Amadeus
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri's absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri's deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri's entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri's operas receive astounding receptions, making them the "talk of the city," shaking the roofs, buzzing the cafes, and even the name Salieri "sounds throughout all of Europe" (2,3). The reason for Salieri's success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are "no better than servants" (1,3). This applies especially to the king. Fo
r example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It's purpose is to "celebrate the eternal in man" says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that animate the indestructible in people.In writing these elevated operas, Salieri spends a tremendous amount of time to perfect them. He thus rationally and intelligently composes the operas in a meditative way. Salieri works on his operas continually with many rewrites, drafts, and edits. Calling up to God, "You know how hard I've worked!" (1,12) Salieri indicates his agony. This exemplifies the colossal dedication Salieri devotes in practicing this art. On the other hand, Mozart's operas do not appeal to audiences during the age of Enlightenment. Instead, Mozart's musicals exert offense, especially to that of the nobility, and in turn his operas are failures during this age. For example, Mozart's score of figaro includes a ballet, that was expressly forbidden by the king. However, instead of immediately apologizing and excluding it from his opera, Mozart attempts to go around the decree. He explains that it is not an insertion of ballet, but rather it is a dance and the king does not disallow dancing when it is a portion of the story. Mozart continues opposing the Age of Enlightenment and the commands of the high society by abandoning them through language and themes of his operas. Despite the fact that the nobility will be upset, Mozart aspires to do pieces about "real people" set in a "real place" and in the real language of the people (2,4). He explains to Van Swieten that he wants his operas in German in order to communicate with the majority about the most exciting thing on earth, that is, reality. He believes that art should be sensual and creatural and passionate because that is the human condition. Such as love. Love is not permanent but it is fleeting and brief. Mozart does not want to compose operas about legends, and immortal beings because the eternal is unknown to man. Instead, he wants to recognize the true nature, the temporal nature that all human beings share. Thus, celebrating the ephemeral and the transitory that is universal in his operas, which the eighteenth century find difficult to appreciate. Also, Mozart's ideas about putting on this kind of play is considered nonsense to the eighteenth century composers, but he certainly speaks from his heart. He admits that his intellect may seem stupid at times but says that his heart is wise. Thus, his inspiration does not come from God, but rather from the wisdom that lies in his emotions.Mozart spends not nearly as much time as Salieri does in writing operas, instead Mozart promptly completes them one after another. Not more than two weeks since Mozart has started an opera, and yet he has already finished the first act. Thus, unlike Salieri who tak
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Approximate Word count = 2505
Approximate Pages = 10 (250 words per page double spaced)
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