![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
*updated | app for aefenglom.
Player Information
Name: Kristen
Age: 29
Contact:![[plurk.com profile]](https://plurk.com/favicon.ico)
jikaku, discord: kristen#7417
Other Characters: N/A
Character Information
Name: Antonio Salieri
Canon: Fate/Grand Order
Canon Point: Post Lostbelt 1
Age: Looks around early 40's.
History: His profile
A now established addition to the Avenger class in Fate/Grand Order, Antonio Salieri was first introduced under the guise of 'Amadeus Alter', the warped version of Wolfgang Amadeus: a dark composer terrorizing frostbitten Russia under the Tsar's command. When the mystery dissipates and releases Salieri from its illusion we are left with an entirely different person: the revered court composer of Vienna, the one celebrated under King Joseph's rule: Hofkapellmeister Antonio Salieri. A devoted composer and advocate for the musical arts, Antonio Salieri as a man hardly fits the criteria for Avenger- those who carry deep, unending rage within their hearts. However, history would show that despite Antonio's love for music, despite his passion and commitment to the art... something else would lay claim to his name and make him famous throughout history as something much sinister.
That being Wolfgang Amadeus Mozart's supposed murderer.
Personality:
The Grey Man.
"Wolfgang Amadeus Mozart!
āI am the one who kills you. Your reputation, your songs, your vestiges, I shall kill them all. Should you ever manifest in this world, this time for sure, I shall kill you with my own hands. O man loved by God, Gottlieb!"
The shell which first exposes Salieri for who he is, the outer being that shrouds him in hate and darkness: The Grey Man. Under the influence of this name Salieri willingly becomes a Servant whose only purpose is to kill. Referring to this shell as "Death" and "The Grim Reaper", Salieri utilizes the strength and swiftness of the Grey Man to efficiently kill and run through his enemies. Ironically, through this death and destruction he becomes a near perfect example of what a good Servant should be: meticulous, loyal, and all too willing to cut down his Master's enemies. Even when simply attempting to converse with him Salieri automatically assumes his Master has sought him out in order to take down their foes.
"ā¦ā¦Master. For you to be calling out to me, it must mean you wish to make use of my power. Who am I to kill? Tell me. If you say so, I will do as you command. What location am I to head towards? Or rather, do you intend to activate the simulator?"
And yet shades of the musician are seen here as well. Salieri's sound is often described as "distorted", his music and instruments used like weapons against his foes. From the foreboding drone of his violin to the shrill keys of his spinet, his talents can either harm his enemies or disable themā and at times even his allies become inflicted if too close to the sound. Indeed, one might consider themselves lucky to have the Grey Man under their command. A perfect killing machine, Salieri in this state seeks to only bring down whatever obstacles may lie in his Master's path. It is a startling contrast to the other Servants Salieri shares a class withā those with cunning, those with anger, and those who simply wish to bring chaos into the world. In comparison, Salieri seems content to only finish off his enemies and remain in this state as the Grey Man.
It is indeed strange and almost sad that a man who never killed or even harmed anyone in his previous life would become such a monster. But the Grey Man is convinced that he does have blood on his hands, that he is tainted by deathā but not the death of many. No, for all of the Grey Man's murderous bravado and malice, there is only one soul he claims to have taken before becoming a Servant... perhaps the most precious and blessed soul known to him. The one belonging to Amadeus Mozart.
The Innocent Monster.
The reality was that Salieri never killed anyone... least of all his friend and rival, Amadeus Mozart.
That is the truth of Salieri's muddled reputation. Subject to countless accusations, his previous reputation as adored court composer was all but lost in the pages of historyā replaced with the slander which filled the ears of both those in Vienna and those around the word. The truth of the matter was that Salieri and Amadeus were actually friendsā although it certainly did not start out in such a way. History would show that Salieri had been an accomplished composer long before Mozart began making waves in Vienna. A favorite of the "musical king" Joseph and esteemed colleague of his fellow Italian directors, Salieri was established as a man of great talent and charisma. It was an unspoken fact, for that matter, that any newcomer would have to go to great lengths and show great mettle in order to receive the king's attention.
Such difficulties would come to one Wolfgang Amadeus Mozartā a promising star in Vienna's already competitive limelight. Considered an impudent outsider to the royal court, Mozart would have to work twice as hard to gain any sort of recognitionā or at least, recognition that would earn him some decent income. To the other Italians in Joseph's court, he was merely an young upstartā too brash in his words, too loud with his music, and simply too defiant to truly make any name for himself.
