Bashkirskogo universiteta

ISSN 1998-4812

Archive | Volume 19, 2014, No. 3.


Vestnik Bashkirskogo Universiteta. 2014. Vol. 19. No. 3. Pp. 1012-1016.
Guseinova Z. M.
Saint Petersburg State Conservatory
3 Theatre Sq., 190000 St. Petersburg, Russia.


The process of music creation is very difficult. The authors introduces many fixes, they striking out their texts and typing a new one. When it comes to vocal works, the literary text can also be adjusted. N. A. Rimsky-Korsakov had written his opera “Mozart and Salieri” in 1897 on the full text of A.S. Pushkin. Composer deleted from musical manuscript not only his own music, but also texts by Pushkin's tragedy, namely fragments of the first scene. He stroked episodes with C.-W. Gluck and N. Piccinni and part of Salieri’s monologue, related to the theme of murder and suicide. The names of Gluck and Piccinni had been "crossed" not by chance: there is episode in music history of Gluckists and Piccinnists disgraceful war in Paris in the end of the 18th century. The confrontation of two composers, one of which is the favorite of fortune, and the other is doomed to oblivion, became famous. Rimsky-Korsakov, striking out these fragments, focused on opposition to the main characters only. Rejection of the third fragment related to the subject matter of the murder, can be explained by the intention of Rimsky-Korsakov to deprive Salieri of features of a person who has already experienced in the life a desire to kill “the careless enemy” and bring it to desire to kill Mozart only. The Intermezzo-Fughetta connected two scenes. The challenge of this episode was in strengthening the confrontation line of heroes. It particularly had expressive presented Salieri “snake” intonations. The destruction of Intermezzo-Fugetta led by Rimsky-Korsakov further reduces the music composer's killer feature, focusing all the attention on the figure of the genius.


  • • N. A. Rimsky-Korsakov
  • • V. A. Mozart
  • • A. Salieri
  • • opera
  • • creative process
  • • edit


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