovation found in his writing for the stage. These orchestral works are mainly in the Galant style, and

330:'s evening meal. Salieri quickly impressed the Emperor, and Gassmann was instructed to bring his pupil as often as he wished. This was the beginning of a relationship between monarch and musician that lasted until Joseph's death in 1790. Salieri met Pietro Antonio Domenico Trapassi, better known as 1149:

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

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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

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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

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during this period at the Sunday morning salons held at the home of the Martinez family. Metastasio had an apartment there and participated in the weekly gatherings. Over the next several years Metastasio gave Salieri informal instruction in prosody and the declamation of Italian poetry, and Gluck

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Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 until 1792, Salieri dominated Italian-language opera in Vienna. During his career, he also spent time writing works for opera houses in Paris, Rome, and Venice, and his dramatic works were widely performed

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As Salieri's political position became insecure he retired as director of the Italian opera in 1792. He continued to write new operas per imperial contract until 1804 when he voluntarily withdrew from the stage. Of his late works for the stage only two works gained wide popular esteem during his

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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 1778 the Emperor wished to have new works, in

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After the financial collapse of the Italian opera company in 1777 due to financial mismanagement, 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

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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 1774. On 10 October 1775 Salieri married Therese Helferstorfer, the daughter of a recently deceased

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from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought-after teachers of his generation, and his influence was felt in every

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was given its first staging in modern times at the Teatro Salieri in Legnago in a co-production between the Fondazione Culturale Antonio Salieri and the Fondazione Arena di Verona for the Salieri Opera Festival. From 2009 to 2011 Antonio Giarola directed the Festival. From 2009 to 2012 Antonio

456:. The mixing and pushing against the boundaries of established operatic genres was a continuing hallmark of Salieri's own personal style, and in his choice of material for the plot (as in his first opera), he manifested a lifelong interest in subjects drawn from classic drama and literature. 1235:

for the last year and a half of his life. He died in Vienna on 7 May 1825, aged 74 and was buried in the Matzleinsdorfer Friedhof on 10 May. At his memorial service on 22 June 1825, his own Requiem in C minor – composed in 1804 – was performed for the first time. His remains were later

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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

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was translated into German and widely performed, especially in the northern German states, where it helped to establish Salieri's reputation as an important and innovative modern composer. It was also the first opera to receive a serious preparation in a piano and vocal reduction by

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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 1788.

784:. 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. 339:

became an informal advisor, friend, and confidante. It was toward the end of this extended period of study that Gassmann was called away on a new opera commission and a gap in the theater's program allowed for Salieri to make his debut as a composer of a completely original

717:) for La Scala (revived in 2004 for the same opera house's re-opening following extensive renovations). From Milan, Salieri included stops in Venice and Rome before returning to Milan. During this tour, he wrote three new comic operas and he collaborated with 1576:

instead of introducing a new opera of his own, and when he attended the coronation festivities for Leopold II in 1790, Salieri had no fewer than three Mozart masses in his luggage. Salieri and Mozart even jointly composed a cantata for voice and piano,

891:. Shortly after this success, Joseph II had Mozart and Salieri each contribute a one-act opera and/or Singspiel for production at a banquet in 1786. Salieri collaborated with Casti to produce a parody of the relationship between poet and composer in 487:

and features a dramatic mix of ballet, aria, ensemble, and choral writing, combining theatricality, scenic splendor, and high emotionalism. The work clearly followed in Gluck's footsteps and embraced his reform of serious opera beginning with

1508:, and Salieri was selected instead because of his reputation as a singing teacher. The following year Mozart once again failed to be selected as the princess's piano teacher. "Salieri and his tribe will move heaven and earth to put it down", 683:

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

169:, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary, and his music was a powerful influence on contemporary composers. 1492:

commented on her preference for Italian composers over Germans like Gassmann, Salieri, or Gluck. While Italian by birth, Salieri had lived in imperial Vienna for almost 60 years and was regarded by such people as the music critic

1621:(1788) had been premiered on the suggestion of Salieri, who supposedly conducted a performance of it in 1791. In his last surviving letter from 14 October 1791, Mozart told his wife that he had picked up Salieri and 4333: 1452:

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.

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mutually respectful peers. Despite denying the allegation, Salieri was greatly affected by the accusations and widespread public belief that he had contributed to Mozart's death, which contributed to his

277:, who, impressed with his protege's talents and concerned for the boy's future, took the young orphan to Vienna, where he personally directed and paid for the remainder of Salieri's musical education. 897:(First the music and then the words). This short work also highlighted the typical backstage antics of two high-flown sopranos. Salieri then returned to Paris for the premiere of his tragédie Lyrique 261:, and then for unknown reasons in 1765 or 1766, he became the ward of a Venetian nobleman named Giovanni Mocenigo (which Giovanni is at this time unknown), a member of the powerful and well connected 205:

Salieri's music slowly disappeared from the repertoire between 1800 and 1868 and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to the

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financier and official of the court treasury. Sacred music was not a high priority for the composer during this stage of his career, but he did compose an Alleluia for chorus and orchestra in 1774.

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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 1788, he chose to revive

4363: 1631:, 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!' or 'Bello!' out of him ." 3117: 2202: 2738:...in 1823, Salieri – hospitalized, terminally ill and deranged – is said to have accused himself of poisoning Mozart. In more lucid moments he took it back. But the damage was done. 1650:

Salieri and his music were largely forgotten from the 19th century until the late 20th century. This revival was due to the dramatic and highly fictionalized depiction of Salieri in

4726: 273:, then following Pescetti's sudden death he studied with the opera singer Ferdinando Pacini (or Pasini). It was through Pacini that Salieri gained the attention of the composer 5787: 3061: 4919: 4305: 1025:. These operas were composed in 1787 and 1792 respectively. Two other operas of little success and long-term importance were composed in 1789, and one great popular success 5175: 4700: 4227: 4847: 1097:(Falstaff, or the three tricks) (1799) has found a wider audience in modern times than its original reception promised. His last opera was a German-language Singspiel 969:; 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 1824. 5782: 4731: 4696: 4686: 4681: 4676: 4668: 4540: 4325: 3553: 815:

was received with great acclaim and its popularity with audiences and critics alike produced several further requests for new works for Paris audiences by Salieri.

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In 1788 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

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style (presumably for one of the church's penitential seasons) and dated 2 August 1767. A complete opera composed in 1769 (presumably as a culminating study)

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complete sets of vespers, many graduals, offertories, and four orchestral masses. During this period he lost his only son in 1805 and his wife in 1807.

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poetry by Fr. Don Pietro Tommasi, instruction in the German language, and European literature. His music studies revolved around vocal composition and

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Salieri received new commissions for writing two additional operas in 1770, both with libretti by Giovanni Boccherini. The first, a pastoral opera,

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Antonio Salieri was born on August 18, 1750, to Antonio Salieri and his wife, Anna Maria. Salieri started his musical studies in his native town of

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in 1772 and premiered on 29 January. Here Salieri returned to his collaboration with the young Giovanni Boccherini, who crafted an original plot.

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Biggi Parodi, Elena, "Preliminary observations on the «Ballo primo» of «Europa riconosciuta» by Antonio Salieri: Milan, The Scala Theatre, 1778

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artistically. His most important compositions during this period were a symphony in D major, performed in the summer of 1776, and the oratorio

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also echoes Salieri's music in that Papageno's whistle is based on a motif borrowed from Salieri's Concerto for Clavicembalo in B-flat major.

5827: 5807: 4220: 3780: 3749: 3717: 3651: 3594: 3562: 3524: 3483: 3263: 2920: 2322: 1457:, a relative of Mozart by marriage whom Wagner has characterized as the most German of German composers, is said to have refused to join the 1695:, released a CD with seven Salieri coloratura arias. Since 2000, there have also been complete recordings issued or re-issued of the operas 5767: 3202: 1504:

believes that Mozart's rivalry with Salieri could have originated with an incident in 1781, when Mozart applied to be the music teacher of

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scenes, and electrifying finale depicting a glimpse of hellish torture, kept the opera on the stage in Paris for over forty years. A young

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were designed to contrast and highlight the different traditions of operatic writing for soprano, even borrowing stylistic flourishes from

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as a librettist; a more successful set of collaborations flowed from this pairing. In the meantime, Da Ponte began working with Mozart on

3744:, ed. Herbert Lachmayer, essays for Mozart exhibition, pp. 495–501. (Da Ponte Institut Wien, Katje Cantz Verlag, Ostfildern, 2006). 5822: 3966: 2871:, p. 220: "Carl Maria von Weber was also invited to join the society, but is said to have refused as long as Salieri was a member." 1505: 418: 4300: 4143: 2957: 1579: 1953:

Shaffer but is bumped by a "clumsy oaf", which causes him to inadvertently poison Mozart instead and spill wine on his favorite coat.

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was given its first modern production. In July 2014 there was another modern production of this Salieri opera. This time it was the

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The rivalry between Salieri and Mozart became publicly visible as well as audible during the opera composition competition held by

1740:. Salieri has yet to fully re-enter the general repertory, but performances of his works are progressively becoming more regular. 1605:

of a copy of its text and music while doing research on Antonio Salieri in the collections of the Czech Museum of Music. Mozart's

5817: 5812: 4609: 4383: 4378: 4315: 4213: 772: 224: 5193: 5029: 5024: 4711: 4046: 3712:, Lim, Lucca 2005, (Gli strumenti della ricerca musicale, collana della Società Italiana di Musicologia), p. CLVIII, 957. 2886: 1723: 1561: 893: 206: 265:. It is possible that Salieri's father and Mocenigo were friends or business associates, but this is obscure. While living in 5797: 1610: 1197: 994: 990: 1816:

Salieri has even begun to attract some attention from Hollywood. In 2001, his triple concerto was used in the soundtrack of

432:, Salieri showed a penchant for experimentation and for mixing the established characteristics of specific operatic genres. 3344: 1297:

During his time in Vienna, Salieri acquired great prestige as a composer and conductor, particularly of opera, but also of

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Salieri's life, and especially his relationship with Mozart, has been the subject of many stories, in a variety of media.

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His remaining secular works in this late period fall into three categories: first, large-scale cantatas and one oratorio

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was widely produced throughout Europe and it even reached South America with the exiled royal house of Portugal in 1824.

