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SALIERI. fangkehrer' (1781), and for a fête at Schönbrunn 'Prima la musica, poi le parole' (1786). When the Académie de Musique in Paris requested Gluck to suggest a composer who could supply them with a French opera in which his own principles should be carried out, he proposed Salieri, who accordingly received the libretto of 'Les Danaïdes' from Moline, worked at it under Giuck's supervision, and personally superintended its production in Paris (April 26, 1784). He was entrusted with librettos for two more operas, and returned with a great increase of fame to Vienna, where he composed an opera buffa, 'La Grotto di Trofonio' (Oct. 12, 1785), the best of its kind and one of his finest works, which had an extraordinary success, and was engraved by Artaria. In 1787 he again visited Paris, where the first of his operas, 'Les Horaces,' had failed (Dec. 7, 1786), owing to a variety of untoward circumstances, a failure amply retrieved however by the brilliant success of 'Axur, Re d'Ormus' (June 8, 1787) or 'Tarare,' as it was first called. This, which has remained his most important work, was first performed in Vienna, Jan. 8, 1788. Another work composed in Vienna for Paris was a cantata, 'Le Dernier Jugement' (libretto by Chevalier Roger), ordered by the Societé d'Apollon, and performed there and at the Concerts Spirituels with great applause from the connoisseurs. In 1801 Salieri went to Trieste to conduct an opera composed for the opening of a new opera-house. This was his last Italian opera, and 'Die Neger' (Vienna, 1804) his last German one, for owing to his dislike to the change of taste in dramatic music, he devoted himself chiefly to church music, composing also a few instrumental pieces, choruses, and canons in various parts, published as 'Scherzi armonici.' On June 16, 1816, he celebrated the fiftieth anniversary of the commencement of his career in Vienna, when he was decorated with the gold 'Civil-Ehrenmedaille' and chain, and honoured by a fête, at which were performed special compositions by each of his pupils, including Schubert. Salieri was also vice-president of the Tonkünstler Societät, and till 1818 conducted nearly all the concerts. For the twenty-fifth anniversary of its foundation (1796) he composed a cantata 'La Riconoscenza,' and for the fiftieth (1821) a part-song, 'Zu Ehren Joseph Haydn,' to whom the society was largely indebted. Salieri was also a generous contributor to the funds. He took great interest in the foundation of the Conservatorium (1817) and wrote a singing-method for the pupils. He lost his only son in 1805, and his wife in 1807, and never recovered his spirits after it. During his latter years he suffered much, but never failed to derive comfort from the beauties of nature, for which he had always a great taste. On June 14, 1824, after fifty years of service at court, he was allowed to retire on his full salary, and not long afterwards died, May 7, 1825.

His biographer, Edler von Mosel ('Ueber das Leben und die Werke des Anton Salieri,' Vienna, 1827), describes him as a methodical, active, religious-minded, benevolent, and peculiarly grateful man, easily irritated, but as quickly pacified. He was very fond of sweets, especially pastry and sugar-plums, and drank nothing but water. We have seen how he discharged his obligations to Gassmann. He gave gratuitous instruction and substantial aid of various kinds to many poor musicians, and to the library of the Tonkünstler Societät he bequeathed 41 scores in his own handwriting (34 operas, and 7 cantatas) now in the Hofbibliothek. In accordance with his own wish his Requiem was performed after his death at the Italian church. He remained throughout on cordial terms with Haydn, whose two great oratorios he often conducted, and Beethoven dedicated to him in 1799 three sonatas for PF. and violin, op. 12 (Artaria). In the first vol. of his 'Beethoven's Studien' (Rieter-Biedermann, 1873), Mr. Nottebohm has printed ten Italian vocal pieces, submitted by Beethoven to Salieri, with the corrections of the latter. These chiefly concern the arrangement of the notes to the words, so as to conform to the rules of Italian prosody, and produce the best effect. The pieces are undated, but internal evidence fixes them to the period between 1793 and 1802. It appears that as late as 1809 the great composer consulted his old adviser as to the arrangement of his Italian, probably in the 'Four Ariettas and Duet' of op. 82; and that even then, when Beethoven was so fiercely independent of all other musicians, their relations were such that he voluntarily styled himself 'Salieri's pupil.' As regards Mozart, Salieri cannot escape censure, for though the accusation of having been the cause of his death has been long ago disproved, it is more than possible that he was not displeased at the removal of so formidable a rival. At any rate though he had it in his power to influence the Emperor in Mozart's favour, he not only neglected to do so, but even intrigued against him, as Mozart himself relates in a letter to his friend Puchberg. After his death however, Salieri befriended his son, and gave him a testimonial, which secured him his first appointment.