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Antonio Salieri
Person · male · Republic of Venice · Legnago · born 1750 · died 1825 · recording since 1978
Italian composer and teacher (1750–1825)
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Also known as A. Salieri · Salieri, Antonio · 安东尼奥·萨列里
Timeline
40 events▣ Album 37◦ Birth 1† Death 1★ Debut release 1
1750s
1820s
1970s
· Debut release
Debut release: Due concerti per pianoforte e orchestra
First documented Album in the MusicBrainz discography.
source: musicbrainz
1980s
· Album
Album: Salieri: Prima la musica, poi le parole / Mozart: Der Schauspieldirektor
Album
source: musicbrainz
· Album
Album: Antonio Salieri: Piano Concerto in B-flat, Concerto for Flute & Oboe / Francesco Salieri: Sinfonia "La tempesta di mare"
Album
source: musicbrainz
1990s
· Album
Album: Mozart: Flute and Harp Concerto, K 299 (297c) / Oboe Concerto, K 271k / Salieri: Flute and Oboe Concerto
Album
source: musicbrainz
· Album
Album: The 2 Piano Concertos, Variazioni sulla “Follia Di Spagna”, Les Horaces & Semiramide Overtures
Album
source: musicbrainz
· Album
Album: Mozart: Messe in C-Dur "Orgelsolo-Messe" / Salieri: Messe in D-Dur "Hofkapellmeister-Messe"
Album
source: musicbrainz
2000s
2010s
2020s
· Album
Album: Mozart: Serenade KV 361 „Gran partita“ / Salieri: Ouvertüre zu „La grotta di Trofonio“ / Armonia per un tempio della notte / Picciola serenata
Album
source: musicbrainz
Biography
English biography6,724 words · 16 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1377333515
Biography
Antonio Salieri (18 August 1750 – 7 May 1825) was an Italian composer and teacher of the classical period.
Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protégé of Christoph Willibald Gluck, 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.
He was born in Legnago, south of Verona, in the Republic of Venice, and spent his adult life and career as a subject of the Habsburg monarchy. 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 throughout Europe during his lifetime. As the Austrian imperial Kapellmeister 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 aspect of Vienna's musical life. Franz Liszt, Franz Schubert, Ludwig van Beethoven, Anton Eberl, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart were among the most famous of his pupils.
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 partially due to the fictionalized depiction of Salieri in Peter Shaffer's play Amadeus (1979) and its 1984 film version. The death of Wolfgang Amadeus Mozart 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 disproved because the symptoms displayed by Mozart's illness did not indicate poisoning and it is likely that they were, at least, mutually respectful peers. Salieri was greatly affected by the widespread public belief that he had contributed to Mozart's death, which he vehemently denied and contributed to his nervous breakdowns in later life.
Early life (1750–1770)
Antonio Salieri was born on 18 August 1750 to Antonio Salieri and his wife, Anna Maria. Salieri started his musical studies in his native town of Legnago; he was first taught at home by his older brother Francesco Salieri (a former student of the violinist and composer Giuseppe Tartini), and he received further lessons from the organist of the Legnago Cathedral, Giuseppe Simoni, a pupil of Padre Giovanni Battista Martini. 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 Padua, 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 Mocenigo family. It is possible that Salieri's father and Mocenigo were friends or business associates, but this is obscure. While living in Venice, Salieri continued his musical studies with the organist and opera composer Giovanni Battista Pescetti, 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 Florian Leopold Gassmann, 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.
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 poetry by Fr. Don Pietro Tommasi, instruction in the German language, and European literature. His music studies revolved around vocal composition and thoroughbass. His musical theory training in harmony and counterpoint was rooted in Johann Fux's Gradus ad Parnassum, 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 Mass in C major written without a "Gloria" and in the antique a cappella 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) La vestal (The Vestal Virgin) has also been lost.
Beginning in 1766, Gassmann introduced Salieri to the daily chamber music performances held during Emperor Joseph II'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 Metastasio, and Christoph Willibald Gluck 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 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 opera buffa. Salieri's first full opera was composed during the winter and carnival season of 1770; Le donne letterate and was based on Molière's Les Femmes Savantes (The Learned Ladies) with a libretto by Giovanni Gastone Boccherini, a dancer in the court ballet and a brother of the composer Luigi Boccherini. The modest success of this opera launched Salieri's 34-year operatic career as a composer of over 35 original dramas.
Early Viennese period and operas (1770–1778)
Following the modest success of Le donne letterate, Salieri received new commissions for writing two additional operas in 1770, both with libretti by Giovanni Boccherini. The first, a pastoral opera, L'amore innocente (Innocent Love), was a light-hearted comedy set in the Austrian mountains. The second was based on an episode from Miguel de Cervantes' Don Quixote – Don Chisciotte alle nozze di Gamace (Don Quixote at the Marriage of Camacho). In these first works, drawn mostly from the traditions of mid-century opera buffa, Salieri showed a penchant for experimentation and for mixing the established characteristics of specific operatic genres. Don Chisciotte was a mix of ballet and opera buffa, and the lead female roles in L'amore innocente were designed to contrast and highlight the different traditions of operatic writing for soprano, even borrowing stylistic flourishes from opera seria in the use of coloratura in what was a short pastoral comedy more in keeping with a Roman Intermezzo. 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.
Salieri's first great success was in the realm of serious opera. Commissioned for an unknown occasion, Salieri's Armida was based on Torquato Tasso's epic poem La Gerusalemme liberata (Jerusalem Delivered); it premiered on 2 June 1771. Armida is a tale of love and duty in conflict and is saturated in magic. The opera is set during the First Crusade 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 Orfeo ed Euridice and Alceste. The libretto to Armida was by Marco Coltellini, the house poet for the imperial theaters. While Salieri followed the precepts set forth by Gluck and his librettist Ranieri de' Calzabigi in the preface to Alceste, Salieri also drew on some musical ideas from the more traditional opera seria and even opera buffa, creating a new synthesis in the process. Armida 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 Carl Friedrich Cramer in 1783.
Armida was soon followed by Salieri's first truly popular success, a commedia per musica in the style of Carlo Goldoni called La Fiera di Venezia (The Fair of Venice). La Fiera was written for Carnival in 1772 and premiered on 29 January. Here Salieri returned to his collaboration with the young Giovanni Boccherini, who crafted an original plot. La Fiera 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. This was a pattern imitated by later composers, most famously and successfully by Wolfgang Amadeus Mozart in Don Giovanni. Salieri also wrote several bravura arias for a soprano playing the part of a middle-class character that combined coloratura and concertante woodwind solos, another innovation for comic opera that was widely imitated.
Salieri's next two operas were not particular or lasting successes. La secchia rapita (The Stolen Bucket) is a parody of the high flown and emotive arias found in Metastasian opera seria. It also contains innovative orchestrations, including the first known use of three tympani. Again a classic of Renaissance literature was the basis of the libretto by Boccherini, in this case, a comic mock-epic by Tassoni, in which a war between Modena and Bologna follows the theft of a bucket. This uneven work was followed by a popular comedic success La locandiera (The Mistress of the Inn), an adaptation of the classic and popular spoken stage comedy La locandiera by Carlo Goldoni, with the libretto prepared by Domenico Poggi.
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 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.
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 1774 Salieri married Therese Helferstorfer, the daughter of a recently deceased 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.
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 artistically. His most important compositions during this period were a symphony in D major, performed in the summer of 1776, and the oratorio La Passione di Gesù Cristo with a text by Metastasio, performed during Advent of 1776.
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 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 opera buffa company was therefore replaced by a German-language Singspiel 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 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.
Italian tour (1778–1780)
In 1778, Gluck turned down an offer to compose the inaugural opera for La Scala 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. Salieri's Italian tour of 1778–80 began with the production of Europa riconosciuta (Europa Recognized) 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 Giacomo Rust on one opera, Il talismano (The Talisman). Of his Italian works one, La Scuola de' gelosi (The School for Jealousy), a witty study of amorous intrigue and emotion, proved a popular and lasting international success.
Middle Viennese period and Parisian operas (1780–1788)
Upon his return at imperial behest to Vienna in 1780, Salieri wrote one German Singspiel, Der Rauchfangkehrer (The Chimney Sweep), which premiered in 1781. Salieri's Chimney Sweep and Mozart's work for the same company in 1782, Die Entführung aus dem Serail (The Abduction from the Seraglio), 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 La Scuola de' gelosi. 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.
The opera Les Danaïdes (The Danaids) is a five-act tragédie lyrique. The plot was based on an ancient Greek legend that had been the basis for the first play in a trilogy by Aeschylus, entitled The Suppliants. 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.
Les Danaïdes 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. Les Danaïdes followed in the tradition of reform that Gluck had begun in the 1760s and that Salieri had emulated in his earlier opera Armida. Salieri's first French opera 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 scenes, and electrifying finale depicting a glimpse of hellish torture, kept the opera on the stage in Paris for over forty years. A young Hector Berlioz recorded the deep impression this work made on him in his Mémoires.
Upon returning to Vienna following his success in Paris, Salieri met and befriended Lorenzo Da Ponte and had his first professional encounters with Mozart. Da Ponte wrote his first opera libretto for Salieri, Il ricco d'un giorno (A Rich Man for a Day) in 1784, which was not a success. Salieri next turned to Giambattista Casti as a librettist; a more successful set of collaborations flowed from this pairing. In the meantime, Da Ponte began working with Mozart on Le nozze di Figaro (The Marriage of Figaro). In 1785, Salieri produced one of his greatest works with the text by Casti, La grotta di Trofonio (The Cave of Trophonius), the first opera buffa published in full score by Artaria. 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 Prima la musica e poi le parole ("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 Les Horaces (The Horatii), which proved a failure, which was more than made up for with his next Parisian opera Tarare, with a libretto by Beaumarchais. This was intended to be the nec plus ultra of reform opera, a completely new synthesis of poetry and music that was an 18th-century anticipation of the ideals of Richard Wagner. Salieri also created a sacred cantata Le Judgment dernier (The Last Judgement). The success of his opera Tarare was such that it was soon translated into Italian at Joseph II's behest by Lorenzo Da Ponte as Axur, re d'Ormus (Axur, King of Hormuz) and staged at the royal wedding of Franz II in 1788.
Late Viennese operas (1788–1804)
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 Giuseppe Bonno; 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.
His Italian adaptation of Tarare, Axur, proved to be his greatest international success. Axur was widely produced throughout Europe and it even reached South America with the exiled royal house of Portugal in 1824. Axur 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 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 Leopold II and later Francis II. This resulted in two of his most original operas being consigned to his desk drawer, namely Cublai, gran kan de' Tartari (Kublai Grand Kahn of Tartary) a satire on the autocracy and court intrigues at the court of the Russian Tsarina, Catherine the Great, and Catilina, a semi-comic/semi-tragic account of the Catiline conspiracy that attempted to overthrow the Roman republic during the consulship of Cicero. 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 La cifra (The Cipher).
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 life, Palmira, regina di Persia (Palmira, Queen of Persia) (1795) and Cesare in Farmacusa (Caesar on Pharmacusa), both drawing on the heroic and exotic success established with Axur. His late opera based on William Shakespeare's The Merry Wives of Windsor, Falstaff ossia Le tre burle ("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 Die Neger (The Negroes), a melodrama set in colonial Virginia with a text by Georg Friedrich Treitschke (the author of the libretto for Beethoven's Fidelio); it was performed in 1804 and was a complete failure.
Life after opera (1804–1825)
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 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 Ignaz von Mosel 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 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 [circa 1800] 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."
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 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.
Salieri continued to conduct publicly, including the performance on 18 March 1808 of Haydn's The Creation during which Haydn collapsed, and several premieres by Beethoven including the 1st and 2nd Piano Concertos and Wellington's Victory. He also continued to help administer several charities and organize their musical events.
His remaining secular works in this late period fall into three categories: first, large-scale cantatas and one oratorio Habsburg 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 instrumental work in 1815 intended as a study in late classical orchestration: Twenty-Six Variations for the Orchestra on a Theme called La Folia di Spagna. The theme is likely folk-derived and is known as La Folía. 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. La Folia was the most monumental set of orchestral variations before Brahms' Variations on a Theme by Haydn.