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followed in the tradition of reform that Gluck had begun in the 1760s and that Salieri had emulated in his earlier opera

5832: 5321: 4635: 3832: 1921: 384:. The modest success of this opera launched Salieri's 34-year operatic career as a composer of over 35 original dramas. 927:

of reform opera, a completely new synthesis of poetry and music that was an 18th-century anticipation of the ideals of

5406: 4863: 4470: 3512: 3451: 3099: 2310: 1209: 508:, the house poet for the imperial theaters. While Salieri followed the precepts set forth by Gluck and his librettist 199: 249:; he was first taught at home by his older brother Francesco Salieri (a former student of the violinist and composer 57: 723: 586:. Salieri also wrote several bravura arias for a soprano playing the part of a middle-class character that combined 5451: 4949: 4295: 4167: 1971: 1876: 1123: 1087: 807: 270: 5386: 5336: 5331: 5281: 4873: 4715: 4571: 4161: 4078: 3631: 2881: 2314: 1871: 1854: 1804: 1614: 1501: 1494: 1477: 1373: 1336: 1052: 620:. It also contains innovative orchestrations, including the first known use of three tympani. Again a classic of 459:

Salieri's first great success was in the realm of serious opera. Commissioned for an unknown occasion, Salieri's

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in 1786 in the Orangery at Schönbrunn. Mozart was considered the loser of this competition. Mozart's 1791 opera

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during which Haydn collapsed, and several premieres by Beethoven including the 1st and 2nd Piano Concertos and

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The Europe of 1500–1815 on film and television: a worldwide filmography of over 2550 works, 1895 through 2000

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His teaching of budding young musicians continued, and among his pupils in composition (usually vocal) were

1165: 1018: 849: 844: 740: 577: 3883:, 2013 novel about Salieri, 279 pp., incl. historical notes, further reading list, suggested listening list 1559:

echoes that competition because the Papageno–Papagena duet is similar to the Cucuzza cavatina in Salieri's

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and orchestra (1774), a triple concerto for oboe, violin and cello, and a set of twenty-six variations on "

801:. The plot was based on an ancient Greek legend that had been the basis for the first play in a trilogy by 638: 528: 5702: 5663: 5633: 5590: 5074: 5059: 4965: 4545: 4255: 3667: 1905: 1597: 867: 2168: 1062: 5553: 5486: 5356: 5286: 5207: 5049: 4981: 4973: 4912: 4250: 4030: 3838: 3793: 3698: 3416: 1748: 1717: 1635: 1425: 1341: 873: 195: 4904: 2950:

Mozart und Salieri: Partner oder Rivalen?: Das Fest in der Orangerie zu Schönbrunn vom 7. February 1786

748:), a witty study of amorous intrigue and emotion, proved a popular and lasting international success. 5752: 5747: 5600: 5212: 4941: 4878: 4535: 4310: 4280: 3958: 3865: 3828: 3424: 3148: 1831: 1757:(1987 production, also from the Schwetzingen Festival) have been released on DVD. In 2004, the opera 1734: 1454: 1205: 1159: 406:), was a light-hearted comedy set in the Austrian mountains. The second was based on an episode from 398: 187: 5610: 5416: 5401: 5366: 5361: 5326: 5276: 5259: 5244: 5114: 4482: 4417: 4410: 4404: 4285: 4062: 4006: 3990: 3982: 3768: 3005: 1991: 1787: 1759: 1602: 1542: 1361: 1325: 1313: 1082: 1010: 945: 914: 798: 758: 709: 643: 555: 546: 533: 475: 407: 357: 299: 5659: 5391: 3282:

Damaging Winds: Rumours that Salieri Murdered Mozart Swirl in the Vienna of Beethoven and Schubert

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Antonio Salieri, alongside Mozart, appears as a playable Avenger-class servant in the mobile game

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Damaging Winds: Rumours that Salieri Murdered Mozart Swirl in the Vienna of Beethoven and Schubert

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Mozart and Others: Representing the Image of the Other and Its Meaning in Mozart's Comic Operas

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was such that it was soon translated into Italian at Joseph II's behest by Lorenzo Da Ponte as

728: 5615: 5569: 5371: 5341: 5306: 5089: 5069: 4452: 4446: 4275: 4105: 3808: 3776: 3745: 3729: 3713: 3647: 3635: 3617: 3600: 3590: 3568: 3558: 3520: 3479: 3475: 3367: 3259: 2953: 2916: 2859:, p. 5: "Apparently Weber, who could claim family ties with Mozart, believed the rumors." 2328: 2318: 1917: 1849: 1824: 1550: 1513: 1485: 1119: 997:. This resulted in two of his most original operas being consigned to his desk drawer, namely 612: 603: 490: 483:

is a tale of love and duty in conflict and is saturated in magic. The opera is set during the

327: 229: 151: 3763:, Francesco Bissoli and Elisa Grossato, editors. vol. 2, II, pp. 119–138 (Verona, 2008). 3703: 3379: 5690: 5446: 5381: 5296: 5239: 5104: 5064: 5054: 4999: 4550: 4500: 4458: 4338: 4265: 3974: 3471: 2839: 2302: 2143: 2100: 2094: 2047: 1987: 1527: 1446: 1307: 1169:. He also continued to help administer several charities and organize their musical events. 840: 505: 461: 381: 250: 157:

Salieri was a pivotal figure in the development of late 18th-century opera. As a student of

1625:

in his carriage and driven them both to the opera; about Salieri's attendance at his opera

1038: 624:

literature was the basis of the libretto by Boccherini, in this case, a comic mock-epic by

122: 5574: 5548: 5476: 5441: 5301: 5234: 4290: 3580: 3492: 3244:

Grubert, Gernot "The Mozart Myths" (Stanford, California. Stanford University Press, 1991)

3121: 3044: 2230: 2197: 2041: 1956: 1818: 1680: 1627: 1555: 1462: 1237: 1231:

In November 1823 Salieri attempted suicide. He was committed to medical care and suffered

1192: 1142: 756:

Upon his return at imperial behest to Vienna in 1780, Salieri wrote one German Singspiel,

636:

follows the theft of a bucket. This uneven work was followed by a popular comedic success

496: 452:

in the use of coloratura in what was a short pastoral comedy more in keeping with a Roman

262: 5254: 5009: 4022: 3203:"Jerry Goldsmith's Complete 'The Last Castle' Score to Be Released | Film Music Reporter" 1901: 1707: 1665: 1458: 1331: 1104: 789: 516:, Salieri also drew on some musical ideas from the more traditional opera seria and even 345:. Salieri's first full opera was composed during the winter and carnival season of 1770; 3807:, critical edition by Elena Biggi Parodi, Suvini Zerboni, Milano 2000, XLIV, 222 pages. 907:), which proved a failure, which was more than made up for with his next Parisian opera 134:(18 August 1750 – 7 May 1825) was an Italian composer and teacher of the 5726: 5517: 5491: 5461: 5431: 5396: 5311: 5269: 5227: 5079: 4651: 4440: 4178: 4172: 4054: 3408: 1897: 1893: 1888: 1795: 1753: 1661: 1656: 1509: 1441: 1409: 1347: 1225: 1217: 966: 928: 921: 909: 829: 466: 220: 215: 183: 3134: 5736: 5605: 5466: 5376: 5346: 4586: 4512: 4506: 4432: 3640: 3548: 3162: 2904: 2225: 1966: 1942: 1909: 1883: 1677: 1651: 1584: 1489: 1413: 1298: 1153:

Salieri continued to conduct publicly, including the performance on 18 March 1808 of

655: 551: 484: 323: 210: 174: 31: 3345:"Alan Ball's Salieri Tale 'Virtuoso' Gets HBO Pilot Order With Elton John Producing" 2183: 839:

Upon returning to Vienna following his success in Paris, Salieri met and befriended

162: 5714: 5533: 5426: 5421: 5264: 5217: 5109: 5039: 5034: 4898: 4518: 4494: 4488: 3280: 2725: 1913: 1768: 1692: 1536: 1302: 1241: 1021:

conspiracy that attempted to overthrow the Roman republic during the consulship of

824: 718: 582: 304: 290: 282: 2998:

Mozart Vacherie: Hatsagat Dmut Ha'acher 'Umashma'uta Ba'operot Hakomiot she Mozart

2750: 576:

This was a pattern imitated by later composers, most famously and successfully by

5471: 5436: 5316: 5291: 5099: 4038: 2908: 1950: 1522: 1213: 1074: 899: 621: 616: 594: 448: 428: 412: 341: 191: 179: 3584: 3380:"[Ended] [Summon] Anastasia Pickup 2 Summon | Fate/Grand Order" 1177:

instrumental work in 1815 intended as a study in late classical orchestration:

5595: 5538: 5249: 3321: 3223: 3023: 871:). In 1785 Salieri produced one of his greatest works with the text by Casti, 588: 453: 352: 331: 308: 294: 3740:

Biggi Parodi, Elena, "Mozart und Salieri – ein unvermeidlicher Konflikt," in

3572: 1882:

A hugely popular yet heavily fictionalized perpetuation of the story came in

1540:, the poet was ordered back to Vienna for a royal wedding at which Salieri's 1305:. Among the most successful of his 37 operas staged during his lifetime were 1224:. He also instructed many prominent singers throughout his career, including 598:

woodwind solos, another innovation for comic opera that was widely imitated.

269:, Salieri continued his musical studies with the organist and opera composer 5543: 5512: 3604: 2306: 1179:

Twenty-Six Variations for the Orchestra on a Theme called La Folia di Spagna

1115: 1005:) a satire on the autocracy and court intrigues at the court of the Russian 802: 690: 2332: 4205: 3816: 4070: 3812: 1764: 1473:

uses the cliché of the jealous Salieri trying to hinder Mozart's career.

1367: 1232: 1027: 954: 703: 568: 426:). In these first works, drawn mostly from the traditions of mid-century 366: 5138: 3361: 3852: 3742:

Mozart, Experiment Aufklärung, in Wien des Ausgehenden 18. Jahrhunderts

3307: 2776: 1982:(2013). Kyer was the co-author, with Bruce Salvatore, of the singspiel 1588: 1128: 1006: 888: 633: 286: 246: 139: 78: 17: 5709: 3773:

Antonio Salieri und seine deutschsprachigen Werke für das Musiktheater

1783:, a contemporary dance show inspired by the music of Antonio Salieri. 702:

In 1778 Gluck turned down an offer to compose the inaugural opera for

2173: 1946: 1932: 1786:

On 14 November 2011 in Graz, Austria, the hometown of the librettist

1771:

in the title role. This production was also broadcast on television.

1531: 1022: 629: 266: 143: 97: 3022:. The Mozarteum Foundation Salzburg. 19 January 2016. Archived from 601:

Salieri's next two operas were not particular or lasting successes.

5153: 2973:

Shaked, Guy (2015). "Mozart's Competition with Antonio Salieri and

2253: 2251: 2249: 3886: 1417: 1183: 1154: 1077:), both drawing on the heroic and exotic success established with 258: 4620: 1925: 1859: 1808:

referred to it as the discovery of "a long-forgotten treasure".

1421: 659:

by Carlo Goldoni, with the libretto prepared by Domenico Poggi.

