Podcast appearances and mentions of Antonio Salieri

Desítky let po Mozartově smrti se začala šířit fáma, že ho otrávil Antonio Salieri. Na historickou skutečnost tuto smyšlenku povýšil Puškin ve své hře Mozart a Salieri, kde zobrazil bohem nadaného génia, kterého jedem usmrtí netalentovaný a závistivý kolega z branže. Tyto fámy pak pronikly do populární kultury a přiživil je i Formanův film Amadeus. To, že byl Salieri považován, za velkého Mozartova konkurenta a dokonce vraha, je ale naprostý nesmysl. Zemřel 7. května 1825.Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

durée : 00:03:33 - Le Regard culturel - par : Lucile Commeaux - Pauvre Antonio Salieri, ce rival de Mozart dépeint dans des fictions qui pour toujours sans doute ont dessiné une figure de jaloux dont on se départit difficilement. À l'occasion du bicentenaire de sa mort, petit tour des publications qui lui sont consacrées.

Salieris Werk war zu seinen Lebzeiten äußerst populär, seine Opern wurden in ganz Europa aufgeführt. Seine angebliche Rivalität mit Wolfgang A. Mozart ist eine Erfindung. Neben seiner Arbeit als Komponist und Direktor der Hofkapelle war Salieri auch als Lehrer und Musikpädagoge bedeutend. Das Institut für Gesang und Stimmforschung in der Musikpädagogik an der Universität für Musik und darstellende Kunst Wien (mdw) ist nach ihrem Mitbegründer Salieri benannt. Salieri war auch maßgeblich an der Gründung der Gesellschaft der Musikfreunde in Wien 1812 beteiligt - deren Konzerthaus, der "Musikverein", ist in der Welt der Klassik weltberühmt.

La Sicilia non soltanto è l’isola più grande del Mediterraneo e la più popolata, ma è una delle regioni italiane con la storia più antica, affascinante con annessi stereotipi e luoghi comuni.Ne parliamo nella prima parte con Giuseppe Barone, autore del libro: L'isola-mondo, Breve storia della Sicilia, Laterza.Nella seconda parte sulla Sicilia e su alcune sue icone artistiche e letterarie, come Leonardo Sciascia, Vitaliano Brancati fino a Franco Battiato, le recensioni dei seguenti libri:Giorgio Villani, Palermo, Franco Maria Ricci editoreElvira Seminara, In Sicilia con Franco Battiato, Giulio Perrone editoreGiordano Casiraghi, All’essenza, MondadoriSilvana la Spina, Un rebus per Leonardo Sciascia, MarsilioVitaliano Brancati, Don Giovanni in Sicilia, Feltrinelli.A duecento anni dalla morte di Antonio Salieri, considerato a torto l'avvelenatore di Mozart per l'invidia nei suoi confronti, la recensione del libro di Ernesto Monsalve, Antonio Salieri, l’uomo che non uccise Mozart, Ares.Per i più piccoli, il Confettino di questa settimana è: Monica Ruffino, La casa delle ninfee, Glifo.

Antonio Salieri wurde vom Musikdirektor des Wiener Hofes, Florian Gassmann, als Jugendlicher in Venedig entdeckt und mit nach Wien genommen - wo er bis zu seinem Tod 1825 lebte. Nach dem Tod seines Mentors wurde Salieri dessen Nachfolger und hatte somit eine der einflussreichsten Positionen in der Wiener Musikwelt dieser Zeit inne. Die Spuren seines Lebens sind an vielen Orten der Inneren Stadt zu finden.

Antonio Salieri (1750 - 1825) - La Passione di N.S. Gesù CristoAzione Sacra in 2 parti su versi di Pietro Metastasio Maddalena: Melba RamosGiovanni: Franziska GottwaldPietro: Florian Mock Giuseppe d'Arimatea: Hanno Muller-Brachmann Das Neue OrchesterCologne Musicus ChoirChristoph Spering, conductor

Compositeur à très grand succès à son époque, Antonio Salieri est aujourd'hui le plus connu des compositeurs méconnus et le moins joué des compositeurs les plus joués de l'époque de Mozart. Là où Mozart est devenu le synonyme de génie, le nom de Salieri n'est pas loin d'être devenu le synonyme de musicien raté alors … Continuer la lecture de « Metaclassique #323 – Jalouser »

¡Prepárate para emocionarte, cantar y redescubrir #LaMagiaDelMusical!  En esta emocionante iniciativa, 50 pódcasts se han unido para celebrar clásicos de culto y estrenos recientes de uno de los géneros más fascinantes del séptimo arte: el cine musical. Cada día un pódcast diferente explorará la historia, canciones e impacto cultural de películas que han marcado a generaciones; toda la información de la iniciativa aquí: https://linktr.ee/IniciativasPod También lanzamos una campaña solidaria en apoyo a la Fundación Pequeño Deseo, que vela por niños y niñas con enfermedades graves; nuestro objetivo es recaudar 100 € para acercar a cada niño a su deseo. Colabora aquí, cada pequeña aportación cuenta: https://www.migranodearena.org/reto/la-magia-del-musical En este episodio especial de CronoCine hablaremos en profundidad del clásico moderno Amadeus, del gran Milos Forman. Os ofrecemos un audio lleno de información interesante y nuestro análisi personal de este film que pertenece a la categoría del cine total. Actuaciones, factura técnica, fotografía, música, todo brilla en su metraje de casi tres horas. En La Magia del Musical participan: ¡A la Velocidad Absurda!, Amity Island Podcast, Archivos Secretos Del Dr Orloff, Atalaya del Friki, Batseñales, Cafe con Podcast, Cafe de Rick, Cine Desencadenado, CineActual, Criterio Cero, Cronocine, Curioso, Destino Arrakis, Diario de Argifonte, Doble Sesión Podcast, El Acomodado, El Recuento Musical, El Rugido de mi Impala, El Secreto del Pentagrama, El sótano de Radio Belgrado, Estacion Caladan, Familia Asimétrica, FilmoteCast, Fuera de continuidad, Hablo de Cine, Just Live it, La Conversación, La Guarida del Sith, La Taberna del Irlandés, La Tardis Sobre Metropolis, La Viñeta en Disco Infierno, Maniatic Podcast, Mocking Pod, Nido de Haters Podcast, Par Impar, Perla Americana, Peskito y Medio, Pinkerton Podcast, Planeta Bob, Podcast Infinito, Policías Pelis, Psicología Plas, Puede Ser una Charla Mas, Puro Vicio, +QCine Podcast, Sagas, Sección 31, Tiempo de Culto, Torpedo Rojo, Travelcaster y Universo Enmascarado. En el apartado visual nos ha echado una mano Pike. En el apartado sonoro, las voces de las cuñas que hemos utilizado durante la promoción de la iniciativa son gracias a: Belén Ester (Filmotecast), Fercatodic (Café con Podcast), Juanan Galindo (Puro Vicio) y Nat (Cine Desencadenado). La Magia del Musical ha sido coordinada por Juan Ángel Romero (Familia Asimétrica) y Luis Millán (Just Live It).

