... Just had to look it up! :D What you said before comes up in *Braunbehrens*' biography of Salieri in the footnotes to *Chapter 5, fn.: 9* (here's full text, if anybody's interested) ''N.H. has produced a record of this opera and combined it with M.'s Der Sch. *Unlike the care he usually gives* to recordings and insists upon with the record companies, *he decided not to make this a complete rendition* of S.'s work. The accompanying text refers to the fact that in S.'s opera, ''the secco recitatives as well as some of the arias (were) left out so as to be able to get it onto one record.'' Apparently he was *not that interested* in S.'s opera; just about *half of PLMePLP has been cut*, whereas the music of Der Sch. is rendered in its entirety. The care given to the S. interpretation *does not come anywhere near* that given to the M. opera, and the recording therefore *does not convey a really adequate impression* of S.'s opera. Though the apparent purpose of the recording was to *reproduce both* works performed on that noteworthy Feb. 7, 1786, the *real intention* seems to be to show that M. was the greater composer. No one is likely to disagree with that, but *it becomes a self-fulfilling prophecy* if *one does not reproduce S.'s music in such a way that its qualities and special musical characteristics-whatever they are-can be experienced.* The accompanying *text does not even include* a complete reprint of the libretto of S.'s work so that *one is dependent on Harnoncourt's questionable retelling* of the shortened sections *in order to understand* what it is about.'' If so - it's basically pretty much what has been going on for ages, like R. Kreutzer - whose existence only survived as a meagre anecdote to Beethoven's countless biographies. And just listen what he could do. I really hope future generations will be wiser than this ...
Finally, tracked it down!!! COMPLETE recording is LONGER, 19 tracks, more recitativo! Which in terms of content makes way more sense because it mentions (openly parodies) Salieri's dear self, opera Giulio Sabino, Universe - and Everything. :D In music and libretto (brilliant stuff!) - it's very rich, clever (in terms of patchwork intertextuality, in case of authorship or copyright (lol!) ahead of its time even) and deserves more than this swift stroll-through. Hope the comments in CD booklet give this work more credit, it's silly to just take a few arias out of the entire context: not only the story got lost - apparently so did the music ... Odd for Harnoncourt - unless he's trying to tell us something in which case I think he's plain wrong in omitting more than 1/2 of the opera. Especially with so rarely played music.
Sanfilippo directed, 2 CD edition is out together with A. Scarlatti's *Lesbina e Adolfo*. Ach, the dreaded ''VS'' argument, that is getting rather old ~ if true - Harnoncourt, grow up, will you?! :D ... For if that is so, wouldn't his argument hold more water had he recorded complete Salieri's opera? But to plain arbitrarily tear at the rare work ... Utterly useless to argue the ''inherent betterness'' of the two since one is comedy with music (as Mozart puts it - it is almost entirely made out of spoken words (prime le parole!) - without the musical accompaniment, 5 musical numbers out of 14 tracks apply, therefore = a Singspiel and a neat discussion on Capitalism at that!) and the other is a musical comedy (pretty much a mock-opera-about-opera, with musical bits and recitativo+harpsichord inserted all over, firstly music indeed! and cleverly set on so many levels!) - which by default makes them different genres therefore one can't exactly say which one tops off the other since each represents an effort in its own field (like p.ex. comparing gigs by Dave Brubeck and Queen and I can't for the life of me decide which one is ''better'' ~ they're different :D - and vive la difference!) Besides, wasn't Harnoncourt the one who, a long time ago, said something like: when all the world did Bach - I did Corelli (who was pretty much dead and buried at the time) - when did a proud experimental student become stuck in a rut? In any case, Mozart's skill needs no champion as his works stand their own ground ~ and Salieri's - once again - command respect. ... At least from those willing to open up to his way of musical understanding ~ cheers! for such diversity ~ and for artists who bring them all - to their full potential and realisation! P.S.: Love your channels - thank you for persevering.
DS Bleu What is the quality of the Sanfilippo recording like. I have not been impressed by that label's over all sound engineering or some of the performances in the past.
Eric Cook I would say it's somewhat better than many other recordings from Bongiovanni i've heard but it is sound quality is boxy and the tempo a bit sluggish, especially in the ouverture, the singer are adequate. I would buy it since it is the only complete recording for the moment, despite it's letdowns.