653:), an adaptation of the classic and popular spoken stage comedy 173:

throughout Europe during his lifetime. As the Austrian imperial

5157: 4624: 4209: 3890: 3848: 2540:, pp. 113–151 features an extensive overview of this opera 707:

Salieri's Italian tour of 1778–80 began with the production of

2590:, pp. 107–109, 152–153, 177 for genre categorizations of 2118: 2068: 1998: 1904:. Salieri was portrayed in the award-winning play at London's 1476:

Ironically, Salieri's music was much more in the tradition of

544:

was soon followed by Salieri's first truly popular success, a

3124:, Teatro Salieri – Salieri Opera Festival on teatrosalieri.it 2106: 1931:

Salieri's supposed hatred for Mozart is also alluded to in a

380:, a dancer in the court ballet and a brother of the composer 3786:

Kyer, C. Ian, "Salieri as Portrayed in the Arts", (2012) 24

2269:

For discussion, with references, of the poisoning rumor see

1978:

C. Ian Kyer's first work of fiction is the historical novel

1642:, who was born about four months before his father's death. 1191:

was the most monumental set of orchestral variations before

2577:, pp. 153–162 for an extended discussion of this work. 2121: 2071: 2062: 1924:

for the part). Abraham depicts Salieri as a Machiavellian,

857:) in 1784, which was not a success. Salieri next turned to 611:) is a parody of the high flown and emotive arias found in 322:

Beginning in 1766 Gassmann introduced Salieri to the daily

3761:

Quaderni di musicologia dell'Università degli studi Verona

1829:

Vienna to study opera singing with Salieri. The 2008 film

832:

recorded the deep impression this work made on him in his

150:, and spent his adult life and career as a subject of the 3710:

Catalogo tematico delle opere teatrali di Antonio Salieri

2344: 2342: 2115: 2056: 1583:, which celebrated the return to the stage of the singer 1222:

List of music students by teacher: R to S#Antonio Salieri

307:

in C major written without a "Gloria" and in the antique

3020:"Lost Mozart Composition for Nancy Storace Rediscovered" 2203:

The American Heritage Dictionary of the English Language

1132:); it was performed in 1804 and was a complete failure. 30:"Salieri" redirects here. For the erotic filmmaker, see 2952:. Vandenhoeck & Ruprecht Unipress. pp. 49–66. 1601:

reported on the discovery by musicologist and composer

847:. Da Ponte wrote his first opera libretto for Salieri, 3178:"Pinchgut Opera rediscovers a long-forgotten treasure" 2614: 2612: 2009:, is largely centred around the early life of Salieri. 1994:

Center in April 2016 under the direction of Erin Neff.

752:

Middle Viennese period and Parisian operas (1780–1788)

5674: 3298:"Ian Kyer: The man who wants to save Antonio Salieri" 2641: 2639: 2257: 2130: 2103: 2080: 2053: 2050: 1984:

Setting the Record Straight: Mozart and Salieri Redux

1660:(1979), which was given its greatest exposure in its 2109: 2059: 1546:

would be performed. Mozart was not pleased by this.

1534:

preparing the production of Mozart's setting of his

689:

company was therefore replaced by a German-language

5583: 5562: 5526: 5505: 5200: 4992: 4920:

1928 International Columbia Graphophone Competition

4891: 4856: 4745: 4667: 4658: 4564: 4528: 4431: 4397: 4324: 4243: 4154: 4135: 4116: 4097: 3942: 3429:

Maligned Master – The Real Story of Antonio Salieri

2816:, Little, Brown & Co, London, 1990 pp. 184–185. 2112: 2065: 1181:. The theme is likely folk-derived and is known as 115: 105: 86: 64: 41: 3639: 3455: 2294: 2840:"For Mozart's Arch rival, an Italian Renaissance" 980:proved to be his greatest international success. 1258:Jetzt schwebt er hin zum unvergänglich Schönen. 770:and Mozart's work for the same company in 1782, 3554:The New Grove Dictionary of Music and Musicians 1848:Within a few years of Salieri's death in 1825, 1335:(1784), which was first presented as a work of 1240:. His monument is adorned by a poem written by 843:and had his first professional encounters with 3798:Über das Leben und die Werke des Anton Salieri 3589:(1st ed.). New York City: HarperCollins. 1440:lived and worked in Vienna, he and his father 1355:was reworked and revised several times as was 5169: 4636: 4221: 3902: 3343:Amdreeva, Nellie Andreeva (27 January 2015). 1587:. This work, although it had been printed by 1520:, Salieri was busy with his new French opera 882: 684: 517: 437: 8: 2868: 2856: 2657: 2630: 2561: 2549: 2513: 2461: 2372: 2348: 1126:(the author of the libretto for Beethoven's 388:Early Viennese period and operas (1770–1778) 5788:Italian classical composers of church music 3874:about Salieri, National Arts Centre, Ottawa 3646:. The Philharmonia of Greater Kansas City. 3431:. Translated by Eveline L. Kanes. New York. 1408:His small instrumental output includes two 919: 522:, creating a new synthesis in the process. 5176: 5162: 5154: 4664: 4643: 4629: 4621: 4394: 4228: 4214: 4206: 3909: 3895: 3887: 3539:: CS1 maint: location missing publisher ( 3441:: CS1 maint: location missing publisher ( 2825: 2801: 2277:states flatly, "He was not poisoned"; see 2275:Norton/Grove Concise Encyclopedia of Music 1858:(1831), as a dramatic study of the sin of 1273:Now he is floating to everlasting beauty. 1017:, a semi-comic/semi-tragic account of the 202:were among the most famous of his pupils. 49: 38: 3843:International Music Score Library Project 3759:di Salieri: osservazioni preliminari" in 3505:"Antonio Salieri's Early Years in Vienna" 2709:, 1998, XII. 'Myths and theories', p. 173 1763:was staged in Milan for the reopening of 1271:He expressed himself in enchanting notes, 1256:Er sprach sich aus in zaubervollen Tönen, 3062:"Exhibition Franz Xaver Wolfgang Mozart" 1469:LoWV28 (1832) and the popular 1984 film 1037: 931:. Salieri also created a sacred cantata 27:Italian composer and teacher (1750–1825) 5681: 3727:, XVI 2004 (giugno 2005), pp. 263–303. 3686:Un italiano all'estero: Antonio Salieri 3476:10.1093/gmo/9781561592630.article.24378 2681: 2270: 2160: 2031: 1969:portrays Salieri in the French musical 1798:of Sydney, Australia, performing it as 1480:and Gassmann than of the Italians like 1284:List of compositions by Antonio Salieri 5783:Burials at the Vienna Central Cemetery 3532: 3434: 2985:(2). National Opera Association: 3–20. 2935: 2915:. Yale University Press. p. 623. 2891: 2645: 2501: 2477: 2448:Hettrick, Jane ed.; Salieri, Antonio, 2412: 2396: 2384: 2360: 1959:played Salieri in the 1985 production 1691:. In 2008, another female opera star, 766:), which premiered in 1781. Salieri's 424:Don Quixote at the Marriage of Camacho 2278: 2142: 1672:Modern performances of Salieri's work 1634:Salieri, along with Mozart's protégé 1516:. But at the time of the premiere of 953:) and staged at the royal wedding of 7: 2775:Giraudet, Jean-Paul (5 March 2014). 2693: 2669: 2618: 2603: 2587: 2574: 2537: 2525: 2489: 2465: 2436: 2424: 2400: 1945:. In the opera, Salieri attempts to 5838:Pupils of Christoph Willibald Gluck 5778:19th-century Italian male musicians 3967:Don Chisciotte alle nozze di Gamace 3258:. McFarland & Co. p. 267. 3176:Cunningham, Harriet (6 July 2014). 2838:Jason Horowitz (28 December 2004). 1267:Rest in peace! In eternal harmonies 679:, performed during Advent of 1776. 419:Don Chisciotte alle nozze di Gamace 5803:Italian Classical-period composers 4144:Per la ricuperata salute di Ofelia 3679:Antonio Salieri. Fatti e Documenti 3517:Antonio Salieri and Viennese Opera 1580:Per la ricuperata salute di Ofelia 25: 2258:Schatkin Hettrick & Rice 2001 1506:Princess Elisabeth of Württemberg 1288:List of operas by Antonio Salieri 1042:The beginning of Salieri's opera 285:. His musical theory training in 178:aspect of Vienna's musical life. 5773:19th-century classical composers 5758:18th-century classical composers 5720: 5708: 5696: 5684: 5658: 5649: 5648: 5137: 5128: 5127: 4605: 4604: 4465:Maria Anna Thekla Mozart (Bäsle) 4192: 4191: 3296:Harris, Robert (24 March 2017). 2099: 2046: 1812:Use of music by Salieri in films 1595:until 10 January 2016, when the 1416:written in 1773, a concerto for 1263:Rest in peace! Uncovered by dust 961:Late Viennese operas (1788–1804) 479:); it premiered on 2 June 1771. 392:Following the modest success of 225:death of Wolfgang Amadeus Mozart 121: 5194:List of Classical-era composers 4869:opus/Deutsch number concordance 4582:Beethoven–Haydn–Mozart Memorial 4047:Prima la musica e poi le parole 3614:Mozart's Letters, Mozart's Life 2887:Allgemeine musikalische Zeitung 2719:Erica Jeal (19 December 2003). 2297:Mozart: A Documentary Biography 1724:Prima la musica e poi le parole 1562:Prima la musica e poi le parole 1250:Wird Dir die Ewigkeit erblühen. 894:Prima la musica e poi le parole 778:The Abduction from the Seraglio 442:, and the lead female roles in 5763:18th-century Italian composers 3839:Free scores by Antonio Salieri 3829:Free scores by Antonio Salieri 3691:V. Della Croce/F. Blanchetti, 2231:Merriam-Webster.com Dictionary 1638:educated Mozart's younger son 1252:Ruh sanft! In ew'gen Harmonien 1248:Ruh sanft! Vom Staub entblößt, 1198:Variations on a Theme by Haydn 917:. This was intended to be the 1: 5793:Catholic liturgical composers 4874:19th century complete edition 3788:Intellectual Property Journal 3413:The Memoirs of Hector Berlioz 2890:, 27 June 1825, reprinted in 2206:(5th ed.). HarperCollins 1265:Eternity shall bloom for you. 773:Die Entführung aus dem Serail 738:). Of his Italian works one, 55:Portrait of Salieri, 1815, by 5828:Italian male opera composers 5808:Italian emigrants to Austria 4491:(paternal great-grandfather) 4334:Concert arias, songs, canons 3833:Choral Public Domain Library 3493:UK public library membership 3098:(in Italian). Archived from 2452:; Preface. Doblinger (1993) 2144:[anˈtɔːnjosaˈljɛːri] 1922:Academy Award for Best Actor 1269:Your spirit now is set free. 1136:Life after opera (1804–1825) 1003:Kublai Grand Kahn of Tartary 999:Cublai, gran kan de' Tartari 939:). The success of his opera 5768:18th-century male musicians 4707:Sonatas, duos and fantasies 4471:Franz Xaver Wolfgang Mozart 4453:Maria Anna Mozart (Nannerl) 3757:Fastaff, o sia le tre burle 3612:Spaethling, Robert (2000). 3066:Stiftung Mozarteum Salzburg 2996:Litai-Jacoby, Ruth (2008). 1852:wrote his "little tragedy" 1210:Antonio Casimir Cartellieri 1094:Falstaff ossia Le tre burle 887:published in full score by 371:Giovanni Gastone Boccherini 200:Franz Xaver Wolfgang Mozart 5854: 5823:Italian Romantic composers 4926:Schubert's Dream of Spring 4125:La passione di Gesù Cristo 3805:La Passione di Gesù Cristo 3632:Thayer, Alexander Wheelock 3616:. New York: W. W. Norton. 3324:. Erin Neff, Mezzo-Soprano 3254:Klossner, Michael (2002). 2880:See Salieri's obituary by 2021:Notes, references, sources 1865:In 1898, Russian composer 1836:a piano in Stark's suite. 1779:Giarola also directed the 1747:(1995 production from the 1281: 1254:Ist nun Dein Geist gelöst. 1124:Georg Friedrich Treitschke 1088:The Merry Wives of Windsor 1081:. His late opera based on 972:His Italian adaptation of 673:La Passione di Gesù Cristo 271:Giovanni Battista Pescetti 29: 5628: 5191: 5123: 4600: 4577:Mozart in popular culture 4389:Relationship with G minor 4189: 4079:Palmira, regina di Persia 3924: 3755:Biggi Parodi, Elena, "Il 3450:Schatkin Hettrick, Jane; 3182:The Sydney Morning Herald 3051:, Harper Perennial (1996) 2721:"The feud that never was" 2315:Stanford University Press 1986:, first performed by the 1805:The Sydney Morning Herald 1502:Alexander Wheelock Thayer 1374:Palmira, regina di Persia 1053:Palmira, regina di Persia 1044:Palmira, regina di Persia 628:, in which a war between 336:Christoph Willibald Gluck 326:performances held during 255:Giovanni Battista Martini 167:Christoph Willibald Gluck 120: 48: 5020:Dietrich Fischer-Dieskau 4306:Appearance and character 3872:Second podcast interview 3674:3 Vol. (München 1971–74) 3642:Salieri: Rival of Mozart 3551:, ed. (1988). "Mozart". 