¡Prepárate para emocionarte, cantar y redescubrir #LaMagiaDelMusical!  En esta emocionante iniciativa, 50 pódcasts se han unido para celebrar clásicos de culto y estrenos recientes de uno de los géneros más fascinantes del séptimo arte: el cine musical. Cada día un pódcast diferente explorará la historia, canciones e impacto cultural de películas que han marcado a generaciones; toda la información de la iniciativa aquí: https://linktr.ee/IniciativasPod También lanzamos una campaña solidaria en apoyo a la Fundación Pequeño Deseo, que vela por niños y niñas con enfermedades graves; nuestro objetivo es recaudar 100 € para acercar a cada niño a su deseo. Colabora aquí, cada pequeña aportación cuenta: https://www.migranodearena.org/reto/la-magia-del-musical En este episodio especial de CronoCine hablaremos en profundidad del clásico moderno Amadeus, del gran Milos Forman. Os ofrecemos un audio lleno de información interesante y nuestro análisi personal de este film que pertenece a la categoría del cine total. Actuaciones, factura técnica, fotografía, música, todo brilla en su metraje de casi tres horas. En La Magia del Musical participan: ¡A la Velocidad Absurda!, Amity Island Podcast, Archivos Secretos Del Dr Orloff, Atalaya del Friki, Batseñales, Cafe con Podcast, Cafe de Rick, Cine Desencadenado, CineActual, Criterio Cero, Cronocine, Curioso, Destino Arrakis, Diario de Argifonte, Doble Sesión Podcast, El Acomodado, El Recuento Musical, El Rugido de mi Impala, El Secreto del Pentagrama, El sótano de Radio Belgrado, Estacion Caladan, Familia Asimétrica, FilmoteCast, Fuera de continuidad, Hablo de Cine, Just Live it, La Conversación, La Guarida del Sith, La Taberna del Irlandés, La Tardis Sobre Metropolis, La Viñeta en Disco Infierno, Maniatic Podcast, Mocking Pod, Nido de Haters Podcast, Par Impar, Perla Americana, Peskito y Medio, Pinkerton Podcast, Planeta Bob, Podcast Infinito, Policías Pelis, Psicología Plas, Puede Ser una Charla Mas, Puro Vicio, +QCine Podcast, Sagas, Sección 31, Tiempo de Culto, Torpedo Rojo, Travelcaster y Universo Enmascarado. En el apartado visual nos ha echado una mano Pike. En el apartado sonoro, las voces de las cuñas que hemos utilizado durante la promoción de la iniciativa son gracias a: Belén Ester (Filmotecast), Fercatodic (Café con Podcast), Juanan Galindo (Puro Vicio) y Nat (Cine Desencadenado). La Magia del Musical ha sido coordinada por Juan Ángel Romero (Familia Asimétrica) y Luis Millán (Just Live It).

Was aber kaum jemand weiß: 2025 ist nicht nur Strauss- sondern auch Salieri-Jahr. 1825, also vor 200 Jahren starb der italienische Wahlwiener in der Donaumetropole, am Zentralfriedhof ist er auch begraben. Zu diesem Anlass wurde – parallel zum Strauss-Jahr – auch ein musikalisches Salieri-Jahr ins Leben gerufen. Parallel dazu ist ein neues Buch im Böhlau Verlag erschienen, das zur „Neuentdeckung eines Verkannten“ einlädt. Andreas Maurer hat es gelesen.

The Oscars may be over, but we're keeping the party going with a live roundtable review of Amadeus--which racked up a symphony of statues 40 years ago!In Milos Forman's adaptation of Peter Shaffer's play, F. Murray Abraham plays Italian composer Antonio Salieri, whose dreams of musical immortality are shattered when he encounters child prodigy Wolfgang Amadeus Mozart (Tom Hulce). The film opens with Salieri in an asylum, confessing to a priest that he'd killed Mozart years earlier--and much of Amadeus takes us behind the scenes of their tumultuous relationship.This was a first-time watch for Ian and, as you'll soon see, Amadeus is another one of those "They Should've Just Stopped Making Movies After This Movie" movies. But what do the rest of the EMC think? Join us as we compose ourselves while talking spoilers and taking your questions, comments, and SuperChats!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXLetterboxdBlueSkyInstagramFacebookShow LinksWatch the Amadeus trailer.Warner Bros recently released a 4K UHD of the Amadeus theatrical cut, available wherever you pick up movies.Watch F. Murray Abraham's moving (and brief!) "Best Actor" acceptance speech at the 1985 Oscars (mentioned in the show).Support all of Earth's Mightiest Critics at their various outlets:Check out Mark "The Movie Man" Krawczyk's The Spoiler Room Podcast.Keep up with Jeff York's criticism and caricatures at The Establishing Shot and Pipeline Artists.Get seated with The Blonde in Front!Follow David Fowlie's film criticism at Keeping It Reel.Get educated with Don Shanahan at Every Movie Has a Lesson…...And Film Obsessive...and the Cinephile Hissy Fit Podcast.Keep up with Annie Banks at The Mary Sue....and We Got This Covered.Make Nice with Mike Crowley of You'll Probably Agree.And stir things up with Will Johnson of the Cinephile Hissy Fit Podcast.

Wolfgang Amadeus Mozart is a remarkably talented young composer who unwittingly finds a fierce rival in the disciplined and determined Antonio Salieri. Resenting Mozart for both his hedonistic lifestyle and his undeniable talent, Salieri is gradually consumed by his jealousy and becomes obsessed with Mozart's downfall, leading to a devious scheme that has dire consequences for both men. Michael and Eric sabotage Amadeus (1984), directed by Milos Forman.   Follow Aflixionados Podcast on social media for extended conversations, interesting tidbits, and other news! Linktree | Instagram | Facebook | YouTube | Merch

POPeracast host Jennifer Miller Hammel introduces tenor Patrick Bessenbacher, the devious Count Bandiera in POP's upcoming production of Antonio Salieri's La scuola de' gelosi, to the POP family.  La scuola de' gelosi  Friday January 10, 2025 | 7:30PM Saturday January 11, 2025 | 7:30PM Sunday January 12, 2025 | 3:00PM Friday January 17, 2025 | 7:30PM Saturday January 18, 2025 | 3:00PM Sunday January 19, 2025 | 3:00PM The Highland Park Ebell Club 131 S Avenue 57 ​Los Angeles, CA 90042

