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Rivalry? PRAGUE SINFONIA ORCHESTRA CHRISTIAN BENDA WOLFGANG Amadeusrivalry? MOZART : ANTONIO SALIERI 1756–1791 1750–1825

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Rivalry? PRAGUE SINFONIA ORCHESTRA CHRISTIAN BENDA WOLFGANG Amadeusrivalry? MOZART : ANTONIO SALIERI 1756–1791 1750–1825 MOZART : SALIERI Rivalry? PRAGUE SINFONIA ORCHESTRA CHRISTIAN BENDA WOLFGANG AMADEUSRivalry? MOZART : ANTONIO SALIERI 1756–1791 1750–1825 1 MOZART Don Giovanni K.527 | Dramma giocoso in two acts Overture – Andante – Molto allegro 5.50 2 SALIERI Prima la musica, poi le parole | Divertimento teatrale Sinfonia – Allegro con brio 2.26 3 MOZART Der Schauspieldirektor K.486 | Singspiel in one act Overture – Presto 3.49 4 SALIERI La fiera di Venezia | Commedia per musica in three acts | Sinfonia – Allegro assai 6.22 5 MOZART Die Zauberflöte K.620 | Opera in two acts Overture – Adagio/Allegro 6.16 6 SALIERI Les DanaÏdes | Tragédie lyrique in five acts Sinfonia – Andante maestoso/Allegro assai 5.42 MOZART Symphony No. 38 in D major K.504 “Prague” 7 I. Adagio/Allegro 15.37 8 II. Andante 9.35 9 III. Finale. Presto 7.24 2 10 MOZART Le nozze di Figaro K.492 | Opera buffa in four acts Overture – Presto 4.17 11 SALIERI Axur, re d’Ormus | Dramma tragicomico in five acts Sinfonia – Allegro 3.04 12 MOZART La clemenza di Tito K.621 | Opera seria in two acts Overture – Allegro 4.19 13 SALIERI Palmira, regina di Persia | Dramma tragicomico in two acts Overture – Allegro presto 3.13 MOZART 6 German Dances K.509 14 No. 1 in D major 1.57 15 No. 2 in G major 1.51 16 No. 3 in E-flat major 1.44 17 No. 4 in F major 1.56 18 No. 5 in A major 2.41 19 No. 6 in C major 3.44 SALIERI | MOZART | CORNETTI Per la ricuperata salute di Ofelia K.477a | Cantata for soprano, strings, winds, horns & harpsichord (Orchestration: Christian Benda) 20 SALIERI Andante pastorale – Da capo a piacere 3.24 21 MOZART Andante 1.38 22 CORNETTI Larghetto 1.42 DAGMAR WILLIAMS soprano 3 23 MOZART Die Entführung aus dem Serail | Singspiel in three acts Overture – Presto – Andante – Primo tempo 6.23 MOZART Symphony No. 35 in D major K.385 “Haffner” 24 I. Allegro con spirito 5.33 25 II. Andante 9.33 26 III. Menuetto – Trio 3.26 27 IV. Finale. Presto 3.39 PRAGUE SINFONIA ORCHESTRA CHRISTIAN BENDA Recorded: 1–2 February 2017, Teatro Dante Alighieri, Ravenna, Italy (2–4, 7–9, 10, 12, 13), 6–27 April 2017, Collbenka 1704, Prague, Czech Republic (1, 5, 6 ,11, 14–22) Executive producer: Martin Korn · Engineer: Michael Rast · Producer: Kateřina Chobotová · Total time: 2:07:22 Artwork: Christine Schweitzer · Cover photo: g stock up/shutterstock.com Booklet photos: Flavio Frascarelli (Ch. Benda), František Tóth (O. & V. Havel), Massimo Pozzi (Orchestra) P & g 2019 Sony Music Entertainment Switzerland GmbH 4 CHRISTIAN BENDA, OLGA AND VÁCLAV HAVEL at Prague Castle 5 Mozart : Salieri The names Mozart and Salieri immediately bring to mind the romantic The names Mozart and Salieri immediately bring to mind the romantic fiction which has dwelt on hearts and minds since Mozart's untimelydeath in fiction which has dwelt on hearts and minds since Mozart's untimelydeath in 1791. Mozart was a free spirit, surrounded by a narrow-minded and spirit- 1791. Mozart was a free spirit, surrounded by a narrow-minded and spirit- ually-limited courtiers’ world; Mozart, the rebel against imperial authority, ually-limited courtiers’ world; Mozart, the rebel against imperial authority, who was poisoned by a murderer as yet unrevealed; Mozart, whose body who was poisoned by a murderer as yet unrevealed; Mozart, whose body was tossed into an anonymous pauper’s grave, to cover up the traces of the was tossed into an anonymous pauper’s grave, to cover up the traces of the crime. Salieri, on the other hand, who embodied everything the hot-headed crime. Salieri, on the other hand, who embodied everything the hot-headed Mozart detested, was the archetypical courtier, kowtowing to his superiors, Mozart detested, was the archetypical courtier, kowtowing to his superiors, dishing it out to his subordinates, scheming and envious, a mediocre dishing it out to his subordinates, scheming and envious, a mediocre composer so jealous of Mozart’s genius that he eventually poisoned him. composer so jealous of Mozart’s genius that he eventually poisoned him. Although some of this may possibly be true, overall it is romantic fiction, Although some of this may possibly be true, overall it is romantic fiction, which arose when old Salieri, delirious on his deathbed, accused himself which arose when old Salieri, delirious on his deathbed, accused himself of having murdered Mozart. This rumour circulated in Vienna: it can be of having murdered Mozart. This rumour circulated in Vienna: it can be found in Beethoven's Conversation Notebooks, where the latest “news” on found in Beethoven's Conversation Notebooks, where the latest “news” on the topic is mentioned. Salieri himself denied this statement. Tearfully the topic is mentioned. Salieri himself denied this statement. Tearfully he explained to his student, Ignaz Moscheles, “Mozart, – you know, I am he explained to his student, Ignaz Moscheles, “Mozart, – you know, I am