455:
479:
431:
52:
338:
310:
Museum of Music. The modern-day premiere with a soprano was performed on March 3, 2016 by
Vinicius Kattah (fortepiano), Ute Groh (baroque cello) and Kate Rafferty (soprano) at Das Klavier-Atelier von Gert Hecher in Vienna. Shortly afterward, on the same day, the International Mozarteum Foundation presented an edition of the work at the Mozart residence in Salzburg featuring a performance by Claire Elizabeth Craig (soprano) and Florian Birsak (fortepiano). The first performance at a concert directed to a general audience occurred in
204:, scheduled to premiere in June 1785, during the period she was unable to sing, and so the performance was postponed. Her recovery took three months. The cantata, composed in early Autumn, refers to Ofelia anticipating her performance. It is believed that Da Ponte and the composers wrote the cantata within a week, as Mme. Storace returned to the stage on September 19 in
309:
was ever performed in public prior to
February 16, 2016, when harpsichordist LukĂĄĆĄ Vendl gave a solo performance, without a soprano, before an audience of several dozen listeners in a large hall of the deconsecrated Baroque church (previously Church of St. Mary Magdalene) that now houses the Czech
646:
244:, the printed libretto reveals only the author's pseudonym, the year of publication, the printer's name (Joseph von Kurzböck) and the first letters of the surnames of the composers. As stated by the BBC, "its composers were identified in a code that has only recently been deciphered."
318:, following a conference moderated by Timo Jouko Herrmann. The concert, which took place on September 1, 2016, at the Royal Chappell of the National Museum of San JoaquĂn y Santa Ana, featured Spanish conductor and musician Ernesto Monsalve (harpsichord) and Sara RodrĂguez (soprano).
264:. It is false. Salieri did not poison Mozart, but they both worked in Vienna and were competitors... Here we have a short, not great, piece by Mozart, but at least something that really sheds new light on his daily life as an opera composer in Vienna.
833:
897:
239:
Found amongst a bevy of confiscated property acquired during the 1950s and bearing the names of Mozart and
Salieri "in a kind of signature code that was common at the time," according to Michal LukeĆĄ, General Director of the
195:, the short work is compelling evidence of what may indeed have been an amicable and cooperative relationship between Salieri and Mozart. The brisk, four-minute cantata consists of three parts, each by a different composer.
278:. And the third part is by Cornetti. This is also written in more pastoral style, much closer to that written by Salieri." Moreover, Herrmann concurs that the work "shows a quite friendly outcome between the two composers.
776:
884:
272:
The first part is by
Salieri and is written in pastoral style. The second part is written by Mozart. It involves a more march-like rhythmâthe beginning is reminiscent of his 1782 opera
227:
Mozart had a close professional relationship with the diva. The following year, before her return to her native
England, he composed a farewell concert aria for Mme. Storaceâ"
157:. It is speculated that "Cornetti" may refer to Alessandro Cornetti, a vocal teacher and composer active in Vienna at the time, or that it is a pseudonym of either Salieri or
807:
161:, a composer who organized the collaborative work to honor his famous sister. The music had been considered lost until November 2015, when German musicologist and composer
784:
198:
Madame
Storace was known for interpreting works by both Mozart and Salieri, as well as by her brother. Ofelia was a role that she was to sing in an opera by Salieri,
296:...(T)he story behind the music...holds more interest than the music itself, which is uniformly dull. The past remains the past, and rarely generates headline news.
687:
722:
349:(of 30) were set to music, the first two by Salieri, the third and fourth by Mozart, and again the first two by Cornetti. The asterisked footnote is Da Ponte's.
700:
856:
1017:
566:
946:
582:
212:â a performance the cantata clearly refers to in stanza 27 â and exactly a week later the cantata was announced in the local newspapers
624:
663:
952:
1022:
1027:
989:
The Dead Guy
Interviews: Conversations with 45 of the Most Accomplished, Notorious, and Deceased Personalities in History
482:
458:
434:
759:
251:
274:
341:
Obscure 1785 score, previously thought lost, discovered in the archives of the Czech Museum of Music in 2015
930:
910:
705:
478:
454:
430:
325:(soprano) and LukĂĄĆĄ Vendl (harpsichord) and was broadcast on March 13, 2016 by the Czech Radio affiliate
166:
1012:
967:
562:
228:
134:
34:
926:
718:
650:
283:
538:
485:
461:
437:
150:
42:
604:
187:
51:
996:
191:, and to welcome her back to the stage after a temporary loss of her singing voice owing to a
542:
241:
200:
56:
Display of the score, which was believed lost, at the Czech Museum of Music in Prague (2016)
861:
153:, and a third, unknown composer, Cornetti, to a libretto written by the Vienna court poet
8:
162:
326:
130:
73:
205:
922:
914:
165:
identified the score while searching for music by one of
Salieri's ostensible pupils,
337:
231:" (Will I forget you? ... Fear not, beloved), K. 505âand accompanied her as pianist.