Pochi compositori si sono guadagnati una cattiva reputazione come quella di Antonio Salieri, il compositore che, secondo popolari chiacchiere, avvelenò Wolfgang Amadeus Mozart. Questa voce è nata, o almeno si è diffusa, grazie all'opera teatrale Amadeus di Peter Shaffer e al successivo adattamento cinematografico. Era una commedia eccezionalmente buona e un film eccellente. Ma ecco la verità . . . Salieri non ha ucciso Mozart. Mentre Salieri e Mozart erano effettivamente contemporanei e probabilmente erano in competizione per varie commissioni, la portata della loro rivalità è stata notevolmente esagerata. Chi era Salieri? Antonio Salieri è stato un importante compositore italiano dell'epoca classica, noto per le sue opere, le sue sinfonie e la sua musica da camera. Nato il 18 agosto 1750 a Legnago, città della Repubblica di Venezia, Salieri mostrò una precoce attitudine per la musica. Riconoscendone il talento, i genitori lo iscrissero a lezioni di musica con musicisti locali. Poi, all'età di 16 anni, Salieri si trasferì a Venezia, dove studiò con l'eminente violinista e compositore italiano Giuseppe Tartini. Durante il suo soggiorno a Venezia, Salieri affinò le sue abilità di violinista e compositore, attirando l'attenzione dell'élite musicale viennese. Nel 1766 Salieri si recò a Vienna, dove continuò la sua educazione musicale sotto la guida di Christoph Willibald Gluck. Vienna si rivelò un terreno fertile per la fiorente carriera di Salieri, che si affermò rapidamente come figura di spicco nel panorama musicale della città. Il talento e la dedizione a Salieri valsero il patrocinio dell'imperatore Giuseppe II, grazie a cui nel 1788 fu nominato compositore di corte. Questa prestigiosa posizione fornì a Salieri le risorse e il supporto per comporre opere, tra cui Axur, Re d'Ormus (1788), Les Danaïdes (1784) e la sua versione di Falstaff (1799), giusto per citare qualche esempio. Le sue opere furono ben accolte ed eseguite nei teatri di tutta Europa, consolidando la reputazione di Salieri come uno dei principali compositori del suo tempo. Oltre alle sue composizioni operistiche, Salieri scrisse anche un numero considerevole di brani strumentali, tra cui sinfonie, concerti e musica da camera. Anche se in genere non si percepisce il genio di Mozart nelle sue composizioni, esse sono caratterizzate dalla loro eleganza melodica, dalla ricchezza armonica e dall'orchestrazione magistrale, che riflettono lo stile del periodo classico. Nei suoi ultimi anni, Salieri continuò a comporre in modo prolifico e rimase una figura influente nella comunità musicale viennese. Ha fatto da mentore a una nuova generazione di compositori, fra cui Ludwig van Beethoven e Franz Schubert, lasciando un'eredità duratura sullo sviluppo della musica classica. Antonio Salieri morì il 7 maggio 1825 a Vienna, lasciando dietro di sé un corpus di opere ricco e variegato che continua a essere apprezzato ed eseguito fino a oggi. Nonostante le successive polemiche che circondano il suo rapporto con Mozart, i contributi di Salieri al mondo della musica permangono come testimonianza del suo talento e della sua dedizione. Alcune composizioni di Salieri Opere Armida. Falstaff. La Scuola de' Gelosi. Un'opera buffa. Opere corali La Passione di Gesù Cristo. Oratorio per coro, orchestra e solisti. Requiem in Do minore. Opere orchestrali e concerti Sinfonia in re maggiore (“La Veneziana”). Concerto per pianoforte e orchestra in si bemolle maggiore.

La musica classica è tanto affascinante quanto misteriosa. Musicisti sordi, violinisti che fanno patti col diavolo e giovani talenti uccisi da amici fraterni. Ma a volte dietro queste storie ci sono delle trovate di marketing create ad hoc solo per renderle più interessanti e metterle sul mercato moderno. Nella puntata di oggi parleremo della falsa credenza secondo cui il compositore Antonio Salieri avvelenò Mozart perché troppo invidioso del suo talento.See omnystudio.com/listener for privacy information.

A quarant'anni dalla sua uscita, Alessandro, Francesco e Luca si riuniscono per chiacchierare e celebrare Amadeus del regista ceco Miloš Forman, lo splendido film che racconta una versione piuttosto fantasiosa del rapporto tra il geniale compositore austriaco e Antonio Salieri. Il tutto ovviamente sulle note di Rock Me Amadeus di Falco (o forse no). Buon ascolto! Soundtraccia: Odd Theme - Fabio Bortolotti / Pengo (Locomotive Mix) - Andrea Babich / Notti fotoniche - Fabio Bortolotti Vuoi darci una mano? Abbonati su Twitch: https://www.twitch.tv/outcastvideo Fai acquisti su Amazon: https://amzn.to/3pGObEq Fai acquisti su Fusion Retro Books: https://fusionretrobooks.com/?ref=pzxtr4vyfzsy Usa il codice outcastlive su Epic Games Store. Compra le nostre felpe e magliette: https://outcastlive.threadless.com/ Supportaci su Patreon: https://www.patreon.com/outcast?ty=h Supportaci con PayPal: https://www.paypal.com/donate/?hosted_button_id=K9TL85M7PDN4Y

(Deep Dive begins at 31:30) We speak for all mediocrities, for we are their patron saint. Join your ragtag fellowship of TransAtlantic podcasters, Ian, Liam, and Georgia (Megs and Kev are in Salzburg) as we're heading back to the last 18th century watch the rise of Wolfgang Mozart and the downfall of Antonio Salieri in the Milos Forman film Amadeus.  We're complaining about too many notes in our 243rd episode as we discuss: Our own knowledge bases of Mozart Do you have to know the story of Mozart to appreciate the film We've got a bit of a therapy session this week as Ian and Liam lock horns Is it possible to overcome a negative first impression of a film?  What is the price of excellence and why is there only room for one great artist of each time Georgia totally misses a friend of the podcast showing up in the 3rd act We talk about whether the film does Costanze fair in the overall narrative Whether or not Amadeus is the Best Film Ever Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Andy Dickson Ensign Ian Davies Chris Pedersen  Duane Smith (Duane Smith!) Randal Silva The Yeetmeister Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Shai Bergerfroind Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot AJ from Nova Scotia Timmy Tim Tim Catch so much more of Hermes on his podcast, The Scuttlebutt Podcast at . https://podcasts.apple.com/us/podcast/the-scuttlebutt-podcast/id1503504933 (Apple) or https://open.spotify.com/show/2n9CNB9X6QXnmvn78HBEoJ?si=ca1784afd4874ff3 (Spotify) Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ Massive thanks to Lex Van Den Berghe for the use of 'Mistake' by Luckydog.  Catch more from Lex's new band, The Maids of Honor at https://soundcloud.com/themaidsofhonor Also massive thanks to Moonlight Social for our age game theme song.  You can catch more from them at https://www.moonlightsocialmusic.com/ Join Hermes in his revolution; he is trying so very hard.