Eric Cook ... It takes some getting used to (about 4 minutes at the beginning, for acclimatization :D) True, it does not exactly rush through the score (it's not slow either) - at least we get to appreciate its flow and differentiate the music as well as words (recitativo corresponds to spoken word of the Singspiel). The sound is more Mono than Stereo, like something is draining it, no ... bloom to it (but that's recording technicality). Singers and orchestra do their job and are entirely brilliant! Audience though ~ I'd murder on the spot: they clap ... A live recording.
@@bibaielnunes2444 I'm sure you'll find that no composer of any era was "normal", as they all had their own style and their own inventions that they made use of in their music. I'm afraid, this opinion is only an opinion - based only on your own enjoyement of Salieri's music. As for second statement, Salieri was one of the most famous composers in Europe in his own time and even some time after his death some of his operas were still staged - most notably, "Les Danaïdes". And Nowadays, thanks to his portrayl in Amadeus, he has regained some of his well-erned fame.
Just reading the comment section… it seems that this recording was made in order to show how Mozart was a better composer than Salieri, and still this seems to be the best recording among the ones you can find on TH-cam… By the way thank you very much for the video, it's a very pleasure to listen to this good piece of music.
En realidad no son tres los más grandes maestros del periodo clásico vienés de mediados hasta finales del siglo XVIII: primero Haydn, segundo Mozart, tercero Beethoven y el cuarto Antonio Salieri.
![NAPOLEONIC WARS & CAMPAIGNS SOUNDTRACKS [Part 1]](/img/n.gif)
Premier: Feb 1786. Figaro's premiere: May 1786! Very illuminating!
La musica é perfetto!
Sensationell schön!!
ouverture ist sensationell!
... Just had to look it up! :D What you said before comes up in *Braunbehrens*' biography of Salieri in the footnotes to *Chapter 5, fn.: 9* (here's full text, if anybody's interested)
''N.H. has produced a record of this opera and combined it with M.'s Der Sch. *Unlike the care he usually gives* to recordings and insists upon with the record companies, *he decided not to make this a complete rendition* of S.'s work. The accompanying text refers to the fact that in S.'s opera, ''the secco recitatives as well as some of the arias (were) left out so as to be able to get it onto one record.'' Apparently he was *not that interested* in S.'s opera; just about *half of PLMePLP has been cut*, whereas the music of Der Sch. is rendered in its entirety. The care given to the S. interpretation *does not come anywhere near* that given to the M. opera, and the recording therefore *does not convey a really adequate impression* of S.'s opera. Though the apparent purpose of the recording was to *reproduce both* works performed on that noteworthy Feb. 7, 1786, the *real intention* seems to be to show that M. was the greater composer. No one is likely to disagree with that, but *it becomes a self-fulfilling prophecy* if *one does not reproduce S.'s music in such a way that its qualities and special musical characteristics-whatever they are-can be experienced.* The accompanying *text does not even include* a complete reprint of the libretto of S.'s work so that *one is dependent on Harnoncourt's questionable retelling* of the shortened sections *in order to understand* what it is about.''
If so - it's basically pretty much what has been going on for ages, like R. Kreutzer - whose existence only survived as a meagre anecdote to Beethoven's countless biographies. And just listen what he could do. I really hope future generations will be wiser than this ...
Finally, tracked it down!!! COMPLETE recording is LONGER, 19 tracks, more recitativo! Which in terms of content makes way more sense because it mentions (openly parodies) Salieri's dear self, opera Giulio Sabino, Universe - and Everything. :D In music and libretto (brilliant stuff!) - it's very rich, clever (in terms of patchwork intertextuality, in case of authorship or copyright (lol!) ahead of its time even) and deserves more than this swift stroll-through. Hope the comments in CD booklet give this work more credit, it's silly to just take a few arias out of the entire context: not only the story got lost - apparently so did the music ... Odd for Harnoncourt - unless he's trying to tell us something in which case I think he's plain wrong in omitting more than 1/2 of the opera. Especially with so rarely played music.
