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Antonio Salieri (18 August 17507 May 1825) was an Italian〔(【引用サイトリンク】title=Antonio Salieri )〕 classical composer, conductor and teacher born in Legnago, south of Verona, in the Republic of Venice, but who spent his adult life and career as a subject of the Habsburg Monarchy. Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protégé of 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 1774–92, Salieri dominated Italian language opera in Vienna. During his career he also spent time writing works for opera houses in Venice, Rome, and Paris. 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 Schubert, Ludwig van Beethoven and Franz Liszt 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 dramatic and highly fictionalized depiction of Salieri in Peter Shaffer's 1979 play ''Amadeus'', 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〔(Salieri Opera Festival ) at the Teatro Salieri web site. 〕 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 theater has been renamed in his honour. ==Life and career== 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.〔Braunbehrens, pp. 14–15.〕 Salieri would recall little from his childhood in later years except a passion 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 (resulting in the loss of his beloved sugar), and he also recounted being chastised by his father after failing to greet a local priest with proper respect. Salieri responded to the reprimand by saying that the priest's organ playing displeased him because it was in an inappropriately theatrical style.〔Thayer, p. 28.〕 Sometime between 1763 and 1764 Salieri suffered the death of both parents and 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 Antonio's father and Giovanni 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 talents and concerned for his future, took the young orphan to Vienna, where he personally directed and paid for the remainder of his musical education.〔Braunbehrens pp. 19–22〕 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.〔Thayer, pp. 30–31〕 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,〔Thayer, pp. 30–31, also Rice pp. 17–20〕 which Salieri translated during each Latin lesson.〔Thayer, pp. 17–20〕 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.〔Rice, pp. 19–22, and p. 27〕 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.〔Rice, pp. 18–19〕 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.〔Hettrick, Jane, ed. Salieri, Antonio, Missa Stylo A Cappella, Information taken from the un-number in English Preface. () Doblinger (1993)〕 A complete opera composed in 1769 (presumably as a culminating study) ''La vestale'' (''The Vestal Virgin'') has also been lost.〔Braunbehrens p. 26, also Rice p. 20〕 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.〔Thayer, p. 38〕〔Rice, pp. 21–27〕 This was the beginning of a relationship between monarch and musician that would last 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 famous Sunday morning salons held at the home of the Martinez family. Here Metastasio had an apartment and participated in the weekly gatherings. Over the next several years Metastasio gave Salieri informal instruction in prosody and the declamation of Italian poetry,〔Thayer pp. 41–42〕 and Gluck became an informal advisor, friend and confidante.〔Braunbehrens, pp. 22–23〕〔Rice, pp. 17, 21, 32〕 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 famous composer Luigi Boccherini.〔Rice, pp. 113–151 features an extensive overview of this opera〕 The modest success of this opera would launch Salieri's 34 year operatic career as a composer of over 35 original dramas.〔Braunbehrens pp. 28–29〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Antonio Salieri」の詳細全文を読む スポンサード リンク
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