On the strange influence on the art

[mezon]

Сообщение от Jasmin

Question about Mozart and Salieri - the eternal question, it is no answer. As to the question about the meaning of life ...

    You did not talk about the meaning of life, but about some pop. Regarding the relationship of Mozart and Salieri, it all depends on Salieri and he can resolve this issue.

[color="# 666686"]Added after 5 minutes[/color]

Сообщение от Cyril Syzransky

I, yes.
Salieri wrote over 40 operas, of which up to now enjoy an excellent reputation "Danaus" (born Les Danaïdes; 1784), "Tarar, (born Tarare; 1787, libretto by Beaumarchais), and Falstaff (born Falstaff; 1799). Especially for the opening of La Scala opera he wrote a "Recognized in Europe" (Italian: L'Europa riconosciuta; 1786), where she sang at the premiere of Francesca Lebrun, and to this day is on the scene. Early opera Salieri conditioned in classical Italian tradition, but with the 1780-ies Salieri evolves in the direction of Gluck, making his opera enjoyed great success in Conquered Gluck Paris. Salieri also owns a lot of orchestral, chamber, sacred music, including "Requiem", written in 1804 but first performed at his funeral.
Furthermore, Salieri was an outstanding music educator. His pupils were Beethoven, Schubert, Liszt, Czerny, Meyerbeer, Hummel, and other prominent composers of the beginning of XIX century. Salieri's relationship with his students were very warm and emotional (it is believed that Liszt's departure from Vienna was the reason for a failed suicide attempt Salieri in 1824).
Incidentally, I always feel about Pushkin's Salieri, as a generic name than the historical. Pushkin was very loosely assigned to this legend, and in Boris Godunov, the murder of Tsarevich Dmitry treats as his advantage dramatic.

  Thus Salieri was not a negative character, but his music was not bad. It follows a "negative" rehabilitated ... already good.