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Antonio Salieri Stefanie Attinger, Krüger & Ko Aufnahme / Recording: World Premiere Recordings 28./29.1.07; 29./30.9.07; 28./29.10.07 Gesellschaftshaus Heidelberg, Pfaffengrund Toningenieur und Schnitt / Sound engineer and editing: Eckhard Steiger, Tonstudio van Geest, Sandhausen Musikalischer Berater und Einführungstext / Music consultant and critical editions: Timo Jouko Herrmann English Translation: Für weitere Informationen / For further information: Dr. Miguel Carazo & Association Mannheimer Mozartorchester - Tourneebüro Foto / Photo: Classic arts gmbh · Bergstr. 31 · D-69120 Heidelberg Rosa-Frank.com Tel.: +49-(0) 6221-40 40 16 · Fax: +49-(0) 6221-40 40 17 Grafik / Coverdesign: [email protected] · www.mannheimer-mozartorchester.de Antonio Salieri Stefanie Attinger, Krüger & Ko. Vol. 1 & 2007 hänssler CLASSIC, D-71087 Holzgerlingen Ouvertüren & Ballettmusik Mit freundlicher Unterstützung von Prof. Dr. Dietrich Götze, Heidelberg Overtures & Ballet music Außerdem erschienen / Also available: Felix Mendelssohn Bartholdy Symphony No. 1 C Minor op. 11 / String Symphony No. 8 (Version with winds) / String Symphony No. 13 (Symphonic Movement) Heidelberger Sinfoniker / Thomas Fey CD-No. 98.275 Felix Mendelssohn Bartholdy Symphony No. 4 „Italian“ / String Symphonies Nos. 7 & 12 Heidelberger Sinfoniker / Thomas Fey CD-No. 98.281 Eine große Auswahl von über 700 Klassik-CDs und DVDs finden Sie bei hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Downloadmöglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern Mannheimer Mozartorchester unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Thomas Fey Enjoy a huge selection of more than 700 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. E-mail contact: [email protected] Seite 2 Eine Renaissance in Raten ren. Ich sichtete und edierte die lange verges- Einige persönliche Gedanken zur Entstehung dieser CD senen Handschriften, er machte sich mit Enthu- von Timo Jouko Herrmann siasmus und großer Sorgfalt an die musikalische Verwirklichung. Die vorliegende CD stellt nun ntonio Salieris Bühnenwerke galten lange den ersten Höhepunkt dieser intensiven Ausein- als Musterbeispiele musikdramatischer andersetzung mit Salieris Werk dar. Dem Label Kunst.A Viele seiner Opern wurden nahezu ver- hänssler CLASSIC ist es nicht hoch genug anzu- göttert und mit zum Besten gerechnet, was in rechnen, dass er dieses ehrgeizige Vorhaben so der Musik je hervorgebracht wurde. Ab Mitte vorbehaltlos unterstützt und die Produktion die- des 19. Jahrhunderts gerieten sie jedoch nach ser CD ermöglicht hat. Möge der Name Salieri und nach in Vergessenheit. Statt ihrer klang- etwas von jenem erhabenen Glanz zurückerhal- vollen Titel wurde eine verleumderische Ge- ten, der ihm einst zueigen war. DEUTSCH schichte zum ständigen Begleiter des einst in so hohen Ehren gehaltenen Namens Salieri. Nach- dem auch die letzten Weggefährten des Musi- „Der Sohn vom Ritter Gluck“ kers gestorben waren, gab es keine Zeitzeugen mehr, die sein Ansehen hätten verteidigen kön- o lautet der Titel einer 1837 erschienenen nen. Oft wurde dann über Salieris Werk der Stab Künstler-Novelle, mit der Leopold Schefer gebrochen, ohne dass einer der vielen selbst er- seinemS einstigen Kompositionslehrer Antonio nannten Richter seine Partituren jemals in Hän- Salieri ein literarisches Denkmal setzte. In der Tat den gehalten hätte. war Christoph Willibald Gluck einer von Salieris Mit Peter Shaffers Amadeus und dem darauf ba- wichtigsten Mentoren in Wien. Salieris erstes öf- sierenden Kinoerfolg von Miloš Forman erhielt fentliches Bekenntnis zu Glucks Opernreform die Mär vom „Patron der Mittelmäßigkeit“ neue war die 1771 entstandene Armida, ein herausra- Nahrung. Fasziniert von dem großartigen Film, gendes Werk von beeindruckender Individualität begann ich, mich für den „historischen“ Salieri und Kraft, das schnell Bewunderer in ganz Eu- zu interessieren und war überrascht: So gut wie ropa fand. Gleich in der Ouvertüre (1) betrat Sa- nichts, was über Salieri erzählte wurde, schien lieri Neuland: Dem Gluck‘schen Ideal entspre- den gut dokumentierten Tatsachen zu entspre- chend sollte das Vorspiel auf die Handlung chen. einstimmen, doch Salieri ging einen Schritt wei- Durch einen glücklichen Zufall traf ich vor eini- ter und schrieb eine Sinfonia in Pantomima. Der gen Jahren Thomas Fey, der sich sofort für Salieri Musikwissenschaftler Carl Friedrich Cramer gab begeisterte. Voller Elan machten wir uns daran, im Vorwort zum 1783 publizierten Klavierauszug Salieris Musik wieder im Konzertsaal zu etablie- der Oper Salieris Idee aufs Genaueste wieder: 2 98.506_Salieri.indd 2 16.11.2007 12:44:18 Uhr Seite 3 „In der Simphonie zu dieser Oper hat