SimonDoom
Kink Lord
- Joined
- Apr 9, 2015
- Posts
- 18,376
Salieri's motif starts at 1:07 and remains the central theme in this uplifting, ingenious fugal structure. Had Mozart employed your "morals" instead of drawing from Salieri's work, no one would have remembered Salieri.
Poor Salieri. He gets a bad rap. He was no Mozart, but he was a good composer who enjoyed success and fame in his day. The theory that he poisoned and killed Mozart is very likely not true and unfairly stains his reputation.
I wasn't aware of the accusation that Mozart had lifted themes of Salieri for The Magic Flute, so I looked them up. According to the Wikipedia page for The Magic Flute, 2 musical passages in Mozart's opera echo portions of Salieri's work. The Papageno-Papagena duet echoes the Cucuzza cavatina in Salieri's Prima la musica e poi le parole, and Papageno's "whistle" theme echoes a theme in Salieri's concerto in B-flat major.
I listened to them, and I hear the similarity, but I don't think it rises to copyright infringement. There are similarities in structure and feel, but the melody isn't quite the same, and the works in which the themes are placed are completely different. In copyright parlance, it's borrowing an idea from another artist rather than taking the artist's proprietary expression of the idea. That's how I hear it, anyway. These things are subject to debate and dispute.
I'd compare it to the lawsuit brought by the Holst Foundation against Hans Zimmer for allegedly ripping off the "Mars" theme in his battle score for the movie Gladiator. I remember when I watched Gladiator thinking that that portion of the score sounded a lot like Mars from The Planets, but not quite enough to be copyright infringement.
We have to remember also that copyright protection and principles were in their infancy back in the late 1700s. The expectations would have been completely different from what they are now.
My takeaway is that Mozart did nothing wrong. He borrowed musical ideas of a contemporary, but the expression of those ideas was his own, and that's what counted. The musical works were completely different, in different keys, with different melodies. It's not close to the same thing as writing a sequel to somebody else's story.