Editing Antonio Salieri (section)

===Early Viennese period and operas (1770–1778)===
Following the modest success of ''Le donne letterate'' Salieri received new commissions for writing two additional operas in 1770, both with libretti by Giovanni Boccherini. The first, a pastoral opera, ''[[L'amore innocente]]'' (''Innocent Love''), was a light-hearted comedy set in the Austrian mountains.{{sfn|Braunbehrens|1992|p=29}} The second was based on an episode from [[Miguel de Cervantes]]' ''[[Don Quixote]]'' – ''[[Don Chisciotte alle nozze di Gamace]]'' (''Don Quixote at the Marriage of Camacho'').<ref>See {{harvnb|Rice|1998|pp=153–162}} for an extended discussion of this work.</ref> In these first works, drawn mostly from the traditions of mid-century ''[[opera buffa]]'', Salieri showed a penchant for experimentation and for mixing the established characteristics of specific operatic genres. ''Don Chisciotte'' was a mix of ballet and {{lang|it|opera buffa}}, and the lead female roles in ''L'amore innocente'' were designed to contrast and highlight the different traditions of operatic writing for soprano, even borrowing stylistic flourishes from ''[[opera seria]]'' in the use of coloratura in what was a short pastoral comedy more in keeping with a Roman [[Intermezzo]].<ref>See {{harvnb|Rice|1998|pp=107–109, 152–153, 177}} for genre categorizations of ''L'amore innocence''.</ref> The mixing and pushing against the boundaries of established operatic genres was a continuing hallmark of Salieri's own personal style, and in his choice of material for the plot (as in his first opera), he manifested a lifelong interest in subjects drawn from classic drama and literature.

Salieri's first great success was in the realm of serious opera. Commissioned for an unknown occasion, Salieri's ''[[Armida (Salieri)|Armida]]'' was based on [[Torquato Tasso]]'s epic poem ''La Gerusalemme liberata'' (''[[Jerusalem Delivered]]''); it premiered on 2 June 1771.{{sfn|Rice|1998|pp=162–164}} ''Armida'' is a tale of love and duty in conflict and is saturated in magic. The opera is set during the [[First Crusade]] and features a dramatic mix of ballet, aria, ensemble, and choral writing, combining theatricality, scenic splendor, and high emotionalism. The work clearly followed in Gluck's footsteps and embraced his reform of serious opera beginning with ''[[Orfeo ed Euridice]]'' and ''[[Alceste (Gluck)|Alceste]]''. The libretto to ''Armida'' was by [[Marco Coltellini]], the house poet for the imperial theaters. While Salieri followed the precepts set forth by Gluck and his librettist [[Ranieri de' Calzabigi]] in the preface to ''Alceste'', Salieri also drew on some musical ideas from the more traditional opera seria and even {{lang|it|opera buffa}}, creating a new synthesis in the process. ''Armida'' was translated into German and widely performed, especially in the northern German states, where it helped to establish Salieri's reputation as an important and innovative modern composer.{{sfn|Rice|1998|p=175}} It was also the first opera to receive a serious preparation in a piano and vocal reduction by {{Interlanguage link|Carl Friedrich Cramer|de}} in 1783.{{sfn|Braunbehrens|1992|pp=33–34}}{{sfn|Rice|1998|p=175}}

''Armida'' was soon followed by Salieri's first truly popular success, a ''[[commedia per musica]]'' in the style of [[Carlo Goldoni]] ''[[La Fiera di Venezia]]'' (''The Fair of Venice''). ''La Fiera'' was written for [[Carnival]] in 1772 and premiered on 29 January. Here Salieri returned to his collaboration with the young Giovanni Boccherini, who crafted an original plot. ''La Fiera'' featured characters singing in three languages, a bustling portrayal of the Ascension-tide Fair and Carnival in Venice, and large and lengthy ensembles and choruses. It also included an innovative scene that combined a series of on-stage dances with singing from both solo protagonists and the chorus. This was a pattern imitated by later composers, most famously and successfully by [[Wolfgang Amadeus Mozart]] in ''[[Don Giovanni]]''. Salieri also wrote several bravura arias for a soprano playing the part of a middle-class character that combined ''[[coloratura]]'' and ''[[concertante]]'' woodwind solos, another innovation for comic opera that was widely imitated.{{sfn|Schatkin Hettrick|Rice|2001}}

