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Bibliografia Essenziale Su Antonio Salieri Ed Europa Riconosciuta

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Bibliografia Essenziale Su Antonio Salieri Ed Europa Riconosciuta BIBLIOGRAFIA ESSENZIALE SU ANTONIO SALIERI ED EUROPA RICONOSCIUTA a cura di Francesco Degrada A. Monografie, studi sulla vita e sul teatro W. B o l l e r t , Antonio Salieri und die italieni - di A. Salieri sche Oper, in id., Aufsätze zur Musikgeschich - L . Da Po n t e, M e m o r i e, New Yo r k , 1 8 2 3 - 2 7 ; te, Bottrop, 1938, pp. 43-128. 1 8 2 9 - 3 02 [tra le numerose edd. m o d e r n e : L . M . J. E . B r o w n , S chubert and Salieri, i n Da Po n t e, M e m o r i e. Libretti mozartiani, M i- «Monthly Musical Record», L X X X V I I I lano, Garzanti, 1976]. (1958), pp. 211-219. F. Ro c h l i t z , Antonio Salieri, Ne k r o l o g , in «All- K.M. Pisarowitz, Salieriana: eine streiflichten - gemeine Theaterzeitung und Unterhalt u n g s- de Dokumentarstudie, in «Mitteilungen der blatt für Freunde der Ku n s t , Literatur und Internationalen Stiftung Mozarteum», IX/3-4 des geseligen Lebens», XVIII/99 (1825), (1960), pp. 11-14. pp. 405-407. A .B o n o c c o r s i , Antonio Salieri e il suo Fal s t a f f , M. Kelly, Reminiscences of the King’s Theatre, in A . Damerini (a cura di), Volti musicali di L o n d o n , 1826 [ed. m o d . a cura di R. Fi s k e, Fal s t a f f , «C h i g i a n a » , XVIII (1961), pp . 23 - 3 1 . London, 1975]. A . B r a g a , Antonio Salieri tra mito e storia, I . F. E . von Mosel, Über das Leben und die Bologna, 1963. Werke des Antonio Salieri,Wi e n , 1827 [trad. E .S c h e n k , Salieris “L a n d s t u r m ” - Kantate von i t . in A . Della Corte, Un italiano all’estero: 1799 in ihren Beziehungen zu Beethovens Fi - Antonio Salieri,To r i n o, 1 9 3 6 , p p. 8 7 - 2 3 0 ; n . de l i o , in S. Kross und H. Schmidt (a cura di), e d . commentata a cura di R. A n g e r m ü l l e r, Colloquium amicorum: Joseph Schm i d t - G ö r g Bad Honnef, 1999]. zum 70. Ge b u r t s t a g , B o n n ,1 9 6 7 ,p p. 33 8 - 3 5 4 . W. Neumann, Antonio Salieri, Kassel, 1855. R . A n g e r m ü l l e r, Antonio Salieri und seine A . W.Th a y e r, Half a Dozen of Beethov e n ’s “Scuola di Canto”, in E. Schenk (a cura di), C o n t e m p o r a r i e s, I I : Antonio Salieri, i n «B e e t h o v e n - S t u d i e n » , Wi e n ,1 9 7 0 ,p p. 37 - 5 0 . «D w i g h t ’ s Journal of Music», XXIII (1863-64), R. Angermüller, Salieri als Hofkapellmeister, pp. 185-202;XXIV (1864-65),pp. 209-347 [ed. in «Österreichische Musikzeitschrift», X X V m o d . a cura di T. A l b r e c h t , S a l i e r i : Rival of (1970), pp. 305-311. Mozart, Kansas City, 1989]. O. Michtner, Das alte Burgtheater als Opern - G. N o t t e b o h m , B e e t h ov e n ’s Unterricht bei J. bühne von der Einführung des deutsch e n H ay d n , A l b r e chtsberger und Salieri, L e i p z i g Singspiels (1778) bis zum Tod Kaiser Leo - und Winterthur, 1873. polds II. (1792), Wien, 1970. A. Jullien, La cour et l’opéra sous Louis XVI, E. E. Swenson, “Prima la musica e poi le pa - Paris, 1878, pp. 151-322. role”: an Eighteenth-Century Satire, in «Ana- A.von Hermann, Antonio Salieri: eine Studie lecta Musicologica», 9 (1970), pp. 112-129. zur Gesch i chte seines künstlerischen Lebens, R . A n g e r m ü l l e r, Antonio Salieri: sein Leben Wien, 1897. und seine weltliche Werke unter besonderer C. Serini, Antonio Salieri, in «Rivista Italiana Be r ü ck s i c htigung seiner ‘grossen’ Opern, Mü n - di Musicologia», XXXII (1925), pp. 412-433. c h e n ,1 9 7 1 . G. Magnani, Antonio Salieri: musicista legna - J. Heinzelmann, “Prima la musica, poi le pa - ghese: 1750-1825, Legnago, 1934. r o l e ” : zu Salieris Wiener Opernparodie, i n A.Della Corte, Un italiano all’estero:Antonio «Österreichische Musikzeitschrift», X X V I I I Salieri, Torino, 1936. (1973), pp. 19-28. 