322:
808:"Valladolid acoge el estreno mundial de la Ășnica obra escrita por Mozart y Salieri"
683:
247:
192:
154:
84:
185:, the Vienna-based, Anglo-Italian soprano destined to become the first Susanna of
763:
629:
513:
158:
146:
38:
757:"First musical presentation of the sensational discovery of Mozart and Salieri"
727:
723:"A Rediscovered Stravinsky Work, from Before He Made His Leap Into the Unknown"
554:
288:
260:
973:
958:
741:
1006:
992:
182:
756:
671:
181:
Conceived, written and composed to celebrate the newly recovered health of
980:
on YouTube, performed on harpsichord by LukĂĄĆĄ Vendl, February 16, 2016.
777:"Estrenan en España la cantata que Mozart y Salieri compusieron juntos"
311:
142:
114:
224:
The premiere of
Salieri's new opera finally took place on October 12.
829:
583:"Anna Selina (Nancy) StoraceâMozart's English rose and first Susanna"
898:"Czech Radio records and broadcasts exclusive premiere performance"
517:
608:
346:
221:
138:
110:
605:"Czech musician performs long-lost Mozart score for first time"
534:
170:
918:
315:
834:"Especial desde el Museo de Santa Ana por Mozart y Salieri"
960:
Vinicius Kattah of Tutti Mozart examines the discovery of
625:"âLost' Mozart and Salieri work performed again in Prague"
484:
Audio playback is not supported in your browser. You can
460:
Audio playback is not supported in your browser. You can
436:
Audio playback is not supported in your browser. You can
220:, which advertised copies for sale by Viennese publisher
514:"Mozart and Salieri 'lost' composition played in Prague"
688:"Lost Cantata Co-Written by Mozart and Salieri Found!"
983:
Hypothetical postmortem conversation with Mozart re
531:
Cabals and
Satires: Mozart's Comic Operas in Vienna
169:, in the archives of the Czech Museum of Music in
1004:
268:Of his discovery, Timo Jouko Herrmann has said:
229:Ch'io mi scordi di te? ... Non temer, amato bene
766:(presentation announcement), February 24, 2016.
690:, Catapulting into Classical, January 21, 2016.
664:Rediscovered Mozart Salieri cantata undermines
250:, Director of the Research Department at the
123:
23:
857:"Un hallazgo musical para redimir a Salieri"
854:
258:We all know the picture drawn by the movie
746:(first complete recording), March 3, 2016.
619:
617:
472:
300:
50:
953:International Music Score Library Project
599:
597:
595:
424:
415:Nel bel Tempio di Pan gli usati accenti.
448:
381:Porta un serto di fior del suo giardino.
336:
1018:Compositions by Wolfgang Amadeus Mozart
885:announcement of recording and broadcast
614:
577:
575:
129:(For the recovered health of Ophelia),
1005:
592:
402:Che fra tanti il tuo don l'ultimo sia.
282:As for the cantata's artistic merits,
828:
508:
506:
321:A recording of the piece was made by
913:, Mozart minore, February 19, 2016;
641:
639:
572:
368:Troverai de le Ninfe, e dei Pastori.
976:Per la ricuperata salute di Offelia
805:
755:Internationale Stiftung Mozarteum,
65:For the recovered health of Ophelia
13:
985:Per la ricuperata salute di Ofelia
962:Per la ricuperata salute di Ofelia
948:Per la ricuperata salute di Ofelia
855:JesĂșs BombĂn (September 2, 2016).
743:Per la ricuperata salute di Ofelia
503:
307:Per la ricuperata salute di Ofelia
252:International Mozarteum Foundation
125:Per la ricuperata salute di Ofelia
25:Per la ricuperata salute di Ofelia
14:
1039:
940:
647:"A discovery of world importance"
636:
900:, Krajské listy, March 11, 2016.
1023:Compositions by Antonio Salieri
903:
890:
877:
848:
822:
799:
769:
749:
734:
712:
693:
677:
656:
548:
523:
375:Vedrai tra gl'Inni e i cantici
1:
496:
362:Lascia le fonti, e i pascoli,
358:Lascia la greggia, o Fillide,
275:Die EntfĂŒhrung aus dem Serail
929:, ibid., February 25, 2016;
925:, ibid., February 22, 2016;
783:(in Spanish). Archived from
706:U.S. News & World Report
481:
457:
433:
234:
7:
933:, ibid., February 28, 2016.