His teaching of budding young musicians continued, and among his pupils in composition (usually vocal) were Ludwig van Beethoven, Antonio Casimir Cartellieri, Franz Liszt and Franz Schubert. See: List of music students by teacher: R to S#Antonio Salieri. He also instructed many prominent singers throughout his career, including Caterina Canzi. All but the wealthiest of his pupils received their lessons for free, a tribute to the kindness Gassmann had shown Salieri as a penniless orphan.
In November 1823, Salieri attempted suicide. He was committed to medical care and suffered dementia 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 transferred to the Zentralfriedhof. His monument is adorned by a poem written by Joseph Weigl, one of his pupils.
Opera
During his time in Vienna, Salieri acquired great prestige as a composer and conductor, particularly of opera, but also of chamber and sacred music. Among the most successful of his 37 operas staged during his lifetime were Armida (1771), La fiera di Venezia (1772), La scuola de' gelosi (1778), Der Rauchfangkehrer (1781), Les Danaïdes (1784), which was first presented as a work of Gluck's, La grotta di Trofonio (1785), Tarare (1787) (Tarare was reworked and revised several times as was Les Danaïdes), Axur, re d'Ormus (1788), La cifra (1789), Palmira, regina di Persia (1795), Il mondo alla rovescia (1795), Falstaff (1799), and Cesare in Farmacusa (1800).
Sacred works
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.
Instrumental works
His small instrumental output includes two piano concerti, a concerto for organ written in 1773, a concerto for flute, oboe and orchestra (1774), a triple concerto for oboe, violin and cello, and a set of twenty-six variations on "La follia di Spagna" (1815).
Relationship with Mozart
In the 1780s, while Mozart lived and worked in Vienna, he and his father Leopold 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 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 Da Ponte, 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.
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. Carl Maria von Weber, 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 Ludlamshöhle (Ludlam's cave), a social club of which Salieri was a member, and avoided having anything to do with him. These rumors then made their way into popular culture. Albert Lortzing's Singspiel Szenen aus Mozarts Leben LoWV28 (1832) and the 1984 film Amadeus uses the cliché of the jealous Salieri trying to hinder Mozart's career.
Salieri's music was much more in the tradition of Gluck and Gassmann than of the Italians like Giovanni Paisiello or Domenico Cimarosa. In 1772, Empress Maria Theresa 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 Friedrich Rochlitz as a German composer.
The biographer Alexander Wheelock Thayer believes that Mozart's rivalry with Salieri could have originated with an incident in 1781, when Mozart applied to be the music teacher of Princess Elisabeth of Württemberg, 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", Leopold Mozart wrote to Wolfgang's sister Nannerl. But at the time of the premiere of Figaro, Salieri was busy with his new French opera Les Horaces. In addition, 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 at which Salieri's Axur, re d'Ormus would be performed. Mozart was not pleased by this.
The rivalry between Salieri and Mozart became publicly visible as well as audible during the opera composition competition held by Emperor Joseph II in 1786 in the Orangery at Schönbrunn. Mozart was considered the loser of this competition. Mozart's 1791 opera The Magic Flute echoes that competition because the Papageno–Papagena duet is similar to the Cucuzza cavatina in Salieri's Prima la musica e poi le parole. The Magic Flute 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.
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 Figaro 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, Per la ricuperata salute di Ofelia, which celebrated the return to the stage of the singer Nancy Storace. This work, although it had been printed by Artaria in 1785, was considered lost until 10 January 2016, when the Schwäbische Zeitung reported on the discovery by musicologist and composer Timo Jouko Herrmann 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 Davide penitente (1785), his Piano Concerto KV 482 (1785), the Clarinet Quintet (1789) and the 40th Symphony (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 Caterina Cavalieri in his carriage and driven them both to the opera; about Salieri's attendance at his opera The Magic Flute, 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 [...]."
Salieri, along with Mozart's protégé Johann Nepomuk Hummel educated Mozart's younger son Franz Xaver Mozart, who was born about four months before his father's death.
Legacy
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 Peter Shaffer's play Amadeus (1979), which was given its greatest exposure in its 1984 film version, directed by Miloš Forman. 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.
Modern performances of Salieri's work
In 2003, mezzo-soprano Cecilia Bartoli released The Salieri Album, a CD with 13 arias from Salieri's operas, most of which had never been recorded before. Patrice Michaels sang a number of his arias on the CD Divas of Mozart's Day. In 2008, another female opera star, Diana Damrau, released a CD with seven Salieri coloratura arias. Since 2000, there have also been complete recordings issued or re-issued of the operas Axur Re d'Ormus, Falstaff, Les Danaïdes, La Locandiera, La grotta di Trofonio, Prima la musica e poi le parole and Il mondo alla rovescia. Salieri has yet to fully re-enter the general repertory, but performances of his works are progressively becoming more regular.
His operas Falstaff (1995 production from the Schwetzingen Festival) and Tarare (1987 production, also from the Schwetzingen Festival) have been released on DVD. In 2004, the opera Europa riconosciuta was staged in Milan for the reopening of La Scala in Milan, with soprano Diana Damrau in the title role. This production was also broadcast on television.
In November 2009, Il mondo alla rovescia 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 Giarola also directed the Varietas Delectat, a contemporary dance show inspired by the music of Antonio Salieri.
On 14 November 2011 in Graz, Austria, the hometown of the librettist Leopold Auenbrugger, Salieri's Der Rauchfangkehrer was given its first modern production. In July 2014 there was another modern production of this Salieri opera. This time it was the Pinchgut Opera of Sydney, Australia, performing it as The Chimneysweep. The Sydney Morning Herald referred to it as the discovery of "a long-forgotten treasure".
Use of music by Salieri in films
Salieri has even begun to attract some attention from Hollywood. In 2001, his triple concerto was used in the soundtrack of The Last Castle, 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 Copying Beethoven 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 Vienna to study opera singing with Salieri. The 2008 film Iron Man 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 a piano in Stark's suite.
Fictional treatments
Salieri's life, and especially his relationship with Mozart, has been the subject of many stories, in a variety of media.
Within a few years of Salieri's death in 1825, Alexander Pushkin wrote his "little tragedy" Mozart and Salieri (1831), as a dramatic study of the sin of envy. This work was the inspiration for Peter Shaffer's 1979 play, Amadeus.
In 1898, Russian composer Nikolai Rimsky-Korsakov adapted Pushkin's play, Mozart and Salieri (1831), as an opera of the same name.
A hugely popular yet heavily fictionalized perpetuation of the story came in Peter Shaffer's play Amadeus (1979) and its Oscar-winning 1984 film adaptation directed by Miloš Forman. Salieri was portrayed in the award-winning play at London's National Theatre by Paul Scofield, on Broadway by Ian McKellen, and in the film by F. Murray Abraham (who won the Academy Award for Best Actor for the part). Abraham depicts Salieri as a Machiavellian, Iago-esque character, who uses his connections to keep Mozart as the underdog and slowly destroy Mozart's career.
Salieri's supposed hatred for Mozart is also alluded to in a spoof opera titled A Little Nightmare Music (1982), by P. D. Q. Bach. In the opera, Salieri attempts to poison an anachronistic Shaffer but is bumped by a "clumsy oaf", which causes him to inadvertently poison Mozart instead and spill wine on his favorite coat.
Patrick Stewart played Salieri in the 1985 production The Mozart Inquest.
Florent Mothe portrays Salieri in the French musical Mozart, l'opéra rock (2009).
C. Ian Kyer's first work of fiction is the historical novel Damaging Winds: Rumours that Salieri Murdered Mozart Swirl in the Vienna of Beethoven and Schubert (2013). Kyer was the co-author, with Bruce Salvatore, of the singspiel Setting the Record Straight: Mozart and Salieri Redux, first performed by the Adler Fellows of the San Francisco Opera Center in April 2016 under the direction of Erin Neff.
The HBO period drama telemovie, Virtuoso (2015), directed by Alan Ball, is largely centred around the early life of Salieri.
Notes, references, sources
Notes
References
Cited sources
Berlioz, Hector (2002). The Memoirs of Hector Berlioz. trans. and ed. David Cairns. New York: Everyman.
Braunbehrens, Volkmar (1992). Maligned Master – The Real Story of Antonio Salieri. Translated by Eveline L. Kanes. New York: Fromm International Publishing Corporation.
Schatkin Hettrick, Jane; Rice, John A. (2001). "Salieri, Antonio". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.24378. ISBN 978-1-56159-263-0. (subscription, Wikilibrary access, or UK public library membership required)
Lorenz, Michael (2013). "Antonio Salieri's Early Years in Vienna".
Rice, John A. (1998). Antonio Salieri and Viennese Opera. Chicago: University of Chicago Press. ISBN 978-0-226-71125-6.
Sadie, Stanley, ed. (1988). "Mozart". The New Grove Dictionary of Music and Musicians. London: Macmillan. ISBN 978-0-333-23111-1. OCLC 611992375.
Solomon, Maynard (1995). Mozart: A Life (1st ed.). New York City: HarperCollins. ISBN 978-0-06-019046-0. OCLC 31435799.
Spaethling, Robert (2000). Mozart's Letters, Mozart's Life. New York: W. W. Norton. ISBN 9780393047196.
Thayer, Alexander Wheelock (1989). Theodore Albrecht (ed.). Salieri: Rival of Mozart. The Philharmonia of Greater Kansas City. ISBN 978-0-932845-37-5.
