My takeaway from the movie Amadeus was that Salieri was an untalented composer. When I first heard his De Profundis I was blown away. And this is the best version I know. I play it at least weekly. Thanks sincerely!
The movie, i.e. Peter Shaffer's play, serves a purpose: exemplifying the relations between the mediocre and the outstanding. Nowhere does it claim historical correctness - it's a brilliant story, and nothing but. Salieri was a very good composer yet outshone by the prodigy Mozart, but he's found fair recognition over the past decades.
@@Straitsfan Amadeus was a good movie and it makes clear that its purpose is not to be taken seriously, since the beginning the comedic tone is evident. It also exposes classical music and Salieri to a wider audience, who then go on their own to find pieces like this. Not every period film is done to be accurate, some are done for fun and that's fine.
Yes! You might also like the singer of the high note in this video, too: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-H3v9unphfi0.html
2 года назад
This recording was made on the historic abbey church 'Saints Pierre et Paul', at Wissembourg, on October, 2012. This offertory, along with Salieri’s Requiem Mass in C, was performed by the following: The 'Project Choir of the regional council, the district of Karlsruhe and the Rhei-Neckar district' (145 singers). The Bruchsal Baroque Ensemble. Soloists Lydia Leitner, Rosemara Ribeiro, Jason Kim and Claus Temps.
The movie Amadeus was slander all the way around. It portrayed Mozart as a perverted brat and Salieri as a mediocre fiend. In reality, both Mozart and Salieri were touched by the gods. What a glorious era for music!
@@chaosfive55 Is it exactly like the Psalm though? I read the catholic prayer 'De profundis" and it's not like the psalm. It's about praying for the departed's sins to be forgiven account on peoples prayers. Maybe it's not the same thing. Anyway, i've edited my comment in the meantime. Because I don't have the time now to investigate and so forth. Unless, you perhaps have a score with direct translation I can look at? That would be great. Thanks.
That's not ominous at all. This psalm (other versions, of course) was sung in funerals before Tomas de Celano's "Dies Irae" replaced it in the fifteenth century.
Salieri was a popular wiennese composer and a well renowned teacher to Schubert and Beethoven - and to Mozarts youngest son - among others. He became the head of Wiennas finest music conservatoire and did work with Mozart on "The Abduction....". The story of him murdering Mozart must have found its inspiration in his delusions. Salieri became demented in his old age - and firmly convinced, that he had actually killed Mozart.
The truth is more complex--in real life, Salieri and Mozart were quite friendly to each other! Check this: en.wikipedia.org/wiki/Antonio_Salieri#Interaction_with_Mozart
Salieri was a very good composer quite close to be a great composer. Typically, as an Italian composer of his age, here he produces an impressive work where he doesn't work on the beautiful, powerful initial tune with the developments and modulations one can expect and desire. As a consequence, as a listener I remained both fascinated and disappointed. This "narrowness" is the gap between Salieri, Paisiello etc. on one side and Mozart and Haydn on the other.
Salieri was much better than just competent composer--some very nice stuff. But still it's like comparing a really good commercial artist to Rembrandt at his best to compare him to Mozart at his greatest. In that respect, though drastically overdramatized, the movie was correct. Salieri was no slouch. Mozart however was genuinely AMADEUS--beloved by God in terms of overwhelming talent.
