Antonio Salieri

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Antonio Salieri
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Antonio Salieri

Antonio Salieri - (18 august 1750, Legnago, Italia - 7 mai 1825), compozitor şi dirijor, maestru al Capelei Imperiale din Viena, rival al lui Mozart şi îndrumător al lui Beethoven, Schubert şi Liszt, unul dintre cei mai importanţi muzicieni ai timpului său. Cele mai cunoscute lucrări ale sale sunt: Europa recunoscută, Danaidele, Falstaff. Se bănuieşte şi astăzi că ar fi fost implicat în moartea lui Mozart, deşi marea majoritate a muzicicologilor specializaţi în epoca respectivă sunt de părere că suspiciunea este total nefondată.

Cuprins

[modifică] Viaţa

Crescut intr-o familie prosperă de negustori, Salieri a studiat două instrumente importante ale timpului, vioara şi harpa, dar şi toate elementele vocalismului. Fratele său Francesco, care era studentul lui Giuseppe Tartini, i-a fost profesor la rândul său. Francesco era un violonist foarte talentat şi era adesea chemat să cânte la festivalurile organizate de bisericile din jurul orăşelului natal, Legnago. Antonio erau mereu prezent unde Francesco era chemat să cânte.

După moartea destul de timpurie a părinţilor se mută la Padua, apoi la Veneţia, unde a studiat basso continuo cu Giovanni Battista Pescetti. În 1766, la Veneţia, Salieri l-a întâlnit pe Florian Leopold Gassmann, compozitorul oficial al curţii imperiale din Viena, care l-a invitat pe Salieri să vină în oraşul imperial, unul din centrele muzicii clasice ale timpului. Acolo, Salieri a studiat compoziţia cu Gassmann, care l-a iniţiat în metoda lui Johann Joseph Fux, Gradus ad Parnassum. Salieri a rămas la Viena pentru restul vieţii sale.

În 1774, după moartea lui Gassmann, Salieri a fost numit compozitor al curţii de către Împăratul Iosif II. A întâlnit-o pe soţia sa, Therese von Helfersdorfe, în 1774. (Cuplul a urmat să aibă opt copii). Salieri a devenit Kapellmeister Imperial în 1788, o funcţie pe care a ocupat-o până în 1824. A fost preşedinte al "Tonkünstler-Societät" (societate a artiştilor muzicali) din 1788 până în 1795, vice-preşedinte după 1795, şi s-a ocupat de concertele ei până în 1818.

A atins un statut social elevat, şi era adesea asociat cu alţi compozitori celebri ca Joseph Haydn sau Louis Spohr. A avut roluri importante în muzica clasică a secolului al XIX-lea: le-a fost profesor unor faimoşi compozitori ca Ludwig van Beethoven, Carl Czerny, Johann Nepomuk Hummel, Franz Liszt, Giacomo Meyerbeer, Ignaz Moscheles, Franz Schubert şi Franz Xaver Süssmayr. I-a fost profesor şi celui mai mic fiu al lui Mozart, Franz Xaver Wolfgang Mozart.

Salieri este îngropat în Matzleinsdorfer Friedhof (astăzi Zentralfriedhof) în Viena, Austria. La înmormântarea sa propria lui compoziţie Requiem în C major - compusă în 1804 - a fost cântată pentru prima oară. Monumentul său este împodobit cu o poezie scrisă de Joseph Weigl, unul dintre elevii lui:

Rest in peace! Uncovered by dust
eternity shall bloom for you.
Rest in peace! In eternal harmonies
your spirit now is dissolved.
He expressed himself in enchanting notes,
now he is floating to everlasting beauty.

[modifică] Lucrări

During his time in Vienna, Salieri acquired great prestige as a composer and conductor, particularly of opera, but also of chamber and sacred music. The most successful of his more than 40 operas included Armida (1771), La scuola de' gelosi (1778), Der Rauchfangkehrer (1781), Les Danaïdes (1784), which was first presented as a work of Gluck's, Tarare ( d'Ormus (1788), Palmira, Regina di Persia (1795), and Falstaff o sia Le tre burle (1799). He wrote comparatively little instrumental music, including two piano concertos and a concerto for organ written in 1773, a concerto for flute, oboe and orchestra (1774), a set of 26 variations on La Follia di Spagna (1815) and several

[modifică] Salieri şi Mozart

In Vienna in the 1790s, Mozart mentioned several "cabals" of Salieri concerning his new opera Così fan tutte. As Mozart's music became more popular over the decades, Salieri's music was forgotten, and Mozart's allegations gained credence and tarnished Salieri's reputation. At the beginning of the 19th century, increasing nationalism led to a tendency to transfigure the Austrian Mozart's genius, while the Italian Salieri was given the role of his evil antagonist. Albert Lortzing's Singspiel Szenen aus Mozarts Leben LoWV28 (1832) uses the cliché of the intrigant Salieri trying to hinder Mozart's career. While Italian by birth, Salieri had lived in imperial Vienna since he was 16 years old and was regarded as a German composer. In 1772, Empress Maria Theresia made a comment on her preference to Italian composers over Germans like Gassmann, Salieri or Gluck. Salieri saw himself as a German composer, which some of his German letters, operas, cantatas, and songs seem to prove.