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 74 | 98.8th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 42 | 93.1th |
| Studio albums | 37 | 98.7th |
| Awards recorded | 1 | 89th |
| Timeline events | 40 | 98.1th |
| Recording span (years) | -153 | 4.1th |
| Genres | 4 | 84.7th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (42 release groups · 37 studio albums)
Albums · 37
Due concerti per pianoforte e orchestra
1978 · studio album
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Tracklist · 6 tracks
A1Concerto in si bemolle maggiore per pianoforte e orchestra: Allegro moderatoA2Concerto in si bemolle maggiore per pianoforte e orchestra: AdagioA3Concerto in si bemolle maggiore per pianoforte e orchestra: Tempo di minuettoB1Concerto in do maggiore per pianoforte e orchestra: AllegroB2Concerto in do maggiore per pianoforte e orchestra: LarghettoB3Concerto in do maggiore per pianoforte e orchestra: Andantino1985 · studio album
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Tracklist · 9 tracks · 59:27
1Konzert für Oboe und Orchester Nr. 1 d-Moll: Allegro8:172Konzert für Oboe und Orchester Nr. 1 d-Moll: Grazioso5:243Konzert für Oboe und Orchester Nr. 1 d-Moll: Allegro5:394Konzert für Oboe und Orchester G-Dur: Maestoso5:285Konzert für Oboe und Orchester G-Dur: Adagio5:116Konzert für Oboe und Orchester G-Dur: Allegro4:147Konzert für Violine, Oboe,Violoncello und Orchester D-Dur (Tripelkonzert): Allegro moderato9:228Konzert für Violine, Oboe,Violoncello und Orchester D-Dur (Tripelkonzert): Cantabile7:499Konzert für Violine, Oboe,Violoncello und Orchester D-Dur (Tripelkonzert): Andantino8:031986 · studio album
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Tracklist · 9 tracks · 54:55
1Concerto in C: 1. Allegro spiritoso (cadenza: Heinz Holliger)7:012Concerto in C: 2. Largo (cadenza: Heinz Holliger)6:463Concerto in C: 3. Allegretto (cadenza: Heinz Holliger)5:224Concertante in G (arr. Heinz Holliger): 1. Allegro (cadenza: Heinz Holliger)9:225Concertante in G (arr. Heinz Holliger): 2. Largo3:486Concertante in G (arr. Heinz Holliger): 3. Rondo (Allegretto ma non tanto) (cadenza: Heinz Holliger)4:077Concerto in G: 1. (cadenza: Carl Stamitz/Heinz Holliger)8:228Concerto in G: 2. Adagio (cadenza: Carl Stamitz/Heinz Holliger)4:079Concerto in G: 3. Rondeau (cadenza: Carl Stamitz/Heinz Holliger)6:00Salieri: Prima la musica, poi le parole / Mozart: Der Schauspieldirektor
1989 · studio album
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Tracklist · 13 tracks · 49:26
1Prima la musica, poi le parole: Sinfonia (Allegro con brio)2:112Prima la musica, poi le parole: Nr. 1. Signor Poeta mio4:383Prima la musica, poi le parole: Nr. 3 Non dubitar, verrò1:014Prima la musica, poi le parole: Nr. 4. Là tu vedrai chi sono2:465Prima la musica, poi le parole: Nr. 6. Cari oggeti4:596Prima la musica, poi le parole: Nr. 10. Via largo, largo, largo5:077Prima la musica, poi le parole: Nr. 11. Cucuzze! Che concorso1:168Prima la musica, poi le parole: Nr. 13. Se questo mio pianto il cor non ti tocca. Per pieta, padrona mia5:219Der Schauspieldirektor, KV 486: Sinfonia (Presto)3:5210Der Schauspieldirektor, KV 486: Nr. 1. Da schlägt die Abschiedsstunde3:3711Der Schauspieldirektor, KV 486: Nr. 2. Bester Jüngling2:5412Der Schauspieldirektor, KV 486: Nr. 3. Ich bin die erste Sängerin6:2013Der Schauspieldirektor, KV 486: Nr. 4. Schlußgesang - Jeder Künstler strebt nach Ehre5:241989 · studio album
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Tracklist · 9 tracks · 53:14
1Piano Concerto in B-flat major: I. Allegro moderato11:052Piano Concerto in B-flat major: II. Adagio5:493Piano Concerto in B-flat major: III. Tempo di minuetto7:164Concerto in C major for flute and oboe: I. Allegro spiritoso6:575Concerto in C major for flute and oboe: II. Largo6:576Concerto in C major for flute and oboe: III. Allegretto4:507Sinfonia in B-flat major "La Tempesta di Mare": I. Allegro4:158Sinfonia in B-flat major "La Tempesta di Mare": II. Andante3:449Sinfonia in B-flat major "La Tempesta di Mare": III. Allegro assai2:211992 · studio album
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Tracklist · 9 tracks · 1:12:40
1Flute and Harp Concerto in C major, K 299 (297c): I. Allegro10:022Flute and Harp Concerto in C major, K 299 (297c): II. Andantino9:113Flute and Harp Concerto in C major, K 299 (297c): III. Rondo: Allegro9:244Oboe Concerto in C major, K 271k: I. Allegro aperto8:055Oboe Concerto in C major, K 271k: II. Adagio non troppo8:016Oboe Concerto in C major, K 271k: III. Rondo: Allegretto6:137Flute and Oboe Concerto in C major: I. Allegro spirituoso7:358Flute and Oboe Concerto in C major: II. Largo8:539Flute and Oboe Concerto in C major: III. Allegretto5:161993 · studio album
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Tracklist · 12 tracks · 57:43
1Il Talismano (The Talisman)3:172Eraclito e Democrito3:513Cesare in Farmacusa (Tempesta di Mare)4:484Il Ricco d'un giorno (Rich for a Day)3:445La Secchia rapita (The Stolen Bucket)6:206Axur Re d'Ormus3:207Les Danaides5:488Don Chisciotte alle nozze di Gamace7:049La Grotta di Trofonio (The Cave of Trofonio)5:4010Il moro2:5311Armida5:5612L'Angiolina, ossia Il Matrimonio per sussurro5:02Ouvertures, Scherzi, Divertimenti (Quartetto Amati)
1995 · studio album
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Tracklist · 12 tracks · 48:22
1Overture for string quartet No. 1 in D major3:482Overture for string quartet No. 2 in D major4:003Les Danaïdes: Overture (arr. string quartet)9:124Concertino da camera in C major: I. Allegro spirituoso5:425Concertino da camera in C major: II. Un poco adagio3:506Concertino da camera in C major: III. Menuetto2:137Concertino da camera in C major: IV. Presto2:108Divertimento for strings No. 11:269Divertimento for strings No. 23:5510Divertimento for strings No. 34:0811Divertimento for strings No. 44:4812La fuga3:101995 · studio album
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Tracklist · 9 tracks · 53:42
1Konzert für Violine, Oboe & Violoncello D-Dur "Tripelkonzert": I. Allegro moderato9:172Konzert für Violine, Oboe & Violoncello D-Dur "Tripelkonzert": II. Cantabile7:153Konzert für Violine, Oboe & Violoncello D-Dur "Tripelkonzert": III. Andantino8:404Konzert für Flöte & Oboe C-Dur: I. Allegro spiritoso (cadenza: R. Dohn)7:145Konzert für Flöte & Oboe C-Dur: II. Largo (Cadenza: R. Dohn)7:036Konzert für Flöte & Oboe C-Dur: III. Allegretto5:037Sinfonie für Kammerorchester D-Dur "La Veneziana": I. Allegro assai3:478Sinfonie für Kammerorchester D-Dur "La Veneziana": II. Andantino grazioso2:589Sinfonie für Kammerorchester D-Dur "La Veneziana": III. Presto2:251995 · studio album
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Tracklist · 15 tracks · 1:18:01
1Parte prima: Sinfonia e Recitativo (Tenore)8:022Parte prima: Giacché mi tremi in seno (Tenore)4:373Parte prima: Quanto costa il tuo delitto (Coro)2:574Parte prima: Vorrei dirti il mio dolore (Soprano)3:235Parte prima: Torbido mar, che freme (Basso)4:126Parte prima: Come a vista di pene sì fiere (Alto)3:247Parte prima: Potea quel pianto (Soprano, Coro)5:498Parte prima: Tu nel duol felice (Tenore)5:169Parte prima: Di qual sangue, o mortale (Coro)7:2410Parte seconda: Ed insepolto ancora è l'estinto Signor! (Voce recitante)4:0711Parte seconda: All'idea de' tuoi perigli (Basso)4:0412Parte seconda: Dovunque il guardo giro (Alto)7:0513Parte seconda: Ai passi erranti (Soprano)6:1914Parte seconda: Se a librarsi in mezzo all'onde (Tenore)5:0315Parte seconda: Santa Speme tu sei ministra (Coro)6:19The 2 Piano Concertos, Variazioni sulla “Follia Di Spagna”, Les Horaces & Semiramide Overtures
1996 · studio album
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Tracklist · 36 tracks · 1:19:24
1Les Horaces - Overture (1786)4:452Piano Concerto in C (Cadenzas: Spada, 1773): Allegro maestoso8:533Piano Concerto in C (Cadenzas: Spada, 1773): Larghetto7:184Piano Concerto in C (Cadenzas: Spada, 1773): Andantino5:515Semiramide - Overture (1782)5:116Piano Concerto in B-flat (Cadenzas: Salieri, 1773): Allegro moderato12:067Piano Concerto in B-flat (Cadenzas: Salieri, 1773): Adagio6:458Piano Concerto in B-flat (Cadenzas: Salieri, 1773): Tempo di Minuetto. Più mosso5:589XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Theme (Andante)0:5010XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 10:4911XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 20:3712XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 30:4113XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 40:5214XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 5 (Allegro)0:2115XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 6 (Andante)0:5316XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 7 (Allegretto)0:2617XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 8 (Poco adagio)0:5818XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 9 (Lo sesso temp)0:4919XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 101:0420XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 11 (Allegretto)0:4021XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 12 (Un poco più allegro)0:3122XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 13 (Allegro moderato)0:4123XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 140:5024XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 150:4725XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 160:3426XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 170:5127XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 18 (Larghetto)1:0028XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 19 (Allegretto)0:5429XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 200:3130XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 21 (Allegretto)0:3731XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 22 (Andante pastorale)1:3632XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation 23 (Allegro - canone)0:3033XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation (Presto)0:3034XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation (Adagio)1:4335XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Variation (Allegro moderato)1:0136XXVI Variations on “La Follia Di Spagna” (1815, Ed. Spada): Coda (Adagio - Allegro)1:011998 · studio album
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Tracklist · 10 tracks · 1:08:12
1Te Deum Hob. XXIII8:362Magnificat D 4869:583Krönungsmesse: Te Deum12:464Gesang der Geister über dem Wasser11:265Krönungsmesse KV 317: Kyrie3:116Krönungsmesse KV 317: Gloria4:507Krönungsmesse KV 317: Credo6:278Kronungsmesse KV 317: Sanctus1:319Krönungsmesse KV 317: Benedictus3:1910Krönungsmesse KV 317: Agnus dei6:081998 · studio album