In part one of our series on classical composer and pianist, Franz Liszt, we examine the earliest parts of the young prodigy's life. Though he was born the son of a humble bookkeeper, by age seven Franz would demonstrate such unbelievable skill on the piano that he would be accepted as a pupil in Vienna under the tutelage of the legendary composers Carl Czerny, and Antonio Salieri. But that was just the beginning of his rise to superstardom, as before he reached the age of 15, Franz would perform concerts in front of nearly every King and Queen in Europe, stir his audiences into a screaming frenzy, and stun his orchestras into silence... mid-performance. Buckle your seatbelts, everyone: we're just getting warmed up with the birth of the world's first rockstar. Tune in for part one of our series on Franz Liszt to learn more! (Ep. 030)

Movie of the Year: 1984Amadeus (with Katie Walsh!)The Movie of the Year podcast recently turned its attention to the iconic film Amadeus, offering listeners an in-depth analysis of this classic through an engaging conversation with guest critic Katie Walsh. Amadeus, directed by Milos Forman, is not just a retelling of Mozart's life; it's a rich exploration of genius, jealousy, and the complexities of talent. In this episode, the hosts and Walsh delve into the film's themes, focusing on what it means to have talent, the unique approach Milos Forman took to the musician biopic, and the unforgettable performances by Tom Hulce and F. Murray Abraham.Exploring Amadeus: The Nature of TalentThe discussion begins with one of Amadeus's central themes: the nature of talent. The hosts and Walsh explore how the film juxtaposes the extraordinary, almost divine talent of Wolfgang Amadeus Mozart with the more modest abilities of Antonio Salieri. The podcast highlights how Amadeus portrays talent as both a gift and a curse, examining Salieri's agony as he recognizes Mozart's genius, something he can admire but never replicate.Katie Walsh brings an insightful perspective on how the film's portrayal of talent transcends the musical realm and touches on broader human experiences. She notes that Amadeus raises questions about the fairness of life's gifts and the torment that can arise from recognizing one's limitations in the face of someone else's brilliance. The conversation underscores how Amadeus resonates with anyone who has ever felt overshadowed by a more gifted peer, making it a timeless study of human emotion and ambition.Milos Forman's Amadeus: A Revolutionary Musician BiopicMilos Forman's direction of Amadeus is another focal point of the episode. The podcast examines how Forman, already renowned for his work on One Flew Over the Cuckoo's Nest, revolutionized the musician biopic genre with this film. Instead of crafting a straightforward biography, Forman created a lush, operatic drama that blends historical accuracy with artistic license, bringing Mozart's world to life in a way that feels both authentic and larger-than-life.The hosts and Walsh discuss how Forman's approach to Amadeus differs from other musician biopics, particularly focusing on the rivalry between Mozart and Salieri. The film does not merely celebrate Mozart's genius; it also delves into the darker aspects of his life and the intense envy it provokes in Salieri. This choice elevates Amadeus beyond a simple retelling of Mozart's life, making it a profound exploration of human nature, power, and legacy.Katie Walsh praises Forman for his ability to balance the film's grand, operatic scale with intimate character studies, allowing audiences to connect with both the historical figures and the universal themes they represent. She points out that Forman's direction ensures that Amadeus remains accessible and engaging, even for those who might not be familiar with classical music or Mozart's life.Tom Hulce and F. Murray Abraham in Amadeus: A Study in ContrastsNo discussion of Amadeus would be complete without acknowledging the outstanding performances of its lead actors, Tom Hulce and F. Murray Abraham. The podcast dedicates a significant portion of the episode to analyzing how these two actors brought Mozart and Salieri to life with such depth and nuance.Tom Hulce's portrayal of Mozart is described as both electrifying and tragic. The hosts and Walsh discuss how Hulce captures Mozart's childlike exuberance, as well as his...

Strap in for a tempest of truth as History Rage returns with Series 13, unleashing a torrent of untold tales and myth-busting fervor that will challenge what you thought you knew about history. Our cadre of impassioned historians bring their expertise to the fore, tackling misconceptions and falsehoods that have long skewed our understanding of the past.Unraveling Historical Misconceptions:- The Holocaust and its complex legacy, often wielded as a rhetorical weapon in contemporary debates with Waitman Beorn- Debunking the myth of national patron saints and their perceived official status in society with Francis Young- Rethinking warfare beyond the stereotype of monsoon-mired infantry, revealing a more nuanced reality with author Jack Bowsher- The unexpected truth about early Quakers, shattering the image of peaceful simplicity with Dr. Erica CanelaDispelling Myths of the Middle Ages:- The idea that medieval women were solely homemakers is dismantled, revealing their diverse roles in society with Eleanor Janega- Confronting the misconception of medieval Europeans' diet, exposing the fallacy of their supposed love for spoiled meats with Thom Ntinas of the Delicious Legacy PodcastRevisiting Historical Figures:- Correcting the portrayal of Antonio Salieri, often cast as a bitter rival to Mozart, and revealing the man behind the myth with Musicologist Dr. Kristin Franseen of Concordia University- Reassessing the Viking image, stripping away the blood-soaked caricatures to reveal a more complex society with Alex HarveyChallenging Historical Narratives:- Questioning the singular focus on Palestine in discussions of Zionism's history with author Rachel Cockerell- Shining a light on the Indian Army's extensive and often overlooked contributions beyond the Western Front in World War I with Dr. Adam Prime of the Western Front AssociationJoin us as we stoke the fires of inquiry with ten more episodes featuring fiery historians ready to set the record straight. Series 13 drops on General Release on July 29th. Tune in, turn up the volume, and let the historical fury flow!Support History Rage:Follow on Twitter: @historyrageIndividual accounts: @PaulBavillDon't forget to leave reviews on Apple Podcasts, Podchaser, or Amazon.Stay Angry, Stay Informed - History Rage Hosted on Acast. See acast.com/privacy for more information.

En la película llamada Amadeus se muestra al músico de la corte de la monarquía de los Hamburgo en Viena, Antonio Salieri, como un hombre dedicado a Dios que se fue corrompiendo hasta volverse su enemigo por envidia hacia Mozart. La envidia es poderosa y sumamente destructora.