But for Salieri... Mozart's music was nothing short of a gift from God.
Awed, stunned, revitalized, these words were just a few of the emotions roiling within Salieri at the sound of Mozart's talent. Never before had he heard such composition, such perfect placement of notes and words. Salieri became enamored with Mozart's music and overtime grew to know the man as a reckless, confident composer with every bit of God's love seeping from his being. Yes, Salieri thought, that is surely the light which radiates from Mozart's music, from his symphonies and songs. As a child loved by God, Mozart was able to take Vienna by its ear and show it stories and epics previously untouched by other composers. Mozart disregarded the rules and created a criteria entirely his own... something Salieri not only adored, but also envied.
Yes, that part would always remain true. Salieri, a man of music, a man of hard taught talent... envied how easily music came to Mozart. As though Mozart's scores magically wrote themselves, Salieri struggled to meet the same kind of inspiration Mozart's music elicited from him. Try as he might, he could not confidently say that his music matched Mozart's by any measure. The talent, the skillā the passion which Mozart composed so easily... simply would not come to Salieri. It seemed only natural then that jealously would grip the court composer and make him resent his own lack of skill, his lack of understanding and feeling (according to himself, that is). The envy was there, yesā the frustration and anger that only a fellow musician could understand. But resentment toward Mozart? The man that was perhaps his greatest rival in Vienna?
The ending result was quite the opposite.
"āIn order to turn one's eyes away from the true hell where even he who created such godly music could die with no distinction from the common man! I, mine being, it was remade this way. It was remade this way!! But, very well! That is fine! I loved him. I envied him. I burned for him. I respected him, admired him, adored him. If I am to bear the honor of having killed the Child of God! Then that is none other than Divine Providence!ā
Salieri's eventual relationship with Amadeus would eventually diminish its role as rivals and even as acquaintances. In its place friendship remained... companionship between the two composers. If there were any quarrels then they were friendly ones, if there were misunderstandings then they were done unintentionally. Salieri's history would describe them as close friendsā perhaps best friends, although such a term is still up for debate among those who knew them best. There is no doubt, however, that Salieri felt strongly for the young composer from Salzburgā for his music, for his attitude and for his ability to bring rapturous music to all who would deign to hear him. For such tumultuous emotions and depth toward Mozart, one may only be able to describe it as Salieri having loved Amadeus... quietly, earnestly, deeply.
In the end, Vienna would lose its star as Mozart's health declined to the point where he could nothing except rely on Salieri to remain by his side, helpless to stop the illness from taking root. As the last bit of Mozart's life dwindled away, Salieri would not only suffer the lost of the greatest composer known to himā
ābut also the flood of rumors and slander that would follow him until his own timely death.
Antonio Salieri.
"It's not a joke. I undoubtedly killed him. Yes, I killed Amadeus. I commissioned the Requiem in D minor. It was I! Who killed! That genius! ...What foolishness, if this were truly the case, how many could be saved? I couldn't kill him. I truly couldn't kill him, no matter what. Not because we were best friends, not because of our friendship, but purely because I could not accept harming that God-given talent. That is Amadeus. That is Mozart."
It is said that Antonio Salieri eventually took his own life due to the guilt he carried within him after killing Mozart. It was said that the madness that overtook him only came to him in his last moments when he realized he would have to finally repent for his crime. But the truth was that Salieri was feeling the effects of the "Innocent Monster" long before the end of his life. As the rumors intensified and spread throughout Europe, Salieri could feel its affects changing his very beingā making him all the more susceptible to the influence of the Grey Man. The sorrow and rage he carried until his death, the rumors which took physical form and created the "Grim Reaper"... it all accumulated to what Salieri is nowā an Avenger bent on killing Mozart again and again and slaughtering whatever stands in the way of his goal.
The true Salieri would be lost and unknown to manyā the truth that Salieri was a peaceful, composed man who tutored students from all parts of Vienna and turned no one away, regardless of fortune. In fact, Salieri was known to give free lessons to students who could not afford his sessions. A mentor and respected teacher, Salieri donated time and instruments to those who wished to learn more about music. He advocated for the investment of classes that would tutor young musicians and often attended town meetings to fight for the weakening presence of musical education in Vienna.
