FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W277712285> ?p ?o ?g. }

• W277712285 startingPage "17" @default.
• W277712285 abstract "Antonio Salieri composed a Requiem Mass in 1804 for own obsequies twenty-one years before death in 1825. Advance preparation of funeral music by a composer for himself is an unusual act. One other composer who did this was Guillaume Dufay, who left instructions in will for the performance of Requiem pro defunctis (1) on the day after funeral. Of course, there are examples of a Requiem commissioned by a patron, which, because of circumstances, took on a personal meaning for the composer. Here, we think of Mozart and possibly Michael Haydn. As Haydn composed Requiem for Count Schrattenbach, who died in December, 1771, he surely thought of only daughter, who had died earlier that year before reaching the age of one. Salieri's reasons for writing death mass at this point in life are unclear. Rudolph Angermuller believes it to be his way of withdrawing from public life as a composer, (2) citing the end of operatic work and turn to church music and more intimate forms. So, did a retirement from the hurly-burly world of opera prompt him to contemplate own mortality and think about funeral service? Possibly. At the same time, religious faith may have motivated Salieri to anticipate departure from the temporal world and to prepare for entry into the next world. Evidence for this is examined below. He also may have had in mind the fate of Florian Leopold Gassmann, mentor and predecessor as Hofkapellmeister. Gassmann died prematurely, like Mozart, leaving Requiem Mass incomplete. It has been suggested that Gassmann, who had been ill for at least a year before death, was thinking of it for himself. (3) One can also believe that Joseph Eybler's masterful setting of the Requiem, written in 1803, affected Salieri as well. Eybler, who became Vice-Kapellmeister in June 1804, enjoyed the special patronage of Empress Marie Therese, who commissioned numerous works from him. She requested the Requiem for a commemoration of the death of Emperor Leopold II (d. 1792). Salieri, whose music seemingly did not interest the Empress, probably attended the performance of this work. Eybler's masterwork perhaps inspired him, although the lack of favor by the Empress must have pained him. While Eybler was the more experienced composer of church music, Salieri was, after all, the imperial Kapellmeister. [ILLUSTRATION OMITTED] In this capacity for thirty-six years, Salieri probably directed the liturgy of the Todesmesse numerous times. The court celebrated not only actual funeral Masses, but kept a regular cycle of memorial Seelenmessen, that is, anniversary Requiem Masses commemorating late monarchs, their families, other royal personages and dignitaries, as well as members of knightly orders, such as the Stephansordensritter and Sternkreuzordensdamen. (4) The annual liturgy of Allerseelen on November 2 also called for a Requiem Mass. Between 1820 and 1900, Requiem Masses were performed in the Hofkapelle 641 times. (5) Although comparable records for most of Salieri's tenure as Hofkapellmeister are not extant, we may be sure that this practice was equally common, if not more so. Court music collections include a great number of Requiem settings by musicians affiliated with the Hofkapelle and also by outside composers. Among the former are Georg Reutter (at least four), Giuseppe Bonno (four), and Josef Krottendorfer (one). Local non-court composers included Leopold Hoffmann, Joseph Preindl, Johann Hasse, and Christoph Sonnleithner. (6) The one-year anniversary Seelenmesse for Gluck, whose actual funeral had been conducted in silence, took place in 1788 under Salieri's direction. (7) For this important service, the newly-appointed Kapellmeister chose the Requiem by Niccolo Jommelli, perhaps because it was the most widely performed Requiem setting of the time. Another Requiem produced by Salieri took place during the Congress of Vienna, for which, as Hofkapellmeister, he had charge of the musical activities. …" @default.
• W277712285 created "2016-06-24" @default.
• W277712285 creator A5029937750 @default.
• W277712285 date "2009-12-22" @default.
• W277712285 modified "2023-09-23" @default.
• W277712285 title "Requiem per Me: Antonio Salieri's Plans for His Funeral" @default.
• W277712285 hasPublicationYear "2009" @default.
• W277712285 type Work @default.
• W277712285 sameAs 277712285 @default.
• W277712285 citedByCount "0" @default.
• W277712285 crossrefType "journal-article" @default.
• W277712285 hasAuthorship W277712285A5029937750 @default.
• W277712285 hasConcept C124952713 @default.
• W277712285 hasConcept C138885662 @default.
• W277712285 hasConcept C142362112 @default.
• W277712285 hasConcept C15744967 @default.
• W277712285 hasConcept C27206212 @default.
• W277712285 hasConcept C2778692574 @default.
• W277712285 hasConcept C2780876879 @default.
• W277712285 hasConcept C530479602 @default.
• W277712285 hasConcept C542102704 @default.
• W277712285 hasConcept C558565934 @default.
• W277712285 hasConcept C72768826 @default.
• W277712285 hasConcept C95457728 @default.
• W277712285 hasConceptScore W277712285C124952713 @default.
• W277712285 hasConceptScore W277712285C138885662 @default.
• W277712285 hasConceptScore W277712285C142362112 @default.
• W277712285 hasConceptScore W277712285C15744967 @default.
• W277712285 hasConceptScore W277712285C27206212 @default.
• W277712285 hasConceptScore W277712285C2778692574 @default.
• W277712285 hasConceptScore W277712285C2780876879 @default.
• W277712285 hasConceptScore W277712285C530479602 @default.
• W277712285 hasConceptScore W277712285C542102704 @default.
• W277712285 hasConceptScore W277712285C558565934 @default.
• W277712285 hasConceptScore W277712285C72768826 @default.
• W277712285 hasConceptScore W277712285C95457728 @default.
• W277712285 hasIssue "4" @default.
• W277712285 hasLocation W2777122851 @default.
• W277712285 hasOpenAccess W277712285 @default.
• W277712285 hasPrimaryLocation W2777122851 @default.
• W277712285 hasRelatedWork W171823559 @default.
• W277712285 hasRelatedWork W1838077327 @default.
• W277712285 hasRelatedWork W1982231867 @default.
• W277712285 hasRelatedWork W1995417038 @default.
• W277712285 hasRelatedWork W1995857452 @default.
• W277712285 hasRelatedWork W2010099448 @default.
• W277712285 hasRelatedWork W2041588069 @default.
• W277712285 hasRelatedWork W2044463455 @default.
• W277712285 hasRelatedWork W2155165331 @default.
• W277712285 hasRelatedWork W2170689076 @default.
• W277712285 hasRelatedWork W2289411854 @default.
• W277712285 hasRelatedWork W2432917431 @default.
• W277712285 hasRelatedWork W2582484512 @default.
• W277712285 hasRelatedWork W2796044478 @default.
• W277712285 hasRelatedWork W2979365380 @default.
• W277712285 hasRelatedWork W330132624 @default.
• W277712285 hasRelatedWork W608027525 @default.
• W277712285 hasRelatedWork W197797410 @default.
• W277712285 hasRelatedWork W217707469 @default.
• W277712285 hasRelatedWork W2600412456 @default.
• W277712285 hasVolume "136" @default.
• W277712285 isParatext "false" @default.
• W277712285 isRetracted "false" @default.
• W277712285 magId "277712285" @default.
• W277712285 workType "article" @default.