{"id":6480,"date":"2023-01-31T23:11:18","date_gmt":"2023-02-01T03:11:18","guid":{"rendered":"https:\/\/sites.temple.edu\/performingartsnews\/?p=6480"},"modified":"2023-02-16T18:09:05","modified_gmt":"2023-02-16T22:09:05","slug":"salieris-other-adversary","status":"publish","type":"post","link":"https:\/\/sites.temple.edu\/performingartsnews\/2023\/01\/31\/salieris-other-adversary\/","title":{"rendered":"“The pupil Beethoven was here!”: Salieri’s Other Adversary"},"content":{"rendered":"\n
\""Portrait<\/a>
“Portrait of Antonio Salieri (1750-1825)” by Joseph Willibrord M\u00e4hler, 1815<\/figcaption><\/figure>\n\n\n\n

Beyond the Notes presents<\/em>
Beethoven in Vienna<\/strong><\/p>\n\n\n\n

Wednesday, February 8, 2023, 12:00 PM
Charles Library Event Space<\/p>\n\n\n\n

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Performers:<\/p>\n\n\n\n

\n
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M\u0103d\u0103lina-Claudia D\u0103nila, piano<\/p>\n\n\n\n

Sendi Vartanova, violin<\/p>\n\n\n\n

Taiysia Losmakova, violin<\/p>\n<\/div>\n\n\n\n

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Program:<\/p>\n

Sonata for piano op. 2 no. 1 in F minor (1795):
dedicated to Joseph Haydn<\/p>\n

Sonata for piano and violin op.12 no. 3 in E flat major (1798):
dedicated to Antonio Salieri:<\/p>\n

Sonata for piano and violin op. 30 no. 2 in C minor (1802):
dedicated to Tsar Alexander I of Russia<\/p>\n

<\/p>\n<\/div>\n\n\n\n

Light refreshments served. Boyer recital credit given.<\/em>
All programs are free and open to all, and registration<\/a> is encouraged.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

This program will also be live streamed via Zoom Webinar. Access the live stream here: https:\/\/temple.zoom.us\/j\/94892166610<\/a><\/p>\n\n\n

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The Academy-Award winning film Amadeus<\/a><\/em> (1984, dir. Milos Forman) is nearly 40 years old, but even in 2023 its influence on our knowledge and reception of Antonio Salieri<\/a> is powerful. Portrayed by F. Murray Abraham, who has rocketed back into the public eye through his Golden Globe-nominated performance in season two of The White Lotus<\/a><\/em>, Salieri comes across as bitter, arrogant, spiteful, and ultimately, in his own words, a \u201cchampion of mediocrity<\/a>.\u201d<\/p>\n

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\"Screenshot<\/a>
Screenshot of F. Murray Abraham as Antonio Salieri in Amadeus<\/em><\/figcaption><\/figure>\n

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Notwithstanding Abraham\u2019s masterful and entertaining performance in the Oscar-winning role, the real Salieri bore little resemblance to this tragi-comic figure. Scholars agree that while Mozart and Salieri were hardly the best of friends, and Mozart frequently complained of conspiracies against him that may have been real and that may or may not have involved Salieri, the composers maintained a professional relationship until the younger man\u2019s death. While Salieri did not always appreciate his colleague\u2019s work, towards the end he seems to have developed an admiration for Mozart\u2019s music. He was one of the few to attend his funeral, in spite of persistent rumors that he had poisoned Mozart. Nonetheless, these rumors were not taken seriously by those who had known Salieri, including a younger composer who was soon to burst onto the Viennese music scene: Ludwig van Beethoven.<\/p>\n

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Born in 1750 in the Veneto region of Italy, the young Salieri studied violin and keyboard as a child. Orphaned by the age of 15, he was discovered by the eminent composer Florian Leopold Gassmann<\/a>, who realized the depth of the boy\u2019s talent and brought him to Vienna. This early kindness from an older composer seems to have instilled in Salieri a desire to foster talent in younger artists, and once established himself he became known for his willingness to take on pupils for little or no pay. Through Gassmann he became acquainted with important composers such as Christoph Willibald Gluck<\/a>, librettists like Pietro Metastasio<\/a>, and most importantly, his future patron Emperor Joseph II<\/a>. He took on several appointments in Vienna, but gained much of his success as an operatic composer abroad, particularly in Italy and France. In 1788 Salieri was appointed Hofkapellmeister<\/a><\/em>, a position he held for the rest of his life.<\/p>\n

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\n
\""Portrait<\/a>
“Portrait of Emperor Joseph II at the spinet with his sisters Maria Elisabeth and Maria Anna” by Joseph Hauzinger, 1778<\/figcaption><\/figure>
\n<\/figure>\n

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Some disagreement exists regarding when exactly Beethoven studied under Salieri, with some evidence suggesting that as early as 1793 the young German may have already been taking lessons in vocal writing while still a student of Haydn, his main reason for moving to Vienna. Salieri had recently fallen out of favor in court after the death of Joseph II and had lost all of his posts apart from that of Hofkapellmeister<\/em>, but he remained a respected and revered composer known particularly for his operas. Beethoven, who lacked training in text setting, turned to Salieri at some point during his time in Vienna, if not in 1793 then certainly within the next few years.<\/p>\n