931:"Patente e libretto, prego"
701:"The Czech Museum of Music"
332:
167:Antonio Casimir Cartellieri
10:
1044:
1028:Rediscovered musical works
911:"The text is on the table"
603:Muller, R., and Kahn, M.,
563:Cambridge University Press
176:
587:The Classical Music Guide
396:Tu prendi teco, ed ornalo
388:Inventrice della Medicina
106:
98:
90:
80:
69:
61:
49:
33:
20:
419:
394:Ch'ora ti scherza avanti
392:Quell'agnelletto candido
360:La greggia a te sĂŹ cara;
351:
210:Il Re Teodoro in Venezia
883:Czech Museum of Music,
806:ABC (August 31, 2016).
539:Oxford University Press
486:download the audio file
473:Cornetti's contribution
462:download the audio file
438:download the audio file
411:Empier d'amor le belve,
409:Quella cui vide Arcadia
398:Di rose, e di amaranti,
371:Ivi a la facil' Iside*,
301:Possible world premiere
151:Wolfgang Amadeus Mozart
762:March 7, 2016, at the
425:Salieri's contribution
377:Doni offerire, e voti,
373:Per man de' Sacerdoti,
342:
305:It is unclear whether
298:
280:
266:
124:
24:
921:, February 20, 2016;
915:"The text must go on"
787:on September 16, 2016
449:Mozart's contribution
407:Onor di queste selve,
400:Non vuĂČ, Fillide mia,
379:Perfin l'avaro Elpino
364:E vieni meco a l'ara,
340:
294:
270:
256:
242:Czech National Museum
201:La grotta di Trofonio
970:, February 17, 2016.
923:"Lo zoo di Da Ponte"
862:El Norte de Castilla
709:, February 16, 2016.
674:, February 19, 2016.
653:, February 17, 2016.
633:, February 16, 2016.
611:, February 16, 2016.
589:, November 14, 2007.
520:, February 16, 2016.
413:Oggi fia che ritenti
405:Oggi la vaga Ofelia,
145:composed in 1785 by
927:"Emanuele racconta"
214:Das WienerblÀttchen
163:Timo Jouko Herrmann
987:in M. A. Stusser,
366:Ivi adunati i cori
343:
218:Wiener Realzeitung
206:Giovanni Paisiello
1013:1785 compositions
887:, March 11, 2016.
731:, April 25, 2017.
490:
466:
442:
222:Artaria & Co.
193:nervous breakdown
120:
119:
1035:
978:
964:
951:: Scores at the
934:
907:
901:
894:
888:
881:
875:
874:
872:
870:
852:
846:
845:
843:
841:
826:
820:
819:
817:
815:
803:
797:
796:
794:
792:
773:
767:
753:
747:
738:
732:
716:
710:
697:
691:
681:
675:
660:
654:
643:
634:
621:
612:
601:
590:
579:
570:
559:Mozart Studies 2
552:
546:
527:
521:
510:
385:
248:Ulrich Leisinger
155:Lorenzo Da Ponte
127:
85:Lorenzo Da Ponte
54:
28:
27:
18:
17:
1043:
1042:
1038:
1037:
1036:
1034:
1033:
1032:
1003:
1002:
974:
959:
943:
938:
937:
908:
904:
895:
891:
882:
878:
868:
866:
853:
849:
839:
837:
827:
823:
813:
811:
804:
800:
790:
788:
775:
774:
770:
764:Wayback Machine
754:
750:
739:
735:
717:
713:
698:
694:
682:
678:
661:
657:
651:National Museum
645:KvapilovĂĄ, K.,
644:
637:
630:The Prague Post
622:
615:
602:
593:
580:
573:
553:
549:
529:Woodfield, I.,
528:
524:
511:
504:
499:
492:
491:
489:
475:
468:
467:
465:
451:
444:
443:
441:
427:
422:
417:
414:
412:
410:
408:
406:
404:
403:
401:
399:
397:
395:
393:
391:
390:
383:
382:
380:
378:
376:
374:
372:
370:
369:
367:
365:
363:
361:
359:
357:
356:
354:Canzone a Fille
345:The first four
335:
303:
237:
179:
159:Stephen Storace
147:Antonio Salieri
57:
22:
12:
11:
5:
1041:
1031:
1030:
1025:
1020:
1015:
1001:
1000:
981:
971:
956:
942:
941:External links
939:
936:
935:
902:
889:
876:
847:
