See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

ANTONIO See also:

• ANTONIO SALIERI (1750-1825)

SALIERI (1750-1825)  , See also:

• ITALIAN

Italian composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LEGNANO

Legnano, on the 19th of See also:

• AUGUST (originally Sextilis)

August 1750 . His See also:

• FATHER

father was a See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant who died a bankrupt . Through the See also:

• FAMILY

family of See also:

• MOCENIGO

Mocenigo he obtained See also:

• FREE

free See also:

• ADMISSION

admission to the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir school of St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark's, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . In 1766 he was taken to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna by F . L . Gassmann, who introduced him to the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph . His first See also:

• OPERA (Italian for " work ")

opera, Le See also:

• DONNE, JOHN (1573–1631)

Donne letterate, was produced at the See also:

• BURG

Burg-Theater in 177o . Others followed in rapid See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession, and his Amides (1771) was a triumphant success . On Gassmann's See also:

• DEATH

death in 1774, he became Kapellmeister and, on the death of See also:

• BENNO (Ioro—r xo6)

Benno in 1788, Hofkapellmeister . He held his offices for fifty years, though he made frequent visits to See also:

• ITALY
• ITALY (Italia)

Italy and See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and composed See also:

• MUSIC

music for many See also:

• EUROPEAN

European theatres . His chef d'oeuvre was literate (afterwards called Axur, re d'Ormus), a See also:

• WORK

work which was preferred by the public of Vienna to See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's See also:

• DON
• DON (anc. Tanais)

Don Giovanni . It was first produced at Vienna on the 8th of See also:

• JUNE

June 1787, and was revived at See also:

• LEIPZIG

Leipzig in 1846, though only for a single See also:

• REPRESENTATION

representation .

His last opera was See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Neger, produced in 1804 . After this he devoted himself to the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church music, for which he had a very decided See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent . See also:

• SALIERI, ANTONIO (1750-1825)

Salieri lived on friendly terms with See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn, but was a See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter enemy to Mozart, whose death he was suspected of having produced by See also:

• POISON

poison; but no See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence was ever forthcoming to give See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour to the See also:

• ACCUSATION (Lat. accusatio, accusare, to challenge to a causa, a suit or trial at law)

accusation . He retired from See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office on his full See also:

• SALARY

salary in 1824, and died at Vienna on the 7th of May 1825 . Salieri gave lessons in composition to See also:

• CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini and to See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven, who dedicated to him his " Three Sonatas for See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

Pianoforte and See also:

• VIOLIN

Violin," Op . I2 . See also See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert von See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann, See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Salieri, eine Studie (1897) ; J . F . Edler von See also:

• MOSEL (Fr. Moselle)

Mosel, Uber das Leben and die Werke See also:

• DES

des Antonio Salieri (Vienna, 1827) .