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Tracklist · 59 tracks · 2:21:38
Disc 11Falstaff, ossia Le tre burle: Overture. Allegro di controdanza4:142Falstaff, ossia Le tre burle: Act I, Scene I. Introduction "Viva il comune amico" (Falstaff, Mrs. Ford, Mrs. Slender, Slender, Guests)3:173Falstaff, ossia Le tre burle: Act I, Scene I. "Sia pur l'ultimo bicchiere" (Falstaff)2:544Falstaff, ossia Le tre burle: Act I, Scene I. "Ma già l'alba s'avvicina" (Mistress Ford)1:585Falstaff, ossia Le tre burle: Act I, Scene II. "Vedete che capriccio" (Bardolf)0:496Falstaff, ossia Le tre burle: Act I, Scene II. Accompanied recitative "Non reggo più dal sonno" (Bardolf) / Scene III. "Mangiar da principe" (Bardolf)5:007Falstaff, ossia Le tre burle: Act I, Scene III. Duet "Con molta degnazione" (Falstaff, Bardolf)2:238Falstaff, ossia Le tre burle: Act I, Scene III. "Da scrivere" (Falstaff)3:199Falstaff, ossia Le tre burle: Act I, Scene IV. "Li porto o non li porto?" (Bardolf)0:4410Falstaff, ossia Le tre burle: Act I, Scene V. Cavatina "Vicino a rivedere" (Ford) / "Di dubitar di lei non ho motivo" (Ford)3:1811Falstaff, ossia Le tre burle: Act I, Scene VI. "Oh, tinozzo ambulante!" (Mistress Slender)0:4512Falstaff, ossia Le tre burle: Act I, Scene VI. Aria "Vendetta, sì vendetta" (Mistress Slender)2:0113Falstaff, ossia Le tre burle: Act I, Scene VI. "Comare, in questo punto" (Mistress Slender)0:5014Falstaff, ossia Le tre burle: Act I, Scene VI. Duet "La stessa, la stessissima" (Mistress Ford, Mistress Slender)1:1215Falstaff, ossia Le tre burle: Act I, Scene VI. "Ma parlando sul serio" (Mistress Slender)0:5116Falstaff, ossia Le tre burle: Act I, Scene VII. "Ho capito, ma spero che non sarà poi vero" (Slender)1:2517Falstaff, ossia Le tre burle: Act I, Scene VIII. Quartet "Oh, quanto vogliam ridere" (Mistress Ford, Mistress Slender, Ford, Slender)4:5918Falstaff, ossia Le tre burle: Act I, Scene IX. "Eh! Mia moglie, compare" (Ford)0:5419Falstaff, ossia Le tre burle: Act I, Scene IX. Aria "Venga, venga pure il cavaliere" (Slender)3:1920Falstaff, ossia Le tre burle: Act I, Scene X. "A un uom della mia sorte" (Falstaff)0:5721Falstaff, ossia Le tre burle: Act I, Scene XI. "Guten morgen, mein Herr" (Mistress Ford)1:4122Falstaff, ossia Le tre burle: Act I, Scene XI. Aria "Oh, die Männer kenn ich schon" (Mistress Ford)3:1423Falstaff, ossia Le tre burle: Act I, Scene XII. "E che ti par, Falstaff?" (Falstaff)3:5624Falstaff, ossia Le tre burle: Act I, Scene XII. Aria "Nell'impero di Cupido" (Falstaff)3:1925Falstaff, ossia Le tre burle: Act I, Scene XII. Accompanied recitative "Ah, vile! Ah seduttore!" (Ford) / Aria "Or degli affanni i palpito" (Ford)5:2226Falstaff, ossia Le tre burle: Act I, Scene XIII. "Restate là vicini" (Mistress Ford)2:0527Falstaff, ossia Le tre burle: Act I, Scene XIV. Finale "Bricconcella, alfin t'ho colta" (Falstaff)7:45Disc 21Falstaff, ossia Le tre burle: Act I, Scene XIV. Finale "Sì. Son geloso a torto" (Ford)8:342Falstaff, ossia Le tre burle: Act II, Parte I, Scene I. "Sentite pure" (Betty)0:483Falstaff, ossia Le tre burle: Act II, Parte I, Scene I. Trio "Nell'acqua il buzzone" (Betty, Mistress Ford, Mistress Slender) / "Questa a buon conto" (Mistress Ford)2:464Falstaff, ossia Le tre burle: Act II, Parte I, Scene II. "Ehi! Bardolfo! A chi dico?" (Falstaff) / Scene III. "Corpo di Satanasso!" (Falstaff) / Scene IV. "E Preparato?" (Falstaff)2:215Falstaff, ossia Le tre burle: Act II, Parte I, Scene IV. Duet "Ah, Signore, se sapesse" (Betty, Falstaff)0:586Falstaff, ossia Le tre burle: Act II, Parte I, Scene IV. "Si degni almen di legger questo foglio" (Betty)0:397Falstaff, ossia Le tre burle: Act II, Parte I, Scene IV. Trio. "Si mi vedeste il core" (Betty, Falstaff, Bardolf)3:278Falstaff, ossia Le tre burle: Act II, Parte I, Scene V. "E il nostro Signor Broch" (Falstaff) / Scene VI. "Il Signor Broch vi attende" (Bardolf)0:599Falstaff, ossia Le tre burle: Act II, Parte I, Scene VII. "Se un pranzo non vi basta" (Ford)1:2110Falstaff, ossia Le tre burle: Act II, Parte I, Scene VII. Accompanied recitative "Che sento! E quando ei venne" (Ford, Falstaff) / "Or dunque quella bestia" (Falstaff)1:1211Falstaff, ossia Le tre burle: Act II, Parte I, Scene VII. Cavatina "Nella stanza in un cantone" (Falstaff, Ford) / "Or, quando fui nel cesto" (Ford)1:2812Falstaff, ossia Le tre burle: Act II, Parte I, Scene VII. Cavatina "Io, sotto titolo di roba sudicia" (Falstaff)0:4113Falstaff, ossia Le tre burle: Act II, Parte I, Scene VII. "Signor, son penetrato del più vivo dolor" (Ford)1:2014Falstaff, ossia Le tre burle: Act II, Parte I, Scene VIII. Accompanied recitative "Stelle sogno o son desto?" (Falstaff) / Aria "Furie che mi agitate" (Falstaff)2:2315Falstaff, ossia Le tre burle: Act II, Parte I, Scene IX. Duet "Su, mio core, a gioir ti prepara!" (Mistress Ford, Falstaff)2:4816Falstaff, ossia Le tre burle: Act II, Parte I, Scene X. "Ma siam sicuri?" (Falstaff) / Scene XI. "Ehi! comare presto!" (Mistress Slender) / Duettino "Pre carita, celatevi" (Mistress Ford, Falstaff)1:0217Falstaff, ossia Le tre burle: Act II, Parte I, Scene XI. "Siete sola?" (Mistress Slender)1:3818Falstaff, ossia Le tre burle: Act II, Parte I, Scene XI. Trio "Primo ancor che Mastro venga" (Mistress Ford, Mistress Slender, Falstaff)1:0319Falstaff, ossia Le tre burle: Act II, Parte I, Scene XI. "Ma dunque, care amiche?" (Fastaff) / Scene XII. "Ha, ha! Sarebbe bella se così travestito" (Mistress Ford)2:3920Falstaff, ossia Le tre burle: Act II, Parte I, Scene XIII. Accompanied recitative "Ecco, amici! Ah! Ribaldo!" (Ford)0:3321Falstaff, ossia Le tre burle: Act II, Parte I, Scene XIII. Ensemble "Che vedo! Oh, me infelice!" (Betty, Mistress Ford, Mistress Slender, Ford, Slender, Friends)2:5122Falstaff, ossia Le tre burle: Act II, Parte I, Scene XIII. "Orben, colui che cerco" (Ford)1:4323Falstaff, ossia Le tre burle: Act II, Parte I, Scene XIII. Duet "Benedetto quel bastone" (Mistress Ford, Mistress Slender)0:4924Falstaff, ossia Le tre burle: Act II, Parte I, Scene XIV. Aria "Sorte pettegola, meco la vuoi" (Falstaff)1:3525Falstaff, ossia Le tre burle: Act II, Parte I, Scene XV. "Se in Londra si sapessero le mie delusioni" (Falstaff)0:5726Falstaff, ossia Le tre burle: Act II, Parte I, Scene XV. Aria "La sua fede sì gradita" (Ford)1:3727Falstaff, ossia Le tre burle: Act II, Parte I, Scene XV. Arietta "Sorte pettegola, meco la vuoi" (Falstaff, Ford) / "Chi dite mai?" (Ford) / Arietta "Sorte pettegola, meco la vuoi" (Falstaff)0:5528Falstaff, ossia Le tre burle: Act II, Parte I, Scene XVI. "Che dici?" (Falstaff)1:0829Falstaff, ossia Le tre burle: Act II, Parte I, Scene XVI. "Consolatevi amico" (Falstaff)1:0230Falstaff, ossia Le tre burle: Act II, Parte II, Scene XVII. Aria "Reca in amor la gelosia" (Slender) / "Zitto: vien qualchedun" (Slender)2:5331Falstaff, ossia Le tre burle: Act II, Parte II, Scene XVII. Finale "Siete già qui" (Mistress Ford, Mistress Slender, Falstaff, Ford, Slender, Spirits)7:2532Falstaff, ossia Le tre burle: Act II, Parte II, Scene XVII. "Fate verdi, turchine e bianche e nere" (Mistress Ford)7:32Mozart: Messe in C-Dur "Orgelsolo-Messe" / Salieri: Messe in D-Dur "Hofkapellmeister-Messe"
1999 · studio album
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Tracklist · 14 tracks · 50:27
1Messe in C-Dur, KV 259 "Orgelsolo-Messe": I. Kyrie2:062Messe in C-Dur, KV 259 "Orgelsolo-Messe": II. Gloria1:523Messe in C-Dur, KV 259 "Orgelsolo-Messe": III. Credo4:214Messe in C-Dur, KV 259 "Orgelsolo-Messe": IV. Sanctus1:175Messe in C-Dur, KV 259 "Orgelsolo-Messe": V. Benedictus2:066Messe in C-Dur, KV 259 "Orgelsolo-Messe": VI. Agnus Dei3:037Offertorium de tempore in d-Moll, KV 222 "Misericordias Domini"6:508Offertorium für Allerheiligen in A-Dur "Justorum animae"2:359Messe in D-Dur "Hofkapellmeister-Messe": I. Kyrie3:0710Messe in D-Dur "Hofkapellmeister-Messe": II. Gloria7:5911Messe in D-Dur "Hofkapellmeister-Messe": III. Credo6:1412Messe in D-Dur "Hofkapellmeister-Messe": IV. Sanctus1:2813Messe in D-Dur "Hofkapellmeister-Messe": V. Benedictus3:0814Messe in D-Dur "Hofkapellmeister-Messe": VI. Agnus Dei4:21Konzerte der frühe Wiener Schule
2001 · studio album
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Tracklist · 12 tracks · 1:12:25
101 Konzert f.Flöte,Oboe u.Orch.D-dur 1.Allegro spirituoso7:07202 Konzert f.Flöte,Oboe u.Orch.D-dur 2.Largo7:28303 Konzert f.Flöte,Oboe u.Orch.D-dur 3.Allegretto5:20404 Konzert f. Oboe u. Orchester G-dur 1.Maestoso5:31505 Konzert f. Oboe u. Orchester G-dur 2.Adagio5:12606 Konzert f. Oboe u. Orchester G-dur 3.Allegro4:20707 Konz.f.Violine,Oboe,Violoncello u.Orch.D-dur 1.Allegro moderato9:27808 Konz.f.Violine,Oboe,Violoncello u.Orch.D-dur 2.Cantabile7:53909 Konz.f.Violine,Oboe,Violoncello u.Orch.D-dur 3.Andantino8:101010 Konzert f. Harfe u. Orchester G-dur 1. Allegro3:561111 Konzert f. Harfe u. Orchester G-dur 2. Andante4:431212 Konzert f. Harfe u. Orchester G-dur 3. Vivace3:18La Passione di Gesù Cristo (Ensemble Salieri Wien)
2001 · studio album
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Tracklist · 34 tracks · 1:50:48
Disc 11La Passione di Gesù Cristo: I. Sinfonia "La sinfonia esprime il rimorsi e la disperazione di Pietro"5:092La Passione di Gesù Cristo: II. Rezitativ "Dove son? Dove corro?"1:453La Passione di Gesù Cristo: III. Arioso "Ingratissimo Piero!"1:284La Passione di Gesù Cristo: IV. Arie "Giacché mi tremi in seno"5:055La Passione di Gesù Cristo: V. Rezitativ "Ma qual doente stuolo"1:046La Passione di Gesù Cristo: VI. Chor "Quanto costa il tuo delitto"3:077La Passione di Gesù Cristo: VII. "Rezitativ "Maddalena, Giovanni, Giuseppe, amici"0:558La Passione di Gesù Cristo: VIII. Arie "Vorrei dirti il mio dolore"2:329La Passione di Gesù Cristo: IX. Rezitativ: "Oh più di noi felice, Pietro"2:1110La Passione di Gesù Cristo: X. Arie "Torbido mar, che freme"3:5311La Passione di Gesù Cristo: XI. Rezitativ "Oh barbari! Oh crudeli!"1:5012La Passione di Gesù Cristo: XII. Arie "Come a vista di pene sì fiere"2:2213La Passione di Gesù Cristo: XIII. Arioso "Ah v'intendo"1:4414La Passione di Gesù Cristo: XIV. Rezitativ "E la madre frattanto"1:4315La Passione di Gesù Cristo: XV. Arie und Chor "Potea quel pianto"5:2616La Passione di Gesù Cristo: XVI. Rezitativ "Come inventar potea"1:3317La Passione di Gesù Cristo: XVII. Arie "Tu nel duol felice sei"4:1218La Passione di Gesù Cristo: XVIII. Rezitativ "Dopo un pegno sì grande"1:1319La Passione di Gesù Cristo: XIX. Duett: "Vi sento, oh Dio, vi sento"6:3220La Passione di Gesù Cristo: XX. Chor "Di qual sangue, o mortale, oggi fa d'uopo"6:47Disc 21La Passione di Gesù Cristo: XXI. Rezitativ "Ed inspolto ancora"1:432La Passione di Gesù Cristo: XXII. Arie "Ritonerà fra voi"6:063La Passione di Gesù Cristo: XXIII. Rezitativ "Qual teribil vendetta"1:594La Passione di Gesù Cristo: XXIV. Arie "All'idea de'tuoi perigli"3:015La Passione di Gesù Cristo: XXV. Rezitativ "La minacce non teme"2:096La Passione di Gesù Cristo: XXVI. Arie "Se la pupilla inferma"4:497La Passione di Gesù Cristo: XXVII. Rezitativ "Pur ddovrebbe in tal giorno"2:168La Passione di Gesù Cristo: XXVIII. Arie und Chor "Dovunque il guardo giro"6:039La Passione di Gesù Cristo: XXIX. Rezitativ "Giovanni, anch'lo lo so, per tutto è Dio"2:0410La Passione di Gesù Cristo: XXX. Arie "Ai passi erranti"7:1711La Passione di Gesù Cristo: XXXI. Rezitativ "Non senza guida, o Maddalena, e soli"2:0612La Passione di Gesù Cristo: XXXII. Arie "Se a librasi in mezzo all'onde"4:4913La Passione di Gesù Cristo: XXXIII. Rezitativ "Ah dal felice marmo"1:2314La Passione di Gesù Cristo: XXXIV. Solist und Chor "Santa speme tu sei"4:32Symphonies, Overtures & Variations