I don't know if this is true but Harnoncourt only recorded Salieri's opera to prove that Mozart's Der Schauspieldirektor was the better of the two.
Sanfilippo directed, 2 CD edition is out together with A. Scarlatti's *Lesbina e Adolfo*. Ach, the dreaded ''VS'' argument, that is getting rather old ~ if true - Harnoncourt, grow up, will you?! :D ... For if that is so, wouldn't his argument hold more water had he recorded complete Salieri's opera? But to plain arbitrarily tear at the rare work ... Utterly useless to argue the ''inherent betterness'' of the two since one is comedy with music (as Mozart puts it - it is almost entirely made out of spoken words (prime le parole!) - without the musical accompaniment, 5 musical numbers out of 14 tracks apply, therefore = a Singspiel and a neat discussion on Capitalism at that!) and the other is a musical comedy (pretty much a mock-opera-about-opera, with musical bits and recitativo+harpsichord inserted all over, firstly music indeed! and cleverly set on so many levels!) - which by default makes them different genres therefore one can't exactly say which one tops off the other since each represents an effort in its own field (like p.ex. comparing gigs by Dave Brubeck and Queen and I can't for the life of me decide which one is ''better'' ~ they're different :D - and vive la difference!) Besides, wasn't Harnoncourt the one who, a long time ago, said something like: when all the world did Bach - I did Corelli (who was pretty much dead and buried at the time) - when did a proud experimental student become stuck in a rut? In any case, Mozart's skill needs no champion as his works stand their own ground ~ and Salieri's - once again - command respect. ... At least from those willing to open up to his way of musical understanding ~ cheers! for such diversity ~ and for artists who bring them all - to their full potential and realisation!
P.S.: Love your channels - thank you for persevering.
DS Bleu What is the quality of the Sanfilippo recording like. I have not been impressed by that label's over all sound engineering or some of the performances in the past.
Eric Cook
I would say it's somewhat better than many other recordings from Bongiovanni i've heard but it is sound quality is boxy and the tempo a bit sluggish, especially in the ouverture, the singer are adequate. I would buy it since it is the only complete recording for the moment, despite it's letdowns.
Eric Cook ... It takes some getting used to (about 4 minutes at the beginning, for acclimatization :D) True, it does not exactly rush through the score (it's not slow either) - at least we get to appreciate its flow and differentiate the music as well as words (recitativo corresponds to spoken word of the Singspiel). The sound is more Mono than Stereo, like something is draining it, no ... bloom to it (but that's recording technicality). Singers and orchestra do their job and are entirely brilliant! Audience though ~ I'd murder on the spot: they clap ... A live recording.
Antonio Salieri.
Really a genius! Killed by Puskin and Milos Forman.
Just a normal classical composer. Mozart made him famous.
La Verita, penso che grande compositore
@@bibaielnunes2444 I'm sure you'll find that no composer of any era was "normal", as they all had their own style and their own inventions that they made use of in their music. I'm afraid, this opinion is only an opinion - based only on your own enjoyement of Salieri's music. As for second statement, Salieri was one of the most famous composers in Europe in his own time and even some time after his death some of his operas were still staged - most notably, "Les Danaïdes". And Nowadays, thanks to his portrayl in Amadeus, he has regained some of his well-erned fame.
Ciao Giovanni. Concordo con te. Ascolta anche Vincenzo Righini che sostitui Salieri a Vienna. Saluti
Appreciate it mate
Extara bellissima - master aria! Great for Mozart, musical ideas " use...".
Perfetto = Perfetta.
Just reading the comment section… it seems that this recording was made in order to show how Mozart was a better composer than Salieri, and still this seems to be the best recording among the ones you can find on TH-cam…
By the way thank you very much for the video, it's a very pleasure to listen to this good piece of music.
Buenas tardes, podrían compartir el guión de esta opera, por favor
Please look in the info-bar.
more details about the recordings ?
De la même année que Les Noces de Figaro de Mozart !
Salieri = Little Mozart :D
No
Say that to my face mate
En realidad no son tres los más grandes maestros del periodo clásico vienés de mediados hasta finales del siglo XVIII: primero Haydn, segundo Mozart, tercero Beethoven y el cuarto Antonio Salieri.