Salieri's true self would always be that of a calm, patient teacherā a man who received much help and support from King Joseph. It is for this reason that he's courteous and almost timid to a fault when around Marie Antoinette, Joseph's sister and once Queen of France. Salieri in general does not bother much with anything that doesn't involve fighting or music, although he does have a strong affinity towards sweets of any kind. Like Mozart Salieri enjoys giving a good show, especially when there is an opportunity to play music when it can be heard. He is, at his deepest and most elusive core, a musician and a composer. While the Grey Man vehemently denies that Salieri existed, that the man is long dead and forgotten... one can still see shades of him when he comes across an instrument or a delectable looking dessert. The constant, clashing personalities of his two core selves make up the current existence of Salieriā one that is always at odds with himself, with his emotions and his true self. It is the fate of the Avenger class to never again become what they once were- and the Avenger known as Salieri is certain that the composer from Vienna is no more.
...Salieri passes by and starts recruiting the Yaga to help him. He needs their assistance to move the piano from the Tsarās palace to the open spaces of the ruined city.
The curious Yaga ask what that piano is. He teaches them that it is a musical instrument.
Salieri's love for music, his calm demeanor and patient kindness shows through even in the most hopeless of times.
Yes, the intensity in which Salieri insists that the man from Vienna is no more is almost painful to witness. And yet it is the very resistance and strain in his words that say otherwise... that long to prove that deep inside the smoke and armor, Antonio Salieri still exists.
Abilities & Skills:
Servant skills.
- Like with all Servants, Salieri doesn't need sustenance such as food or water to keep himself going. Instead he takes in the magical energy we know as Mana to maintain his form, as well as keep himself connected to whichever physical plane he's been summoned to.
- Since this is the case with Servants, their bodies can dissipate and materialize at will.
- Servants are summoned for one thing: to serve, obviously. A Servant is notoriously hard to kill, as their bodies are sturdier and can withstand attacks that would normally very easily kill a regular human. So long as the 'spirit core' is maintained, a Servant can heal themselves using mana and continue fighting until that supply is depleted.
Avenger skills.
- "It is oneās state of being as an avenger that gathers peopleās hatred and resentment onto oneself, a way of being that became a Skill. Although it is easy for the hostility from his surroundings to be directed towards him, negative emotions directed towards Avenger will automatically be converted into his power." Essentially, Salieri is able to taken in negative energy/emotions which are directed at him and absorb such energy to make his primary attack stronger. The more negativity he is able take in, the stronger his ability will be.
- "Although people, who are living beings, will be forgetful of many things, an avenger never forgets. An avengerās attacks, which strikes from beyond the peopleās lapses of memory, will have their critical hit effects strengthened." This implies when Salieri is able to make a critical hit on an enemy, due to remembering what their weak spots are and attacking when they least expect it.
- "Oneās magical energy endlessly surges until their revenge is accomplished. Recovers a minuscule amount of magical energy every turn." Avengers are powered by whatever entity summoned them to fight (be it the grail itself or artificially through a summoning machine). This means he's able to gain more magical energy over time.
Salieri's skills.
- "THE MAN IN GREY", the outer armor of Salieri's saint graph which allows him to fight and become a ruthless killing machine. Armed with sharp claws and an even sharper sword, the Grey Man form is meant to cut right through enemies with ruthless efficiency. Greater depth of it's meaning goes into detail in the Personality section.
- Typically, Salieri does not enter the battle field with his armor on. He remains Antonio Salieri (or at least a warped version of him) until ordered to fight, and soon changes his form rabidly to become the Grey Man. This swift transformation aids in the ability to quickly prepare for battle.
- Salieri's love for music is also utilized in battle, although probably not in the way he had hoped. Using his Grey Man form Salieri is able to summon instruments in order to play distressing notes and physically harm his enemies. He is also able to lower their defenses with this method, disorienting them and weakening them mentally. His 'Noble Phantasm' is named "Dio Santissimo Misericordia de mi!", a song made of killing intent. It critically damages his enemies bodies and souls.
-Like that annoying genius Amadeus Salieri has incredible hearing. He's able to recognize footsteps of certain people and detect sounds from quite far away.
Inventory/Companions: - His long dagger, with the hilt shaped like a cross.
- His composer's baton.