man in prigionieri di Cipro (3-7) erzählt die Geschichte der Musik dasjenige auszudrücken versucht, was des Sklaven Pafio, der sich stellvertretend für unmittelbar vor dem Augenblicke vorher gehen sein Volk opfert und im Amphitheater gegen muß, wo die Handlung derselben beginnt; näm- einen gewaltigen Löwen kämpfen soll. Seine Ge- lich Ubaldos Ankunft zu Armida’s Insel, durch liebte Mirra stürzt sich verzweifelt in die Arena, den dicken, dunkeln Nebel, der sie umgiebt, die um an der Seite ihres Mannes zu sterben. Über- bewachenden Ungeheuer, die ihn beym Fuße wältigt von so viel Heldenmut und Liebe eilt man der Klippe anfallen, um ihn zu erschrecken; das den beiden zu Hilfe und besiegt gemeinsam das entsetzliche Geheul, die Verwirrung, mit der sie Untier. Die Gefangenen werden begnadigt, man über Hals und Kopf in die Flucht gestürzt wer- feiert den glücklichen Ausgang mit Tänzen. Sali- den, indem er den bezauberten Schild ihnen eri hatte sich für sein Tanztheater an Glucks be- bloß entgegen hält; die Mühe und äußerste An- rühmten Ballettpantomimen orientiert und deren strengung, mit welcher er den überhängenden Eigenheiten weiterentwickelt. Auffällig sind die Klippengipfel ersteigt; seinen schnellen Fort- Tendenz zu durchkomponierten Komplexen schritt endlich auf dem Rücken des Bergs, hin zu sowie der stark gestische Charakter der Ballett- einer anmuthigen und bezaubernden Gegend.“ musik. Das Werk galt lange Zeit als verschollen DEUTSCH Auch die Azione pastorale Daliso e Delmita aus und konnte erst vor kurzem aus verstreuten Ein- dem Jahre 1776 ist in der Nachfolge von Glucks zelnummern rekonstruiert werden. Die Sätze Wiener Werken zu sehen. Die opulent instru- 11-13 des insgesamt 16 Nummern umfassenden mentierte Ouvertüre (2) weist vor allem Paral- Balletts sind bis heute nicht bzw. nur in Frag- lelen zu jener aus Glucks Paride ed Elena auf, die menten wieder aufgetaucht. Salieri sicherlich gekannt hat. Hier wie dort fin- Nach Salieris Rückkehr aus Italien beauftragte den sich große akkordische Gesten, fein timb- ihn Kaiser Joseph II., ein Singspiel zu schreiben, rierte Zwischentöne und ausgedehnte Sturm- um der angeschlagenen deutschen Opernunter- und Drang-Passagen. nehmung neuen Auftrieb zu geben. Salieri schlug Auf Glucks Empfehlung hin hatte Salieri den eh- vor, seine frühere Oper Daliso e Delmita über- renvollen Auftrag übernommen, die Festoper zur setzen zu lassen, der Monarch aber bestand auf Eröffnung des neu erbauten Teatro alla Scala in einem „Original-Singspiel“. So schrieb Salieri Mailand zu schreiben. Am 3. August 1778 ging seine erste deutsche Oper Der Rauchfangkehrer. dort sein Dramma per musica L’Europa rico- Das 1781 uraufgeführte Werk wurde überaus nosciuta über die Bühne. Zwischen den beiden günstig aufgenommen. Carl Friedrich Cramer Akten des Dramas wurde ein Ballett gegeben, berichtete in seinem Magazin der Musik, dass das ein zentrales Handlungselement der Oper das eher schwache Libretto „so vortrefflich in tänzerisch paraphrasierte. Pafio e Mirra ossia I Musik gesetzt wurde, daß die Oper über zwölf 3 gehört ans Ende! 98.506_Salieri.indd 3 16.11.2007 12:44:18 Uhr Seite 4 und mehrmale vorgestellt worden und jederzeit zur Ausführung sinnt. – Freudentanz der Töchter. allgemeinen Beifall davon getragen hat; [...]“. – [...] – Der Vater entdeckt den Töchtern seine Eine interessante Parallele entdeckte 1897 der Rache. Eine schaudervolle Music. – Sie schwö- Musikwissenschaftler Albert v. Hermann: „Be- ren bey der Nemesis. – [...] – Panket – Tau- sondere Erwähnung verdient die Ouverture [...] melnde Music. Sie ladet zum Schlaf ein. – Mas- als Instrumentalstück von prickelndem Reiz; in- sacre! Massacre! Mordgeschrey! Wut! Rache! teressant ist der Vergleich mit der ,Figaro’-Ou- – Höllenstraf. [...] Man hört das Jammergeschrey vertüre Mozarts, die – im selben Takt, Tonart, der Töchter! Geisselstreiche. Das Zischen der Tempo, in der gleichen Tonart – wie jene zum Furien.“ ,Rauchfangkehrer’ mit einem leisen Geigen- Für die festlichen Hochzeitsszenen der Oper Unisono beginnt, das rasch aufflattert und sofort schuf Salieri eine Reihe fein instrumentierter Bal- wieder zum Grundton zurückkehrt. Die Eintritte lettnummern. Ein zartes, von Oboen- und Fa- DEUTSCH der Bläser, der Einsatz des vollen Orchesters – gottklang dominiertes Un poco adagio (10) er- alles stimmt überein.“ (8) öffnet den Reigen. Das Un poco andante (11) Da Gluck gesundheitlich schwer angeschlagen kommt als Kontrast in beinahe barockem Gestus war, bat er Salieri 1783, seinen aktuellen Auftrag daher. An ein Rondo erinnert das Allegretto (12) für die Pariser Oper zu übernehmen. Um einen aus dem dritten Akt, es besticht vor allem durch Skandal zu vermeiden,
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