Amadeus

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This programme contains very strong language	0:00:14	0:00:22
'Mozart!'	0:00:22	0:00:24
'Mozart!'	0:00:31	0:00:33
'Your killer confesses.'	0:00:36	0:00:37
'I confess! I killed you!'	0:00:37	0:00:41
'I killed you, Mozart!'	0:00:41	0:00:44
'Pieta! Mozart, pieta! Forgive your assassin!'	0:00:47	0:00:52
'Forgive me, Mozart!'	0:00:52	0:00:55
Signor Salieri, open the door. Be good now.	0:00:57	0:01:00
Signore, I have something for you.	0:01:00	0:01:04
Something you're going to love!	0:01:04	0:01:06
Mmmm, is that good!	0:01:10	0:01:13
Believe me, > this is the most delicious thing I ever ate in my life!	0:01:13	0:01:21
-Really, Signore, you don't... -A-A-A-A-HHHH! -HEAVY THUD	0:01:21	0:01:27
All right, that's enough! Open the door!	0:01:31	0:01:35
Signore, if you don't open the door, we're going to eat everything and leave nothing for you!	0:01:37	0:01:44
And I'll never come and see you again!	0:01:44	0:01:48
DISCORDANT PIANO CHORD	0:01:48	0:01:51
QUIET MOANING	0:01:54	0:01:58
MOZART: SYMPHONY NO.25 IN G MINOR	0:02:15	0:02:21
< Good morning, Father.	0:04:38	0:04:41
HESITANT FORTEPIANO PLAYING >	0:04:49	0:04:52
Herr Salieri?	0:05:08	0:05:11
Leave me alone.	0:05:44	0:05:46
I cannot leave alone a soul in pain.	0:05:49	0:05:54
Do you know who I am?	0:05:55	0:05:58
That makes no difference. All men are equal in God's eyes.	0:05:59	0:06:05
-Are they(?) -Make your confession.	0:06:10	0:06:14
I can offer you God's forgiveness.	0:06:18	0:06:21
How well are you trained in music?	0:06:25	0:06:28
I know a little. I studied it in my youth.	0:06:31	0:06:35
-Oh, where? -Here in Vienna.	0:06:35	0:06:38
Ah! Then you must know this...	0:06:38	0:06:41
PLAYS A MELODY LINE	0:06:41	0:06:45
I can't say that I do.	0:06:49	0:06:52
-What is it? -It was a very popular tune in its day!	0:06:53	0:06:58
I wrote it.	0:06:58	0:07:00
Here. How about this...?	0:07:02	0:07:05
It brought down the house when we played it first.	0:07:05	0:07:09
STARTS PLAYING FRAGMENT OF OPERA	0:07:09	0:07:14
SOPRANO SINGS ARIA	0:07:15	0:07:21
TUMULTUOUS APPLAUSE AND CRIES OF 'BRAVO'	0:07:41	0:07:46
Well?	0:07:54	0:07:55
-I regret it is not too familiar. -Can you recall no melody of mine?	0:07:58	0:08:05
I was the most famous composer in Europe! I wrote 40 operas alone!	0:08:05	0:08:11
Here... What about this one...?	0:08:12	0:08:16
PLAYS 'EINE KLEINE NACHTMUSIK'	0:08:18	0:08:21
PRIEST CONTINUES THE TUNE	0:08:21	0:08:24
Yes! I know that!	0:08:32	0:08:34
It's charming! I didn't know you wrote it.	0:08:34	0:08:38
I didn't.	0:08:40	0:08:42
THAT was Mozart.	0:08:48	0:08:51
Wolfgang...Amadeus...Mozart.	0:08:53	0:08:58
The man you say you killed.	0:09:00	0:09:03
-You've heard that? -Is it true?	0:09:05	0:09:10
For God's sake, my son... if you HAVE something to confess,	0:09:19	0:09:26
do it now!	0:09:26	0:09:29
Give yourself some peace.	0:09:29	0:09:32
He...was my idol!	0:09:36	0:09:41
'KLAVIERSTUCK' BY MOZART, AGED TEN	0:09:41	0:09:43
Mozart... I can't think of a time when I didn't know his name!	0:09:45	0:09:50
I was still playing childish games,	0:09:50	0:09:54
when he was playing music for kings and emperors, even the Pope in Rome!	0:09:54	0:10:02
I admit, I was jealous	0:10:02	0:10:05
when I heard the tales they told about him.	0:10:05	0:10:09
Not of the brilliant prodigy, but of his father who had taught him EVERYTHING!	0:10:09	0:10:16
MY father did not care for music.	0:10:16	0:10:19
When I told him I wished I could be like Mozart,	0:10:19	0:10:24
he would say, "Why? Do you want to be a trained monkey?	0:10:24	0:10:29
"Would you like me to drag you around Europe doing tricks?"	0:10:29	0:10:34
How could I tell HIM what music meant to me?	0:10:37	0:10:43
PERGOLESI'S STABAT MATER	0:10:45	0:10:48
While my father prayed earnestly to God to protect commerce...	0:10:57	0:11:02
..I would offer up, secretly, the proudest prayer a boy could think of -	0:11:04	0:11:11
"Lord, make me a great composer.	0:11:12	0:11:15
"Let me celebrate Your glory through music... and be celebrated myself.	0:11:15	0:11:21
"Make me famous through the world, dear God. Make me immortal!	0:11:23	0:11:28
"After I die, let people speak my name forever with love for what I wrote.	0:11:28	0:11:35
"In return... I will give You my chastity,	0:11:37	0:11:43
"and my industry.	0:11:43	0:11:46
"My deepest humility every hour of my life.	0:11:47	0:11:52
"Amen."	0:11:53	0:11:54
And do you know what happened? A miracle!	0:11:55	0:12:00
< CHOKING SOUNDS	0:12:00	0:12:03
FRANCESCO!	0:12:07	0:12:09
# Amen, amen, amen. Amen, amen. #	0:12:11	0:12:16
My life changed forever.	0:12:16	0:12:20
I knew God had obviously arranged it all.	0:12:21	0:12:26
One minute I was a frustrated boy in an obscure little town	0:12:26	0:12:31
and the next I was here! Vienna! City of musicians...	0:12:31	0:12:36
..and Emperor Joseph, the musical king!	0:12:36	0:12:40
In a few years, I was his court composer. Isn't that incredible?	0:12:40	0:12:46
Night after night, I sat next to the Austrian Emperor, playing duets and correcting his sight-reading.	0:12:46	0:12:54
Actually, the man had no ear at all.	0:12:56	0:12:59
But what did it matter?	0:13:01	0:13:03
He adored my music!	0:13:03	0:13:06
Tell me.	0:13:07	0:13:09
If you had been me,	0:13:09	0:13:12
wouldn't you have thought God had accepted your vow?	0:13:12	0:13:15
And believe me, I honoured it.	0:13:19	0:13:21
I was a model of virtue.	0:13:21	0:13:23
I kept my hands off women.	0:13:23	0:13:25
I worked hours every day teaching students,	0:13:25	0:13:28
many of them for free.	0:13:28	0:13:30
Sitting on endless committees to help poor musicians.	0:13:30	0:13:35
Work and work and work - that was all my life.	0:13:35	0:13:39
