Many know Antonio Salieri only as Mozart's envious nemesis from the film Amadeus. In this well-illustrated work, John A. Rice shows us what a rich musical and personal history this popular stereotype has missed. Bringing Salieri, his operas, and eighteenth-century Viennese theater vividly to life, Rice places Salieri where he belongs: no longer lurking in Mozart's shadow, but standing proudly among the leading opera composers of his age. Rice's research in the archives of Vienna and close study of his scores reveal Salieri to have been a prolific, versatile, and adventurous composer for the stage. Within the extraordinary variety of Salieri's approaches to musical dramaturgy, Rice identifies certain habits of orchestration, melodic style, and form as distinctively qSalierianq; others are typical of Viennese opera in general. A generous selection of excerpts from Salieri's works, most previously unpublished, will give readers a fuller appreciation for his musical styleaand its influence on Mozartathan was previously possible.Viennese composers of the 17705 and 1780s called for trumpets in BL much more rarely than trumpets in C or D, which have a higher, more brilliant sound. Mozart, for example, used trumpets in Bl: in none of the operas that he wrote between Lucio Silla and Cosi fan tutte.22 (On ... The rich orchestration of La calamita and its use of chorus added to the cost of the production, which is documented moreanbsp;...
|Title||:||Antonio Salieri and Viennese Opera|
|Author||:||John A. Rice|
|Publisher||:||University of Chicago Press - 1998-01|