2001 · studio album
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Tracklist · 14 tracks · 1:05:41
1Overture to "Cublai, gran kan de' Tartari" in D major3:522Twenty-six Variations on "La folia di Spagna"17:553Overture to "Angiolina, ossia Il martrimonio per sussuro" in D major3:564Sinfonia Veneziana in D major: I. Allegro assai4:025Sinfonia Veneziana in D major: II. Andantino grazioso3:306Sinfonia Veneziana in D major: III. Presto2:337Overture to "La locandiera" in D major: I. Allegro assai3:478Overture to "La locandiera" in D major: II. Andantino2:109Overture to "La locandiera" in D major: III. Presto1:3610Sinfonia "Il giorno onomastico" in D major: I. Allegro, quasi presto4:1911Sinfonia "Il giorno onomastico" in D major: II. Larghetto5:2112Sinfonia "Il giorno onomastico" in D major: III. Minuetto: Non tanto allegro - Trio2:4113Sinfonia "Il giorno onomastico" in D major: IV. Allegretto e sempre l'istesso tempo5:4114Overture to "Falstaff, ossia Le tre burle" in D major4:182001 · studio album
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Tracklist · 10 tracks · 57:01
1Concerti in G minor for Oboe, Strings and Continuo: I. Allegro4:002Concerti in G minor for Oboe, Strings and Continuo: II. Largo4:393Concerti in G minor for Oboe, Strings and Continuo: III. Allegro3:544Concerto in C major for Flute, Oboe and Orchestra: I. Allegro spiritoso7:025Concerto in C major for Flute, Oboe and Orchestra: II. Largo6:316Concerto in C major for Flute, Oboe and Orchestra: III. Allegretto5:337Concerto no. 1 in C major for Oboe and Orchestra: I. Allegro7:248Concerto no. 1 in C major for Oboe and Orchestra: II. Andante6:069Concerto no. 1 in C major for Oboe and Orchestra: III. Allegretto8:0010Concerto in F major for Oboe and Orchestra: Rondeau in F3:522003 · studio album
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Tracklist · 47 tracks · 2:34:18
Disc 11Overture4:362Act One: Viva il comune amico3:433Act One: Sia pur l'ultimo bicchiere3:084Act One: Ma già l'alba s'avvicina2:135Act One: Vedete che capriccio3:466Act One: Ah, pezzo di birbante1:577Act One: Con molta degnazione2:228Act One: Da scrivere!3:349Act One: Vicino a rivedere2:1110Act One: Di dubitar di lei non ho motivo1:1811Act One: Vendetta sì vendetta2:0012Act One: Comare in questo punto1:0213Act One: La stessa, la stessissima1:1214Act One: Ma parlando sul serio2:5715Act One: Oh, quanto vogliam ridere5:1116Act One: Eh, mia moglie compare…0:5717Act One: Venga, venga pure il cavaliere3:4818Act One: Ad un uom della mia sorte6:2519Act One: O die Männer Kenn ich schon3:3220Act One: E che ti par Falstaff?4:0521Act One: Nell'impero di Cupido3:3822Act One: Ah vile! Ah seduttore!1:3723Act One: Or gli affannosi palpiti3:5524Act One: Restate là vicini2:2825Act One: Bricconcella, alfin t'ho colta4:46Disc 21Act One: Signora, c'è Mrs. Slender nell'anticamera3:492Act One: Se son geloso a torto9:103Act Two: Sentite pure0:514Act Two: Nell'acqua il buzzone1:565Act Two: Ehi! Bardolf! A chi dico?2:136Act Two: Ah, Signore, se sapesse1:337Act Two: Se mi vedeste il cor3:328Act Two: E il nostro signor Broch6:259Act Two: Stelle, sogno o son desto?2:1610Act Two: Presto Betty che già torna l'amico3:0511Act Two: Ma siam sicuri1:4212Act Two: Per carità celatevi6:5113Act Two: Che vedo! Oh me infelice!3:2014Act Two: Orben colui ch'io cerco1:5115Act Two: Benedetto quel bastone0:5816Act Two: Sorte pettegola, meco la vuoi3:5817Act Two: Che dici…?1:0318Act Two: Ah che a idea così gradita2:5019Act Two: Reca in amor la gelosia2:3020Act Two: Siete già qui7:2121Act Two: Fate verdi, turchine e bianche e nere6:5922Act Two: Or tre volte corbellato3:442003 · studio album
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Tracklist · 13 tracks · 1:07:02
1Son qual lacera tartana (La secchia rapita (Renoppia))3:052Or ei con Ernestina … Ah sia già (La scuola de’ gelosi (La Contessa))8:273Vi sono sposa e amante (La fiera di Venezia (Calloandra))6:194Voi lusingate invano … Misera abbandonata (Palmira, regina di Persia (Palmira))2:545E voi da buon marito … Non vo’ già che vi suonino (La cifra (Lisotta))3:456Alfin son sola … Sola e mesta (La cifra (Eurilla))8:237Dopo pranzo addormentata (Il ricco d’un giorno (Lauretta))3:158No, non vacillerà … Sulle mie tempie (La secchia rapita (Gheranda))7:479Lungi da me sen vada … Contro un’alma sventurata (Palmira, regina di Persia (Palmira))4:0710Se lo dovessi vendere (La finta scema (Ninetta))1:4511Eccomi più che mai … Amor, pietoso Amore (Il ricco d’un giorno (Emilia))5:4412La Ra La (La grotta di Trofonio (Ofelia))1:3413E non degg’io seguirla … Lungi da te … Forse, chi sa? veranno … Vieni a me sull’ali d’oro (Armida (Rinaldo))9:57La passione di nostro signore gesu cristo
2004 · studio album
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Tracklist · 33 tracks · 1:30:29
Disc 11Parte I. Ouverture4:272Recitativo: Dove son?1:123Recitativo: Ingratissimo pietro1:124Aria: Giacche mi tremi in seno3:505Recitativo: Ma qual dolente stuolo0:486Coro: Quanto costa il tuo delitto?2:017Recitativo: Maddalena, giovanni, giuseppe, amici0:458Aria: Vorrei dirti il mio dolore2:379Recitativo: O piu di noi felice pietro1:2610Recitativo: Torbido mar che freme3:2511Recitativo: Barbari! O crudeli!1:0612Aria: Come a vista di pene si fiere3:0713Recitativo: E la madre frattanto in mezzo all'empie squadre1:1814Aria e coro: Potea quel pianto4:4215Recitativo: Come inventar potea1:2216Aria: Tu nel duol felice sei3:4417Recitativo: Dupo un pegno si grande d'amore0:5518Duetto: VI sento, o dio4:3119Coro: Di qual sangue, o mortale4:58Disc 21Parte II. Recitativo: Ed insepolto ancora1:142Aria: Ritornera fra voi4:443Recitativo: Qual terribil vendetta1:014Aria: All'idea de' tuoi perigli2:525Recitativo: Le minaccie non teme2:056Aria: Se la pupilla inferma4:267Recitativo: Pur doverbbe in tal giorno1:378Aria: Dovunque il guardo io giro5:299Recitativo: Giovanni, anchi' io lo so1:3410Aria: Ai passi erranti6:0611Recitativo: Non senza guida1:4712Aria: Se a librarsi in mezzo all' onde5:4513Recitativo: Ah, del felice marmo0:5614Coro: Santa speme tu sei ministra3:272005 · studio album
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Tracklist · 52 tracks · 2:17:47
Disc 11Sinfonia4:542Atto Primo: Aristone, Ofelia, e Dori: Mie care figliuole…3:343Atto Primo: Aristoni: Figlie mie, m’intendeste.2:004Atto Primo: Aristone: Orsù già compresi1:085Atto Primo: Dori: Ofelia, io so che spesso1:066Atto Primo: Ofelia: D’un dolce amor la face5:527Atto Primo: Ofelia: Ma veggio Artemidoro che qua sen vien.1:038Atto Primo: Plistene, Dori, Ofelia, Artemidoro: Il diletto che in peto mi sento2:379Atto Primo: Aristone: Evviva!2:0910Atto Primo: Aristone: Da una fonte istesso4:3911Atto Primo: Plistene: Io credo Artemidoro, che come è tuo costume…3:3512Atto Primo: Dori e Plistene: Non lo stato conjugale2:5113Atto Primo: Trofonio: Spiriti invisibili che ite per l’aere…6:5014Atto Primo: Trofonio: Ma vè chi qua s’avanza0:2015Atto Primo: Artemidoro: Di questo bosco ombroso5:2016Atto Primo: Artemidoro: Vè alcun, fra quella fronde1:1017Atto Primo: Plistene: Ah trovar fra queste piante2:2918Atto Primo: Plistene: Oh, Oh! chi è quì, che stassi ad osservarmi?0:4619Atto Primo: Artemidoro: Cieli! che fu? d’un moto1:5220Atto Primo: Artemidoro: Evviva la gioja0:3421Atto Primo: Trofonio: Già degl’incanti miei0:2022Atto Primo: Plistene: Numi! qual mai s’oprò maravigliosa metamorfosi in me? Vieni, o Maestro, e duce!4:4323Atto Primo: Trofonio: Così cangiar l’uom dee d’un mio cenno0:2624Atto Primo: Duetto. Ofelia e Artemidoro: È un piacer col caro amante… Mentre, o dolce mio tesoro5:2825Atto Primo: Duetto. Dori e Plistene: Che fa Plistene, perchè non viene?… Ciocchè più apprezzasi tutto è follia.2:3726Atto Primo: Aristone, i giovani: Del giardin per il viali le mie figlie troverò… Che confusioni strange!… In un momento7:09Disc 21Atto Secondo: Aristone: Pazienza figlie mie1:062Atto Secondo: Aristone: Se il tuo sposo è assai brioso4:423Atto Secondo: Ofelia: Eppur malgrado il ragionar del Padre0:434Atto Secondo: Dori: Un boccodin d’amante4:125Atto Secondo: Plistene: Forse il contegno, e il ragionar che tenni con Dori1:356Atto Secondo: Plistene e Artemidoro: E in casa altrui… Per questo muso0:527Atto Secondo: Trofonio: Voce confusa e tronca0:338Atto Secondo: Plistene: Che fù, che m’avvenne!… Forse qualche vapor2:439Atto Secondo: Artemidoro: Sognai, o sogno ancor?… Certo io provai poc’anzi5:0510Atto Secondo: Trofonio: Costante, e ognor l’istessa0:1311Atto Secondo: Trofonio: Questo magico abituro1:1312Atto Secondo: Ofelia e Dori: Ancor d’Artemidoro il cangiamento… Più che io penso al caso di Plistene1:5013Atto Secondo: Trofonio, Ofelia, Dori: Venite, o Donne, meco… Un galantuom mi sembra… Selvatico non par.4:0914Atto Secondo: Aristone, Artemidoro, Plistene: Né posso ancor trovarle!1:1215Atto Secondo: Plistene: Ma perchè in ordine il tutto vada3:0616Atto Secondo: Trofonio: L’allegra Dori ecco che fuor sen viene1:4817Atto Secondo: Dori: La ra la la ra la ra… Che Filosofo buffon!1:3518Atto Secondo: Trofonio: Dell’antro mio cosa ti parve Ofelia?0:4619Atto Secondo: Dori: La ra la la ra la ra…0:2320Atto Secondo: Artemidori: Ofelia, alfin ti trovo0:2121Atto Secondo: Ofelia, Artemidoro: Quel muso arcigno, e burbeco… Il tuo natio carattere4:3222Atto Secondo: Aristone: Non veggio più né figlie me, né i sposi1:3523Atto Secondo: Artemidoro, Ofelia: Ofelia!… Via: va là, faccia d’Astrologo2:1124Atto Secondo: Aristone: Trofonio, Trofonio, filosofo greco / Coro di Spiriti: Trofonio nel cupo di questo dirupo8:1725Atto Secondo: Trofonio, Ofelia, Dori, Aristone, Artemidoro, Plistene: Da l’antro uscite… Pronte seguiamo… Lieti prendiamo il fausto augurio2:4626Atto Secondo: Artemidoro, Plistene: Sperar poss’io / Quartetto dei giovani: Tu sei 'l mio bene / Finale concertato: Via di quà non ci arrestiamo4:472007 · studio album