And it was wonderful.	0:13:39	0:13:41
Everybody liked me.	0:13:41	0:13:44
I liked myself.	0:13:44	0:13:47
Until he came.	0:13:50	0:13:52
He came to Vienna to play some of his music	0:13:54	0:13:59
at the residence of his employer, the Prince Archbishop of Salzburg.	0:13:59	0:14:04
EARLY 18TH CENTURY GYPSY MUSIC	0:14:04	0:14:07
Eagerly I went to seek him out.	0:14:07	0:14:10
That night...	0:14:12	0:14:14
..changed my life.	0:14:16	0:14:18
As I wandered through the salon I played a little game with myself.	0:14:22	0:14:28
This man wrote his first concerto at four,	0:14:28	0:14:31
his first symphony at seven,	0:14:31	0:14:34
a full-scale opera at 12!	0:14:34	0:14:37
Did it show?	0:14:37	0:14:40
Is talent like THAT written on the face?	0:14:41	0:14:46
Which one of them could he be?	0:14:49	0:14:53
SCREAM	0:14:55	0:14:57
YELPS AND GIGGLES	0:15:55	0:15:58
SCREAM	0:16:30	0:16:32
HYSTERICAL LAUGHTER	0:16:32	0:16:35
Mozart is not here.	0:16:52	0:16:55
-Stop it! -I am stopped! -STOP IT!	0:16:59	0:17:02
-I am! -STOP IT! -I am stopping.	0:17:02	0:17:05
Slowly... There. You see?	0:17:05	0:17:09
I've stopped.	0:17:09	0:17:12
-We're going back. -No! -Yes! You don't know where you are.	0:17:12	0:17:17
Here everything goes backwards.	0:17:17	0:17:19
People walk and dance backwards.	0:17:19	0:17:23
-They even talk backwards! -That's stupid!	0:17:23	0:17:27
Why? People fart backwards!	0:17:27	0:17:29
HE GIVES A HIGH PITCHED BRAY	0:17:29	0:17:33
-Ssa ym ssik. -Yes, you are sick!	0:17:33	0:17:38
-No! Say it backwards, shit-wit! -Ssa ym ssik? -Ssa ym ssik.	0:17:38	0:17:43
Ssik - kiss...ym - my...	0:17:43	0:17:48
Ssa... Kiss my ass!	0:17:48	0:17:52
Em yrram!	0:17:52	0:17:54
-No! I'm not playing! -It's serious. Say it and see.	0:17:54	0:17:59
Yrram - marry, em - me. Marry me.	0:18:02	0:18:06
No, I'm not going to marry you! You're a fiend!	0:18:06	0:18:10
-Uoy evol I tub! Uoy evol I tub! -Tub - but...	0:18:10	0:18:16
..I... evol - love...	0:18:16	0:18:20
-But I love you? -(I love you.)	0:18:20	0:18:25
-Tish ym tea. -What? -Tish ym tea.	0:18:31	0:18:34
Tish...ym...tea...	0:18:34	0:18:37
Tea - eat...	0:18:37	0:18:40
..ym - my...	0:18:40	0:18:43
..tish...	0:18:44	0:18:46
Eat my shit! YOU FILTHY BEAST!	0:18:46	0:18:50
-MUSIC HEARD FAINTLY -Ssh!	0:18:50	0:18:55
My music!	0:18:55	0:18:57
They've started without me!	0:18:59	0:19:02
MOZART: SERENADE FOR WINDS	0:19:02	0:19:05
THAT was Mozart!	0:20:11	0:20:14
THAT... That giggling, dirty-minded creature I had just seen crawling on the floor!	0:20:14	0:20:21
I think that went off remarkably well, don't you?	0:20:21	0:20:26
The Viennese certainly know good music!	0:20:26	0:20:30
Your Grace.	0:20:31	0:20:33
Ah, Mozart.	0:20:34	0:20:37
-< Why? -Why what, sir?	0:20:40	0:20:43
Why was I humiliated in front of my guests by one of my servants?	0:20:43	0:20:48
The more licence I allow you, the more you take!	0:20:48	0:20:52
If His Grace isn't satisfied, he can dismiss me.	0:20:52	0:20:57
-I wish you to return immediately to Salzburg. Your father is waiting for you there. -No, Your Grace.	0:20:57	0:21:05
I'd prefer you dismissed me. I obviously don't satisfy.	0:21:05	0:21:10
I do not intend to dismiss you. You will remain in my service and learn your place.	0:21:10	0:21:17
APPRECIATIVE APPLAUSE	0:21:24	0:21:27
On the page it looked...nothing!	0:21:53	0:21:57
The beginning simple, almost comic.	0:21:57	0:22:00
Just a pulse...bassoons, basset horns...	0:22:00	0:22:07
like a rusty squeeze-box.	0:22:07	0:22:10
And then...	0:22:12	0:22:15
..suddenly, high above it... an oboe!	0:22:15	0:22:21
A single note, hanging there, unwavering.	0:22:24	0:22:28
Until...a clarinet took it over...	0:22:29	0:22:34
..and sweetened it into a phrase of SUCH delight!	0:22:36	0:22:41
This was no composition by a performing monkey.	0:22:42	0:22:48
This was a music I had never heard!	0:22:51	0:22:54
Filled with such longing, such unfulfillable longing!	0:22:56	0:23:01
It seemed to me that I was hearing the voice of God.	0:23:01	0:23:06
Excuse me.	0:23:06	0:23:08
But, WHY...	0:23:08	0:23:11
Why had God chosen an obscene child to be His instrument?	0:23:11	0:23:16
It was not to be believed.	0:23:17	0:23:18
This piece had to be an accident.	0:23:19	0:23:21
It had to be.	0:23:21	0:23:22
It better be.	0:23:28	0:23:29
How good is he, this Mozart?	0:23:29	0:23:33
He's remarkable, Majesty! I heard his opera,	0:23:33	0:23:37
-"Idomeneo, King of Crete". -THAT! ->	0:23:37	0:23:42
I heard it. A most tiresome piece!	0:23:42	0:23:45
Tiresome?	0:23:45	0:23:47
A young man trying to impress beyond his abilities.	0:23:47	0:23:52
Too much spice, too... too many notes!	0:23:52	0:23:56
Majesty, I thought it the best work I'd heard in years!	0:23:56	0:24:00
Well, then, we should make efforts to acquire him. We could use a GERMAN composer in Vienna, surely?	0:24:00	0:24:09
< I'm sure he could be tempted.	0:24:09	0:24:11
Say...er...an opera in German for our National Theatre?	0:24:11	0:24:18
-Excellent, Sire. -But not German,	0:24:18	0:24:22
I beg Your Majesty. Italian is the language for opera.	0:24:22	0:24:28
All educated people agree on that.	0:24:28	0:24:31
Mmm-hmm... What do you think, Chamberlain?	0:24:31	0:24:35
In my opinion, Sire, it's time we had a piece in our own language -	0:24:35	0:24:42
< plain German for plain people.	0:24:42	0:24:45
Kapellmeister?	0:24:48	0:24:50
Majesty, I must agree with Herr Direttore...	0:24:51	0:24:57
..German is... >	0:24:57	0:25:01
..scusate...too bruta for singing.	0:25:01	0:25:05
Court Composer?	0:25:09	0:25:12
What do you think?	0:25:13	0:25:16
I think it's an interesting notion to keep Mozart in Vienna.	0:25:16	0:25:21
-It should infuriate the Archbishop, if that is Your Majesty's intention. -You are cattivo, Court Composer!	0:25:21	0:25:28