- His familiars! Seen as tall figures cloaked in white, they aid Salieri in battle and are typically armed with rifles in order to shoot down surrounded enemies. They can be summoned at will.
Choice: Monster - Chimera.
Reason: To put it frankly, Salieri already has some experience in becoming a sort of amalgamation of sorts. His final form is the most twisted version of the Grey Man, and with that comes attributes that are similar to a monsters. To have him become a new type of monster would be an interesting change for both his body and his fragile psyche.
Sample: Sample 1 | Sample 2
Name: Kristen
Age: 29
Contact:
Other Characters: N/A
Character Information
Name: Antonio Salieri
Canon: Fate/Grand Order
Canon Point: Post Lostbelt 1
Age: Looks around early 40's.
History: His profile
A now established addition to the Avenger class in Fate/Grand Order, Antonio Salieri was first introduced under the guise of 'Amadeus Alter', the warped version of Wolfgang Amadeus: a dark composer terrorizing frostbitten Russia under the Tsar's command. When the mystery dissipates and releases Salieri from its illusion we are left with an entirely different person: the revered court composer of Vienna, the one celebrated under King Joseph's rule: Hofkapellmeister Antonio Salieri. A devoted composer and advocate for the musical arts, Antonio Salieri as a man hardly fits the criteria for Avenger- those who carry deep, unending rage within their hearts. However, history would show that despite Antonio's love for music, despite his passion and commitment to the art... something else would lay claim to his name and make him famous throughout history as something much sinister.
That being Wolfgang Amadeus Mozart's supposed murderer.
Personality:
The Grey Man.
āI am the one who kills you. Your reputation, your songs, your vestiges, I shall kill them all. Should you ever manifest in this world, this time for sure, I shall kill you with my own hands. O man loved by God, Gottlieb!"
The shell which first exposes Salieri for who he is, the outer being that shrouds him in hate and darkness: The Grey Man. Under the influence of this name Salieri willingly becomes a Servant whose only purpose is to kill. Referring to this shell as "Death" and "The Grim Reaper", Salieri utilizes the strength and swiftness of the Grey Man to efficiently kill and run through his enemies. Ironically, through this death and destruction he becomes a near perfect example of what a good Servant should be: meticulous, loyal, and all too willing to cut down his Master's enemies. Even when simply attempting to converse with him Salieri automatically assumes his Master has sought him out in order to take down their foes.
And yet shades of the musician are seen here as well. Salieri's sound is often described as "distorted", his music and instruments used like weapons against his foes. From the foreboding drone of his violin to the shrill keys of his spinet, his talents can either harm his enemies or disable themā and at times even his allies become inflicted if too close to the sound. Indeed, one might consider themselves lucky to have the Grey Man under their command. A perfect killing machine, Salieri in this state seeks to only bring down whatever obstacles may lie in his Master's path. It is a startling contrast to the other Servants Salieri shares a class withā those with cunning, those with anger, and those who simply wish to bring chaos into the world. In comparison, Salieri seems content to only finish off his enemies and remain in this state as the Grey Man.
It is indeed strange and almost sad that a man who never killed or even harmed anyone in his previous life would become such a monster. But the Grey Man is convinced that he does have blood on his hands, that he is tainted by deathā but not the death of many. No, for all of the Grey Man's murderous bravado and malice, there is only one soul he claims to have taken before becoming a Servant... perhaps the most precious and blessed soul known to him. The one belonging to Amadeus Mozart.
The Innocent Monster.
The reality was that Salieri never killed anyone... least of all his friend and rival, Amadeus Mozart.
That is the truth of Salieri's muddled reputation. Subject to countless accusations, his previous reputation as adored court composer was all but lost in the pages of historyā replaced with the slander which filled the ears of both those in Vienna and those around the word. The truth of the matter was that Salieri and Amadeus were actually friendsā although it certainly did not start out in such a way. History would show that Salieri had been an accomplished composer long before Mozart began making waves in Vienna. A favorite of the "musical king" Joseph and esteemed colleague of his fellow Italian directors, Salieri was established as a man of great talent and charisma. It was an unspoken fact, for that matter, that any newcomer would have to go to great lengths and show great mettle in order to receive the king's attention.
Such difficulties would come to one Wolfgang Amadeus Mozartā a promising star in Vienna's already competitive limelight. Considered an impudent outsider to the royal court, Mozart would have to work twice as hard to gain any sort of recognitionā or at least, recognition that would earn him some decent income. To the other Italians in Joseph's court, he was merely an young upstartā too brash in his words, too loud with his music, and simply too defiant to truly make any name for himself.