Alexandre e Fred recebem um dos "founding fathers" do PFC, Marcelo Rennó, para discutir um dos grande filmes de Milos Forman, "Amadeus" (Amadeus, 1984). O clássico baseado na peça de Peter Schaffer, relata boa parte da vida de Mozart (Tom Hulce) através do ponto de vista de seu colega Antonio Salieri, interpretado por F. Murray Abraham, que acabou por levar um dos 8 Oscars conquistados pelo longa, que entre outros, ganhou melhor filme e diretor naquela noite. ---------------------- Acesse nosso site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Acesse nossa página no Facebook : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/podcastfilmesclassicos/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Kit and Steve revisit the 1984 masterpiece 'Amadeus.' This Oscar-winning film portrays the life of Wolfgang Amadeus Mozart through the envious eyes of his rival, Antonio Salieri. Witness the riveting drama unfold as Salieri's admiration turns to obsession, leading him down a dark path against the backdrop of Mozart's sublime music. Explore with us the intricate dynamics of genius and jealousy, set against the opulence of 18th-century Vienna. Tune in for a deep dive into this cinematic classic.00:00:00 - Introduction:Welcome to a new episode of Streaming Things, where we dive deep into the world of streaming content!00:01:56 - Overall Thoughts:Our hosts share their initial impressions and overarching thoughts on today's movie/TV episode.00:22:07 - Scene by Scene Recap:Join us as we break down the episode or movie scene by scene, offering insights and commentary.Support Streaming Things:Subscribe to our Patreon!Engage with Streaming Things:Merchandise: Check out our BRAND NEW Merch Store for the latest Streaming Things apparel and accessories.YouTube: Don't miss our visual content on Streaming Things YouTube channel.Website: Visit our official website for more updates and content.Connect with Us:Email: Send your feedback and questions to streamingthingspod@gmail.com.Instagram: Follow us @streamingthingspodofficial for behind-the-scenes content.Twitter: Stay updated with our latest tweets @StreamThingPod or follow Chris @moviesRtherapy.Fan Mail:Address: Send your letters and fan mail to:Streaming Things6809 Main St. #172Cincinnati, OH 45244Episode Sponsors:This episode is sponsored by BetterHelp. Get the support you need at betterhelp.com/streamingthings. Hosted on Acast. See acast.com/privacy for more information.

Para celebrar os quarenta anos da obra-prima Amadeus, Brunão e Baconzitos convidam para o QueIssoAssim, a amiga Andreia do podcast irmão Livros em Cartaz. Neste episódio contamos todos os detalhes e curiosidades desse filme vencedor de 8 Oscar. Dirigido por Milos Forman, o filme conta a biografia ficcionalizada do compositor Wolfgang Amadeus Mozart e sobre a sua rusga com Antonio Salieri, outro compositor contemporâneo e que, supostamente teria sido o causador de sua morte. Se você nunca assistiu o filme e tem curiosidade, ele está disponível para compra ou aluguel aqui. Links mencionados no episódio: A Modista do Desterro: Canal do Youtube sobre moda de outras épocas. SEJA NOSSO PATRÃO Tivemos que fazer uma mudança em nosso sistema de financiamento coletivo e agora vamos migrar todo o serviço para o apoia.se/portalrefil. Pedimos encarecidamente que se você já ajuda no Pic Pay ou no Padrim, que migre para o apoia.se. E para você que ainda não ajuda, temos novos planos de patronato, com possibilidades de escolher até mesmo o filme que vamos falar. Que tal escolher uma opção e ajudar a gente a crescer?

Antonio Salieri - Concerto for Flute and Oboe: 3rd movementPeter Lloyd, fluteAnthony Camden, oboeCity of London SinfoniaNicholas Ward, conductorMore info about today's track: Naxos 8.554772Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

"Mozart pur" hieß es bislang bei der Mozartwoche in Salzburg. Nun stehen auch andere Komponisten auf dem Programm. Besonders spannend für Festivalleiter Rolando Villazón: der "Mozart-Konkurrent" Antonio Salieri.

Élete és munkái egy órában.

Élete és munkái egy órában.

SynopsisOh, to have been in Vienna on today's date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio Ester, by Karl Ditters von Dittersdorf, conducted by Antonio Salieri.Now wouldn't that have made for a good scene in the movie Amadeus?Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today's date in 1806, it was Beethoven's turn to premiere one of his new concertos in Emanuel Schikaneder's Viennese theater. Alongside works of Mozart, Méhul, Cherubini and Handel, Beethoven's Violin Concerto was introduced to the world, with Franz Clement as the soloist.Beethoven's friend Czerny recalled that Clement's performance was greeted with “noisy bravos.”But a contemporary Viennese music critic wrote: “While there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer's final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”Music Played in Today's ProgramWolfgang Mozart (1756-1791) Piano Concerto No. 22; Mitsuko Uchida, piano; English Chamber Orchestra; Jeffrey Tate, cond. Philips 420 187Wolfgang Mozart (1756-1791) Magic Flute Overture; Zurich Opera House Orchestra; Nikolaus Harnoncourt, cond. Teldec 95523Ludwig van Beethoven (1770-1827) Violin Concerto; Anne-Sophie Mutter, violin; New York Philharmonic; Kurt Masur, cond. DG 471 349

The film “Amadeus” was a huge hit in the mid-1980s. It depicted Wolfgang Amadeus Mozart and Antonio Salieri as musical rivals in the Austrian court in the late 18th century, which ultimately ends with Mozart's early death. But was anything in the film accurate? Did Salieri plot to kill Mozart? Was jealousy over musical genius really that serious? Dr. Kristin Franseen explains it all. Rather than being a buzzkill, she shows us that the real story is actually more interesting than the film version! Episode 540.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5455565/advertisement

Researcher Ellen Stokes was sifting through library archives when she happened upon the pieces of a long-lost work by Antonio Salieri, Mozart's arch rival. She tells us about the discovery, and what it was like to see it performed for the first time in 200 years.

SynopsisOn today's date in 1979, a new play by Peter Schaffer titled Amadeus opened at the National Theatre in London.Schaffer's play tells the story of Mozart's final years in Vienna, including some posthumous gossip that it was the petty jealousy and back-stabbing intrigue of Mozart's Italian contemporary Antonio Salieri that hastened Wolfgang's untimely demise. There was even a Romantic legend that Salieri had actually poisoned Mozart, a legend Shaffer gave a psychological spin.Music historians were quick to attack Shaffer's play as wildly inaccurate and downright unfair to poor old Salieri, who, they said, was not all that bad a fellow. Accurate or not, Schaffer's play was a big hit, and five years later was made into a wildly successful film. That movie version of Amadeus prompted millions of new classical music fans to snap up any recordings of Mozart's Requiem they could find.And what about the music historians? They couldn't even find comfort in the old public relations adage, “There's no such thing as bad press as long as they spell your name right!” They felt even the movie's title was bogus. Mozart never signed his middle name “Amadeus,” preferring the French version, “Amadé.”Music Played in Today's ProgramWolfgang Mozart (1756 – 1791) Requiem; La Chapelle Royale and Orchestre des Champs Elysees; Philippe Herreweghe, cond. Harmonia Mundi 901620

Antonio Salieri - Cesare in Farmacusa: OvertureSlovak Radio Symphony OrchestraMichael Dittrich, conductorMore info about today's track: Naxos 8.554838Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