I want to meet this young man. Chamberlain, arrange a pleasant welcome for him.	0:25:30	0:25:37
Well, there it is.	0:25:37	0:25:40
HE TRIES OUT VARIATIONS ON A PHRASE	0:25:49	0:25:55
Grazie, Signore.	0:26:03	0:26:05
Yes, zis is a beautiful vig for you! It looks zo marvellous!	0:26:10	0:26:16
-I love it! -The other one!	0:26:16	0:26:20
I think you vill love it!	0:26:22	0:26:25
PLAYS "MARCH OF WELCOME"	0:26:25	0:26:27
Here is ze third one! Zo? How do you like it?	0:26:27	0:26:33
They're all so beautiful!	0:26:33	0:26:35
Why don't I have three heads?	0:26:35	0:26:38
BRAYING LAUGH	0:26:38	0:26:41
EMPEROR: Gentlemen, good morning.	0:26:43	0:26:46
What do you have for me today? Your Majesty, Herr Mozart...	0:26:48	0:26:55
< ..Well, he's here.	0:26:55	0:26:59
-Well, there it is. Good! -Sire...	0:27:01	0:27:05
-I hope you won't find it improper, but I wrote a march of welcome in his honour. -A charming idea!	0:27:05	0:27:12
-May I see it? -It is just a trifle, of course.	0:27:12	0:27:16
May I try it?	0:27:19	0:27:21
Majesty!	0:27:21	0:27:23
Let's have fun!	0:27:24	0:27:26
HE PLAYS SLOWLY AND WITHOUT FEELING	0:27:33	0:27:38
Delightful, Court Composer!	0:27:41	0:27:44
-May I play it when he comes in? -You do me too much honour, Sire.	0:27:44	0:27:51
Bring in Herr Mozart, please. But, slowly!	0:27:51	0:27:55
I need a minute to practise.	0:27:55	0:27:58
THE MARCH IS PLAYED HEAVILY AND BADLY WITH MANY MISTAKES	0:28:00	0:28:07
It's C.	0:28:15	0:28:17
G, Your Majesty.	0:28:24	0:28:26
Excellent.	0:28:29	0:28:30
Good. Continue.	0:28:32	0:28:34
Ta-tum-tum-tum... Very good.	0:28:35	0:28:39
Very good, Majesty.	0:28:39	0:28:42
Pa-tum-te-ta-tum-te... Tempo!	0:28:42	0:28:45
Up... Lightly, then STRONGLY - a regal march!	0:28:45	0:28:50
Again.	0:28:50	0:28:53
PLAYS SLIGHTLY MORE FLUENTLY	0:28:54	0:28:57
Bravo, Majesty!	0:29:28	0:29:31
Gentlemen, please, a little less enthusiasm, I beg you!	0:29:31	0:29:36
-Ah, Mozart! -Majesty!	0:29:36	0:29:40
Up...No, please, please! It's not a holy relic!	0:29:40	0:29:45
We HAVE met before, in this very room.	0:29:47	0:29:51
You were only six years old. >	0:29:51	0:29:54
He was giving a delightful concert. As he got off the stool, he slipped.	0:29:54	0:29:59
My sister, Antoinette, helped him up and guess what he did...	0:29:59	0:30:03
He said, "Will you marry me? Yes or no?"	0:30:03	0:30:07
BRAYING, HONKING LAUGH	0:30:07	0:30:11
You know all these gentlemen? The Baron Van Swieten.	0:30:11	0:30:16
-I'm a great admirer of yours. -Thank you!	0:30:16	0:30:20
Kapellmeister Bonno.	0:30:20	0:30:22
Our director of opera, Count Orsini-Rosenberg.	0:30:22	0:30:27
Oh, sir, yes, the honour is mine, absolutely!	0:30:27	0:30:31
And here is our illustrious court composer, Maestro Salieri!	0:30:33	0:30:38
Such immense joy! Diletto straordinario!	0:30:40	0:30:44
I know your work well, signore. I actually composed some variations on a melody of yours.	0:30:44	0:30:52
-Which one? -'Mio caro Adone.' -I'm flattered.	0:30:52	0:30:56
A funny tune, but it yielded some good things!	0:30:56	0:31:01
Now he returns the compliment. Herr Salieri composed this for you.	0:31:01	0:31:07
Grazie, signore, sono commosso!	0:31:07	0:31:10
On to business. Young man, we will commission an opera from you.	0:31:10	0:31:15
What do you say?	0:31:15	0:31:18
Majesty!	0:31:18	0:31:20
-Did we vote in the end for German or Italian? -Actually, Sire, we finally inclined to Italian.	0:31:20	0:31:27
Did we?	0:31:27	0:31:30
I don't think it was decided.	0:31:31	0:31:33
-Oh, German! German, please! Let it be German! -Why so?	0:31:36	0:31:41
Because I have FOUND a libretto!	0:31:41	0:31:44
-Oh? Have I seen it? -I don't think you have, Herr Director, it's quite new!	0:31:44	0:31:52
-I'll show it to you, of course! -I think you'd better. -Well...	0:31:52	0:31:58
Tell us about it, the story.	0:31:58	0:32:02
Well...it's quite amusing, Majesty!	0:32:03	0:32:06
It's set...the whole thing is set in...in...in...in a...	0:32:08	0:32:13
BRAYING	0:32:13	0:32:17
Yes...where?	0:32:18	0:32:20
In a harem, Majesty.	0:32:20	0:32:22
-In a seraglio! -You mean, in Turkey?	0:32:22	0:32:27
-Yes! Exactly! -Then why especially does it have to be in German?	0:32:27	0:32:33
It doesn't, especially. It could be in Turkish if you want!	0:32:33	0:32:38
My dear fellow, >	0:32:38	0:32:41
the language is hardly the point. Is the subject quite appropriate for a National Theatre?	0:32:41	0:32:48
Why not...? It's charming...	0:32:48	0:32:53
I mean, I won't actually show concubines exposing their...	0:32:53	0:32:57
It's not indecent!	0:32:59	0:33:02
It's moral - full of German virtues.	0:33:02	0:33:05
Excuse me, Majesty, what are they? Being a foreigner, I'd love to learn.	0:33:05	0:33:12
Well, tell him, Mozart.	0:33:13	0:33:17
Name us a German virtue.	0:33:17	0:33:20
-Love, Sire. -Oh, love(!) Of course, in Italy we know nothing about love(!)	0:33:20	0:33:26
No, I don't think you do, watching Italian opera!	0:33:29	0:33:34
All those male sopranos screeching, fat couples rolling their eyes! That's not love, it's RUBBISH!	0:33:34	0:33:41
Majesty, YOU choose the language.	0:33:44	0:33:46
My task will be to set it to the finest music ever offered!	0:33:46	0:33:52
There it is. Let it be German.	0:33:52	0:33:55
Here. This is yours. >	0:33:55	0:33:59
Keep it. It is already in my head.	0:33:59	0:34:01
-What? On one hearing only? -I think so, Sire, yes.	0:34:01	0:34:06
Show us.	0:34:11	0:34:13
HE PLAYS THE MARCH QUICKLY AND FLUENTLY	0:34:20	0:34:24
The rest is just the same, isn't it?	0:34:41	0:34:45
-A fourth doesn't work, does it? -CHANGES THE INTERVAL TO A THIRD -Try...	0:34:48	0:34:54
HE ALTERS THE TIMING SUBTLY	0:34:54	0:34:58