But for Salieri... Mozart's music was nothing short of a gift from God.
Awed, stunned, revitalized, these words were just a few of the emotions roiling within Salieri at the sound of Mozart's talent. Never before had he heard such composition, such perfect placement of notes and words. Salieri became enamored with Mozart's music and overtime grew to know the man as a reckless, confident composer with every bit of God's love seeping from his being. Yes, Salieri thought, that is surely the light which radiates from Mozart's music, from his symphonies and songs. As a child loved by God, Mozart was able to take Vienna by its ear and show it stories and epics previously untouched by other composers. Mozart disregarded the rules and created a criteria entirely his own... something Salieri not only adored, but also envied.
Yes, that part would always remain true. Salieri, a man of music, a man of hard taught talent... envied how easily music came to Mozart. As though Mozart's scores magically wrote themselves, Salieri struggled to meet the same kind of inspiration Mozart's music elicited from him. Try as he might, he could not confidently say that his music matched Mozart's by any measure. The talent, the skillā the passion which Mozart composed so easily... simply would not come to Salieri. It seemed only natural then that jealously would grip the court composer and make him resent his own lack of skill, his lack of understanding and feeling (according to himself, that is). The envy was there, yesā the frustration and anger that only a fellow musician could understand. But resentment toward Mozart? The man that was perhaps his greatest rival in Vienna?
The ending result was quite the opposite.
Salieri's eventual relationship with Amadeus would eventually diminish its role as rivals and even as acquaintances. In its place friendship remained... companionship between the two composers. If there were any quarrels then they were friendly ones, if there were misunderstandings then they were done unintentionally. Salieri's history would describe them as close friendsā perhaps best friends, although such a term is still up for debate among those who knew them best. There is no doubt, however, that Salieri felt strongly for the young composer from Salzburgā for his music, for his attitude and for his ability to bring rapturous music to all who would deign to hear him. For such tumultuous emotions and depth toward Mozart, one may only be able to describe it as Salieri having loved Amadeus... quietly, earnestly, deeply.
In the end, Vienna would lose its star as Mozart's health declined to the point where he could nothing except rely on Salieri to remain by his side, helpless to stop the illness from taking root. As the last bit of Mozart's life dwindled away, Salieri would not only suffer the lost of the greatest composer known to himā
ābut also the flood of rumors and slander that would follow him until his own timely death.
Antonio Salieri.
It is said that Antonio Salieri eventually took his own life due to the guilt he carried within him after killing Mozart. It was said that the madness that overtook him only came to him in his last moments when he realized he would have to finally repent for his crime. But the truth was that Salieri was feeling the effects of the "Innocent Monster" long before the end of his life. As the rumors intensified and spread throughout Europe, Salieri could feel its affects changing his very beingā making him all the more susceptible to the influence of the Grey Man. The sorrow and rage he carried until his death, the rumors which took physical form and created the "Grim Reaper"... it all accumulated to what Salieri is nowā an Avenger bent on killing Mozart again and again and slaughtering whatever stands in the way of his goal.
The true Salieri would be lost and unknown to manyā the truth that Salieri was a peaceful, composed man who tutored students from all parts of Vienna and turned no one away, regardless of fortune. In fact, Salieri was known to give free lessons to students who could not afford his sessions. A mentor and respected teacher, Salieri donated time and instruments to those who wished to learn more about music. He advocated for the investment of classes that would tutor young musicians and often attended town meetings to fight for the weakening presence of musical education in Vienna.
Salieri's true self would always be that of a calm, patient teacherā a man who received much help and support from King Joseph. It is for this reason that he's courteous and almost timid to a fault when around Marie Antoinette, Joseph's sister and once Queen of France. Salieri in general does not bother much with anything that doesn't involve fighting or music, although he does have a strong affinity towards sweets of any kind. Like Mozart Salieri enjoys giving a good show, especially when there is an opportunity to play music when it can be heard. He is, at his deepest and most elusive core, a musician and a composer. While the Grey Man vehemently denies that Salieri existed, that the man is long dead and forgotten... one can still see shades of him when he comes across an instrument or a delectable looking dessert. The constant, clashing personalities of his two core selves make up the current existence of Salieriā one that is always at odds with himself, with his emotions and his true self. It is the fate of the Avenger class to never again become what they once were- and the Avenger known as Salieri is certain that the composer from Vienna is no more.
