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Mozart and Salieri, probably the best known of Pushkin's `Little Tragedies', was written in 1830 during the peak of the poet's creative powers. Like the other Little Tragedies it is a `closet drama' which concentrates on the devastating effects of an all-consuming human passion, in this case envy. Mozart and Salieri typifies Pushkin's implicational technique of character construction: the salient points of a fictional psyche are highlighted sufficiently to suggest inner depth while stopping short of precise concretication; this allows full play to lectorial inference on a plurality of connotational levels - thematic, psychological and sociological. The present work, the first of its kind in English, isolates two major thematic dominants in the play - envy and music - and these form the focus for its aesthetic and psychological preoccupations respectively. A variety of psychological approaches are brought to bear on the play's protagonists including adaptations of the theories of Freud, Adler, Jung and Klages. The readiness with which these contrastive but complementary approaches yield new insights into the nature and motivations of the protagonists of Mozart and Salieri points to a work of profound cultural significance, something all the more remarkable given its modest compass. The sociological and anthropological approaches applied to the drama in this study dwell particularly on theories of social interaction and theories of alienation, anomie and suicide. Pushkin has often been regarded as an enigmatic phenomenon in the west, the compactness and economy of his works often seeming at odds with the degree of impact which they have made on subsequent generations of Russian writers. The present work seeks to lay bare what is typical for Pushkin: the intimation of great psychological and philosophical truths via a superficially unassuming medium. It is not surprising, therefore, that the influence of Pushkin's Mozart and Salieri, and of the aesthetic and ideological positions they represent, can be felt in the works of later Russian writers, notably Dostoyevsky.
In 1863-64, the author penned what remains today the most extensive biography of Antonio Salieri in the English language. In a lively style, abounding with wit and commentary on current events, the author presents a thorough account of Salieri's life, dealing objectively with such controversial issues as his supposed "boycott" of Mozart's Marriage of Figaro, his obstruction of Mozart's desired appointment at court, his alleged poisoning of Mozart, and the delusions which Salieri suffered during his mental and physical decline in old age. Viewed against the backdrop of long-time Hapsburg patronage of Italian opera in Vienna, Salieri emerges as an industrious composer of musical comedy and drama to suit the imperial taste. For the first time he becomes a recognizable human being, a loving husband and father, a light-hearted friend, as well as a generous teacher. At the same time, however, Salieri remained politically astute, even cunning, in furthering his own career. Thayer's compelling narrative includes liberal quotes from associates who knew Salieri well, in addition to many personal reminiscences by the composer himself. This new, updated and enlarged edition also contains several appendices which Thayer was forced to omit from the original, including Salieri's essays on his teacher Gluck and on methods of string playing, as well as observations on the aged Salieri's behavior by his two male nurses.
A Study Guide for Wolfgang Amadeus Mozart and Antonio Salieri's "Amadeus" (lit-to-film), excerpted from Gale's acclaimed Drama for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama for Students for all of your research needs.
Since the late 1970s, more than 200 biographical plays about famous artists (composers, fine artists, poets, actors etc.) were written and staged in the United Kingdom. The book analyses the range of these plays, arguing that the dramatists often place the main artist character(s) in an adverse situation, inward (e.g., mental illness) or outward (a personal enemy, or an anonymous power, such as war). Against the background of such adverse forces, the artist characters tend come across as flawed human beings. At the same time, most plays take care to provide good insights into the artists’ genius and their artistic integrity in the face of the adversity. The book also addresses the question why there have been so many biographical plays about famous artists over the past twenty-five years, providing answers in the context of theatre history and developments across academic disciplines and society as a whole.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
Following the author's acclaimed biographical dictionaries on Schubert and Mozart, 'Beethoven and His World' offers an extremely comprehensive and up-to-date survey of the composer's relations with a multitude of persons with whom he associated on a personal or professional basis: relatives,friends, acquaintances, librettists, poets, publishers, artists, patrons, and musicians. With more than 450 entries, the dictionary is the result of a wide-ranging examination of primary and secondary sources, and critically assesses the use which scholars have made of the considerabledocumentation now available. In particular, there are numerous references to Beethoven's correspondence and conversation books, which have recently been published in excellent new editions. The book places the composer and his music in a fuller context and a wider perspective than might bepossible in a traditional biography; it will appeal to all music lovers, both the scholar and the non-specilaist alike.
Although some portions of Thayer's original text have been deleted because recent Beethoven research has proved them inaccurate, "the majority of the text used consists of the coordinated treatment of Thayer's notes and manuscript by these three editors [H. Deiters, H. Riemann, and H. Krehbiel]" with additions and corrections by the present editor.