3092:"Salieri Opera Festival" 2001:period drama telemovie, 1938:A Little Nightmare Music 1869:adapted Pushkin's play, 1591:in 1785, was considered 1467:Szenen aus Mozarts Leben 1432:Relationship with Mozart 1246: 1058:Palmira, Queen of Persia 698:Italian tour (1778–1780) 436:was a mix of ballet and 275:Florian Leopold Gassmann 159:Florian Leopold Gassmann 58:Joseph Willibrord Mähler 5818:Italian Roman Catholics 5813:Italian opera composers 4934:Gently My Songs Entreat 4592:Mozart Monument, Vienna 4237:Wolfgang Amadeus Mozart 3468:Oxford University Press 3165:. Pinchgut Opera. 2014. 2948:Budroni, Paolo (2008). 2399:, pp. 30–31, also 2180:Oxford University Press 1867:Nikolai Rimsky-Korsakov 1767:in Milan, with soprano 746:The School for Jealousy 651:The Mistress of the Inn 578:Wolfgang Amadeus Mozart 471:La Gerusalemme liberata 207:fictionalized depiction 5591:Common practice period 5075:Johann Philipp Neumann 5060:Elizabeth Norman McKay 4485:(paternal grandfather) 3225:Iron Man (2008) – IMDb 3114:Il mondo alla rovescia 2705:H. C. Robbins Landon, 2528:, pp. 17, 21, 32. 2450:Missa stylo a cappella 1877:opera of the same name 1776:Il mondo alla rovescia 1730:Il mondo alla rovescia 1512:wrote to his daughter 1497:as a German composer. 1379:Il mondo alla rovescia 1046: 920: 883: 879:The Cave of Trophonius 868:The Marriage of Figaro 685: 518: 438: 319:) has also been lost. 241:Early life (1750–1770) 5798:Composers from Vienna 5554:Turkish music (style) 5208:First Viennese School 5050:Eusebius Mandyczewski 4982:Angeli senza paradiso 4913:Schubert at the Piano 4737:Doubtful and spurious 4031:La grotta di Trofonio 3677:Rudolph Angermüller, 3557:. London: Macmillan. 3425:Braunbehrens, Volkmar 3419:. New York: Everyman. 3279:Kyer, Ian C. (2013). 2427:, pp. 19–22, 27. 2317:. pp. 522, 524. 2176:UK English Dictionary 1916:, and in the film by 1749:Schwetzingen Festival 1718:La grotta di Trofonio 1689:Divas of Mozart's Day 1636:Johann Nepomuk Hummel 1611:Piano Concerto KV 482 1342:La grotta di Trofonio 1244:, one of his pupils: 1041: 913:, with a libretto by 874:La grotta di Trofonio 529:Carl Friedrich Cramer 510:Ranieri de' Calzabigi 196:Johann Nepomuk Hummel 5601:Age of Enlightenment 5045:Anselm Hüttenbrenner 5030:Johann Nepomuk Fuchs 4879:New Schubert Edition 4712:Songs and part-songs 4384:Compositional method 4364:Works for solo piano 4015:Il ricco d'un giorno 3999:La scuola de' gelosi 3934:List of compositions 3866:National Arts Centre 3794:I. F. Edler v. Mosel 3769:Herrmann, Timo Jouko 3120:22 July 2011 at the 2907:; Spencer, Stewart; 2313:(trans.). Stanford: 2186:on 2 September 2022. 2005:(2015), directed by 1972:Mozart, l'opéra rock 1898:1984 film adaptation 1840:Fictional treatments 1671: 1526:. In addition, when 1455:Carl Maria von Weber 1436:In the 1780s, while 1320:La scuola de' gelosi 1206:Ludwig van Beethoven 1166:Wellington's Victory 951:Axur, King of Hormuz 855:A Rich Man for a Day 850:Il ricco d'un giorno 782:La Scuola de' gelosi 741:La Scuola de' gelosi 188:Ludwig van Beethoven 110:List of compositions 81:, Republic of Venice 5833:People from Legnago 5513:Classical orchestra 5115:Johann Michael Vogl 4950:The Great Awakening 4483:Johann Georg Mozart 4418:Neue Mozart-Ausgabe 4411:Alte Mozart-Ausgabe 4007:Der Rauchfangkehrer 3991:Europa riconosciuta 3983:La fiera di Venezia 3699:Biggi Parodi, Elena 3668:Rudolph Angermüller 3163:"The Chimney Sweep" 3149:"Varietas Delectat" 3072:on 20 February 2018 3006:Bar-Ilan University 2696:, pp. 596–597. 2606:, pp. 162–164. 2464:, p. 26, also 2291:Deutsch, Otto Erich 2273:, p. 587. The 1992:San Francisco Opera 1792:Der Rauchfangkehrer 1788:Leopold Auenbrugger 1760:Europa riconosciuta 1603:Timo Jouko Herrmann 1598:Schwäbische Zeitung 1488:. In 1772, Empress 1389:Cesare in Farmacusa 1326:Der Rauchfangkehrer 1314:La fiera di Venezia 1236:transferred to the 1083:William Shakespeare 1063:Cesare in Farmacusa 1011:Catherine the Great 933:Le Judgment dernier 759:Der Rauchfangkehrer 710:Europa riconosciuta 556:La Fiera di Venezia 547:commedia per musica 476:Jerusalem Delivered 408:Miguel de Cervantes 358:Les Femmes Savantes 300:Gradus ad Parnassum 5095:Ferdinand Schubert 5005:Otto Erich Deutsch 4905:Das Dreimäderlhaus 4477:Karl Thomas Mozart 4163:Mozart and Salieri 3951:Le donne letterate 3803:Salieri, Antonio. 3463:Grove Music Online 3457:"Salieri, Antonio" 3384:webview.fate-go.us 3349:Deadline Hollywood 3303:The Globe and Mail 3026:on 31 January 2016 2894:, pp. 170–175 2882:Friedrich Rochlitz 2844:The New York Times 2707:Mozart's Last Year 2169:"Salieri, Antonio" 1961:The Mozart Inquest 1872:Mozart and Salieri 1855:Mozart and Salieri 1774:In November 2009, 1640:Franz Xaver Mozart 1623:Caterina Cavalieri 1495:Friedrich Rochlitz 1426:La folia di Spagna 1404:Instrumental works 1047: 937:The Last Judgement 863:Le Nozze di Figaro 859:Giambattista Casti 823:. Salieri's first 677:text by Metastasio 561:The Fair of Venice 512:in the preface to 500:. The libretto to 394:Le donne letterate 363:The Learned Ladies 348:Le donne letterate 230:nervous breakdowns 148:Republic of Venice 5672: 5671: 5151: 5150: 5090:Franz von Schober 4966:La Belle Meunière 4887: 4886: 4864:Deutsch catalogue 4618: 4617: 4447:Anna Maria Mozart 4427: 4426: 4203: 4202: 4106:Picciola serenata 3959:L'amore innocente 3862:Podcast interview 3781:978-3-87350-053-2 3750:978-3-7757-1689-5 3718:978-88-7096-307-6 3653:978-0-932845-37-5 3636:Theodore Albrecht 3596:978-0-06-019046-0 3564:978-0-333-23111-1 3526:978-0-226-71125-6 3491:(subscription or 3485:978-1-56159-263-0 3415:. trans. and ed. 3265:978-0-7864-1223-5 3135:"Antonio Giarola" 2979:The Opera Journal 2922:978-0-300-07223-5 2869:Braunbehrens 1992 2857:Braunbehrens 1992 2777:"Antonio Salieri" 2751:"Antonio Salieri" 2658:Braunbehrens 1992 2633:, pp. 33–34. 2631:Braunbehrens 1992 2592:L'amore innocence 2562:Braunbehrens 1992 2552:, pp. 28–29. 2550:Braunbehrens 1992 2516:, pp. 22–23. 2514:Braunbehrens 1992 2504:, pp. 41–42. 2492:, pp. 21–27. 2462:Braunbehrens 1992 2439:, pp. 18–19. 2415:, pp. 17–20. 2387:, pp. 30–31. 2375:, pp. 19–22. 2373:Braunbehrens 1992 2349:Braunbehrens 1992 2324:978-0-8047-0233-1 2234:. Merriam-Webster 1918:F. Murray Abraham 1912:, on Broadway by 1850:Alexander Pushkin 1825:Copying Beethoven 1781:Varietas Delectat 1685:The Salieri Album 1662:1984 film version 1551:Emperor Joseph II 1412:, a concerto for 1120:colonial Virginia 764:The Chimney Sweep 715:Europa Recognized 609:The Stolen Bucket 604:La secchia rapita 491:Orfeo ed Euridice 444:L'amore innocente 399:L'amore innocente 351:and was based on 328:Emperor Joseph II 317:The Vestal Virgin 221:1984 film version 152:Habsburg monarchy 138:. He was born in 129: 128: 100:, Austrian Empire 16:(Redirected from 5845: 5725: 5724: 5723: 5713: 5712: 5701: 5700: 5699: 5689: 5688: 5687: 5680: 5662: 5652: 5651: 5185:Classical period 5178: 5171: 5164: 5155: 5141: 5131: 5130: 5105:Joseph von Spaun 5065:Gustav Nottebohm 5055:Johann Mayrhofer 5025:Max Friedlaender 5000:Eva Badura-Skoda 4687:Orchestral works 4665: 4645: 4638: 4631: 4622: 4608: 4607: 4497:(brother-in-law) 4459:Constanze Mozart 4405:Köchel catalogue 4395: 4379:Violin concertos 4230: 4223: 4216: 4207: 4195: 4194: 4063:Axur, re d'Ormus 3911: 3904: 3897: 3888: 3858: 3707: 3684:A. Della Corte, 3657: 3645: 3627: 3608: 3581:Solomon, Maynard 3576: 3544: 3538: 3530: 3508: 3496: 3489: 3459: 3446: 3440: 3432: 3420: 3395: 3394: 3392: 3390: 3376: 3370: 3359: 3353: 3352: 3340: 3334: 3333: 3331: 3329: 3318: 3312: 3311: 3293: 3287: 3286: 3276: 3270: 3269: 3251: 3245: 3242: 3236: 3235: 3234: 3232: 3220: 3214: 3213: 3211: 3209: 3199: 3193: 3192: 3190: 3188: 3173: 3167: 3166: 3159: 3153: 3152: 3145: 3139: 3138: 3131: 3125: 3110: 3104: 3103: 3088: 3082: 3081: 3079: 3077: 3068:. Archived from 3058: 3052: 3045:Solomon, Maynard 3042: 3036: 3035: 3033: 3031: 3016: 3010: 3009: 2993: 2987: 2986: 2970: 2964: 2963: 2945: 2939: 2933: 2927: 2926: 2901: 2895: 2878: 2872: 2866: 2860: 2854: 2848: 2847: 2835: 2829: 2823: 2817: 2814:Mozart's Letters 2811: 2805: 2799: 2793: 2792: 2790: 2788: 2772: 2766: 2765: 2763: 2761: 2747: 2741: 2740: 2735: 2733: 2716: 2710: 2703: 2697: 2691: 2685: 2679: 2673: 2667: 2661: 2655: 2649: 2643: 2634: 2628: 2622: 2616: 2607: 2601: 2595: 2584: 2578: 2571: 2565: 2559: 2553: 2547: 2541: 2535: 2529: 2523: 2517: 2511: 2505: 2499: 2493: 2487: 2481: 2475: 2469: 2459: 2453: 2446: 2440: 2434: 2428: 2422: 2416: 2410: 2404: 2403:, pp. 17–20 2394: 2388: 2382: 2376: 2370: 2364: 2358: 2352: 2351:, pp. 14–15 2346: 2337: 2336: 2303:Peter Branscombe 2300: 2287: 2281: 2267: 2261: 2255: 2244: 2243: 2241: 2239: 2222: 2216: 2215: 2213: 2211: 2194: 2188: 2187: 2182:. Archived from 2165: 2148: 2146: 2141: 2134: 2128: 2127: 2124: 2123: 2120: 2117: 2114: 2111: 2108: 2105: 2098: 2087: 2083: 2078: 2077: 2074: 2073: 2070: 2067: 2064: 