The curious Yaga ask what that piano is. He teaches them that it is a musical instrument.
Salieri: ... Well then, shall I play?
Yaga Child: What do you mean by play?
Salieri: The piano, this piano.. it is a form of art that only the Tsar has heard before.
Yaga Child: Will it hurt?
Salieri: Thereāll be no pain.
Yaga Child: Will I become full?
Salieri: You will.
Yaga Child: Then do it.
Salieri: ā¦ Very well, I shall begin. The song will be a request from Amadeus.
Should peace dawn upon this world--- he wanted this song to be played.
It might be annoying, but if itās that geniusās will then I must obey.
Salieri's love for music, his calm demeanor and patient kindness shows through even in the most hopeless of times.
Yes, the intensity in which Salieri insists that the man from Vienna is no more is almost painful to witness. And yet it is the very resistance and strain in his words that say otherwise... that long to prove that deep inside the smoke and armor, Antonio Salieri still exists.
Abilities & Skills:
Servant skills.
- Like with all Servants, Salieri doesn't need sustenance such as food or water to keep himself going. Instead he takes in the magical energy we know as Mana to maintain his form, as well as keep himself connected to whichever physical plane he's been summoned to.
- Since this is the case with Servants, their bodies can dissipate and materialize at will.
- Servants are summoned for one thing: to serve, obviously. A Servant is notoriously hard to kill, as their bodies are sturdier and can withstand attacks that would normally very easily kill a regular human. So long as the 'spirit core' is maintained, a Servant can heal themselves using mana and continue fighting until that supply is depleted.
Avenger skills.
- "It is oneās state of being as an avenger that gathers peopleās hatred and resentment onto oneself, a way of being that became a Skill. Although it is easy for the hostility from his surroundings to be directed towards him, negative emotions directed towards Avenger will automatically be converted into his power." Essentially, Salieri is able to taken in negative energy/emotions which are directed at him and absorb such energy to make his primary attack stronger. The more negativity he is able take in, the stronger his ability will be.
- "Although people, who are living beings, will be forgetful of many things, an avenger never forgets. An avengerās attacks, which strikes from beyond the peopleās lapses of memory, will have their critical hit effects strengthened." This implies when Salieri is able to make a critical hit on an enemy, due to remembering what their weak spots are and attacking when they least expect it.
- "Oneās magical energy endlessly surges until their revenge is accomplished. Recovers a minuscule amount of magical energy every turn." Avengers are powered by whatever entity summoned them to fight (be it the grail itself or artificially through a summoning machine). This means he's able to gain more magical energy over time.
Salieri's skills.
- "THE MAN IN GREY", the outer armor of Salieri's saint graph which allows him to fight and become a ruthless killing machine. Armed with sharp claws and an even sharper sword, the Grey Man form is meant to cut right through enemies with ruthless efficiency. Greater depth of it's meaning goes into detail in the Personality section.
- Typically, Salieri does not enter the battle field with his armor on. He remains Antonio Salieri (or at least a warped version of him) until ordered to fight, and soon changes his form rabidly to become the Grey Man. This swift transformation aids in the ability to quickly prepare for battle.
- Salieri's love for music is also utilized in battle, although probably not in the way he had hoped. Using his Grey Man form Salieri is able to summon instruments in order to play distressing notes and physically harm his enemies. He is also able to lower their defenses with this method, disorienting them and weakening them mentally. His 'Noble Phantasm' is named "Dio Santissimo Misericordia de mi!", a song made of killing intent. It critically damages his enemies bodies and souls.
-
Inventory/Companions: - His long dagger, with the hilt shaped like a cross.
- His composer's baton.
- His familiars! Seen as tall figures cloaked in white, they aid Salieri in battle and are typically armed with rifles in order to shoot down surrounded enemies. They can be summoned at will.
Choice: Monster - Chimera.
Reason: To put it frankly, Salieri already has some experience in becoming a sort of amalgamation of sorts. His final form is the most twisted version of the Grey Man, and with that comes attributes that are similar to a monsters. To have him become a new type of monster would be an interesting change for both his body and his fragile psyche.
Sample: Sample 1 | Sample 2