thoughts bridges - Dramatic thoughts on Mozart and Salieri by Burkhard Kling 
"I turned to Pushkin's" Mozart and Salieri " , and in the form of opera scenes in "Recitative Arioso-style." This was, strictly speaking, a purely vocal composition: the melodic fabric that the turns of the text followed, all was another advance written; monitoring, which should be quite complicated, shaped later by itself and its first design differed considerably from the designed shape their orchestral accompaniment. I was satisfied, the result was for me something new ... "Nikolai Rimsky-Korsakov in his autobiography
fact," Mozart and Salieri ", created in 1897, contrary to his better-known and most of Russian color influenced works such as" The Golden Cockerel "," Sadko, "" The Tsar's Bride "and" The Legend of the Invisible City of Kitezh "an intimate and completely reduced to psychological factors work.
Alexander Pushkin in the autumn of 1830 had retired to his estate Boldino to independent review of state supervision. It was the end of "Eugene Onegin", a few poems and the four "little tragedies". Of those "Mozart and Salieri" is certainly the largest work content. Pushkin was a rumor, Mozart died of poisoning was heard, and gave the superficial action, but the real issue around which the Exchange of words, turns of the two persons appearing in, the nature of art and the person of the artist, a subject that Pushkin again and again, especially in his poems, has given priority. Here are two face completely different types of artists, the God-gifted genius and the talent that has earned through hard work tough a societal level. This was also the topic that interested Rimsky-Korsakov, Salieri's work, which is dominated by fixed rules and responsibility Mozart's work, which is marked by the inspiration and the people behind these works, they. That should give it no derogation is that these schemes are fixed that is thinking Salieri and he can not deviate from it! Mozart can make it and that he was unworthy in the eyes of Salieri! The scene with the Fiedler makes it very clear: A street violinist is asked by Mozart, to play one of his tunes. In the eyes of Salieri's worst offense, the art can ever be done. The ideal image that Salieri has correctly placed breaks down, the artist and the man are not identical
Mozart Wolfgang Amadeus Mozart was murdered by Antonio Salieri! It is rumored in Peter Shaffer's stage works and much clearer in the later created opulent movie. But will have all the important theories and elements of this history in Alexander Pushkin's drama sketch "Mozart and Salieri" was presented. Many things have what moviegoers in Milos Forman's film breathe in Salieri's despair about God and the world order that praise and genius can not be rewarded for effort and hard work but forgiveness is blind to find even at Pushkin. The non-life historical idea of the murder of Mozart based on the fact that Salieri can not understand that a genius arises from a combination of hard work and talent. Mozart uses this way of thinking, in which prevents override standard and reason. He goes beyond the limits laid down a world!
This is also the core of Pushkin's dramatic scenes: not the murder itself is the focus, it is the motive of the murderer to the it goes. Mozart was poisoned because Salieri is convinced that the human world order to cope with the extreme beauty of Mozart's music can not tolerate and therefore not allowed. Salieri makes here the advocate of a "normal" society. Salieri loves Mozart and his music, but he is convinced that his is not what should not be. This is also for posterity all too clearly. The sudden interruption of Mozart's music in the "Lacrimosa" of the Requiem quickly leads to rumors and fantasies. The completion of the work by Franz Xaver Süßmeier makes only too clearly distinguish how much the work of teachers and students. Extreme radicalism and norm are here opposite. This had lead to speculations and fantasies. This inspired Pushkin to his dramatic scenes and Rimsky-Korsakov to his own work, illuminated in two ways that the two composers and questioned.
