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Editorial Reviews
From Library Journal
Salieri's place in music history may have been permanently influenced by the film Amadeus, in which he is one-dimensionally portrayed as Mozart's less-talented nemesis. Now musicologist Rice, author of numerous articles on 18th-century music, has contributed a magnificent study of the complex musical and social circles that flourished at the court of Emperor Joseph II. Richly detailed and copiously footnoted, Rice's book masterfully interweaves three strands of scholarship: biographical information, an overview of the traditions and conventions of Viennese opera during the latter half of the century, and a close examination of several of Salieri's own operas. This last thread is perhaps the most valuable, as much for its use of previously unpublished sources as for Rice's perceptive and illuminating comments. The chapter "Mozart and Salieri" is a triumph of reasoned, careful research over unsupported Hollywood hype. This important book fills a conspicuous gap in musical scholarship and is enthusiastically recommended for all public and academic libraries.?Larry A. Lipkis, Moravian Coll., Bethlehem, PA
Copyright 1998 Reed Business Information, Inc.
Copyright 1998 Reed Business Information, Inc.
Product Description
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 "Salierian"; 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 A generous selection of excerpts from Salieri's works, most previously unpublished, will give readers a fuller appreciation for his musical style—and its influence on Mozart—than was previously possible.
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 "Salierian"; 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 style—and its influence on Mozart—than was previously possible.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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First Sentence:
Antonio Salieri served a single institution, the Viennese court, throughout his career. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
buffi caricati, opera buffa troupe, theatrical reorganization, dama pastorella, donne letterate, seria troupe, parte buffa, scola degli amanti, parti serie, parti buffe, fra tormenti, viaggiatore ridicolo, buffo caricato, finta scema, opera buffa company, divertimento teatrale, dramma tragicomico, partenza inaspettata, scena tedesca, dramma eroicomico, opere buffe, buona figliuola, buffa singers, concertante arias, bella pescatrice Key Phrases - Capitalized Phrases (CAPs): (learn more)
Don Giovanni, Der Rauchfangkehrer, Don Chisciotte, Leopold Mozart, Maria Theresa, New York, Della Croce, Die Bergknappen, Die Zauberflöte, Viennese School, Clementina Baglioni, Giulio Sabino, Les Horaces, Die Entführung, Count Mercy, Count Rosenberg, Joseph's Singspiel, Danzi Lebrun, Giuseppe Scarlatti, Mistress Ford, Rocca Antica, Daniel Heartz, Don Quixote, Emperor Joseph, Lorenzo da Ponte New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Antonio Salieri served a single institution, the Viennese court, throughout his career. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
buffi caricati, opera buffa troupe, theatrical reorganization, dama pastorella, donne letterate, seria troupe, parte buffa, scola degli amanti, parti serie, parti buffe, fra tormenti, viaggiatore ridicolo, buffo caricato, finta scema, opera buffa company, divertimento teatrale, dramma tragicomico, partenza inaspettata, scena tedesca, dramma eroicomico, opere buffe, buona figliuola, buffa singers, concertante arias, bella pescatrice Key Phrases - Capitalized Phrases (CAPs): (learn more)
Don Giovanni, Der Rauchfangkehrer, Don Chisciotte, Leopold Mozart, Maria Theresa, New York, Della Croce, Die Bergknappen, Die Zauberflöte, Viennese School, Clementina Baglioni, Giulio Sabino, Les Horaces, Die Entführung, Count Mercy, Count Rosenberg, Joseph's Singspiel, Danzi Lebrun, Giuseppe Scarlatti, Mistress Ford, Rocca Antica, Daniel Heartz, Don Quixote, Emperor Joseph, Lorenzo da Ponte New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 44
books:
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12
books
cite this book:
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- Don Giovanni in Full Score (Opera Libretto Series) by Wolfgang Amadeus Mozart on 29 pages
- Opera and the Enlightenment by Thomas Bauman on 4 pages
- Don Giovanni. by Wolfgang Amadeus Mozart on page 415, and page 471
- Present State of Music in France and Italy by Charles Burney on page 56, and Back Matter
- Gluck and the French Theatre in Vienna by Bruce Alan Brown on page 15, and Back Matter
See all 44 books this book cites
- Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in Cosí fan tutte (Cambridge Studies in Opera) by Edmund J. Goehring on page 17, and Back Matter
- The Cambridge Companion to Haydn (Cambridge Companions to Music) by Caryl Clark in Back Matter
- Operatic Migrations: Transforming Works And Crossing Boundaries by Roberta Montemorra Marvin on page 61
- COURSE INTRODUCTION AND DEATH OF THE OLD REGIME? by A. LENTIN L. WALSH on page 156
- Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Ernest Bloch Lectures in Music) by Roger Parker in Back Matter
See all 12 books citing this book
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