-Or... -PLAYS THE MELODY WITH BOTH HANDS	0:34:58	0:35:02
Better? What do you think?	0:35:06	0:35:09
HE EMBELLISHES AND TRANSFORMS IT INTO 'NON PIU ANDRAI' FROM 'THE MARRIAGE OF FIGARO'	0:35:09	0:35:16
Grazie, Signore(!)	0:35:54	0:35:57
All I ever wanted was to sing to God.	0:35:59	0:36:03
He gave me that longing...	0:36:03	0:36:06
..and then made me mute! Why?	0:36:07	0:36:10
Tell me that.	0:36:11	0:36:14
If He didn't want me to praise Him with music, why implant the desire...	0:36:14	0:36:20
..like a LUST in my body...	0:36:21	0:36:24
..and then, deny me the talent?!	0:36:24	0:36:27
DOOR >	0:36:27	0:36:28
-Madame Cavalieri is here for her lesson, sir. -Maestro!	0:36:30	0:36:36
Well...? How do you like it?	0:36:39	0:36:42
It's Turkish! My hairdresser says everything this year will be Turkish!	0:36:44	0:36:51
What else did he tell you today?	0:36:55	0:36:58
Come, come, come, give me some gossip.	0:36:58	0:37:03
Well, I heard you met Herr Mozart.	0:37:04	0:37:08
Oh. News travels fast in Vienna.	0:37:12	0:37:15
And he's been commissioned to write an opera. Is it true?	0:37:15	0:37:19
Yes.	0:37:19	0:37:21
-Is there a part in it for me? -No. -How do you know? -Do you know where it's set, my dear?	0:37:21	0:37:28
-Where? -In a harem.	0:37:28	0:37:31
-What's that? -A brothel!	0:37:32	0:37:36
Oh-h-h-h!	0:37:37	0:37:39
Come...	0:37:39	0:37:40
..let's begin.	0:37:40	0:37:42
What does he look like?	0:37:42	0:37:46
Mozart? You might be disappointed.	0:37:46	0:37:49
Why?	0:37:49	0:37:50
-Looks and talent don't always go together! -Looks don't concern me, Maestro.	0:37:50	0:37:57
Only talent interests a woman of taste.	0:37:57	0:38:01
Er...shall we continue?	0:38:03	0:38:05
SINGS A SCALE	0:38:07	0:38:09
HIGHER SCALE	0:38:11	0:38:15
ONE HIGHER STILL	0:38:15	0:38:19
ORCHESTRA JOINS IN	0:38:19	0:38:21
IT BECOMES THE END OF THE ARIA 'MARTERN ALLER ARTEN'...	0:38:21	0:38:27
..FROM 'THE ABDUCTION FROM THE SERAGLIO'	0:38:27	0:38:32
There she was!	0:38:41	0:38:44
I don't know where or how they met,	0:38:45	0:38:48
but there she stood, showing off, like the greedy songbird she was!	0:38:48	0:38:55
# Hurt me! Break me! Kill me!	0:39:02	0:39:06
# At last I shall be freed by death!	0:39:06	0:39:09
# At last, at last I shall be freed by death!	0:39:09	0:39:15
# At last I shall be freed by death! Freed at last...	0:39:15	0:39:20
# ..At last I shall be freed... #	0:39:20	0:39:25
Ten minutes of ghastly scales and arpeggios!	0:39:27	0:39:32
Whizzing up and down like fireworks at a fairground!	0:39:32	0:39:37
# ..By death! #	0:39:37	0:39:39
I was in LOVE with the girl!	0:39:47	0:39:50
Or, at least in lust!	0:39:50	0:39:52
But I swear I never touched her.	0:39:55	0:39:58
All the same, I couldn't bear to think of anyone else touching her -	0:40:01	0:40:07
LEAST of all, the Creature!	0:40:07	0:40:11
THE FINALE FROM 'THE ABDUCTION FROM THE SERAGLIO'	0:40:11	0:40:15
# Bassa Selim lives forever, forever! He lives forever!	0:40:21	0:40:30
# Honour to his regal name! Honour to his regal name!	0:40:30	0:40:37
# Glory, fortune, joy and fame!	0:40:37	0:40:41
# Bassa Selim lives forever! Honour to his regal name!	0:40:41	0:40:46
# Glory, fortune, joy and fame!	0:40:46	0:40:51
# Bassa Selim lives forever! Honour to his regal name!	0:40:51	0:40:56
# Bassa Selim lives forever, forever! He lives forever!	0:40:56	0:41:05
# Honour to his regal name! Honour to his regal name!	0:41:05	0:41:10
# Glory, fortune, joy and fame! Glory, fortune, joy and fame!	0:41:10	0:41:18
# Glory, fortune, joy and fame! Glory, fortune, joy and fame!	0:41:18	0:41:22
# Glory, fortune, joy and fame! #	0:41:22	0:41:26
WARM APPLAUSE	0:41:30	0:41:35
PUSH!	0:41:42	0:41:44
Brava, Madame! You are an ornament to our stage!	0:41:50	0:41:55
-Your Majesty! -APPRECIATIVE APPLAUSE	0:41:55	0:41:59
Well, Herr Mozart...	0:41:59	0:42:02
..a good effort. Decidedly! An excellent effort! You have shown us something...	0:42:02	0:42:08
-..quite new! -It IS new! It IS, isn't it?	0:42:10	0:42:14
-Yes, indeed. -So, then you liked it?	0:42:14	0:42:19
-You really liked it, Sire? -Of course I did, it's very good!	0:42:19	0:42:24
Of course, now and then, just now and then, it... it seemed a touch...	0:42:24	0:42:31
-What do you mean, Sire? -I mean, occasionally, it seems to have...	0:42:32	0:42:38
..Oh, how shall one say...?	0:42:39	0:42:41
-How SHALL one say, Director? -Too many notes, Your Majesty? -Yes! Exactly!	0:42:44	0:42:51
I don't understand. There are just as many notes, Majesty, as I required, no more, no less.	0:42:51	0:42:58
Dear fellow, there are only so many notes the ear can hear in one evening.	0:42:58	0:43:03
Am I right in that, Court Composer?	0:43:06	0:43:09
Yes, you are, on the whole. Yes, Majesty.	0:43:12	0:43:15
-But this is absurd! -Don't take it too hard.	0:43:15	0:43:20
Your work is ingenious! It's quality work!	0:43:20	0:43:24
Cut a few notes and it's perfect!	0:43:24	0:43:28
Which FEW did you have in mind?	0:43:29	0:43:32
Wolfgang! >	0:43:32	0:43:34
¬ Wolfgang! My dear!	0:43:36	0:43:38
Wolfgang!	0:43:38	0:43:40
Majesty, this is Frau Weber. She's my landlady.	0:43:40	0:43:45
Enchanted.	0:43:48	0:43:49
Oh, Sire...such an honour!	0:43:49	0:43:54
THIS is my dear daughter, Constanze. She is the fiance of Herr Mozart!	0:43:57	0:44:02
Really?	0:44:02	0:44:04
GIGGLES	0:44:05	0:44:07
How charming! Please...	0:44:07	0:44:10
Well,	0:44:26	0:44:28
when do you marry? >	0:44:28	0:44:31
Well...er...	0:44:31	0:44:32
..Well, we haven't exactly received my father's consent yet, not entirely, not altogether.	0:44:34	0:44:41
Excuse me, but...er... how old ARE you?	0:44:42	0:44:47
-Twenty-six. -Well, my advice is for you to marry this charming lady,	0:44:47	0:44:52