supposed to have poisoned him. But no, it’s malice, nothing but malice. supposed to have poisoned him. But no, it’s malice, nothing but malice. Tell the world, dear Moscheles, old Salieri, who is about to die, told you Tell the world, dear Moscheles, old Salieri, who is about to die, told you so himself.” so himself.” Recent research suggests other suspects – the Freemasons, for example. Recent research suggests other suspects – the Freemasons, for example. Mozart had shamelessly pressed his lodge brothers for loans, possibly Mozart had shamelessly pressed his lodge brothers for loans, possibly seduced one or the other's wife during piano lessons, and, last but not seduced one or the other's wife during piano lessons, and, last but not least, made their secret rituals public in his Magic Flute. However, no valid least, made their secret rituals public in his Magic Flute. However, no valid evidence has yet been found. evidence has yet been found. 6 The names Mozart and Salieri immediately bring to mind the romantic 1832 play Mozart and Salieri can be found all the motives still flourishing fiction which has dwelt on hearts and minds since Mozart's untimelydeath in today: craftsmanship versus genius – Mozart, the unworthy vessel of divine 1791. Mozart was a free spirit, surrounded by a narrow-minded and spirit- inspiration, to whom everything comes without effort; and Salieri, who ually-limited courtiers’ world; Mozart, the rebel against imperial authority, achieves nothing despite his hard work, and turns murderer out of “artistic who was poisoned by a murderer as yet unrevealed; Mozart, whose body envy”. The same constellation appears in Peter Shaffer’s 1979 play Amadeus, was tossed into an anonymous pauper’s grave, to cover up the traces of the whose 1984 movie version by Milos Forman became one of the greatest crime. Salieri, on the other hand, who embodied everything the hot-headed film successes of the 1980s, winning eight Oscars. Mozart detested, was the archetypical courtier, kowtowing to his superiors, The play and the film revived the myth of the poisoning, which had dishing it out to his subordinates, scheming and envious, a mediocre proved to be unfailingly effect ive. Possibly not quite so in the minds of composer so jealous of Mozart’s genius that he eventually poisoned him. the authors: as Pushkin's romantic concept is expressed to such a degree Although some of this may possibly be true, overall it is romantic fiction, that one might suspect a hidden intent of parody or satire. which arose when old Salieri, delirious on his deathbed, accused himself So what truth is there to this story? There must have been occasional of having murdered Mozart. This rumour circulated in Vienna: it can be jealousies between the established court music director Salieri and the found in Beethoven's Conversation Notebooks, where the latest “news” on newcomer Mozart, who as a freelance artist stirred up the Viennese the topic is mentioned. Salieri himself denied this statement. Tearfully scene. However, evidence of high mutual esteem is well documented: Salieri he explained to his student, Ignaz Moscheles, “Mozart, – you know, I am arranged numerous Mozart performances; he conducted the premiere of supposed to have poisoned him. But no, it’s malice, nothing but malice. the Great G minor Symphony himself. And Mozart reports enthusiastically Tell the world, dear Moscheles, old Salieri, who is about to die, told you in his last letter to his wife Constanze on 14th October 1791: “He listened so himself.” and looked with all his attention, and from the overture to the last choir Recent research suggests other suspects – the Freemasons, for example. there was not a piece that didn’t elicit a ‘Bravo!’ or ‘Bello!’ out of him.” Mozart had shamelessly pressed his lodge brothers for loans, possibly After Mozart’s death, his son became Salieri’s pupil. seduced one or the other's wife during piano lessons, and, last but not The clearest evidence of a balanced relationship between Mozart and least, made their secret rituals public in his Magic Flute. However, no valid Salieri is a joint composition: the cantata Per la ricuperata salute di Ofelia. In evidence has yet been found. 1785, the Viennese music publisher Artaria announced its publication The myth of Mozart’s poisoning by Salieri survives so persistently thanks and mentioned a third composer: Cornetti; the name was in italics, in all also to many prominent advocates, including Alexander Pushkin. In his likelihood a pseudonym. To this day, his identity remains unresolved. Various names have been put forward – even Emperor Joseph II in person. Howev- 7 er, a lot speaks for the singer and composer Stephen Storace: his sister WOLFGANG AMADEUS MOZART Painting by Barbara Krafft (1819) 8 Mozart : Salieri Fallen die Namen Mozart und Salieri, wird die romantische Fiktion auf- Die Legende von der Vergiftung Mozarts durch Salieri hält sich auch gerufen, die seit Mozarts vorzeitigem Tod im Jahr 1791 Köpfe und Herzen durch die vielen prominenten Fürsprecher, wie Alexander Puschkin, so beschäftigt: Mozart, der Freigeist, umgeben von der engen und geistig be- hartnäckig.
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