 | Salieri, Antonio - "Confirma Hoc, Deus" for Winds & Strings Vents & Orchestre Cordes |
VoirPDF : "Confirma Hoc, Deus" for Winds & Strings (16 pages - 538.79 Ko)67x⬇ VoirPDF : Basson (64.62 Ko) VoirPDF : Violoncelle (67.82 Ko) VoirPDF : French Cor (62.95 Ko) VoirPDF : Hautbois (63.36 Ko) VoirPDF : Alto (65.92 Ko) VoirPDF : Violon 1 (70.67 Ko) VoirPDF : Violon 2 (71.04 Ko) VoirPDF : Flûte (63.51 Ko) VoirPDF : Conducteur complet (395.55 Ko) MP3 : "Confirma Hoc, Deus" for Winds & Strings 179x⬇ 69x
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| Compositeur : | Salieri, Antonio (1750 - 1825) | ||
| Instrumentation : | Vents & Orchestre Cordes | ||
| Genre : | Classique | ||
| Tonalité : | Do majeur | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 19 Mar 2023 Antonio Salieri (1750 – 1825) was an Italian classical composer, conductor, and teacher. 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. He 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. 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 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, yet it has been suggested this is false, and it is likely that they were, at least, mutually respectful peers. Antonio Salieri was vilified by Pushkin’s play Mozart and Salieri, written in 1826 when the poor composer was hardly cold in his grave. This was later turned into an opera by Rimsky-Korsakov, and then into a modern play, Amadeus, by Peter Schaffer. Far from being responsible for Mozart’s death it is likely that Salieri’s continuing success on the Viennese scene insulated him from any need to concern himself overmuch with his greater contemporary. In any case, had he had the perception and imagination to be tortured by feelings of inferiority he might have been a greater composer. He arrived in the city at the age of seventeen and modelled himself on his revered master Gluck. International success followed as a composer of operas (works like Axur and Die Danaïden), and he was created Hofkapellmeister in Vienna three years before Mozart’s death in 1791, a post he held for thirty-six years. By the time of Salieri’s own death in 1825 Mozart had become a god among the Viennese, but the Italian was the survivor, and he numbered among his flock countless students who felt varying degrees of gratitude—among them Schubert, Beethoven, Hüttenbrenner, Hummel, Liszt, Meyerbeer, Randhartinger, Sechter, Weigl and Karoline Unger. Schubert took part in the celebration of Salieri’s 50th Jubilee celebrations in Vienna and composed a set of pieces for the great occasion in June 1816 (Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri, ersten k.k. Hofkapellmeister in Wien, D407). He also dedicated his Op 5 set of Goethe settings to his teacher. Source: Wikipedia (https://en.wikipedia.org/wiki/Antonio_Salieri). Although originally composed for Chorus (SATB) and Piano/Organ, I created this interpretation of "Confirma Hoc, Deus" (Confirm in Us, O God) for Winds (Flute, Oboe, French Horn & Bassoon) and Strings (2 Violins, Viola & Cello). | |||
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