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Tracklist · 13 tracks · 1:07:29
1Cublai, gran Khan dei Tartari: Fra i barbari sospetti (Alzima)3:372Il natal d'Apollo: Ove son? Qual'aure io spiro (Erifle)7:093L'Europa riconosciuta: Numi, respiro...Ah, lo sento (Europa)6:254Il natal d'Apollo: Ombra dolente (Alceo)4:045Die Zauberflöte: O zittre nicht (Königin der Nacht)4:316Die Zauberflöte: Der Hölle Rache (Königin der Nacht)3:017Cublai, gran Khan dei Tartari: D'un insultante orgoglio (Alzima)4:298Lucio Silla: In un instante...Parto, m'affretto (Giunia)6:329Der Rauchfangkehrer: Basta, vincesti...Ah non lasciarmi (Fräule Nannette)3:0310Semiramide: Sento l'amica speme (Semiramide)6:3811Basta, vincesti... Ah, non lasciarmi KV. 295A (Concert Aria) (Didone)6:2612L'Europa riconosciuta: Quando più irato freme (Semele)6:3413La finta scema: Se spiegar potessi appiento (Vanesia)5:00Salieri: Overtures & Ballet Music
2007 · studio album
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Tracklist · 17 tracks · 1:07:54
1Armida: Sinfonia In Pantomima5:392Daliso e Demita: Overture3:333Pafio e Mirra ossia I prigionieri di Cipro: 1. Maestoso3:144Pafio e Mirra ossia I prigionieri di Cipro: 2. Adagio - Allegro Maestoso2:575Pafio e Mirra ossia I prigionieri di Cipro: 3. Allegro - Larghetto - Allegro ma non tanto - Allegro spiritoso5:336Pafio e Mirra ossia I prigionieri di Cipro: 4. Andante Maestoso - Andantino con moto - Allegro spiritoso3:337Pafio e Mirra ossia I prigionieri di Cipro: 5. Non tanto Allegro - Gavotta (Non Tanto Allegro)8:538Der Rauchfangkehrer: Overture3:059Les Danaides: 1. Overture6:0210Les Danaides: 2. Danse (un poco adagio)2:3811Les Danaides: 3. Danse (un poco andante)3:0712Les Danaides: 4. Allegretto2:1013Les Danaides: 5. Allegretto2:4014Les Danaides: 6. Allegro Brillante3:1315Les Danaides: 7. Pantomime (Andantino sostenuto)3:4016Les Horaces: Overture3:3417Catilina: Overture4:232010 · studio album
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Tracklist · 18 tracks · 51:03
1Il Mondo Alla Rovescia: Overture5:032Tarare: Overture (Act II)3:013Axur, Re d'Ormus: Piccioloa Sinfonia, Allegro Assai (Act IV)1:134Palmira, Regina Di Persia: Overture2:505Die Neger: Overture3:196Die Neger: Piccioloa Sinfonia, Larghetto (Act II)2:467La Grotta Di Trofonio: Overture4:588La Calamita De' Cori Sinfonia A Due Orchestre (Act II): Non Troppo Allegro3:069La Calamita De' Cori Sinfonia A Due Orchestre (Act II): Adagio2:5810La Calamita De' Cori Sinfonia A Due Orchestre (Act II): Allegro2:3411Daliso E Delmita: Intrada, Allegro (Act I)0:2512Daliso E Delmita: Lotta, Andante Maestoso (Act I)1:4413Die Hussiten Vor Naumburg: Overture3:1014Die Hussiten Vor Naumburg: Entr'acte I3:4115Die Hussiten Vor Naumburg: Entr'acte II2:1716Die Hussiten Vor Naumburg: Entr'acte III1:3817Die Hussiten Vor Naumburg: Entr'acte IV2:5418L'Angiolina Ossia Il Matrimonio Per Sussurro: Overture3:26Harmoniemusiken: Axur / La grotta di Trofonio / Palmira
2011 · studio album
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Tracklist · 27 tracks · 1:05:33
1La grotta di Trofonio: Sinfonia3:102La grotta di Trofonio: Introduzione3:103La grotta di Trofonio: Larghetto3:324La grotta di Trofonio: Cantabile3:395La grotta di Trofonio: Andantino1:506La grotta di Trofonio: Finale. Un poco adagio4:037La grotta di Trofonio: Finale. Allegro assai7:528Axur, Rè d'Ormus: Allegro1:519Axur, Rè d'Ormus: Introduzione3:0510Axur, Rè d'Ormus: Allegro moderato2:0811Axur, Rè d'Ormus: Andantino1:3412Axur, Rè d'Ormus: Allegretto1:5413Axur, Rè d'Ormus: Andante un poco cantabile1:5114Axur, Rè d'Ormus: Allegro1:2115Axur, Rè d'Ormus: Canzone1:2716Axur, Rè d'Ormus: Allegretto2:1717Axur, Rè d'Ormus: Allegretto - Allegro2:5118Palmira, Regina di Persia: Sinfonia2:4319Palmira, Regina di Persia: Andante con moto1:4820Palmira, Regina di Persia: Terzetto1:1721Palmira, Regina di Persia: Marcia1:3122Palmira, Regina di Persia: Un poco andante1:4823Palmira, Regina di Persia: Marcia1:1524Palmira, Regina di Persia: Andante un poco sostenuto1:0425Palmira, Regina di Persia: Larghetto1:0726Palmira, Regina di Persia: Andante1:3827Palmira, Regina di Persia: Finale3:472015 · studio album
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Tracklist · 53 tracks · 1:48:14
Disc 11Les Danaïdes: Ouverture4:512Les Danaïdes, Acte I Scène 1: Toi par qui, sans terreur3:073Les Danaïdes, Acte I Scène 1: Descends du ciel, douce Hyménée3:004Les Danaïdes, Acte I Scène 1: Air de danse1:275Les Danaïdes, Acte I Scène 1: Loin de nous, jalousie cruelle1:556Les Danaïdes, Acte I Scène 1: Air de danse (2)1:497Les Danaïdes, Acte I Scène 1: Je vois, jeunes époux1:258Les Danaïdes, Acte I Scène 1: Jouissez du destin propice2:119Les Danaïdes, Acte I Scène 2: Hypermnestre! Lyncée!1:3910Les Danaïdes, Acte I Scène 2: Oublions tous ces jours de peine3:0011Les Danaïdes, Acte I Scène 2: Descends du ciel, douce Hyménée (2)2:3912Les Danaïdes, Acte II Scène 1: Où sommes-nous?4:2113Les Danaïdes, Acte II Scène 1: Divinité, de sang avide1:4814Les Danaïdes, Acte II Scène 1: Je vous vois frémir de colère1:5515Les Danaïdes, Acte II Scène 2: Quand tes soeurs ont juré2:5016Les Danaïdes, Acte II Scène 2: Par les larmes dont votre fille2:3217Les Danaïdes, Acte II Scène 2: Fille indigne de la lumière1:2718Les Danaïdes, Acte II Scène 3: Où suis-je, ô ciel?1:4819Les Danaïdes, Acte II Scène 3: Foudre céleste! Je t’appelle!2:5320Les Danaïdes, Acte III Scène 1: Célébrons à l’envi cette heureuse alliance1:5121Les Danaïdes, Acte III Scène 1: Air de danse (3)2:3222Les Danaïdes, Acte III Scène 1: Descends dans le sein d’Amphitrite2:3223Les Danaïdes, Acte III Scène 1: Air de danse (4)2:0524Les Danaïdes, Acte III Scène 1: Aux dieux qui suivent l’Hyménée0:3025Les Danaïdes, Acte III Scène 1: L’amour sourit au doux vainqueur1:2726Les Danaïdes, Acte III Scène 1: Prends ce gage sacré1:4427Les Danaïdes, Acte III Scène 1: Rends-moi ton cœur2:1728Les Danaïdes, Acte III Scène 1: Mon courage est à bout0:2329Les Danaïdes, Acte III Scène 1: Mon père...mon époux...1:5530Les Danaïdes, Acte III Scène 1: Reprends tes esprits et tes sens1:3531Les Danaïdes, Acte III Scène 1: Air de danse (5)2:2732Les Danaïdes, Acte III Scène 1: Pour nos devoirs0:5333Les Danaïdes, Acte III Scène 1: L’amour sourit au doux vainqueur (2)1:2934Les Danaïdes, Acte III Scène 1: Pantomime2:02Disc 21Les Danaïdes, Acte IV Scène 1: Écoutez-moi, mon père2:282Les Danaïdes, Acte IV Scène 2: Le barbare! Il me fuit!3:013Les Danaïdes, Acte IV Scène 2: Vous qui voyez l’excès2:114Les Danaïdes, Acte IV Scène 3: Lyncée, à tes genoux2:145Les Danaïdes, Acte IV Scène 3: À peine aux autels d’Hyménée2:246Les Danaïdes, Acte IV Scène 3: Ma force m’abandonne1:437Les Danaïdes, Acte IV Scène 3: Hélas! Que ne puis-je te suivre1:358Les Danaïdes, Acte IV Scène 3: Sort cruel!1:019Les Danaïdes, Acte IV Scène 4: Suivez-moi, prince0:3510Les Danaïdes, Acte IV Scène 4: Arrête, implacable furie!1:1511Les Danaïdes, Acte V Scène 1: Où suis-je?2:5612Les Danaïdes, Acte V Scène 1: Père barbare1:2613Les Danaïdes, Acte V Scène 2: Ma vengeance est-elle remplie - Scène 3: Elle n’a pu tromper ma vigilance2:1814Les Danaïdes, Acte V Scène 4: Gloire! Évan! Évohé!2:0615Les Danaïdes, Acte V Scène 5: Mes filles, chers objets1:0516Les Danaïdes, Acte V Scène 6: Dieux! Auriez-vous trahi1:2217Les Danaïdes, Acte V Scène 7: Seigneur, Lyncée, accourant1:0418Les Danaïdes, Acte V Scène 8: Tu t’applaudis du piège - Scène 9: Déjà de votre appartement - Scène 10: Cruel! tiens, reçois le prix de ta cruauté!2:0819Les Danaïdes, Acte V Scène 11: Mais du courroux du ciel3:032018 · studio album
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Tracklist · 55 tracks · 1:25:39
1Les Horaces: Ouverture3:312Les Horaces: Acte I, Scène 1. D'où naît le trouble3:033Les Horaces: Acte I, Scène 1. Pour Albe, hélas ! quels vœux2:194Les Horaces: Acte I, Scène 1. Déjà le sanctuaire s'ouvre0:285Les Horaces: Acte I, Scène 1. Sinfonia1:006Les Horaces: Acte I, Scène 1. Déesse secourable1:277Les Horaces: Acte I, Scène 1. La guerre entre Albe et Rome0:208Les Horaces: Acte I, Scène 1. Ce jour à ton amant0:529Les Horaces: Acte I, Scène 1. Oui, mon bonheur est assuré2:1410Les Horaces: Acte I, Scène 2. Secourez-nous1:0911Les Horaces: Acte I, Scène 3. Peuples, dissipez vos alarmes0:4212Les Horaces: Acte I, Scène 3. Déjà les deux armées3:5313Les Horaces: Acte I, Scène 3. Ô du sort trop heureux retour3:2314Les Horaces: Intermède I. Le Sénat, rassemblé1:3515Les Horaces: Intermède I. Puissant moteur de l'univers1:5616Les Horaces: Intermède I. Marche1:1317Les Horaces: Intermède I. Ô Rome !2:5318Les Horaces: Intermède I. Sinfonia1:1019Les Horaces: Intermède I. Ô Dieux, défenseurs0:4920Les Horaces: Acte II, Scène 1. Ainsi le Ciel0:5821Les Horaces: Acte II, Scène 1. Douce paix1:0822Les Horaces: Acte II, Scène 2. Vive jamais le nom d'Horace1:0223Les Horaces: Acte II, Scène 2. Dieux protexteurs1:4224Les Horaces: Acte II, Scène 3. Quels sont les trois guerriers0:4525Les Horaces: Acte II, Scène 4. Ô déplorable choix2:1126Les Horaces: Acte II, Scène 5. Iras-tu, Curiace ?0:3527Les Horaces: Acte II, Scène 5. Victime de l'amour3:2328Les Horaces: Acte II, Scène 5. Non, je te connais mieux1:3029Les Horaces: Acte II, Scène 5. Par l'amour2:2030Les Horaces: Acte II, Scène 5. Ô Ciel !0:3831Les Horaces: Acte II, Scène 5. Cœur insensible2:0232Les Horaces: Acte II, Scène 6. Ne tardons plus0:4833Les Horaces: Acte II, Scène 7. Mon père !0:1834Les Horaces: Acte II, Scène 7. Seigneur, en ce moment funeste2:1535Les Horaces: Intermède II. Romains, Albains1:0536Les Horaces: Intermède II. Jurer au nom des Dieux3:1237Les Horaces: Intermède II. Oui, que les dieux décident1:0738Les Horaces: Acte III, Scène 1. Que je vous dois d'encens2:1639Les Horaces: Acte III, Scène 2. Mon père, ah !1:0840Les Horaces: Acte III, Scène 3. Vos trois fils0:2241Les Horaces: Acte III, Scène 3. Pour ces illustres défenseurs0:4542Les Horaces: Acte III, Scène 4. Ô sort cruel !0:4443Les Horaces: Acte III, Scène 4. Mes fils ne sont donc plus ?1:1144Les Horaces: Acte III, Scène 4. Que de plus nobles fleurs1:0245Les Horaces: Acte III, Scène 4. Daignez prendre0:5646Les Horaces: Acte III, Scène 4. Du vainqueur célébrons0:2247Les Horaces: Acte III, Scène 5. Tandis qu'un fils victorieux0:4548Les Horaces: Acte III, Scène 5. Resté seul, n'osant plus0:5049Les Horaces: Acte III, Scène 5. Ô noble appui0:5650Les Horaces: Acte III, Scène 6. Du vainqueur célébrons2:0351Les Horaces: Acte III, Scène 6. Divertissement2:1752Les Horaces: Acte III, Scène 6. Gavotte2:1653Les Horaces: Acte III, Scène 7. Où suis-je ?3:0554Les Horaces: Acte III, Scène 7. Rome est libre0:1655Les Horaces: Acte III, Scène 7. Les dieux, de l'univers3:29Mozart versus Salieri: Rivalry?