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Popular wisdom would have us believe that Beethoven was an obstinate, arrogant student who lacked respect for his teachers–his later student Ferdinand Ries<\/a> claimed the Beethoven asserted never to have learned anything from Haydn, and others reported that he took lessons behind his famous teacher\u2019s back. But why then would Beethoven have sought out teachers, some of whom he probably had to pay out of pocket, and for such an extended period of time? \u201cWhy,\u201d asks Julia Ronge in an article about Beethoven\u2019s apprenticeships, \u201cwould Beethoven, as an already established composer, seek instruction from a teacher if the role of student was so disagreeable to him?\u201d[1]<\/a><\/p>\n

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We know little of Beethoven\u2019s relationship with Salieri, but we know that in 1795 Beethoven played at one of his teacher’s benefit concerts, and in 1799 he wrote a set of variations on a duet from Salieri\u2019s most recent opera, Falstaff<\/em>. It was around this time that he dedicated his Op. 12 violin sonatas to Salieri. But later their relationship appears to have cooled, if it can ever be said to have been warm. Beethoven seems to have believed that Salieri tried to sabotage one of the most important concerts of his career\u2014the 1808 Akademie<\/em> concert at which he premiered his Fifth and Sixth Symphonies\u2014by scheduling a charity concert on the same date. On the contrary, it is more likely that Beethoven scheduled his<\/em> concert at the same time as Salieri\u2019s, but nevertheless he called his former teacher \u201cmy most active opponent, [who] played me a horrible trick.\u201d[2] <\/a> Nevertheless, the two composers were still capable of working together as colleagues, as when Salieri conducted the offstage ensemble in an 1813 performance of Wellington\u2019s Victory<\/a><\/em>.<\/p>\n

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We are left to wonder at the meaning of a note Ignaz Moscheles<\/a> reportedly found on his teacher\u2019s desk when the up-and-coming composer was studying with Salieri sometime after 1808: \u201cDer Schuler Beethoven war da!\u201d  (“The pupil Beethoven was here!”) Could Salieri possibly have been in awe of his former student? Was his note dripping with sarcasm\u2014Beethoven, after all, had not been Salieri\u2019s “pupil” (Schuler<\/em>) for some time. Or was this merely a neutral reminder that his former pupil had stopped by? We will never know, but it is tempting to hope that perhaps underneath the animosity between them, that affection that may have once existed when Beethoven dedicated his Op. 12 sonatas to Salieri still remained.<\/p>\n

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[1]<\/a> Ronge, \u201cBeethoven\u2019s Apprenticeship: Studies with Haydn, Albrechtsberger, and Salieri,\u201d 78.<\/p>\n

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[2]<\/a> Anderson, The Letters of Beethoven<\/em>: no. 192.<\/p>\n

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References:<\/p>\n

<\/p>\n

<\/p>\n

Albrecht, Theodore. \u201cBeethoven\u2019s Tribute to Antonio Salieri in the Rondo of His Fortepiano Concerto in C Major, Opus 15 (and Beethoven\u2019s Hand-Copied Excerpts from Les Dana\u00efdes<\/em>).\u201d The Beethoven Journal<\/em> 22, no. 1 (June 2007): 6\u201316.<\/p>\n

<\/p>\n

<\/p>\n

Anderson, Emily, ed. The Letters of Beethoven<\/em>. 3 vols. London: Macmillan, 1961.<\/p>\n

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Beahrs, Virginia Oakley. \u201cAntonio Salieri: Demon or Demigod?\u201d The Music Review<\/em> 51, no. 4 (November 1990): 268\u201379.<\/p>\n

<\/p>\n

<\/p>\n

Bergquist, Stephen A. \u201cSome Portraits of Beethoven and His Contemporaries.\u201d Music in Art: International Journal for Music Iconography<\/em> 37, no. 1\u20132 (2012): 207\u201331.<\/p>\n

<\/p>\n

<\/p>\n

Caeyers, Jan. \u201cSalieri\u2019s Opera Lessons.\u201d In Beethoven, A Life,<\/em> 213\u201316. Berkeley: University of California Press, 2021.<\/p>\n

<\/p>\n

<\/p>\n

Gibbs, Christopher H. \u201cWriting Under the Influence? Salieri and Schubert\u2019s Early Opinion of Beethoven.\u201d Current Musicology (<\/em>March 2003): 117\u201344.<\/p>\n

<\/p>\n

<\/p>\n

Hettrick, Jane Schatkin. \u201cAntonio Salieri\u2019s De Profundis: Rediscovering a Gem.\u201d Sacred Music<\/em>, January 2016.<\/p>\n

<\/p>\n

<\/p>\n

Hettrick, Jane Schatkin, and John A. Rice. \u201cSalieri, Antonio.\u201d In Grove Music Online<\/em>. Oxford University Press, 2001.<\/p>\n

<\/p>\n

<\/p>\n

Ronge, Julia. \u201cBeethoven\u2019s Apprenticeship: Studies with Haydn, Albrechtsberger, and Salieri.\u201d Edited by William Kinderman. Journal of Musicological Research<\/em> 32 (April 2013): 73\u201382.<\/p>\n

<\/p>\n

<\/p>\n

Ross, Alex. \u201cSalieri\u2019s Revenge.\u201d The New Yorker<\/em>, June 3, 2019.<\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

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