2061: 2058: 2055: 2052: 2045: 2036: 2014:Fate/Grand Order 1906:National Theatre 1800:The Chimneysweep 1738: 1615:Clarinet Quintet 1607:Davide penitente 1543:Axur, re d'Ormus 1528:Lorenzo Da Ponte 1447:Lorenzo Da Ponte 1362:Axur, re d'Ormus 1108: 1071: 946:Axur, re d'Ormus 925: 886: 841:Lorenzo Da Ponte 799:tragédie lyrique 797:) is a five-act 732: 688: 647: 567:was written for 550:in the style of 537: 521: 506:Marco Coltellini 441: 382:Luigi Boccherini 379: 251:Giuseppe Tartini 136:classical period 125: 93: 74: 72: 53: 39: 21: 5853: 5852: 5848: 5847: 5846: 5844: 5843: 5842: 5743:Antonio Salieri 5733: 5732: 5731: 5721: 5719: 5707: 5703:Classical music 5697: 5695: 5685: 5683: 5675: 5673: 5668: 5645: 5637: 5624: 5579: 5575:Galant Schemata 5558: 5549:Sensitive style 5522: 5506:Instrumentation 5501: 5235:Mannheim school 5196: 5187: 5182: 5152: 5147: 5119: 5085:Antonio Salieri 4988: 4916:(1899 painting) 4908:(1916 operetta) 4883: 4852: 4741: 4654: 4649: 4619: 4614: 4596: 4560: 4541:Catholic Church 4524: 4521:(sister-in-law) 4515:(sister-in-law) 4509:(sister-in-law) 4503:(mother-in-law) 4423: 4393: 4359:Piano concertos 4320: 4239: 4234: 4204: 4199: 4185: 4150: 4131: 4112: 4093: 3938: 3920: 3918:Antonio Salieri 3915: 3864:about Salieri, 3856: 3825: 3775:(Leipzig 2015) 3701: 3693:Il caso Salieri 3672:Antonio Salieri 3664: 3662:Further reading 3654: 3630: 3624: 3611: 3597: 3579: 3565: 3547: 3531: 3527: 3511: 3501:Lorenz, Michael 3499: 3490: 3486: 3449: 3433: 3423: 3409:Berlioz, Hector 3407: 3399: 3398: 3388: 3386: 3378: 3377: 3373: 3360: 3356: 3342: 3341: 3337: 3327: 3325: 3320: 3319: 3315: 3295: 3294: 3290: 3278: 3277: 3273: 3266: 3253: 3252: 3248: 3243: 3239: 3230: 3228: 3222: 3221: 3217: 3207: 3205: 3201: 3200: 3196: 3186: 3184: 3175: 3174: 3170: 3161: 3160: 3156: 3147: 3146: 3142: 3133: 3132: 3128: 3122:Wayback Machine 3111: 3107: 3102:on 6 June 2010. 3090: 3089: 3085: 3075: 3073: 3060: 3059: 3055: 3043: 3039: 3029: 3027: 3018: 3017: 3013: 2995: 2994: 2990: 2975:The Magic Flute 2972: 2971: 2967: 2960: 2947: 2946: 2942: 2934: 2930: 2923: 2903: 2902: 2898: 2879: 2875: 2867: 2863: 2855: 2851: 2837: 2836: 2832: 2826:Spaethling 2000 2824: 2820: 2812: 2808: 2802:Spaethling 2000 2800: 2796: 2786: 2784: 2774: 2773: 2769: 2759: 2757: 2749: 2748: 2744: 2731: 2729: 2718: 2717: 2713: 2704: 2700: 2692: 2688: 2680: 2676: 2668: 2664: 2656: 2652: 2644: 2637: 2629: 2625: 2617: 2610: 2602: 2598: 2585: 2581: 2572: 2568: 2560: 2556: 2548: 2544: 2536: 2532: 2524: 2520: 2512: 2508: 2500: 2496: 2488: 2484: 2476: 2472: 2460: 2456: 2447: 2443: 2435: 2431: 2423: 2419: 2411: 2407: 2395: 2391: 2383: 2379: 2371: 2367: 2359: 2355: 2347: 2340: 2325: 2289: 2288: 2284: 2268: 2264: 2256: 2247: 2237: 2235: 2224: 2223: 2219: 2209: 2207: 2196: 2195: 2191: 2167: 2166: 2162: 2152: 2151: 2139: 2132: 2102: 2093: 2092: 2085: 2081: 2049: 2040: 2039: 2038:Pronunciation: 2037: 2033: 2023: 1957:Patrick Stewart 1892:(1979) and its 1842: 1819:The Last Castle 1814: 1732: 1697:Axur Re d'Ormus 1681:Cecilia Bartoli 1674: 1648: 1628:The Magic Flute 1617:(1789) and the 1567:The Magic Flute 1556:The Magic Flute 1500:The biographer 1463:Albert Lortzing 1434: 1406: 1397: 1295: 1290: 1282:Main articles: 1280: 1275: 1272: 1270: 1268: 1266: 1264: 1260: 1257: 1255: 1253: 1251: 1249: 1238:Zentralfriedhof 1143:Ignaz von Mosel 1138: 1122:with a text by 1102: 1065: 963: 754: 726: 700: 641: 531: 390: 373: 263:Mocenigo family 243: 238: 236:Life and career 232:in later life. 219:(1979) and its 132:Antonio Salieri 101: 95: 91: 82: 76: 70: 68: 60: 56: 44: 43:Antonio Salieri 35: 28: 23: 22: 15: 12: 11: 5: 5851: 5849: 5841: 5840: 5835: 5830: 5825: 5820: 5815: 5810: 5805: 5800: 5795: 5790: 5785: 5780: 5775: 5770: 5765: 5760: 5755: 5750: 5745: 5735: 5734: 5730: 5729: 5717: 5705: 5693: 5670: 5669: 5667: 5666: 5656: 5641:Romantic music 5638: 5630: 5629: 5626: 5625: 5623: 5622: 5621: 5620: 5619: 5618: 5613: 5608: 5593: 5587: 5585: 5581: 5580: 5578: 5577: 5572: 5570:Notes inégales 5566: 5564: 5560: 5559: 5557: 5556: 5551: 5546: 5541: 5536: 5530: 5528: 5524: 5523: 5521: 5520: 5518:String quartet 5515: 5509: 5507: 5503: 5502: 5500: 5499: 5494: 5489: 5484: 5479: 5474: 5469: 5464: 5459: 5454: 5449: 5444: 5439: 5434: 5429: 5424: 5419: 5414: 5409: 5404: 5399: 5394: 5389: 5387:Martín y Soler 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5324: 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5273: 5272: 5267: 5262: 5257: 5252: 5247: 5242: 5232: 5231: 5230: 5225: 5220: 5215: 5204: 5202: 5198: 5197: 5192: 5189: 5188: 5183: 5181: 5180: 5173: 5166: 5158: 5149: 5148: 5146: 5145: 5135: 5124: 5121: 5120: 5118: 5117: 5112: 5107: 5102: 5097: 5092: 5087: 5082: 5080:Brian Newbould 5077: 5072: 5070:Wilhelm Müller 5067: 5062: 5057: 5052: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5015:Julius Epstein 5012: 5007: 5002: 4996: 4994: 4990: 4989: 4987: 4986: 4978: 4974:Franz Schubert 4970: 4962: 4958:It's Only Love 4954: 4946: 4938: 4930: 4922: 4917: 4909: 4901: 4895: 4893: 4889: 4888: 4885: 4884: 4882: 4881: 4876: 4871: 4866: 4860: 4858: 4854: 4853: 4851: 4850: 4845: 4840: 4835: 4830: 4825: 4820: 4815: 4810: 4805: 4800: 4795: 4790: 4785: 4780: 4775: 4770: 4765: 4760: 4755: 4749: 4747: 4743: 4742: 4740: 4739: 4734: 4729: 4724: 4719: 4709: 4704: 4694: 4684: 4679: 4673: 4671: 4662: 4656: 4655: 4652:Franz Schubert 4650: 4648: 4647: 4640: 4633: 4625: 4616: 4615: 4613: 4612: 4601: 4598: 4597: 4595: 4594: 4589: 4584: 4579: 4574: 4568: 4566: 4562: 4561: 4559: 4558: 4553: 4548: 4543: 4538: 4532: 4530: 4526: 4525: 4523: 4522: 4516: 4510: 4504: 4498: 4492: 4486: 4480: 4474: 4468: 4467:(first cousin) 4462: 4456: 4450: 4444: 4441:Leopold Mozart 4437: 4435: 4429: 4428: 4425: 4424: 4422: 4421: 4414: 4407: 4401: 4399: 4392: 4391: 4386: 4381: 4376: 4371: 4366: 4361: 4356: 4351: 4346: 4344:Horn concertos 4341: 4336: 4330: 4328: 4322: 4321: 4319: 4318: 4313: 4308: 4303: 4298: 4293: 4288: 4283: 4278: 4273: 4268: 4263: 4258: 4253: 4247: 4245: 4241: 4240: 4235: 4233: 4232: 4225: 4218: 4210: 4201: 4200: 4190: 4187: 4186: 4184: 4183: 4182: 4181: 4158: 4156: 4152: 4151: 4149: 4148: 4139: 4137: 4133: 4132: 4130: 4129: 4120: 4118: 4114: 4113: 4111: 4110: 4101: 4099: 4095: 4094: 4092: 4091: 4083: 4075: 4067: 4059: 4051: 4043: 4035: 4027: 4019: 4011: 4003: 3995: 3987: 3979: 3971: 3963: 3955: 3946: 3944: 3940: 3939: 3937: 3936: 3931: 3929:List of operas 3925: 3922: 3921: 3916: 3914: 3913: 3906: 3899: 3891: 3885: 3884: 3880:Damaging Winds 3877:Kyer, C. Ian, 3875: 3869: 3859: 3849:Teatro Salieri 3846: 3836: 3824: 3823:External links 3821: 3820: 3819: 3801: 3791: 3784: 3766: 3764: 3753: 3738: 3721: 3696: 3689: 3682: 3681:(Legnago 1985) 3675: 3663: 3660: 3659: 3658: 3652: 3628: 3622: 3609: 3595: 3586:Mozart: A Life 3577: 3563: 3549:Sadie, Stanley 3545: 3525: 3509: 3497: 3484: 3447: 3421: 3397: 3396: 3371: 3354: 3335: 3313: 3288: 3271: 3264: 3246: 3237: 3215: 3194: 3168: 3154: 3151:. 8 June 2021. 3140: 3137:. 8 June 2021. 3126: 3105: 3096:Teatro Salieri 3083: 3053: 3049:Mozart: A Life 3037: 3011: 3008:. p. 247. 2988: 2965: 2959:978-3899714777 2958: 2940: 2928: 2921: 2905:Abert, Hermann 2896: 2873: 2861: 2849: 2830: 2828:, p. 357. 2818: 2806: 2804:, p. 294. 2794: 2781:musicalics.com 2767: 2742: 2711: 2698: 2686: 2674: 2672:, p. 256. 2662: 2650: 2635: 2623: 2621:, p. 175. 2608: 2596: 2579: 2566: 2554: 2542: 2530: 2518: 2506: 2494: 2482: 2470: 2454: 2441: 2429: 2417: 2405: 2389: 2377: 2365: 2353: 2338: 2323: 2282: 2262: 2245: 2217: 2189: 2159: 2158: 2150: 2149: 2030: 2029: 2022: 2019: 2018: 2017: 2010: 1995: 1976: 1964: 1954: 1929: 1880: 1875:(1831), as an 1863: 1841: 1838: 1813: 1810: 1796:Pinchgut Opera 1673: 1670: 1664:, directed by 1647: 1644: 1510:Leopold Mozart 1433: 1430: 1410:piano concerti 1405: 1402: 1396: 1393: 1294: 1291: 1279: 1276: 1261: 1226:Caterina Canzi 1218:Franz Schubert 1137: 1134: 967:Giuseppe Bonno 962: 959: 929:Richard Wagner 922:nec plus ultra 830:Hector Berlioz 808:The Suppliants 753: 750: 721:on one opera, 699: 696: 467:Torquato Tasso 434:Don Chisciotte 389: 386: 293:was rooted in 242: 239: 237: 234: 209:of Salieri in 184:Franz Schubert 127: 126: 118: 117: 113: 112: 107: 103: 102: 96: 94:(aged 74) 88: 84: 83: 77: 75:18 August 1750 66: 62: 61: 54: 46: 45: 42: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5850: 5839: 5836: 5834: 5831: 5829: 5826: 5824: 5821: 5819: 5816: 5814: 5811: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5789: 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5764: 5761: 5759: 5756: 5754: 5751: 5749: 5746: 5744: 5741: 5740: 5738: 5728: 5718: 5716: 5711: 5706: 5704: 5694: 5692: 5682: 5678: 5665: 5661: 5657: 5655: 5647: 5646: 5643: 5642: 5636: 5635: 5634:Baroque music 5627: 5617: 5614: 5612: 5609: 5607: 5604: 5603: 5602: 5599: 