and stay with us in Vienna. > You SEE!	0:44:52	0:44:57
I told him that, Your Majesty, but he wouldn't listen! You give such...ooh...	0:44:57	0:45:03
< ..ROYAL advice!	0:45:03	0:45:06
May I...?	0:45:06	0:45:08
Well... There it is!	0:45:16	0:45:19
< Water!	0:45:20	0:45:21
Will you get some water, please!	0:45:24	0:45:28
Get some water!	0:45:33	0:45:34
Excuse me. Excuse me.	0:45:43	0:45:45
Did you know?	0:45:53	0:45:54
What?	0:45:56	0:45:57
The marriage?	0:45:57	0:45:58
What does it matter to you?	0:46:00	0:46:03
Nothing. He can marry who he pleases. I don't give a damn.	0:46:04	0:46:07
How was I?	0:46:10	0:46:12
You were sublime!	0:46:14	0:46:16
And what did you think of the music?	0:46:16	0:46:18
Extremely clever.	0:46:20	0:46:21
Catharina. I...	0:46:23	0:46:24
Oh. Excuse me.	0:46:25	0:46:27
Is that woman still lying on the floor?	0:46:27	0:46:30
No. She's fine.	0:46:31	0:46:33
Oh. I'm so relieved(!)	0:46:33	0:46:36
Dear Mozart. My sincere congratulations.	0:46:37	0:46:40
-Did you like it? -How could I not?	0:46:40	0:46:43
BRAYS	0:46:43	0:46:45
It really is the best music one can hear in Vienna today.	0:46:45	0:46:47
-Don't you agree? -She must be dazzling in bed.	0:46:47	0:46:50
I assume she is the virtuoso in that department.	0:46:54	0:46:57
There can't be any other reason why you'd marry someone like that.	0:46:57	0:47:00
KNOCK ON DOOR	0:47:00	0:47:02
Come in.	0:47:02	0:47:04
Excuse me. Wolfie, Mum's not feeling very well.	0:47:07	0:47:10
-Can we go home now? -Of course.	0:47:10	0:47:12
No, no, no, no. You can't take him away now.	0:47:12	0:47:15
This is his night.	0:47:15	0:47:17
Aren't you going to introduce us, Wolfgang?	0:47:17	0:47:21
Excuse us, Fraulein. Good night, Signore.	0:47:21	0:47:23
DOOR SLAMS	0:47:25	0:47:26
At that moment I knew, beyond any doubt, he'd had her!	0:47:26	0:47:33
The Creature had had my darling girl.	0:47:33	0:47:38
It was incomprehensible!	0:47:44	0:47:47
What was God up to?	0:47:47	0:47:49
Was it possible I was being tested?	0:47:51	0:47:53
Was God expecting me to offer...forgiveness	0:47:55	0:47:59
in the face of every offence?	0:47:59	0:48:02
No matter how painful?	0:48:02	0:48:04
It's very possible.	0:48:07	0:48:08
But why...him?	0:48:08	0:48:11
Why choose Mozart to teach me lessons in humility?	0:48:11	0:48:16
My heart was filling up with such hatred for that little man!	0:48:17	0:48:22
For the first time in my life I began to know...	0:48:24	0:48:28
..really violent thoughts.	0:48:28	0:48:31
Every day, sometimes for hours, I would pray.	0:48:33	0:48:37
Lord...	0:48:39	0:48:40
Please...	0:48:42	0:48:44
Send him away.	0:48:44	0:48:46
Back to Salzburg.	0:48:46	0:48:48
For his sake,	0:48:51	0:48:53
as well as mine.	0:48:53	0:48:55
-No. I won't have him back! -But...	0:48:58	0:49:02
Your son is an unprincipled, spoiled, conceited brat!	0:49:02	0:49:07
Yes, sir. That...er... that is the truth.	0:49:07	0:49:12
But don't blame him. The fault is mine!	0:49:12	0:49:18
Mine entirely! I was too indulgent with him!	0:49:18	0:49:23
Your Grace, give him another chance.	0:49:24	0:49:27
You have leave to try.	0:49:30	0:49:32
God bless Your Grace! I thank Your Grace! I thank you!	0:49:32	0:49:37
"I write to you with urgent news.	0:49:41	0:49:44
"I am coming to Vienna.	0:49:44	0:49:47
"Take no further steps towards marriage until we meet.	0:49:47	0:49:51
"As you honour the father who has devoted his life to you, do as I bid."	0:49:51	0:49:58
KYRIE FROM MOZART'S MASS IN C MINOR	0:49:58	0:50:04
I now join you in the holy bonds of matrimony.	0:50:09	0:50:14
Those whom God has joined together, let no man put asunder.	0:50:14	0:50:20
In nomine Patri et Filii et Spiritus Sancti.	0:50:23	0:50:27
"Most beloved father, you told me Vienna is the city of musicians,	0:50:34	0:50:39
"conquer her and conquer Europe.	0:50:39	0:50:42
"With my wife I can. Soon, when I am wealthy, come and live with us."	0:50:42	0:50:47
-Ah, Court Composer! This is my niece, Princess Elizabeth. -Your Highness.	0:50:59	0:51:04
-She asked my advice about a suitable music tutor. I have had an idea. -Oh, Majesty, it would be an honour!	0:51:04	0:51:12
I was thinking of Herr Mozart.	0:51:12	0:51:15
What is your view?	0:51:15	0:51:17
It's an interesting idea, but...	0:51:19	0:51:22
-Yes? -..My concern...	0:51:22	0:51:26
..is to protect you from any hint of favouritism.	0:51:26	0:51:32
Ah-ha.	0:51:32	0:51:34
Favouritism.	0:51:37	0:51:39
-What is this?! -What is what?	0:51:39	0:51:41
-Why must I submit my work to a committee just to teach her?! -Because His Majesty wishes it.	0:51:41	0:51:49
-Is the Emperor angry with me? -Quite the contrary.	0:51:50	0:51:55
-Then why not simply APPOINT me?! -You are not the ONLY composer here.	0:51:55	0:52:00
No, but I'm the BEST!	0:52:00	0:52:04
Mozart...	0:52:04	0:52:06
..a little modesty might suit you.	0:52:07	0:52:10
Who is on this committee?	0:52:18	0:52:20
Herr Bonno, Baron Orsini-Rosenberg and Herr Salieri.	0:52:20	0:52:25
Naturally(!) The Italians! Always the Italians!	0:52:25	0:52:30
They're all musical IDIOTS!	0:52:30	0:52:33
And THEY are to judge MY music?!	0:52:33	0:52:36
Young man, the issue is quite simple.	0:52:36	0:52:40
-If you want this position, you must submit your stuff along with ALL your colleagues. -Must I?	0:52:41	0:52:48
Well, I won't.	0:52:49	0:52:52
How are we supposed to live, Wolfie?	0:52:52	0:52:55
Do you want me to go on the streets and beg?	0:52:57	0:52:59
It's stupid.	0:53:00	0:53:01
-All they want to see is your work. -Shit.	0:53:02	0:53:05
-What's wrong with that? -Shut up. Just shut up.	0:53:05	0:53:07
One royal pupil and the whole of Vienna will come flocking.	0:53:10	0:53:14
They'll come anyway.	0:53:14	0:53:17
No, they won't.	0:53:17	0:53:18