SynopsisOn today's date in 1778, Italy's most famous opera house opened with a performance of L'Europa riconosciuta, or Europa revealed, a work written specially for the occasion by Antonio Salieri. The new theater took its name from its location, previously occupied by the church of Santa Maria della Scala, which in turn was named after a Milanese nobelman's wife, Beatrice della Scala.These days Milan's Teatro alla Scala—or “La Scala” for short—is still in operation, although today performances of Salieri operas are not as common as those of his 18th century rival, Wolfgang Amadeus Mozart.In the 19th century, La Scala was at the center of the golden age of Italian opera, which boasted the greatest works of Rossini, Bellini, Donizetti, and Verdi.In August of 1943, 165 years after it opened, La Scala was damaged by Allied bombers as World War II drew to a close. The theater was repaired and reopened in 1946 with a series of gala concerts conducted by Arturo Toscanini.Some sixty years later, the theater was newly refurbished and re-opened in December of 2004 with a gala production of the same Salieri opera written for its original opening some 226 years earlier.Music Played in Today's ProgramAntonio Salieri (1750 – 1825) Falstaff Overture London Mozart Players; Matthias Bamert, conductor. Chandos 9877

Leitura bíblica do dia: 1 Samuel 18:5-9 Plano de leitura anual: Salmos 51–53; Romanos 2; No filme Amadeus (1984), o compositor Antonio Salieri toca uma de suas músicas para um padre visitante que, envergonhado, não a reconhece. “E esta?”, diz Salieri, tocando uma melodia bem familiar. “Não sabia que você tinha escrito isso”, diz o padre. “Não escrevi; foi Mozart!”, responde Salieri. O sucesso de Mozart tinha causado profunda inveja em Salieri levando-o até mesmo a desempenhar um papel na morte de Mozart. A Bíblia relata outra história de inveja. Após a vitória de Davi sobre Golias, os israelitas cantaram alegremente: “Saul matou milhares, e Davi, dezenas de milhares” (1 Samuel 18:7). A comparação não caiu bem com o rei Saul. Invejoso do sucesso de Davi e com medo de perder o seu trono (vv.8-9), Saul iniciou uma prolongada perseguição a Davi, tentando tirar-lhe a vida. Como Salieri com a música ou Saul com o poder, somos normalmente propensos a invejar aqueles com dons semelhantes, mas melhores do que o nosso. E seja culpando o seu trabalho ou menosprezando o seu sucesso, nós também podemos tentar prejudicar os nossos “rivais”. Saul tinha sido divinamente escolhido para a sua tarefa (10:6-7,24), e isso deveria ter fomentado segurança nele em vez de inveja. Sabendo que temos chamados únicos (Efésios 2:10), talvez a melhor maneira de superar a inveja seja deixar as comparações de lado e celebrarmos os êxitos uns dos outros. Por:  Sheridan Voysey

Episode #2649 Also-rans: forgotten airplanes and forgotten composers, worth remembering.

Today, we journey back to the 18th-century Vienna with the remarkable cinematic masterpiece, "Amadeus".This 1984 film, directed by the virtuoso Milos Forman, is an opulent dramatization of the imagined rivalry between two of history's most influential composers - Wolfgang Amadeus Mozart and Antonio Salieri. From a screenplay penned by Peter Shaffer, based on his own stage play, Forman constructs a lush tapestry of jealousy, divine talent, and the human tragedy tied to both.We marvel at the tour de force performances of Tom Hulce (well remembered Dan!) as the youthful prodigy, Mozart, and F. Murray Abraham as the envious Salieri. The characters' intricate psychological interplay presents a rare dual protagonist-antagonist dynamic that resonates even decades later. And the meticulously crafted score, reverberating with Mozart's timeless symphonies, almost functions as a character itself."Amadeus" raises profound questions about talent and mediocrity, grace and obsession, making it a film that continues to stir heated discussions among us Dads. Tune in as we delve into the complex themes, the immortal music, and the brilliant cinematography that won this film eight Academy Awards, including Best Picture.Whether you're a Mozart aficionado, a historical drama enthusiast, or a film lover who enjoys a compelling narrative, "Amadeus" offers something for everyone. Join us as we traverse this cinematic symphony, only on this week's episode of Bad Dads. Let's 'play' on!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

We continue Mike White May, without the man himself on this episode, with a look at what could be considered Forman's finest hour as a filmmaker but what is definitely his most critically revered work, Amadeus. Rankin on Bass's Richard Hatem joins the episode he programmed to talk all about F. Murray Abraham, the power of legacy, and Mozart's raucous farts.Directed by Forman, the film follows the life of Antonio Salieri, a contemporary of the titular Mozart, who must grapple with his complicated relationship with the legendary composer along with attempting to solidfy a place for himself in history. It's a story of legacy, creative genius, and whether or not a divine creator is at the center of it all.For more episodes of the Kulturecast along with many more podcasts that are guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.

Welcome to a new episode of I'll Show You Mine! This time, Elyse is showing James ‘Amadeus' from 1984. Directed by Milos Forman and starring F. Murray Abraham and Tom Hulce, ‘Amadeus' is a historical drama about the fictionalized rivalry between Wolfgang Amadeus Mozart and Antonio Salieri.Join us as we talk about James' uncanny ability to avoid knowing anything about major motion pictures that sweep awards, our boy F. Murray Abraham, and what actually happened in Vienna in the late 1700s.Our next episode will be March 20th, when James shows Elyse ‘Warcraft 3' from 2002.Our theme song is by us! James Sparkman and Elyse Wietstock.Follow us on Twitter, Instagram, and Twitch at @isympodcastIf you like the show please share it with a friend or leave a review on Apple Podcasts, and if you want access to post-show content, downloadable art, and more, visit illshowyoumine.show and click “Patreon!”

We speak for all mediocrities in the world! We are their champions! We are their patron saints! We talk talent, aspiration, jealousy, Amadeus and so much more with the wondrous Maryanna Aster!You can find Maryanna on the Internet here.You can find Maryanna on Instagram here.You Are Good is a feelings podcast about movies.Antonio Salieri's Revenge by Alex Ross (The New Yorker) can be read here.You can find us on Twitter, Instagram, Patreon and Apple Plus.This possible was made possible by your support! Thanks to everybody who supports us on Patreon and Apple Plus.Multitude handles our ad sales!The Music of You Are Good, Vol. 1 is here.You can hear a playlist of songs inspired by this conversation here!You can find producer Carolyn Kendrick's music here. She's also on Twitter.Miranda Zickler edited this episode!Fresh Lesh produces the beats for our episodes.Liz Climo designed our logo!