The biographer Alexander Wheelock Thayer believes that Mozart's suspicions of Salieri could have originated with an incident in 1781 when Mozart applied to be the music teacher of the Princess of Württemberg, and Salieri was selected instead because of his good reputation as a singing teacher. In the following year Mozart once again failed to be selected as the Princess's piano teacher.

Later on, when Mozart's Le Nozze di Figaro was not well received by either the Emperor Joseph II nor by the public, Mozart blamed Salieri for the failure. "Salieri and his tribe will move heaven and earth to put it down", Leopold Mozart wrote to his daughter Nannerl. But at the time of the premiere of Figaro, Salieri was busy with his new French opera Les Horaces. Thayer believes that the intrigues surrounding the failure of Figaro were instigated by the poet Giovanni Battista Casti against the Court Poet, Lorenzo da Ponte, who wrote the Figaro libretto.

Later, when 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 for which Salieri's Axur, Re d'Ormus would be performed. Obviously, Mozart was not pleased by this.

There is far more evidence of a cooperative atmosphere between the two composers than for a real enmity. For example, Mozart appointed Salieri to teach his son Franz Xavier, and when Salieri was appointed Kapellmeister in 1788, he revived Figaro instead of bringing out a new opera of his own, and when he went to the coronation festivities for Leopold II in 1790 he had no less than three Mozart masses in his luggage. Salieri and Mozart even composed a song for voice and piano together, called Per la ricuperata salute di Ophelia, which was celebrating the happy return to stage of the famous singer Nancy Storace. This song has been lost, although it had been printed by Artaria in 1785. Mozart's Davidde penitente K.469 (1785), his piano concerto in E flat major K.482 (1785), the clarinet quintet K.581 (1789) and the great symphony in G minor K.550 had been premiered on the suggestion of Salieri, who even conducted a performance of it in 1791. In his last surviving letter from October 14th 1791, Mozart tells his wife about Salieri's attendance at his opera Die Zauberflöte K 620, speaking enthusiastically: "He heard and saw with all his attention, and from the ouverture to the last choir there was no piece that didn't elicit a bravo or bello out of him [...]"

Salieri's health declined in his later years, and he was hospitalized shortly before his death. It was shortly after he died that rumors first spread that he had confessed to Mozart's murder on his deathbed. Salieri's two nurses, Gottlieb Parsko and Georg Rosenberg, as well as his family doctor Joseph Röhrig, attested that he never said any such thing. At least one of these three people were with him throughout his hospitalization.

After Salieri's death in 1825, Aleksandr Pushkin's drama Mozart i Salieri (1831) and the opera setting of this work by Nicolai Rimsky-Korsakov (1898) started a tradition of poetic license based on Mozart's allegations, continued and popularized by Peter Shaffer's heavily fictionalized play Amadeus (1979) and the Oscar-winning 1984 film by Milos Forman based on it, in which F. Murray Abraham played Salieri and Tom Hulce played the title character. Both Schaffer and Foreman expressly maintained the fictional nature of their respective works, and while it is never explicitly stated in the play that Salieri killed Mozart, he is portrayed as bitterly hating his rival, going so far as to renounce God for blessing Mozart (portrayed in the play as an immature dandy) with fantastic talent while refusing to let him be anything but "a mediocrity."

Due largely to Schaffer's play and its movie adaptation, the word "Salieri" has entered the public consciousness to mean a merely competent artist standing in the shadow of a genius.

[modifică] Legături externe

[modifică] Referinţe

  • Rudolph Angermüller, Antonio Salieri 3 Vol. (München 1971-74)
  • Rudolph Angermüller, Antonio Salieri. Fatti e Documenti (Legnago 1985)
  • Volkmar Braunbehrens, Salieri, ein Musiker im Schatten Mozarts (München 1989), English translation entitled Maligned Master - the Real Story of Antonio Salieri (München 1992)
  • A. Della Corte, Un italiano all'estero: Antonio Salieri (Torino 1936)
  • V. Della Croce/F. Blanchetti, Il caso Salieri (Torino 1994)
  • I. F. Edler v. Mosel, Über das Leben und die Werke des Anton Salieri (Vienna 1827)
  • John A. Rice, Antonio Salieri and Viennese Opera (Chicago 1998)
  • Alexander Wheelock Thayer, Salieri: Rival of Mozart (Kansas City 1989)