2019 · studio album
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Tracklist · 27 tracks · 2:06:03
Disc 11Don Giovanni, K. 527: Overture5:452Prima la musica, poi le parole: Sinfonia2:223Der Schauspieldirektor, K. 486: Overture3:444La fiera di Venezia: Sinfonia6:195Die Zauberflöte, K. 620: Overture6:136Les Danaïdes: Overture5:367Symphony no. 38 in D major, K. 504 "Prague": I. Adagio Allegro15:378Symphony no. 38 in D major, K. 504 "Prague": II. Andante9:359Symphony no. 38 in D major, K. 504 "Prague": III. Finale. Presto7:24Disc 21Le nozze di Figaro, K. 492: Overture4:132Axur re d'Ormus: Sinfonia3:003La clemenza di Tito, K. 621: Overture4:134Palmira, regina di Persia: Overture3:095Six German Dances, K. 509: No. 1 in D major1:566Six German Dances, K. 509: No. 2 in G major1:517Six German Dances, K. 509: No. 3 in E-flat major1:448Six German Dances, K. 509: No. 4 in F major1:569Six German Dances, K. 509: No. 5 in A major2:4110Six German Dances, K. 509: No. 6 in C major3:3811Per la ricuperata salute di Ofelia, K. 477a: I. Andante pastorale3:2412Per la ricuperata salute di Ofelia, K. 477a: II. Andante1:3813Per la ricuperata salute di Ofelia, K. 477a: III. Larghetto1:3714Die Entführung aus dem Serail, K. 384: Overture6:1715Symphony no. 35 in D major, K. 385 "Haffner": I. Allegro con spirito5:3316Symphony no. 35 in D major, K. 385 "Haffner": II. Andante9:3417Symphony no. 35 in D major, K. 385 "Haffner": III. Menuetto. Trio3:2618Symphony no. 35 in D major, K. 385 "Haffner": IV. Finale. Presto3:382019 · studio album
Beethoven's World: Salieri, Hummel, Vorisek
2020 · studio album
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Tracklist · 8 tracks · 1:18:18
126 Variazioni Sull'Aria "La Follia di Spagna"18:042Double Concerto in G Major, Op. 17 : I. Allegro con brio14:273Double Concerto in G Major, Op. 17 : II. Thema con Variazioni. Andante con moto9:114Double Concerto in G Major, Op. 17 : III. Finale. Rondo allegretto8:375Symphony in D Major, Op. 23 : I. Allegro con brio8:446Symphony in D Major, Op. 23 : II. Andante6:387Symphony in D Major, Op. 23 : III. Scherzo. Allegro ma non troppo6:178Symphony in D Major, Op. 23 : IV. Finale. Allegro con brio6:202021 · studio album
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Tracklist · 54 tracks · 2:05:34
Disc 11Sinfonia5:092Atto primo, Scena 1. Sparso di pure brine (Coro)2:573Atto primo, Scena 1. Ballo1:004Atto primo, Scena 1. Gavotta1:395Atto primo, Scena 1. Donzelle semplici (Coro)0:366Atto primo, Scena 2. Ah difendete, amiche (Ismene)1:027Atto primo, Scena 2. Ah fralla nera (Coro)0:358Atto primo, Scena 2. In si crudel dubbiezza ah non perdiamo (Ismene)1:099Atto primo, Scena 2. Sparso di pure brine (Coro)1:0210Atto primo, Scena 3. Ecco l'onda insidiosa (Ubaldo, Ismene)2:2411Atto primo, Scena 3. Vieni al fonte del contento (Coro)3:3812Atto primo, Scena 3. Che periglioso assalto! (Ubaldo, Ismene, coro)1:1813Atto primo, Scena 3. Mostri i più crudi, e infesti (Ismene)0:1614Atto primo, Scena 3. Qual è la man che scuote (Coro di Demoni)0:5815Atto primo, Scena 3. Quanto fragili, e vane, immondi spirti (Ubaldo)0:2216Atto primo, Scena 3. Tornate al nero Abisso (Ubaldo)0:2417Atto primo, Scena 3. Qual Sibilo orrendo (Coro di Demoni)0:3918Atto primo, Scena 3. Eterno Provveder, tu che guidasti (Ubaldo)1:3119Atto primo, Scena 3. Finta larva, d'Abisso frall' ombra (Ubaldo)3:3920Atto Secondo, Scena 1. Qui'l regno è del contento (Armida, Rinaldo)4:4521Atto Secondo, Scena 1. Armida, Rinaldo: Addio. Già m'abbandoni? (Armida, Rinaldo)2:4722Atto Secondo, Scena 1. Tremo, bell'idol moi (Armida)4:5823Atto Secondo, Scena 2. E non deggio seguirla? (Rinaldo)1:1424Atto Secondo, Scena 2. Lungi da te, ben mio (Rinaldo)1:4825Atto Secondo, Scena 2. Forse, chi sà? Verranno (Rinaldo)0:4226Atto Secondo, Scena 2. Vieni à me sull'ali d'oro (Rinaldo)5:3327Atto Secondo, Scena 2. Ballo1:37Disc 21Atto Secondo, Scena 2. Sinfonia0:472Atto Secondo, Scena 3. Oh come in un momento (Ubaldo)1:023Atto Secondo, Scena 3. Così molle e ridente (Ubaldo)1:474Atto Secondo, Scena 3. Misero! chi mi scuote? (Rinaldo)1:225Atto Secondo, Scena 4. Soccorso, o Dei! (Armida, Rinaldo)1:196Atto Secondo, Scena 4. Questo arcano funesto (Rinaldo, Armida)2:207Atto Secondo, Scena 4. Dilegua il tuo timore (Armida, Rinaldo)4:308Atto Secondo, Scena 4. Ora si ch'io mi perdo (Rinaldo)1:149Atto Secondo, Scena 5. Fermati, incauto (Ubaldo, Rinaldo)3:5210Atto Secondo, Scena 5. Vedo l'abisso orrendo (Rinaldo)4:1211Atto Terzo, Scena 1. Chi sorde vi rende (Coro, Armida)6:0812Atto Terzo, Scena 1. Misera! Il Ciel m'opprime (Armida)0:2913Atto Terzo, Scena 2. Corri, Regina (Ismene, Armida)2:0014Atto Terzo, Scena 2. Ah mi tolga almen la vita (Armida, coro)2:2915Atto Terzo, Scena 3. Ove corre, infelice! (Ismene)0:3716Atto Terzo, Scena 3. Ah misera Regina (Coro, Ismene)1:0917Atto Terzo, Scena 3. Schernita, depressa (Ismene, coro)5:0618Atto Terzo, Scena 4. Siam quasi in salvo, eccoci al lido (Ubaldo, Rinaldo)4:1319Atto Terzo, Scena 4. Torna schiavo infelice (Ubaldo)2:5220Atto Terzo, Scena 4. Ah non lasciarmi no (Rinaldo)2:3421Atto Terzo, Scena 4. Misera! E' già vicina (Rinaldo, Ubaldo)1:2422Atto Terzo, Scena 5. Fermati, aspetta (Armida, Ubaldo, Rinaldo)6:0323Atto Terzo, Scena 5. Strappami il cuor dal seno (Armida, Rinaldo, Ubaldo)7:3124Atto Terzo, Scena 6. Eccola sventurata (Ismene)0:1425Atto Terzo, Scena 6. Ah barbaro, ah senti (Coro delle donne)0:3726Atto Terzo, Scena 6. Infelice Regina! Ancor respira (Ismene, Armida)2:4927Atto Terzo, Scena 6. Io con voi la nera face (Armida, coro)3:122021 · studio album
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Tracklist · 13 tracks · 1:08:43
1Serenade B‐Dur „Gran Partita“, KV 361: Largo – Molto allegro8:432Serenade B‐Dur „Gran Partita“, KV 361: Menuetto – Trio I & II8:173Serenade B‐Dur „Gran Partita“, KV 361: Adagio4:374Serenade B‐Dur „Gran Partita“, KV 361: Menuetto – Trio I & II4:225Serenade B‐Dur „Gran Partita“, KV 361: Romance. Adagio – Allegretto – Adagio5:486Serenade B‐Dur „Gran Partita“, KV 361: Tema con variazioni9:267Serenade B‐Dur „Gran Partita“, KV 361: Finale. Molto allegro3:308Ouvertüre zur Oper „La Grotta di Trofonio“5:169Armonia per un tempio della notte Es‐Dur5:3410Picciola Serenata B‐Dur: Allegretto3:2411Picciola Serenata B‐Dur: Larghetto2:4312Picciola Serenata B‐Dur: Minuetto – Trio4:5813Picciola Serenata B‐Dur: Presto2:052022 · studio album
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Tracklist · 17 tracks · 1:04:32
1Der Stein der Weisen, oder die Zauberinsel: Overtüre3:452Der Stein der Weisen, oder die Zauberinsel: Arie “Alle Wetter! O Ihr Götter” (Lubano)1:083Der Stein der Weisen, oder die Zauberinsel: Arie “Den Mädchen trauet nicht zu viel” (Lubano)5:424Der Stein der Weisen, oder die Zauberinsel: Arie “Nadir Du siegst” (Eurifronte)3:235Die Zauberflöte: Arie “Der Vogelfänger bin ich ja” (Papageno)2:366Der Zauberflöte zweyter Teil: Arie “Nun adieu, ich reis, Ihr Schätzchen” (Papageno)2:577Oberon, König der Elfen: Arie “Bei soviel Reizen spröde sein” (Aristone)4:248Oberon, König der Elfen: Arie “Einmal in meinem achten Jahr” (Scherasmin)4:239La grotta di Trofonio: Overtüre4:4010La grotta di Trofonio: Arie “Da una Fonte Istesso” (Aristone)4:4611La grotta di Trofonio: Arie “Il tuo sposo e assai brioso” (Aristone)4:4712Orfeo ed Euridice: Overtüre3:3713Orlando Paladino: Arie “Mille lampi d’accese faville” (Rodomonte)1:5714Orfeo ed Euridice: Arie “Il pensier sta negli oggetti” (Creonte)3:1715Orlando Paladino: Arie “Temerario! Senti e trema!” (Rodomonte)2:5816Orfeo ed Euridice: Arie “Chi spira e non spera” (Creonte)4:1817Orfeo ed Euridice: Reigen seliger Geister5:54BBC Music, Volume 32, Number 7: Mozart and his World
2024 · studio album
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Tracklist · 10 tracks · 57:59
1Overture to The Magic Flute K6206:382Sinfonia Veneziana in D major: I Allegro Assai4:023Sinfonia Veneziana in D major: II Andantino grazioso3:314Sinfonia Veneziana in D major: III Presto2:325Symphony in D major D17: I Presto assai4:296Symphony in D major D17: II Andantino staccato2:227Symphony in D major D17: III Presto3:058Piano Concerto no. 27 in B‐flat K595: I Allegro13:259Piano Concerto no. 27 in B‐flat K595: II Larghetto8:3810Piano Concerto no. 27 in B‐flat K595: III Allegro9:17Antonio Salieri: Piano Concertos