821:
798:
768:
748:
740:Tutti Mozart,
733:
728:The New Yorker
711:
692:
676:
662:FraĆkovĂĄ, R.,
655:
635:
623:Johnston, R.,
613:
591:
571:
547:
522:
501:
500:
498:
495:
494:
493:
483:
480:
474:
471:
470:
469:
459:
456:
450:
447:
446:
445:
435:
432:
426:
423:
421:
418:
334:
331:
323:Irena TroupovĂĄ
302:
299:
289:The New Yorker
236:
233:
178:
175:
118:
117:
108:
104:
103:
100:
96:
95:
92:
88:
87:
82:
78:
77:
71:
67:
66:
63:
59:
58:
55:
47:
46:
31:
30:
9:
6:
4:
3:
2:
1040:
1029:
1026:
1024:
1021:
1019:
1016:
1014:
1011:
1010:
1008:
998:
994:
993:Penguin Books
990:
986:
982:
979:
977:
972:
969:
965:
963:
957:
954:
950:
949:
945:
944:
932:
928:
924:
920:
916:
912:
906:
899:
896:VanÄovĂĄ, A.,
893:
886:
880:
864:
863:
858:
851:
835:
831:
825:
809:
802:
786:
782:
781:codalario.com
778:
772:
765:
761:
758:
752:
745:
744:
737:
730:
729:
724:
720:
715:
708:
707:
702:
699:Janicek, K.,
696:
689:
685:
680:
673:
669:
667:
659:
652:
648:
642:
640:
632:
631:
626:
620:
618:
610:
606:
600:
598:
596:
588:
584:
578:
576:
568:
564:
560:
556:
551:
544:
540:
536:
532:
526:
519:
515:
509:
507:
502:
487:
477:
476:
463:
453:
452:
439:
429:
428:
416:
389:
355:
350:
348:
339:
330:
328:
324:
319:
317:
313:
308:
297:
293:
291:
290:
285:
279:
277:
276:
269:
265:
263:
262:
255:
253:
249:
245:
243:
232:
230:
225:
223:
219:
215:
211:
207:
203:
202:
196:
194:
190:
189:
184:
183:Nancy Storace
174:
172:
168:
164:
160:
156:
152:
148:
144:
140:
136:
132:
128:
126:
116:
112:
109:
105:
101:
97:
93:
89:
86:
83:
79:
75:
72:
68:
64:
60:
53:
48:
44:
40:
36:
32:
29:
26:
19:
16:
988:
984:
975:
961:
947:
909:Altare, M.,
905:
892:
879:
867:. Retrieved
865:(in Spanish)
860:
850:
840:September 1,
838:. Retrieved
836:(in Spanish)
824:
814:September 1,
812:. Retrieved
810:(in Spanish)
801:
791:September 1,
789:. Retrieved
785:the original
780:
771:
751:
742:
736:
726:
714:
704:
695:
679:
672:Radio Prague
665:
658:
628:
586:
561:(Cambridge:
558:
555:Keefe, S. P.
550:
530:
525:
387:
353:
352:
344:
320:
306:
304:
295:
287:
286:observed in
281:
273:
271:
267:
259:
257:
254:, has said:
246:
238:
226:
217:
213:
209:
199:
197:
186:
180:
135:solo cantata
122:
121:
45:and Cornetti
35:Solo cantata
21:
15:
991:(New York:
684:Gallant, C.
581:Selby, A.,
133:477a, is a
1007:Categories
719:Ross, Alex
497:References
312:Valladolid
143:fortepiano
115:fortepiano
995:, 2007),
830:Onda Cero
565:, 2015),
543:pp. 17â18
541:, 2019),
284:Alex Ross
235:Discovery
208:'s opera
70:Catalogue
760:Archived
668:scenario
518:BBC News
333:Libretto
99:Composed
91:Language
968:YouTube
869:May 17,
666:Amadeus
609:Reuters
512:Anon.,
347:stanzas
261:Amadeus
177:History
139:soprano
111:soprano
107:Scoring
94:Italian
62:English
39:Salieri
997:p. 185
567:p. 111
535:Oxford
327:Vltava
188:Figaro
171:Prague
43:Mozart
919:ibid.
420:Music
316:Spain
871:2021
842:2016
816:2016
793:2016
216:and
149:and
141:and
137:for
113:and
102:1785
81:Text
76:477a
966:on
386:*)
37:by
1009::
917:,
859:.
832:.
779:.
725:,
721:,
703:,
686:,
670:,
649:,
638:^
627:,
616:^
607:,
594:^
585:,
574:^
557:,
537::
516:,
505:^
329:.
314:,
292:,
173:.
131:K.
74:K.
41:,
999:.
955:.
873:.
844:.
818:.
795:.
569:.
545:.
533:(
488:.
464:.
440:.
384:â
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