They love me here.	0:53:19	0:53:21
I know how things work in this city.	0:53:21	0:53:22
You always know everything, don't you?	0:53:22	0:53:25
SHE SINGS	0:53:30	0:53:34
-Yes? -Excuse me, sir, there is a lady who insists on talking to you.	0:53:53	0:53:57
-Who is she? -She didn't say but she said it's urgent.	0:53:57	0:54:00
Excuse me, my dear.	0:54:03	0:54:04
Your Excellency.	0:54:10	0:54:12
How can I help you?	0:54:13	0:54:16
Frau Mozart?	0:54:20	0:54:21
I've come on behalf of my husband.	0:54:21	0:54:24
I've brought samples of his work for consideration.	0:54:24	0:54:28
Well... How charming, but...er... why did he not come himself?	0:54:29	0:54:35
Well, he's...terribly busy, sir.	0:54:35	0:54:39
I understand.	0:54:42	0:54:44
I'll look at them as soon as I can. It's an honour.	0:54:46	0:54:51
Give him my warmest regards.	0:54:51	0:54:54
Would it be too much trouble for you to look at them while I wait?	0:54:54	0:55:00
I'm afraid I'm not at leisure this moment. Leave them with me. They'll be quite safe.	0:55:00	0:55:07
I really cannot do that, sir.	0:55:08	0:55:11
You see...he doesn't know I'm here.	0:55:13	0:55:17
You mean, he didn't send you?	0:55:17	0:55:20
No, sir.	0:55:20	0:55:22
This was my own idea.	0:55:22	0:55:24
I see.	0:55:26	0:55:28
Sir, we're desperate. We really need this job!	0:55:28	0:55:32
My husband spends far more than he earns.	0:55:32	0:55:36
I don't mean that he's lazy, he works all day!	0:55:36	0:55:41
It's just that...	0:55:41	0:55:44
..he's not practical! Money simply slips through his fingers. It's ridiculous!	0:55:44	0:55:51
Let me offer you some refreshments. Do you know what these are?	0:55:53	0:55:58
Capezzoli di Venere - nipples of Venus.	0:55:59	0:56:04
Roman chestnuts in brandied sugar!	0:56:04	0:56:07
Go on, try one.	0:56:07	0:56:10
They are quite surprising!	0:56:10	0:56:12
-Mmm! -Mmm... -They're wonderful!	0:56:15	0:56:18
-Thank you, Your Excellency. -Don't keep calling me that!	0:56:20	0:56:25
It keeps me at such a distance!	0:56:26	0:56:30
I wasn't born a court composer, you know. I'm from a small town, just like your husband.	0:56:30	0:56:37
Are you sure you can't... leave this and come back again?	0:56:40	0:56:45
It's very tempting, sir... but it's impossible, I'm afraid.	0:56:48	0:56:53
Wolfgang would be frantic if he found them missing.	0:56:53	0:56:57
You see, they're all originals.	0:56:57	0:57:00
-Originals? -Yes, sir. He doesn't make copies.	0:57:00	0:57:04
These...are ORIGINALS?	0:57:15	0:57:19
CONCERTO FOR FLUTE AND HARP	0:57:20	0:57:25
SYMPHONY NO.29 IN A MAJOR	0:57:52	0:57:55
Astounding! It was beyond belief!	0:57:55	0:57:58
These were the first, and ONLY drafts of music!	0:57:58	0:58:02
-CONCERTO FOR TWO PIANOS -But they had no corrections!	0:58:05	0:58:10
-SYMPHONIE CONCERTANTE -He had simply written down music already finished...	0:58:10	0:58:17
-MASS IN C MINOR -..in his head!	0:58:17	0:58:22
Page after page, as if he were taking dictation!	0:58:22	0:58:26
SOPRANO SOLO	0:58:26	0:58:31
And music finished as no music is EVER finished!	0:58:31	0:58:37
Displace one note and there would be diminishment.	0:58:41	0:58:46
Displace one phrase and the structure would fall.	0:58:46	0:58:51
It was clear that the sound I had heard in the Archbishop's palace had been no accident.	0:58:57	0:59:05
Here again was the very voice of God.	0:59:06	0:59:10
I was staring through the cage of those meticulous ink strokes...	0:59:16	0:59:21
..at an Absolute Beauty!	0:59:21	0:59:26
SOARING NOTES FROM THE KYRIE	0:59:26	0:59:33
Is it not good?	0:59:40	0:59:42
It is miraculous!	0:59:47	0:59:50
Oh, yes! He's very proud of his work.	0:59:54	0:59:57
So you will help us?	0:59:59	1:00:01
I dine with the emperor tomorrow evening.	1:00:04	1:00:06
One word from me and the post is his.	1:00:07	1:00:09
Oh, thank you, Your Excellency, thank you.	1:00:11	1:00:13
Come back tonight.	1:00:13	1:00:15
-Tonight? -Alone.	1:00:18	1:00:20
What for?	1:00:22	1:00:23
Some service deserves service in return.	1:00:25	1:00:27
No?	1:00:30	1:00:31
What do you mean?	1:00:33	1:00:35
Isn't it obvious?	1:00:35	1:00:36
It's a post all Vienna seeks.	1:00:38	1:00:39
If you wish it for your husband, come tonight.	1:00:41	1:00:44
I'm a married woman, sir.	1:00:45	1:00:48
Then don't.	1:00:48	1:00:49
It's up to you.	1:00:49	1:00:51
Not to be vague. That is the price.	1:00:53	1:00:56
There is no God of mercy, Father.	1:01:08	1:01:09
Just a God of torture.	1:01:13	1:01:15
Evening came.	1:01:22	1:01:23
I sat not knowing whether she would return or not.	1:01:25	1:01:27
I prayed as I had never prayed before.	1:01:30	1:01:33
Dear God. Enter me now.	1:01:35	1:01:39
Fill me with one piece of true music.	1:01:39	1:01:43
One piece with your breath in it	1:01:45	1:01:47
so I know that you love me.	1:01:47	1:01:49
Show me one sign of your favour and I will show mine to Mozart.	1:01:50	1:01:56
I will get him the royal position.	1:01:56	1:01:59
Enter me. Please.	1:01:59	1:02:04
Please!	1:02:06	1:02:08
KNOCK ON DOOR	1:02:08	1:02:09
Yes.	1:02:14	1:02:15
That lady is back, sir.	1:02:20	1:02:21
Show her in.	1:02:27	1:02:28
-Well? -Huh?	1:03:00	1:03:01
I'm here.	1:03:03	1:03:04
My husband has gone to a concert.	1:03:08	1:03:10
He didn't think I would enjoy it.	1:03:12	1:03:14
Well, where shall we go?	1:03:25	1:03:27
Should we stay here?	1:03:29	1:03:31
Well...	1:03:33	1:03:34
Do you still want to look at these?	1:03:38	1:03:40
Or don't we need to bother any more?	1:03:44	1:03:45
I suppose we don't, really.	1:03:49	1:03:51
BELL RINGS	1:04:36	1:04:38
Show this woman out.	1:04:46	1:04:48
Stanzi.	1:05:09	1:05:10
Stanzi.	1:05:12	1:05:13
What is it?	1:05:19	1:05:20
SOBS	1:05:20	1:05:21
What's the matter?	1:05:21	1:05:23
Tell me.	1:05:23	1:05:24