2025 · studio album
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Tracklist · 8 tracks · 1:05:56
1Concerto in C Major: I. Allegro Moderato8:472Concerto in C Major: II. Adagio6:113Concerto in C Major: III. Tempo di minuetto. Più Mosso5:144Sinfonia Veneziana in D Major10:075Concerto in B-Flat Major: I. Allegro Moderato12:076Concerto in B-Flat Major: II. Adagio7:067Concerto in B-Flat Major: III. Tempo di minuetto. Più Mosso7:378Sonata in C Major: I. Allegro - Adagio - Non troppo allegro - Allegro - Un poco adagio - Un poco Allegro8:472025 · studio album
Album · 5
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1989 | Flötenkonzerte / Konzert für Flöte, Oboe und OrchesterSearch SpotifySearch YouTube MusicTracklist · 9 tracks · 1:05:351Concerto for Flute and Orchestra in G major, K. 313 (285c): 1. Allegro maestoso9:05 2Concerto for Flute and Orchestra in G major, K. 313 (285c): 2. Adagio ma non troppo9:16 3Concerto for Flute and Orchestra in G major, K. 313 (285c): 3. Rondeau. Tempo di Menuetto7:51 4Concerto for Flute and Orchestra in D major, K. 314 (285d): 1. Allegro aperto7:14 5Concerto for Flute and Orchestra in D major, K. 314 (285d): 2. Adagio non troppo6:54 6Concerto for Flute and Orchestra in D major, K. 314 (285d): 3. Rondo. Allegretto5:27 7Concerto for Flute, Oboe and Orchestra in C major: 1. Allegro spirituoso7:07 8Concerto for Flute, Oboe and Orchestra in C major: 2. Largo7:28 9Concerto for Flute, Oboe and Orchestra in C major: 3. Allegretto5:13 | Compilation | 1989 | |
| 1991 | Sinfonia ConcertanteSearch SpotifySearch YouTube MusicTracklist · 8 tracks · 1:00:071Concerto for Flute, Oboe and Orchestra C major: I. Allegro spirituoso7:06 2Concerto for Flute, Oboe and Orchestra C major: II. Largo8:05 3Concerto for Flute, Oboe and Orchestra C major: III. Allegretto5:02 4Concertante for Flute, Clarinet and Orchestra B flat major: I. Allegro moderato9:58 5Concertante for Flute, Clarinet and Orchestra B flat major: II. Larghetto4:25 6Concertante for Flute, Clarinet and Orchestra B flat major: III. Polonaise: Allegretto5:33 7Symphonie concertante No. 5 F major for Flute, Clarinet, Horn, Bassoon and Orchestra: I. Allegro con brio11:35 8Symphonie concertante No. 5 F major for Flute, Clarinet, Horn, Bassoon and Orchestra: II. Tempo di minuetto grazioso8:23 | Compilation | 1991 | |
| 1997 | Amadeus Collection: Mozart & SalieriSearch SpotifySearch YouTube MusicTracklist · 45 tracks · 4:02:57Disc 1 1Requiem Mass in D minor K. 626: I. Introitus: "Requiem aeternam" (choir and soprano solo)4:37 2Requiem Mass in D minor K. 626: II. "Kyrie eleison" (choir)2:40 3Requiem Mass in D minor K. 626: III. Sequentia: a. "Dies irae" (choir)1:48 4Requiem Mass in D minor K. 626: III. Sequentia: b. "Tuba mirum" (soprano, contralto, tenor, bass solo)3:39 5Requiem Mass in D minor K. 626: III. Sequentia: c. "Rex tremendae maiestatis" (choir)2:10 6Requiem Mass in D minor K. 626: III. Sequentia: d. "Recordare, Jesu pie" (soprano, contralto, tenor, bass solo)5:35 7Requiem Mass in D minor K. 626: III. Sequentia: e. "Confutatis maledictis" (choir)2:42 8Requiem Mass in D minor K. 626: III. Sequentia: f. "Lacrimosa dies illa" (choir)2:42 9Requiem Mass in D minor K. 626: IV. Offertorium: a. "Domine Jesu Christe" (choir with solo quartet)3:45 10Requiem Mass in D minor K. 626: IV. Offertorium: b. "Versus: Hostias et preces" (choir)3:55 11Requiem Mass in D minor K. 626: V. Sanctus: a. "Sanctus Dominus Deus Sabaoth" (choir)1:49 12Requiem Mass in D minor K. 626: V. Sanctus: b. "Benedictus" (solo quartet, then choir)5:06 13Requiem Mass in D minor K. 626: VI. "Agnus Dei" (choir)3:05 14Requiem Mass in D minor K. 626: VII. Communio: "Lux aeterna" (soprano solo and choir)5:31 Disc 21Concerto for Flute and Orchestra in G major, K. 313/285c: I. Allegro maestoso9:06 2Concerto for Flute and Orchestra in G major, K. 313/285c: II. Adagio ma non troppo9:29 3Concerto for Flute and Orchestra in G major, K. 313/285c: III. Rondeau. Tempo de Menuetto7:46 4Concerto for Flute & Orchestra in C major, K. 285e/315: Andante6:19 5Concerto in C major for Flute, Harp & Orchestra, K. 297c/299: I. Allegro10:30 6Concerto in C major for Flute, Harp & Orchestra, K. 297c/299: II. Andantino8:11 7Concerto in C major for Flute, Harp & Orchestra, K. 297c/299: III. Rondeau. Allegro10:33 Disc 31Divertimento for String Quartet in D major, K. 125a/136 "Salzburg Symphony no. 1": I. Allegro5:43 2Divertimento for String Quartet in D major, K. 125a/136 "Salzburg Symphony no. 1": II. Andante7:22 3Divertimento for String Quartet in D major, K. 125a/136 "Salzburg Symphony no. 1": III. Presto3:33 4Divertimento for String Quartet in B-flat major, K. 125b/137 "Salzburg Symphony no. 2": I. Andante7:08 5Divertimento for String Quartet in B-flat major, K. 125b/137 "Salzburg Symphony no. 2": II. Allegro di molto3:28 6Divertimento for String Quartet in B-flat major, K. 125b/137 "Salzburg Symphony no. 2": III. Allegro assai2:50 7Divertimento for String Quartet in F major, K. 125c/138 "Salzburg Symphony no. 3": I. Allegro5:00 8Divertimento for String Quartet in F major, K. 125c/138 "Salzburg Symphony no. 3": II. Andante5:34 9Divertimento for String Quartet in F major, K. 125c/138 "Salzburg Symphony no. 3": III. Presto2:04 10Quartet for Strings no. 3 in G major, K. 134b/156 "Quartetti Milanesi": I. Presto5:42 11Quartet for Strings no. 3 in G major, K. 134b/156 "Quartetti Milanesi": II. Adagio7:54 12Quartet for Strings no. 3 in G major, K. 134b/156 "Quartetti Milanesi": III. Tempo di minuetto3:41 13Ouverture no. 1 in D major: Allegro2:47 14Ouverture no. 2 in D major: Allegro3:51 15Ouverture no. 3 "Les Danaïdes" in D minor: Andante maestoso - Allegro assai5:13 Disc 41La secchia rapita: Overture5:46 2Les Danaïdes: Overture5:55 3Palmira Regina di Persia3:49 4La fiera di Venezia3:44 5Axur re d'Ormus3:10 6La Grotta di Torfonio6:19 7Ouverture in Re maggiore5:50 8Europa Riconosciuta4:06 9Variazioni sulla Follia di Spagna21:30 | Compilation | 1997 | |
| 2006 | Overtures (Live)Search SpotifySearch YouTube MusicTracklist · 8 tracks · 1:06:091Tarare: Overture (Live)3:30 2The Marriage of Figaro, K. 492: Overture (Live)4:27 3Symphony no. 32 in G major, K. 318 (Live)9:09 4The Abduction from the Seraglio, K. 384: Overture (Live)5:16 5Egmont, op. 84: Overture (Live)9:51 6The Italian Girl in Algiers: Overture (Live)9:20 7Semiramide: Overture (Live)12:50 8Academic Festival Overture, op. 80 (Live)11:46 | Live | 1 January 2006 | |
| 2010 | Salieri: Requiem / Beethoven: Meeresstille und glückliche Fahrt / Schubert: Intende vociSearch SpotifySearch YouTube MusicTracklist · 10 tracks · 56:171Requiem in C minor: Introitus - Kyrie6:34 2Requiem in C minor: Sequence14:51 3Requiem in C minor: Offertorium4:04 4Requiem in C minor: Sanctus2:03 5Requiem in C minor: Benedictus2:51 6Requiem in C minor: Agnus Dei - Communio5:26 7Requiem in C minor: Libera me, Domine - Andante3:16 8Meeresstille und Glückliche Fahrt, op. 112: I. Poco sostenuto4:51 9Meeresstille und Glückliche Fahrt, op. 112: II. Allegro vivace2:51 10Intende voci in B-flat major, D. 9639:30 | Live | 1 May 2010 |
Stats & PK
Percentile within all 23,672 published artists.Put Antonio Salieri head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 74 | 98.8th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 42 | 93.1th |
| Studio albums | 37 | 98.7th |
| Awards recorded | 1 | 89th |
| Timeline events | 40 | 98.1th |
| Recording span (years) | -153 | 4.1th |
| Genres | 4 | 84.7th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| — | Knight of the Legion of Honour | won |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Antonio_Salieri_painted_by_Joseph_Willibrord_M%C3%A4hler.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/bb5329a8-8995-4f30-9f25-f7e7ce7b0183discography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/bb5329a8-8995-4f30-9f25-f7e7ce7b0183core—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q51088seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Antonio_Salieribiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Antonio_Salieri
Why this artist is in the database
- List of composers by name
Tier rule: global reach (74 language versions)
Image: Joseph Willibrord Mähler · Public domain · Wikimedia Commons
Wikidata: Q51088 · MusicBrainz: bb5329a8-8995-4f30-9f25-f7e7ce7b0183