Comedian Gianmarco Soresi is brutally honest with us this weeks: he deeply relates to Antonio Salieri (F. Murray Abraham!) in Milos Forman's 1984 classical classic, Amadeus. But while Gianmarco can own his Salieri-like insecurities, he can't let it keep him from pursuing virtuosity. Then, Jordan has one quick thing about...Gianmarco on James CordenHis half hour, "Shelf Life"***With Jordan Crucchiola and Gianmarco Soresi

Today's very special episode of Being Jim Davis is guest-hosted by Van Halen guitarist Antonio Salieri. Your hosts for today's episode were Christopher Winter and Jonathan Gibson. Are there fine Being Jim Davis-themed wares available for sale in the Pitch Drop Store? We'll never tell... Today's strip Become a Patron! Or visit these other fine internet URLs: BJD Homepage | BJD Twitter | BJD Facebook Page | Pitchdrop Network Homepage

Synopsis There's an old joke that Schubert wrote two symphonies: one unfinished, and the other endless—the reference being to Schubert's Unfinished Symphony which lasts about 20 minutes, and his Great Symphony in C Major, which can run about an hour in performance. It was Antonio Salieri, one of Schubert's composition teachers in Vienna, who encouraged the young composer to date his manuscripts, so we know that Schubert's Unfinished Symphony was written in 1822. It wasn't performed in public, however, until December 17th, 1865—some 43 years later. The manuscript was known to exist, but no one bothered much about it until Josef von Herbeck tracked it down and conducted its first performance in Vienna. At its premiere, Herbeck added the last movement of Schubert's Third Symphony in D as a kind of makeshift finale. Many others have tried to "finish" the Unfinished Symphony, but more often than not, it is performed as an incomplete, yet oddly satisfying, work. The Icelandic composer Jon Leifs, who died in 1968, apparently worried that he might leave some unfinished orchestral score behind. Therefore, he composed not one but TWO works he titled Finale. These were intended as a kind of "musical insurance policy." To each score, Leifs attached a note suggesting that if he died and left behind any unfinished orchestral projects, either of these two Finales could be used. Music Played in Today's Program Franz Schubert (1797-1828) Symphony No. 9 Berlin Philharmonic; Karl Böhm, cond. DG 419 318 Jón Leifs (1899-1968) Fine I, Op. 55 and Fine II, Op. 56 Iceland Symphony; Petri Sakari, cond. Chandos 9433

Everyone knows the Academy award winning film Amadeus, where a dramatic jealous-ridden  Antonio Salieri contributed to the death of Mozart. But what you probably don't know is a man named John Taylor was complicit in the death of two other musical giants;  Johann Sebastian Bach and George Friedrich Handel.  And the greatest irony of all...he was their eye doctor. Join us this week on Scoundrel: History's Forgotten Villains as we dive deep into the scandalous, tumultuous and at times barbaric world of 18th century European ophthalmology to uncover the many blindings and killings of Dr. John Taylor. Give us your feedback at Kastmedia.com/scoundrelfeedback Special Thanks To Our Sponsors:  The Jordan Harbinger Show Check out jordanharbinger.com/start for some episode recommendations, OR search for The Jordan Harbinger Show on Apple Podcasts. Talkspace As a listener of this podcast, you'll get $100 off of your first month with Talkspace. To match with a licensed therapist today, go to Talkspace.com and use code SCOUNDREL.    See omnystudio.com/listener for privacy information.

Back in January 2014, Wendi Freeman, Tim Merrill and myself started a monthly podcast to look at the world of films about music and musicians (or any tenuous link to that world). Occasionally, we would talk about musicals that weren't actually about music, cos rules were meant to be broken. From episode 2, fellow music and film fan, Bernard Stickwell joined the team, an See Hear was on its way. The first film discussed on the show was a documentary about a musical genius who was just not appreciated by the wider population.....actually, naaaahhh.....we discussed Hated: GG Allin and the Murder Junkies. We are truly happy 8 and a half years later to say Welcome to Episode 100 of See Hear Podcast. If you're gonna commemorate a milestone, you have to go BIG. Bernie and I planned a discussion of a BIG film with two of the giants of the podcasting world. We look at Milos Forman's celebrated 1984 film, Amadeus with our great friends, Mike White of The Projection Booth (and quite a few other podcasts) and Will Smith of The Gentlemen's Guide To Midnite Cinema.  The film brought saw Forman return to Czechoslovakia. He hadn't been back following the Warsaw Pact Invasion of 1968. He'd already made some wonderful cinema as part of the Czech New Wave, but headed to America to continue to make films that made him known the world over. Much of his catalogue of films focused on stories showing the common man trying to overcome oppression by the state / corporation / aristocracy. In Amadeus, we get the story from the perspective of composer Antonio Salieri (brilliantly played by F. Murray Abraham) of how he set out to ruin Woilfgang Amadeus Mozart (a magnificent performance from Tom Hulce) because he was insanely and irrationally jealous of his ability to create perfect art. Mike, Will, Bernie and I take the time to discuss classical music, the working class, religion, oppression by the state, diagetic vs non diagetic music, arrogance, jealousy, farting and playing too many notes. Bernie and I are grateful to our great friends, Will and Mike for agreeing to add some class to our little show by bringing some wonderful conversation to the mix....and we nearly get away with no references to that Falco song.... You can hear Will along with his partner Sam U. Rai on The Gentlemen's Guide To Midnite Cinema at https://podcasts.apple.com/us/podcast/the-gentlemens-guide-to-midnite-cinema/id291696146...They've been bringing class to the trash since 1977. Mike has several podcasts you should hear (we talk about them all), but the flagship is The Projection Booth which you can check out at https://www.projectionboothpodcast.com/ Check out what he does and discover why he is the James Brown of podcasting. Huge thanks go to our partner in crime still on sabbatical, Tim Merrill. We look forward to your return to the show sooner than later. We're saving Rattle and Hum for your return. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com. Join the Facebook group at http://facebook.com/groups/seehearpodcast You can find our Instagram page by searching for @seehearmusicandfilm  You can download the show by searching for See Hear on whatever podcast app you favour.

Synopsis Today is the birthday of Antonio Salieri, one of the most unjustly maligned composers in history. The successful stage play and movie "Amadeus" have helped to repeat the notorious charge that the jealous 18th-century Italian composer Antonio Salieri was directly or indirectly responsible for Mozart's early death. Historians have acquitted Salieri of this crime, but more people are familiar with the fiction than the facts. The truth is that Salieri was often quite friendly to Mozart during his lifetime, and after Mozart's death served as a music teacher to Mozart's talented son, Franz Xaver Mozart. The long-lived Salieri also gave lessons in the Italian style to Beethoven, Schubert, and Liszt – surely signs of a nature more generous than jealous. Salieri was born in Legnano, Italy in 1750. He came in Vienna in 1766, when he was 16 years old, and Vienna remained his home until the end of his life. A protégé of the Austrian Emperor, Joseph II, Salieri even accompanied that very musical monarch, who played the cello, at royal chamber music sessions. As a composer, Salieri enjoyed imperial patronage from his arrival in Vienna until 1800, a period of some 35 years. Some of the operas Salieri wrote for Vienna have been revived and recorded in our time. He wrote over 40 of them, including a comic opera entitled "The Talisman" – an opera composed to a text by Mozart's favorite librettist, Lorenzo da Ponti. Music Played in Today's Program Wolfgang Mozart (1756-1791) –Symphony No. 25 (Academy of St. Martin-in-the-Fields; Sir Neville Marriner, cond.) Fantasy 900 1791 Antonio Salieri (1750-1825) –La locandiera Overture (London Mozart Players; Matthias Bamert, cond.) Chandos 9877