Tell me.	1:05:29	1:05:30
SOBS	1:05:30	1:05:33
I love you.	1:05:36	1:05:38
I love you.	1:05:38	1:05:41
From now on, we are enemies... You and I!	1:05:41	1:05:48
Because You choose for Your instrument a boastful, lustful, smutty, infantile boy,	1:05:48	1:05:56
and give me for reward only the ability to recognise him!	1:05:56	1:06:01
Because You are unjust... unfair...unkind!	1:06:01	1:06:08
I will block You! I SWEAR it!	1:06:08	1:06:13
I will harm Your creature on earth as FAR as I am able!	1:06:15	1:06:20
Majesty, I don't like to talk against a fellow musician.	1:06:20	1:06:22
Of course not.	1:06:22	1:06:24
I have to tell you.	1:06:24	1:06:26
Mozart is not entirely to be trusted alone with young ladies.	1:06:28	1:06:32
-Really? -As a matter of fact,	1:06:34	1:06:36
one of my own pupils, a very young singer,	1:06:36	1:06:39
Maria Theresa Paradis, told me she was...	1:06:39	1:06:44
Well...	1:06:45	1:06:47
Well, what?	1:06:50	1:06:52
Molested, Majesty.	1:06:52	1:06:54
Twice, in the course of the same lesson.	1:06:54	1:06:58
Sir. There is a Herr Mozart waiting for you in the salon.	1:07:03	1:07:05
Whom did they choose?	1:07:10	1:07:11
Herr Zammer.	1:07:11	1:07:13
Herr Zammer?	1:07:13	1:07:15
But the man's a fool.	1:07:15	1:07:16
He's a total mediocrity.	1:07:16	1:07:18
No, no, no.	1:07:18	1:07:20
He has yet to achieve mediocrity.	1:07:20	1:07:23
LAUGHS	1:07:23	1:07:25
I can't lose this post.	1:07:26	1:07:28
I simply can't.	1:07:28	1:07:29
Excellency, please.	1:07:31	1:07:33
Let's go to the palace	1:07:33	1:07:35
and you can talk to the emperor	1:07:35	1:07:36
and tell him that Herr Zammer is an awful choice.	1:07:36	1:07:40
He could actually do musical harm to the Princess Elizabeth.	1:07:42	1:07:45
Between you and me, no-one in the world	1:07:45	1:07:47
could do musical harm to the Princess Elizabeth.	1:07:47	1:07:49
LAUGHS	1:07:49	1:07:52
Look. I must have pupils.	1:07:54	1:07:56
Without pupils, I can't manage.	1:07:56	1:07:59
You don't mean to tell me that	1:08:01	1:08:02
you're living in poverty?	1:08:02	1:08:03
No. But I'm broke.	1:08:03	1:08:06
Well, how is this possible?	1:08:06	1:08:09
You give concerts, don't you?	1:08:10	1:08:11
I hear they're quite successful.	1:08:11	1:08:13
They're stupendously successful.	1:08:13	1:08:15
You can't get a seat.	1:08:16	1:08:17
The only trouble is no-one will hire me.	1:08:17	1:08:20
They all want to hear me play but they won't let me teach	1:08:20	1:08:23
their daughters, as if I was some kind of a fiend.	1:08:23	1:08:25
LAUGHS	1:08:25	1:08:27
Seriously, is there any chance you could manage a loan?	1:08:31	1:08:35
Only for six months.	1:08:38	1:08:40
Eight at the most.	1:08:40	1:08:41
You expect your fortunes to change in six or eight months?	1:08:41	1:08:45
As a matter of fact, I do.	1:08:46	1:08:47
I am working on something that is going to explode like a bombshell	1:08:50	1:08:53
all over Europe.	1:08:53	1:08:55
After that, I'll be the richest man in Vienna.	1:08:55	1:08:57
I'll pay you back double. Anything.	1:08:57	1:08:58
You name the terms.	1:09:00	1:09:01
How exciting.	1:09:01	1:09:03
-Tell me more. -Oh, I...	1:09:05	1:09:08
I better not. It's a bit of a secret.	1:09:09	1:09:10
Come come, Mozart. I am interested.	1:09:10	1:09:12
This is delicious. What is it?	1:09:12	1:09:13
Oh. It's cream cheese, mixed with granulated sugar,	1:09:13	1:09:18
suffused with rum.	1:09:18	1:09:20
Crema mascarpone.	1:09:20	1:09:21
Speciale.	1:09:21	1:09:23
Italian.	1:09:23	1:09:24
Forgive me. We all have patriotic feelings of some kind.	1:09:25	1:09:29
Two... Two hundred florins, that's all I need.	1:09:29	1:09:33
A hundred.	1:09:37	1:09:38
Fifty.	1:09:40	1:09:42
What exactly are you working on?	1:09:43	1:09:44
I... I... Really, I can't say.	1:09:47	1:09:50
I don't think you should be come known in Vienna	1:09:52	1:09:55
as a debtor, Mozart.	1:09:55	1:09:57
However. However. I know a very distinguished gentleman	1:10:04	1:10:08
that I can recommend to you.	1:10:08	1:10:09
And, he has a daughter.	1:10:09	1:10:11
DOGS BARK	1:10:11	1:10:14
Quiet! Quiet! Herr Mozart.	1:10:17	1:10:20
Pay no attention. They're impossible.	1:10:22	1:10:24
Just ignore them.	1:10:24	1:10:25
Treat them just like my own children.	1:10:25	1:10:27
Which of them do you wish me to teach?	1:10:29	1:10:30
Ha! Ha! That's funny!	1:10:34	1:10:36
LAUGHS	1:10:36	1:10:38
You're a funny fellow!	1:10:38	1:10:41
This is the instrument, Herr Mozart.	1:10:41	1:10:43
I hope it will be to your satisfaction.	1:10:43	1:10:45
Of course it'll be to his satisfaction.	1:10:45	1:10:47
Come! Come! Let's listen to some music.	1:10:47	1:10:49
Come! Come on!	1:10:49	1:10:52
Good boy!	1:10:53	1:10:55
Now. Please play me something, just to give me an idea.	1:11:00	1:11:04
Anything will do.	1:11:07	1:11:09
Just go ahead. Just as if we weren't here!	1:11:09	1:11:13
DOGS BARK	1:11:13	1:11:15
Part of music, getting used to an audience.	1:11:15	1:11:18
Aren't I right, Herr Mozart?	1:11:18	1:11:19
Perhaps it would be better if we were left alone.	1:11:20	1:11:23
-I think we're both a little shy. -Play.	1:11:24	1:11:27
-I said play! -Michael!	1:11:27	1:11:29
-Please. -Perhaps if I were to play something first	1:11:29	1:11:33
it would encourage the fraulein.	1:11:33	1:11:34
DOG HOWLS	1:11:44	1:11:48
Stop it! Stop! He always howls when he hears music.	1:11:48	1:11:51
He's got to break that habit.	1:11:51	1:11:53
Yes. We've got to break that habit.	1:11:53	1:11:56
Play, please, please.	1:11:57	1:11:59
Herr Mozart, play.	1:11:59	1:12:00
Please. I beg you.	1:12:00	1:12:02
That's it. That's it.	1:12:10	1:12:11
Play!	1:12:15	1:12:16
Keep playing! That's it! That's it!	1:12:23	1:12:26
DOGS BARK	1:12:30	1:12:34