256 E . E . S w e n s o n , Antonio Salieri: a Documen - D. L i n k , The Viennese Operatic Canon and tary Biography, D i s s. , Cornell University, M o z a r t ’s Così fan tutte, in «Mitteilungen Ithaca, 1974. der Internationalen Stiftung Mozarteum», R . A n g e r m ü l l e r, Salieris Gesellsch a f t s m u - XXXVIII (1990), pp. 111-121. s i k, in «Analecta Musicologica», 17 (1976), J. A. Ri c e , The Operas of Antonio Salieri as a pp. 146-193. Reflection of Viennese Opera, 17 7 0 - 1 8 0 0 , in D. J. R u s h t o n , S a l i e r i ’s Les Horaces: a Study of Wyn Jones (a cura di), Music in Eighteenth- an Operatic Fa i l u r e, in «Music Review», Century Au s t r i a, New York - Oxford, 1 9 9 1 , XXXVII (1976), pp. 266-282. pp . 21 0 - 2 2 0 . R. Angermüller, Salieris Vorbemerkungen zu T. Betzwieser, Exotismus und ‘Türkenoper’ in seinen Opern, in «Mitteilungen der Interna- der französischen Musik des Ancien Régime, tionalen Stiftung Mozarteum», X X V / 3 - 4 Laaber, 1993. (1977), pp. 15-33. B. B r i z i , Da Ponte e Salieri: a proposito del - E . Wa l t o n - M y e r s, Antonio Salieri’s La cifra, l’Axur re d’Ormus, in Omaggio a Gianfranco Diss., Northwestern University, 1977. Folena, Padova, 1993, pp. 1405-1429. R . A n g e r m ü l l e r, Salieris Tarare (1787) und T. B e t z w i e s e r, Exoticism and Po l i t i c s : B e a u - Axur re d’Ormus (1788): Vertonung eines m a r chais’ and Salieri’s Le couronnement de Sujets für Paris und Wi e n, in «Hamburger Tarare (1790), in «Cambridge Opera Jo u r- Jahrbuch für Musikwissenschaft», V (1981), nal», VI (1994), pp. 91-112. pp. 211-227. V. Della Croce e F. Blanchetti, Il caso Salieri, J. Platoff, Music and Drama in the Opera Buf - Torino, 1994. fa Finale: Mozart and His Contemporaries in L . K a n t n e r, Antonio Salieri rivale o modello Vienna, 1781-1790, Diss., University of Penn- di Mozart?, in A . B i n i , Mozart e i musicisti sylvania, 1984. italiani del suo tempo, Lucca, 1994, pp. 9-19. R.Angermüller, Antonio Salieri: fatti e docu - R . A r m b r u s t e r, Die Anspielungen auf Mo - menti, [Verona], Cassa di Risparmio di Vero- zarts Le nozze di Figaro in Antonio Salie- na, Vicenza e Belluno, 1985. ris Falstaff (1799), in «SMw», XLIV (1995), P.G. De Guidi, Antonio Salieri, Le g n a g o , 19 8 5 . pp. 209-288. J. Jo l y, Un fol opéra: “ Ta r a r e ” de Beaumar - R . A r m b r u s t e r, Zur Kölner Fassung von Sa - chais et Salieri, in J. - P. Capdevielle e P. - E . lieris “Falstaff oder Die drei Streiche”, in An - Knabe (a cura di), Les écrivains français et tonio Salieri: Falstaff, Köln, 1995. l’opéra, Köln, 1986, pp. 95-108. B. B r i z i , Il “ p a r e r e ” di Salieri sull’Axur re B. Brizi, Uno spunto polemico Calzabigiano: d ’ O r m u s, in A . Delfino (a cura di), Va r i e t à Ipermestra o Le Danaidi, in F. Marri (a cura d’harmonia et d’affetto:Studi in onore di Gio - di), La figura e l’opera di Ranieri de’ Calzabi - vanni Marzi per il suo LXX compleanno, gi, Livorno, 1987, pp. 119-145. Lucca, 1995. J.A. Rice, Emperor and Impresario: Leopold B. B r i z i , Libretti e partiture: a proposito del - II and the Transformation of Viennese Musi - l’Axur re d’Ormus di Lorenzo da Ponte (Sa - cal T h e a t e r, 1 7 9 0 - 1 7 9 2, D i s s. , University of lieri) e del Telemaco di Marco Coltellini California, Berkeley, 1987. (Gluck), in R.Borghi e P. Zappalà (a cura di), M. T. Muraro (a cura di), I vicini di Mozart, L’edizione critica tra testo musicale e testo let - Venezia, 1987 [comprende J. A. Rice, Rondò terario, Lucca, 1995, pp. 437-442. vocali di Salieri e Mozart per Adriana Ferra - D. H e a r t z , H ay d n , M o z a r t , and the Vi e n n e s e r e s e, p p.
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