5598: 5597: 5594: 5592: 5589: 5588: 5586: 5582: 5576: 5573: 5571: 5568: 5567: 5565: 5561: 5555: 5552: 5550: 5547: 5545: 5542: 5540: 5537: 5535: 5532: 5531: 5529: 5525: 5519: 5516: 5514: 5511: 5510: 5508: 5504: 5498: 5495: 5493: 5490: 5488: 5485: 5483: 5480: 5478: 5475: 5473: 5470: 5468: 5465: 5463: 5460: 5458: 5455: 5453: 5452:Saint-Georges 5450: 5448: 5445: 5443: 5440: 5438: 5435: 5433: 5430: 5428: 5425: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5282:C. P. E. Bach 5280: 5278: 5275: 5271: 5268: 5266: 5263: 5261: 5258: 5256: 5253: 5251: 5248: 5246: 5243: 5241: 5238: 5237: 5236: 5233: 5229: 5226: 5224: 5221: 5219: 5216: 5214: 5211: 5210: 5209: 5206: 5205: 5203: 5199: 5195: 5190: 5186: 5179: 5174: 5172: 5167: 5165: 5160: 5159: 5156: 5144: 5140: 5136: 5134: 5126: 5125: 5122: 5116: 5113: 5111: 5108: 5106: 5103: 5101: 5098: 5096: 5093: 5091: 5088: 5086: 5083: 5081: 5078: 5076: 5073: 5071: 5068: 5066: 5063: 5061: 5058: 5056: 5053: 5051: 5048: 5046: 5043: 5041: 5038: 5036: 5033: 5031: 5028: 5026: 5023: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5001: 4998: 4997: 4995: 4991: 4984: 4983: 4979: 4976: 4975: 4971: 4968: 4967: 4963: 4960: 4959: 4955: 4952: 4951: 4947: 4944: 4943: 4939: 4936: 4935: 4931: 4928: 4927: 4923: 4921: 4918: 4915: 4914: 4910: 4907: 4906: 4902: 4900: 4897: 4896: 4894: 4890: 4880: 4877: 4875: 4872: 4870: 4867: 4865: 4862: 4861: 4859: 4855: 4849: 4846: 4844: 4841: 4839: 4836: 4834: 4831: 4829: 4826: 4824: 4821: 4819: 4816: 4814: 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4362: 4360: 4357: 4355: 4352: 4350: 4347: 4345: 4342: 4340: 4337: 4335: 4332: 4331: 4329: 4327: 4323: 4317: 4314: 4312: 4309: 4307: 4304: 4302: 4299: 4297: 4294: 4292: 4289: 4287: 4284: 4282: 4279: 4277: 4274: 4272: 4269: 4267: 4264: 4262: 4259: 4257: 4254: 4252: 4249: 4248: 4246: 4242: 4238: 4231: 4226: 4224: 4219: 4217: 4212: 4211: 4208: 4198: 4188: 4180: 4177: 4175: 4171: 4170: 4169: 4168:, 1898 opera) 4166: 4164: 4160: 4159: 4157: 4153: 4146: 4145: 4141: 4140: 4138: 4134: 4127: 4126: 4122: 4121: 4119: 4115: 4108: 4107: 4103: 4102: 4100: 4096: 4089: 4088: 4084: 4081: 4080: 4076: 4073: 4072: 4068: 4065: 4064: 4060: 4057: 4056: 4052: 4049: 4048: 4044: 4041: 4040: 4036: 4033: 4032: 4028: 4025: 4024: 4020: 4017: 4016: 4012: 4009: 4008: 4004: 4001: 4000: 3996: 3993: 3992: 3988: 3985: 3984: 3980: 3977: 3976: 3972: 3969: 3968: 3964: 3961: 3960: 3956: 3953: 3952: 3948: 3947: 3945: 3941: 3935: 3932: 3930: 3927: 3926: 3923: 3919: 3912: 3907: 3905: 3900: 3898: 3893: 3892: 3889: 3882: 3881: 3876: 3873: 3870: 3867: 3863: 3860: 3854: 3850: 3847: 3844: 3840: 3837: 3834: 3830: 3827: 3826: 3822: 3818: 3814: 3810: 3806: 3802: 3800:(Vienna 1827) 3799: 3795: 3792: 3789: 3785: 3782: 3778: 3774: 3770: 3767: 3765: 3762: 3758: 3754: 3751: 3747: 3743: 3739: 3737: 3735: 3731: 3726: 3725:, «Recercare» 3722: 3719: 3715: 3711: 3705: 3700: 3697: 3695:(Torino 1994) 3694: 3690: 3688:(Torino 1936) 3687: 3683: 3680: 3676: 3673: 3669: 3666: 3665: 3661: 3655: 3649: 3644: 3643: 3637: 3633: 3629: 3625: 3623:9780393047196 3619: 3615: 3610: 3606: 3602: 3598: 3592: 3588: 3587: 3582: 3578: 3574: 3570: 3566: 3560: 3556: 3555: 3550: 3546: 3542: 3536: 3528: 3522: 3518: 3514: 3513:Rice, John A. 3510: 3506: 3502: 3498: 3494: 3487: 3481: 3477: 3473: 3469: 3465: 3464: 3458: 3453: 3452:Rice, John A. 3448: 3444: 3438: 3430: 3426: 3422: 3418: 3414: 3410: 3406: 3405: 3404: 3403: 3402:Cited sources 3385: 3381: 3375: 3372: 3369: 3365: 3364: 3358: 3355: 3350: 3346: 3339: 3336: 3323: 3317: 3314: 3309: 3305: 3304: 3299: 3292: 3289: 3284: 3283: 3275: 3272: 3267: 3261: 3257: 3250: 3247: 3241: 3238: 3227: 3226: 3219: 3216: 3204: 3198: 3195: 3183: 3179: 3172: 3169: 3164: 3158: 3155: 3150: 3144: 3141: 3136: 3130: 3127: 3123: 3119: 3116: 3115: 3109: 3106: 3101: 3097: 3093: 3087: 3084: 3071: 3067: 3063: 3057: 3054: 3050: 3046: 3041: 3038: 3025: 3021: 3015: 3012: 3007: 3004:] (PhD). 3003: 2999: 2992: 2989: 2984: 2980: 2976: 2969: 2966: 2961: 2955: 2951: 2944: 2941: 2938:, p. 85. 2937: 2932: 2929: 2924: 2918: 2914: 2910: 2906: 2900: 2897: 2893: 2889: 2888: 2883: 2877: 2874: 2870: 2865: 2862: 2858: 2853: 2850: 2845: 2841: 2834: 2831: 2827: 2822: 2819: 2815: 2810: 2807: 2803: 2798: 2795: 2782: 2778: 2771: 2768: 2756: 2752: 2746: 2743: 2739: 2728: 2727: 2722: 2715: 2712: 2708: 2702: 2699: 2695: 2690: 2687: 2684:, p. 22. 2683: 2678: 2675: 2671: 2666: 2663: 2660:, p. 42. 2659: 2654: 2651: 2647: 2642: 2640: 2636: 2632: 2627: 2624: 2620: 2615: 2613: 2609: 2605: 2600: 2597: 2593: 2589: 2583: 2580: 2576: 2570: 2567: 2564:, p. 29. 2563: 2558: 2555: 2551: 2546: 2543: 2539: 2534: 2531: 2527: 2522: 2519: 2515: 2510: 2507: 2503: 2498: 2495: 2491: 2486: 2483: 2480:, p. 38. 2479: 2474: 2471: 2467: 2463: 2458: 2455: 2451: 2445: 2442: 2438: 2433: 2430: 2426: 2421: 2418: 2414: 2409: 2406: 2402: 2398: 2393: 2390: 2386: 2381: 2378: 2374: 2369: 2366: 2363:, p. 28. 2362: 2357: 2354: 2350: 2345: 2343: 2339: 2334: 2330: 2326: 2320: 2316: 2312: 2308: 2304: 2299: 2298: 2292: 2286: 2283: 2280: 2276: 2272: 2266: 2263: 2259: 2254: 2252: 2250: 2246: 2233: 2232: 2227: 2221: 2218: 2205: 2204: 2199: 2193: 2190: 2185: 2181: 2177: 2175: 2170: 2164: 2161: 2157: 2156: 2145: 2137: 2136: 2126: 2096: 2090: 2089: 2076: 2043: 2035: 2032: 2028: 2027: 2020: 2015: 2011: 2008: 2004: 2000: 1996: 1993: 1989: 1988:Adler Fellows 1985: 1981: 1977: 1974: 1973: 1968: 1967:Florent Mothe 1965: 1962: 1958: 1955: 1952: 1951:anachronistic 1948: 1944: 1943:P. D. Q. Bach 1940: 1939: 1935:opera titled 1934: 1930: 1927: 1923: 1920:(who won the 1919: 1915: 1911: 1910:Paul Scofield 1907: 1903: 1899: 1895: 1891: 1890: 1885: 1884:Peter Shaffer 1881: 1878: 1874: 1873: 1868: 1864: 1861: 1857: 1856: 1851: 1847: 1846: 1845: 1839: 1837: 1834: 1833: 1827: 1826: 1821: 1820: 1811: 1809: 1807: 1806: 1801: 1797: 1793: 1789: 1784: 1782: 1777: 1772: 1770: 1766: 1762: 1761: 1756: 1755: 1750: 1746: 1741: 1739: 1736: 1731: 1726: 1725: 1720: 1719: 1714: 1713:La Locandiera 1710: 1709: 1704: 1703: 1698: 1694: 1690: 1686: 1682: 1679: 1678:mezzo-soprano 1669: 1667: 1663: 1659: 1658: 1653: 1652:Peter Shaffer 1645: 1643: 1641: 1637: 1632: 1630: 1629: 1624: 1620: 1619:40th Symphony 1616: 1612: 1608: 1604: 1600: 1599: 1594: 1590: 1586: 1585:Nancy Storace 1582: 1581: 1575: 1570: 1568: 1564: 1563: 1558: 1557: 1552: 1547: 1545: 1544: 1539: 1538: 1533: 1529: 1525: 1524: 1519: 1515: 1511: 1507: 1503: 1498: 1496: 1491: 1490:Maria Theresa 1487: 1483: 1479: 1474: 1472: 1468: 1465:'s Singspiel 1464: 1460: 1456: 1450: 1448: 1443: 1439: 1431: 1429: 1427: 1423: 1419: 1415: 1411: 1403: 1401: 1394: 1392: 1390: 1386: 1385: 1380: 1376: 1375: 1370: 1369: 1364: 1363: 1358: 1354: 1350: 1349: 1344: 1343: 1338: 1334: 1333: 1328: 1327: 1322: 1321: 1316: 1315: 1310: 1309: 1304: 1300: 1292: 1289: 1285: 1277: 1274: 1259: 1245: 1243: 1239: 1234: 1229: 1227: 1223: 1219: 1215: 1211: 1207: 1202: 1200: 1199: 1194: 1190: 1186: 1185: 1180: 1175: 1170: 1168: 1167: 1162: 1161: 1156: 1151: 1147: 1144: 1135: 1133: 1131: 1130: 1125: 1121: 1117: 1113: 1109: 1106: 1101: 1096: 1095: 1090: 1089: 1084: 1080: 1076: 1072: 1069: 1064: 1060:) (1795) and 1059: 1055: 1054: 1045: 1040: 1036: 1034: 1030: 1029: 1024: 1020: 1016: 1012: 1008: 1004: 1000: 996: 992: 987: 983: 979: 975: 970: 968: 960: 958: 956: 952: 948: 947: 942: 938: 934: 930: 926: 924: 923: 916: 912: 911: 906: 902: 901: 896: 895: 890: 885: 881:), the first 880: 876: 875: 870: 869: 864: 860: 856: 852: 851: 846: 842: 837: 835: 831: 826: 822: 818: 814: 810: 809: 804: 800: 796: 792: 791: 785: 783: 779: 775: 774: 769: 768:Chimney Sweep 765: 761: 760: 751: 749: 747: 743: 742: 737: 733: 730: 725: 720: 716: 712: 711: 705: 697: 695: 692: 687: 680: 678: 674: 668: 664: 660: 658: 657: 656:La locandiera 652: 648: 645: 640: 639:La locandiera 635: 631: 627: 623: 619: 618: 614: 610: 606: 605: 599: 597: 596: 591: 590: 585: 584: 579: 574: 570: 566: 562: 558: 557: 553: 552:Carlo Goldoni 549: 548: 543: 539: 535: 530: 525: 520: 515: 511: 507: 503: 499: 498: 493: 492: 486: 485:First Crusade 482: 478: 477: 472: 469:'s epic poem 468: 465:was based on 464: 463: 457: 455: 451: 450: 445: 440: 435: 431: 430: 425: 421: 420: 415: 414: 409: 405: 404:Innocent Love 401: 400: 395: 387: 385: 383: 377: 372: 368: 364: 360: 359: 354: 350: 349: 344: 343: 337: 333: 329: 325: 324:chamber music 320: 318: 314: 310: 306: 302: 301: 296: 292: 288: 284: 278: 276: 272: 268: 264: 260: 256: 252: 248: 240: 235: 233: 231: 226: 222: 218: 217: 212: 211:Peter Shaffer 208: 203: 201: 197: 193: 189: 185: 181: 176: 175:Kapellmeister 170: 168: 164: 160: 155: 153: 149: 145: 141: 137: 133: 124: 119: 114: 111: 108: 104: 99: 89: 85: 80: 67: 63: 59: 52: 47: 40: 37: 33: 32:Mario Salieri 19: 5639: 5632: 5534:Galant music 5456: 5110:Rita Steblin 5084: 5040:Ernst