ANTONIO SALIERI PEDAGOGICAL SCHOOL

The article deals with the pedagogical school of Antonio Salieri, which was formed in the last quarter of the eighteenth – first quarter of the nineteenth centuries. This school was an artistic phenomenon, given that A. Salieri taught not only one instrument, but a whole set of musical disciplines (composition, counterpoint, conducting, solo and choral singing, harpsichord, stringed instruments, etc.). A. Salieri's School is also unique because of the highest professional level preparation of a whole plaid of talented and even brilliant musicians - Ludwig Beethoven, Franz Schubert, Johann Nepomuk Gummel Franz Xaver Süsmayr, Anselm Hüttenbrüsner, Ignaz Carlethal Moscheles. Cavalieri, Anna Milder-Hauntmann, Anna Kraus-Vranitsky, etc. Based on sources and scientific works, the author of the article argues that the contribution of A. Salieri to the music pedagogy of the eighteenth and nineteenth centuries is invaluable. Antonio Salieri's pedagogical legacy is a unique phenomenon – he taught composition, instrumentation, instrument, vocals, counterpoint, homophony, polyphony, and most importantly - musical thinking. Many ingenious composers have left a unique legacy, but not many of them can boast of such a large number of students who have shown themselves in all spheres of musical life in the European world. We will not be mistaken when we say that Antonio Salіeri was unique in this. It is unlikely that the pedagogical legacy of another great musician will include pedagogue and methodologist Johann Nepomuk Hummel, the genius composer of all ages L. Beethoven, one of the first romantics – F. Schubert, vocalists - "opera stars'' Catherine Valba-Kanz, Fortunate Franquette, Amalia Josef-Mozatta. And this list can go on and on because the total number is over sixty.

THE IMPERIAL CORONATION OF LEOPOLD II AND MOZART, FRANKFURT AM MAIN, 1790

ABSTRACTIn the autumn of 1790 Mozart undertook the penultimate journey of his life to participate in the coronation of Leopold II as Holy Roman Emperor in Frankfurt am Main. His attendance and performance at this significant imperial gathering were an investment designed to improve his fortunes. But Mozart's gamble failed. Though it was a key political event, and despite its significance as one of Mozart's final sojourns, not much more is known about the music of the Frankfurt coronation. This article offers a new understanding of Leopold II's imperial accession, positing the coronation as a vibrant context for music culture. Contrary to narratives that position Mozart's concert above all others, I argue that this was far from the case according to his contemporaries. During the coronation festivities the city hosted three theatre companies and many celebrated musicians, including Ludwig Fischer, Johann Hässler, Vincenzo Righini, Antonio Salieri and Georg Vogler, among others. Frankfurt was indeed filled with musicians who cooperated with and competed against one another in the hope of attracting substantial audiences comprised of the Empire's elite. Yet for Mozart, whose concert was poorly advertised and unfortunately timed, this competition proved too intense. By investigating the musical and political events of Leopold II's imperial coronation, I assert that Mozart's investment, which had the potential to alter his life forever, was unsuccessful in part because of a rumour that caused his desired audience to leave Frankfurt temporarily the very morning his performance took place.