Synopsis A fiery horse with the speed of light, a cloud of dust, and a hearty “Hi-yo, Silver!” Generations of American baby boomers first heard Rossini's “William Tell” Overture as the opening credits of the old Lone Ranger TV western, but we suspect only a few of them ever realized the overture by an Italian composer was written for a French opera about a Swiss archer, which was adapted from a German play by Friedrich Schiller. Like a Facebook relationship, “It's complicated.” Anyway, Rossini's “William Tell” was first heard in Paris on today's date in 1829. Rossini hoped “William Tell” would be considered his masterpiece. Ironically, the complete opera is only rarely staged these days, but the “William Tell” overture became a familiar concert hall showpiece – SO familiar, in fact, as to become something of a musical cliché. The Russian composer Dimitri Shostakovich gave a dark 20th-century spin to Rossini's overly familiar theme, when he quoted the “William Tell” overture in the opening movement of his Symphony No. 15. In the context of Shostakovich's enigmatic final symphony, Rossini's jaunty little theme comes off like a forced smile, and audiences are free to read whatever political subtext they wish into its rather sinister context. Music Played in Today's Program Gioacchino Rossini (1792-1868) –William Tell Overture (Philharmonia Orchestra; Carlo Maria Giulini, cond.) EMI 69042 Dimitri Shostakovich (1906-1975) –Symphony No. 15 in A, Op. 141 (London Philharmonic; Mariss Jansons, cond.) EMI 56591 On This Day Births 1884 - Russian-born American composer Louis Gruenberg, near Brest-Litovsk (Julian date: July 22); 1896 - Russian inventor Lev Sergeivitch Termen (anglicized to Leon Theremin) in St. Petersburg (Gregorian date: August 15) Deaths 1784 - Italian composer and teacher Giovanni Battista Martini, age 78, in Bologna; His students included Gluck, Mozart, Grétry, and Jommelli; Premieres 1829 - Rossini: opera, "Guillaume Tell" (William Tell), at the Paris Opéra; 1941 - Robert Russell Bennett: Symphony in D ("For the Dodgers"), in New York; 1961 - John Cage: "Atlas Eclipticalis," at the "International Week of Today's Music," in Montréal; 1967 - Lalo Schifrin: cantata, "The Rise and Fall of the Third Reich" (adapted from the composer's filmscore) by the Los Angeles Philharmonic at the Hollywood Bowl, with Lawrence Foster conducting; Others 1668 - German composer Dietrich Buxtehude marries the daughter of Franz Tunder, retiring organist at St. Mary's Church in Lübeck, as a condition to succeed Tunder in his position at St. Mary's; It is thought that both Handel and J.S. Bach were both interested in the position - but not in Tunder's daughter; 1778 - Milan's famous Teatro alla Scala (La Scala) opens with a performance of “L'Europa riconosciuta” by Italian opera composer Antonio Salieri, a work written specially for the occasion; The theater took its name from the site previously occupied by the church of Santa Maria della Scala (named after Bernabo Visconti's wife, Beatrice della Scala); This same opera, conducted by Riccardo Muti, was performed on Dec. 7, 2004 at the Gala reopening of La Scala after three years of major renovation; 1779 - Mozart finishes in Salzburg his "Posthorn" Serenade; 1795 - The Paris Conservatory of Music is founded by the National Revolutionary Convention. Links and Resources On Rossini On other famous radio themes

Synopsis In the winter of 1807, a group of music-loving Viennese, frustrated that their chances to hear orchestral and symphonic music seemed rather sporadic, decided to sponsor a series of symphonic concerts themselves. Their organization was called, simply “The Concert of Music Lovers,” with performing forces made up – as a Viennese newspaper put it – of “the best local amateurs, with a few wind instruments only: French horns, trumpets, etc., drafted from Viennese theaters.” And the audience, according to the same source, comprising “exclusively the nobility of the town, foreigners of note, and selected cognoscenti.” Twenty concerts were staged in all, most of them in a large hall of the Vienna University. The final concert in the series occurred on today's date in 1808: a performance of Haydn's oratorio “The Creation.” The work was sung in Italian, and the conductor on that occasion was the famous Italian composer Antonio Salieri. Haydn was living in a suburb of Vienna at the time and arrived in Prince Ezterhazy's coach. Haydn was carried into the hall on an armchair lifted high so that all could see him. The orchestra played a fanfare and shouts of “Long live Haydn!” rang from the audience – which included Ludwig van Beethoven. Music Played in Today's Program Franz Josef Haydn (1732 - 1808) — The Creation (English Baroque Soloists; John Eliot Gardiner, cond.) Archiv 449 217 On This Day Births 1851 - French composer Vincent d'Indy, in Paris; 1892 - American composer and arranger Ferde Grofé, in New York; Deaths 1757 - possible death date for the Bohemian-born composer and violinist Johann (Jan) Wenzel (Waczlaw /Václav) Anton (Antonin/Antonín) Stamitz, age 39, in Mannheim; He was buried in Mannheim on March 30; 1975 - British composer Sir Arthur Bliss, age 83, in London; Premieres 1745 - Handel: oratorio "Belshazzar," at the King's Theater in London (Gregorian date: April 7); 1897 - Rachmaninoff: Symphony No. 1, in St. Petersburg, conducted by Alexander Glazunov (Julian date: Mar. 15); 1914 - Vaughan Williams: original version of Symphony No. 2 ("A London Symphony"), at Queen's Hall in London; 1917 - Puccini: opera "La Rondine" (The Swallow), in Monte-Carlo at the Opéra du Casino; 1925 - Edward Joseph Collins: Piano Concerto No. 1 in Eb, by the Chicago Symphony, Frederick Stock conducting and the composer as soloist; 1960 - Mayuzumi: "Mandala-Symphonie," in Tokyo; 1984 - Andrew Lloyd Webber: musical "Starlight Express," in London; 2001 - Kevin Volans: String Quartet No. 6, in London, by the Vanbrugh Quartet; Others 1808 - Franz Joseph Haydn makes his last public appearance at a performance of his oratorio "The Creation" in Vienna in honor of the composer's approaching 76th birthday; Beethoven and Salieri attend the performance and greet Haydn. Links and Resources On Haydn

Episode: 2197 Liszt, Petrarch, and St. Augustine.  Today, Liszt and Petrarch.