Hilmar 5035:Therese Grob 5010:Walther Dürr 4980: 4972: 4964: 4956: 4948: 4940: 4932: 4924: 4911: 4903: 4899:Schubertiade 4857:Publications 4727:Arrangements 4682:Church music 4660:Compositions 4572:Georg Nissen 4555: 4519:Sophie Weber 4495:Joseph Lange 4489:Franz Mozart 4416: 4409: 4311:Pet starling 4179:, 1984 film) 4173: 4162: 4142: 4123: 4104: 4098:Instrumental 4085: 4077: 4069: 4061: 4053: 4045: 4037: 4029: 4023:Les Danaïdes 4021: 4013: 4005: 3997: 3989: 3981: 3973: 3965: 3957: 3949: 3917: 3879: 3857:(in Italian) 3835:(ChoralWiki) 3804: 3797: 3787: 3772: 3760: 3756: 3741: 3728: 3724: 3709: 3692: 3685: 3678: 3671: 3641: 3613: 3585: 3552: 3516: 3461: 3428: 3417:David Cairns 3412: 3401: 3400: 3387:. Retrieved 3383: 3374: 3362: 3357: 3348: 3338: 3326:. Retrieved 3316: 3301: 3291: 3281: 3274: 3255: 3249: 3240: 3229:, retrieved 3224: 3218: 3206:. Retrieved 3197: 3185:. Retrieved 3181: 3171: 3157: 3143: 3129: 3113: 3108: 3100:the original 3095: 3086: 3074:. Retrieved 3070:the original 3065: 3056: 3048: 3040: 3028:. Retrieved 3024:the original 3014: 3001: 2997: 2991: 2982: 2978: 2974: 2968: 2949: 2943: 2931: 2913:W. A. Mozart 2912: 2909:Eisen, Cliff 2899: 2885: 2876: 2864: 2852: 2843: 2833: 2821: 2813: 2809: 2797: 2785:. Retrieved 2780: 2770: 2758:. Retrieved 2754: 2745: 2737: 2730:. Retrieved 2726:The Guardian 2724: 2714: 2706: 2701: 2689: 2682:Berlioz 2002 2677: 2665: 2653: 2626: 2599: 2591: 2582: 2569: 2557: 2545: 2533: 2521: 2509: 2497: 2485: 2473: 2468:, p. 20 2457: 2449: 2444: 2432: 2420: 2408: 2392: 2380: 2368: 2356: 2311:Jeremy Noble 2296: 2285: 2274: 2271:Solomon 1995 2265: 2236:. Retrieved 2229: 2220: 2208:. Retrieved 2201: 2192: 2184:the original 2172: 2163: 2154: 2153: 2034: 2025: 2024: 2013: 2002: 1983: 1979: 1970: 1960: 1936: 1914:Ian McKellen 1902:Miloš Forman 1900:directed by 1887: 1870: 1853: 1843: 1830: 1823: 1817: 1815: 1803: 1799: 1791: 1790:, Salieri's 1785: 1780: 1775: 1773: 1769:Diana Damrau 1758: 1752: 1744: 1742: 1728: 1722: 1716: 1712: 1708:Les Danaïdes 1706: 1700: 1696: 1693:Diana Damrau 1688: 1684: 1675: 1666:Miloš Forman 1655: 1649: 1633: 1626: 1613:(1785), the 1609:(1785), his 1606: 1596: 1578: 1573: 1571: 1566: 1560: 1554: 1548: 1541: 1537:Don Giovanni 1535: 1521: 1517: 1499: 1475: 1470: 1466: 1459:Ludlamshöhle 1451: 1435: 1407: 1398: 1395:Sacred works 1388: 1387:(1799), and 1382: 1378: 1372: 1366: 1360: 1357:Les Danaïdes 1356: 1352: 1346: 1340: 1332:Les Danaïdes 1330: 1324: 1318: 1312: 1306: 1303:sacred music 1296: 1262: 1247: 1242:Joseph Weigl 1230: 1203: 1196: 1188: 1182: 1178: 1173: 1171: 1164: 1160:The Creation 1158: 1152: 1148: 1139: 1127: 1111: 1098: 1092: 1086: 1078: 1061: 1057: 1051: 1048: 1043: 1032: 1026: 1014: 1002: 998: 985: 981: 977: 973: 971: 964: 950: 944: 940: 936: 932: 918: 915:Beaumarchais 908: 904: 898: 892: 878: 872: 866: 862: 854: 848: 838: 833: 825:French opera 820: 817:Les Danaïdes 816: 813:Les Danaïdes 812: 806: 794: 790:Les Danaïdes 788: 786: 781: 777: 771: 767: 763: 757: 755: 745: 739: 736:The Talisman 735: 724:Il talismano 722: 719:Giacomo Rust 714: 708: 701: 681: 672: 669: 665: 661: 654: 650: 637: 615: 608: 602: 600: 593: 587: 583:Don Giovanni 581: 572: 564: 560: 554: 545: 541: 540: 523: 513: 501: 495: 489: 480: 474: 470: 460: 458: 447: 443: 433: 427: 423: 417: 411: 403: 397: 393: 391: 362: 356: 346: 340: 321: 316: 312: 298: 291:counterpoint 283:thoroughbass 279: 244: 214: 204: 171: 156: 131: 130: 92:(1825-05-07) 36: 5753:1825 deaths 5748:1750 births 5352:Hoffmeister 5322:Dittersdorf 5100:Johann Senn 4985:(1970 film) 4977:(1953 film) 4969:(1949 film) 4961:(1947 film) 4953:(1941 film) 4945:(1940 film) 4937:(1933 film) 4929:(1931 film) 4722:Stage works 4716:song cycles 4697:Piano music 4546:Freemasonry 4271:Nationality 4251:Biographies 4039:Les Horaces 3702: [ 3519:. Chicago. 3328:21 February 3187:21 February 2936:Thayer 1989 2892:Thayer 1989 2783:(in French) 2646:Lorenz 2013 2502:Thayer 1989 2478:Thayer 1989 2413:Thayer 1989 2397:Thayer 1989 2385:Thayer 1989 2361:Thayer 1989 1941:(1982), by 1743:His operas 1733: [ 1523:Les Horaces 1214:Franz Liszt 1112:The Negroes 1103: [ 1073:(Caesar on 1066: [ 905:The Horatii 900:Les Horaces 884:opera buffa 805:, entitled 795:The Danaids 727: [ 686:opera buffa 642: [ 622:Renaissance 617:opera seria 613:Metastasian 595:concertante 532: [ 519:opera buffa 449:opera seria 439:opera buffa 429:opera buffa 413:Don Quixote 374: [ 342:opera buffa 192:Anton Eberl 180:Franz Liszt 142:, south of 5737:Categories 5596:Classicism 5584:Background 5563:Techniques 5539:Intermezzo 5497:Zingarelli 5402:Mysliveček 5297:Boccherini 5287:J. C. Bach 5270:J. Stamitz 5265:C. Stamitz 4701:piano solo 4691:Symphonies 4529:Influences 4374:Symphonies 4261:Grand tour 4256:Birthplace 4176:(1979 play 4165:(1832 play 4155:Portrayals 3790:, 179–194. 3466:. Oxford: 3389:31 January 3322:"Upcoming" 3231:1 November 3208:1 November 3076:22 January 3030:27 January 2787:2 February 2760:2 February 2279:Sadie 1988 2155:References 1428:" (1815). 1075:Pharmacusa 1033:The Cipher 995:Francis II 993:and later 991:Leopold II 787:The opera 589:coloratura 454:Intermezzo 332:Metastasio 309:a cappella 295:Johann Fux 90:7 May 1825 71:1750-08-18 5691:Biography 5611:Economics 5544:Pastorale 5492:Wranitzky 5412:Paisiello 5397:L. Mozart 5302:Cherubini 5245:Cannabich 5213:Beethoven 5201:Composers 4536:Beethoven 4281:Scatology 4276:Residence 4244:Biography 3817:165002056 3734:1120-5741 3573:611992375 3535:cite book 3495:required) 3437:cite book 2755:prezi.com 2694:Rice 1998 2670:Rice 1998 2619:Rice 1998 2604:Rice 1998 2588:Rice 1998 2575:Rice 1998 2538:Rice 1998 2526:Rice 1998 2490:Rice 1998 2466:Rice 1998 2437:Rice 1998 2425:Rice 1998 2401:Rice 1998 2307:Eric Blom 2238:18 August 2226:"Salieri" 2210:18 August 2198:"Salieri" 2007:Alan Ball 1896:-winning 1683:released 1676:In 2003, 1482:Paisiello 1116:melodrama 1100:Die Neger 957:in 1788. 803:Aeschylus 691:Singspiel 538:in 1783. 365:) with a 313:La vestal 146:, in the 116:Signature 5654:Category 5631: ← 5447:Sacchini 5417:Piccinni 5372:Kreutzer 5367:Koželuch 5347:M. Haydn 5342:Gyrowetz 5312:Clementi 5307:Cimarosa 5292:G. Benda 5228:Schubert 5133:Category 4942:Serenade 4669:By genre 4610:Category 4455:(sister) 4449:(mother) 4443:(father) 4398:Editions 4286:Smallpox 4197:Category 4087:Falstaff 4071:La cifra 3868:, Ottawa 3855:, Italy 3813:48150359 3634:(1989). 3605:31435799 3583:(1995). 3515:(1998). 3503:(2013). 3454:(2001). 3427:(1992). 3411:(2002). 3363:Virtuoso 3118:Archived 2911:(2007). 2293:(1965). 2140:Italian: 2003:Virtuoso 1886:'s play 1832:Iron Man 1765:La Scala 1745:Falstaff 1702:Falstaff 1654:'s play 1486:Cimarosa 1391:(1800). 1384:Falstaff 1381:(1795), 1377:(1795), 1371:(1789), 1368:La cifra 1365:(1788), 1351:(1787) ( 1345:(1785), 1329:(1781), 1323:(1778), 1317:(1772), 1311:(1771), 1233:dementia 1189:La Folia 1184:La Folía 1174:Habsburg 1028:La cifra 1019:Catiline 1015:Catilina 955:Franz II 834:Mémoires 704:La Scala 573:La Fiera 569:Carnival 565:La Fiera 367:libretto 213:'s play 161:, and a 5727:Austria 5677:Portals 5644:→ 5616:Physics 5477:Traetta 5457:Salieri 5442:Rosetti 5377:Krommer 5260:Richter 4848:undated 4746:By year 4565:Related 4556:Salieri 4369:Sonatas 4174:Amadeus 3853:Legnago 3845:(IMSLP) 3841:at the 3831:in the 3638:(ed.). 3308:Toronto 2333:8991008 1990:of the 1975:(2009). 1889:Amadeus 1657:Amadeus 1589:Artaria 1530:was in 1514:Nannerl 1471:Amadeus 1442:Leopold 1337:Gluck's 1299:chamber 1220:. See: 1129:Fidelio 1118:set in 1007:Tsarina 889:Artaria 675:with a 634:Bologna 626:Tassoni 514:Alceste 504:was by 497:Alceste 353:Molière 287:harmony 247:Legnago 216:Amadeus 163:protégé 140:Legnago 79:Legnago 18:Salieri 5664:Portal 5527:Genres 5487:Wanhal 5482:Viotti 5427:Reicha 5422:Pleyel 5407:Neruda 5382:Kuhlau 5357:Hummel 5337:Gossec 5327:Dussek 5317:Czerny 5255:Fränzl 5223:Mozart 4993:People 4732:Copies 4461:(wife) 4433:Family 4354:Operas 4349:Masses 4339:Dances 4301:Prague 4296:Berlin 4128:(1776) 4117:Sacred 4109:(1776) 4090:(1799) 4082:(1795) 4074:(1789) 4066:(1788) 4058:(1787) 4055:Tarare 4050:(1786) 4042:(1786) 4034:(1785) 4026:(1784) 4018:(1784) 4010:(1781) 4002:(1778) 3994:(1778) 3986:(1772) 3978:(1771) 3975:Armida 3970:(1770) 3962:(1770) 3954:(1770) 3943:Operas 3811: 3779: 3748: 3732: 3716: 3650: 3620: 3603: 3593: 3571: 3561: 3523: 3482: 3262: 2956: 2919: 2732:4 July 2331: 2321: 2174:Lexico 1947:poison 1754:Tarare 1751:) and 1646:Legacy 1574:Figaro 1532:Prague 1518:Figaro 1438:Mozart 1353:Tarare 1348:Tarare 1308:Armida 1193:Brahms 1050:life, 1023:Cicero 1013:, and 974:Tarare 941:Tarare 910:Tarare 845:Mozart 821:Armida 630:Modena 542:Armida 524:Armida 502:Armida 481:Armida 462:Armida 334:, and 267:Venice 223:. 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