Salieri's next two operas were not particular or lasting successes. ''[[La secchia rapita]]'' (''The Stolen Bucket'') is a parody of the high flown and emotive arias found in [[Pietro Metastasio|Metastasian]] ''[[opera seria]]''. It also contains innovative orchestrations, including the first known use of three tympani. Again a classic of [[Renaissance]] literature was the basis of the libretto by Boccherini, in this case, a comic mock-epic by [[Alessandro Tassoni|Tassoni]], in which a war between [[Modena]] and [[Bologna]] follows the theft of a bucket. This uneven work was followed by a popular comedic success ''{{Interlanguage link|La locandiera (opera)|it|La locandiera (opera)|lt=La locandiera}}'' (''The Mistress of the Inn''), an adaptation of the classic and popular spoken stage comedy ''[[La locandiera]]'' by Carlo Goldoni, with the libretto prepared by Domenico Poggi.

The majority of Salieri's modest number of instrumental works also date from this time. Salieri's instrumental works have been judged by various critics and scholars to lack the inspiration and innovation found in his writing for the stage. These orchestral works are mainly in the Galant style, and although they show some development toward the late classical, they reflect a general weakness in comparison to his operatic works of the same and later periods. These works were written for mostly unknown occasions and artists. They include two concertos for pianoforte, one in C major and one in B flat major (both 1773); a concerto for organ in C Major in two movements (the middle movement is missing from the autograph score, or perhaps, it was an improvised organ solo) (also 1773); and two concertante works: a concerto for oboe, violin and cello in D major (1770), and a flute and oboe concerto in C major (1774). These works are among the most frequently recorded of Salieri's compositions.

Upon Gassmann's death on 21 January,{{sfn|Lorenz|2013}} most likely due to complications from an accident with a carriage some years earlier, Salieri succeeded him as assistant director of the Italian opera in early 1774.{{sfn|Braunbehrens|1992|p=42}} On 10 October 1774 Salieri married Therese Helferstorfer, the daughter of a recently deceased financier and official of the court treasury.{{sfn|Lorenz|2013}} Sacred music was not a high priority for the composer during this stage of his career, but he did compose an Alleluia for chorus and orchestra in 1774.

During the next three years, Salieri was primarily concerned with rehearsing and conducting the Italian opera company in Vienna and with teaching. His three complete operas written during this time show the development of his compositional skills, but included no great success, either commercially or artistically. His most important compositions during this period were a symphony in D major, performed in the summer of 1776, and the oratorio ''La Passione di Gesù Cristo'' with a [[La Passione di Gesù Cristo|text by Metastasio]], performed during Advent of 1776.

After the financial collapse of the Italian opera company in 1777 due to financial mismanagement, Joseph II decided to end the performance of Italian opera, French-spoken drama, and ballet. Instead, the two court-owned theaters would be reopened under new management, and partly subsidized by the Imperial Court, as a new National Theater. The re-launched theaters would promote German-language plays and musical productions that reflected Austrian (or as Joseph II would have said) German values, traditions, and outlook. The Italian {{lang|it|opera buffa}} company was therefore replaced by a German-language [[Singspiel]] troupe. Joseph and his supporters of Imperial reform wanted to encourage pan-national pride that would unite his multi-lingual and ethnic subjects under one common language and hoped to save a considerable amount of money in the process. Beginning in 1778 the Emperor wished to have new works, in German, composed by his own subjects and brought on the stage with clear Imperial support. This in effect left Salieri's role as assistant court composer in a much-reduced position. Salieri also had never truly mastered the German language, and he now felt no longer competent to continue as an assistant opera director. A further blow to his career was when the spoken drama and musical Singspiel were placed on an equal footing. For the young composer, there would be few, if any, new compositional commissions to receive from the court. Salieri was left with few financial options and he began casting about for new opportunities.{{sfn|Schatkin Hettrick|Rice|2001}}