Mozart, that's wonderful! Wonderful!	1:12:45	1:12:47
Well, next time you wish me to instruct	1:12:48	1:12:51
another one of your dogs, please let me know.	1:12:51	1:12:53
Goodbye, Fraulein, goodbye Madam, goodbye, Sir.	1:12:53	1:12:55
DOG BARKS	1:12:59	1:13:00
Papa?	1:13:51	1:13:52
CRASHING OPENING CHORDS OF 'DON GIOVANNI'	1:13:52	1:13:57
Papa!	1:13:57	1:13:59
-Why are you here? -Am I not welcome?	1:14:02	1:14:05
Of course welcome.	1:14:05	1:14:07
Papa! Welcome! Welcome!	1:14:07	1:14:11
TINKLE OF GLASS	1:14:13	1:14:15
You are thin. Doesn't your wife feed you?	1:14:30	1:14:35
Of course she does! She stuffs me like a goose!	1:14:35	1:14:39
-< -Is she not here? -No, she had to help her mother. She's like that.	1:14:39	1:14:46
Her mother's sweet, you'll...	1:14:46	1:14:48
NERVOUS GIGGLE	1:14:52	1:14:55
I didn't know you were home... ..Stanzi, this is my father.	1:14:55	1:15:01
We'll wait. We'll wait!	1:15:04	1:15:07
(Why don't you get UP, now, dear!)	1:15:08	1:15:12
She's tired. You know me - I'm such a pig!	1:15:19	1:15:23
-It's hard cleaning after me! -Don't you have a maid?	1:15:23	1:15:28
Oh, no. We could if we wanted, but Stanzi wouldn't hear of it. She insists on doing it herself!	1:15:28	1:15:36
How is your...er...	1:15:36	1:15:39
..financial situation?	1:15:40	1:15:43
Couldn't be better!	1:15:43	1:15:46
That's not what I hear.	1:15:46	1:15:48
What do you mean? It's marvellous! Really. People love me here.	1:15:48	1:15:54
They say you have debts.	1:15:55	1:15:57
Who...? Who says that?!	1:15:59	1:16:02
-That's a malicious lie! -Do you have pupils?	1:16:02	1:16:06
I don't WANT pupils!	1:16:07	1:16:10
They get in the way!	1:16:10	1:16:13
I need time for composition!	1:16:14	1:16:17
Composition doesn't pay!	1:16:17	1:16:20
-You know that. -That one will. -What is that?	1:16:20	1:16:24
It's a secret.	1:16:25	1:16:28
Secret(!) You don't have secrets from ME.	1:16:28	1:16:31
No! No, no, no!	1:16:31	1:16:34
I don't want anyone to see it!	1:16:35	1:16:38
But you'll be so proud of me, Papa. It will be the best thing...	1:16:38	1:16:43
There she is! Look at her! Isn't she beautiful?!	1:16:45	1:16:51
-Father, confess, could you find a prettier daughter-in-law? -Stop!	1:16:51	1:16:56
-I look dreadful! -Are you...er...expecting?	1:16:57	1:17:03
-Yes, I am. -Isn't it marvellous? We're delighted!	1:17:05	1:17:09
-Would you like tea, Herr Mozart? -Who wants tea? Let's go out!	1:17:09	1:17:14
This calls for a feast!	1:17:14	1:17:17
-Wolfie...! -I know! Let's go dancing. Papa loves parties! -Wolfie!	1:17:17	1:17:22
How can you be so boring? Tea(!)	1:17:22	1:17:25
GENISSARIES MARCH FROM 'ABDUCTION FROM THE SERAGLIO'	1:17:25	1:17:31
MUSIC: 'THE KAISER MARCH'	1:17:48	1:17:53
'I name the penalty!'	1:18:22	1:18:24
-It is... -Make it good! -..show your legs!	1:18:27	1:18:32
It's just a game, Papa.	1:18:50	1:18:52
-No! No! -BRAYS	1:19:24	1:19:28
Herr Mozart, why don't you name your son's penalty?	1:19:31	1:19:36
Yes, Papa... Name it. I'll do anything you say!	1:19:37	1:19:43
I want you to come back to Salzburg.	1:19:45	1:19:48
Papa! You have to give a penalty that can be performed in the room!	1:19:48	1:19:54
-I'm tired of this game. -My penalty! I've GOT to have one!	1:19:54	1:19:59
'I'll name a penalty!'	1:20:04	1:20:07
'Your penalty is to play a tune in the manner of Bach!'	1:20:11	1:20:16
Now, turn him over! Turn him over!	1:20:44	1:20:47
Now, play it backwards!	1:20:47	1:20:50
HE PLAYS IT BACKWARDS FAULTLESSLY	1:20:57	1:21:02
Give me another one!	1:21:18	1:21:20
-Play it like Gluck! -Boring!	1:21:20	1:21:23
-Play Handel. -I don't like him! Another one!	1:21:23	1:21:27
Salieri.	1:21:27	1:21:29
Now, THAT...is a challenge!	1:21:29	1:21:32
That IS a challenge.	1:21:32	1:21:34
-RASPBERRIES -Please...please!	1:21:34	1:21:37
PLAYS LUMBERINGLY	1:21:42	1:21:46
FARTS	1:21:58	1:22:01
Go on! Mock me! Laugh!	1:22:10	1:22:13
That was not Mozart laughing.	1:22:18	1:22:20
That was God. That was GOD laughing at me through that obscene giggle!	1:22:20	1:22:27
Go on, Signore, LAUGH!	1:22:29	1:22:32
Show my mediocrity for all to see!	1:22:32	1:22:35
One day I will laugh at You.	1:22:37	1:22:39
Before I leave this earth I will laugh at YOU!	1:22:43	1:22:48
-Wolfie...? -What?	1:23:10	1:23:13
There's a young girl here to see you.	1:23:13	1:23:16
-Well, what does she want? -She won't talk to me. She wants to talk to you.	1:23:16	1:23:22
Damn!	1:23:23	1:23:25
Yes?	1:23:29	1:23:31
Are you Herr Mozart?	1:23:32	1:23:34
Yes.	1:23:34	1:23:36
My name is Lorl, sir.	1:23:37	1:23:40
I'm a maid. I was asked to offer you my services.	1:23:40	1:23:44
They will be paid for by a great admirer of yours who wishes to remain anonymous.	1:23:44	1:23:52
Is this your idea, Papa?	1:23:52	1:23:55
-Mine? -Is this a trick on me? -I've never seen this girl before!	1:23:56	1:24:01
-Is this some joke? -Not at all, sir!	1:24:03	1:24:06
Young woman, this won't do at all!	1:24:06	1:24:09
My son cannot accept such an offer unless he knows who is behind it.	1:24:09	1:24:15
-But I can't tell you that, sir. -It's ridiculous!	1:24:15	1:24:19
What?	1:24:19	1:24:21
Wolfie has many admirers in Vienna. They send us gifts often.	1:24:22	1:24:28
But she has no references!	1:24:28	1:24:31
This is none of your business.	1:24:31	1:24:33
Whoever sent you will pay, no? < That's right, ma'am.	1:24:33	1:24:38
Splendid(!) We'll let strangers into our house!	1:24:38	1:24:42
Who is "WE"?! Who is letting...?	1:24:42	1:24:45
Could you please wait outside? Er...yes, ma'am.	1:24:46	1:24:51
'Look, old man! We spend a fortune on you and all you do is criticise!'	1:24:53	1:24:58
-You just... -Stanzi! -He SHOULD hear!	1:24:58	1:25:01
I'm SICK of it! We can't do ANYTHING right for you, can we?!	1:25:01	1:25:07
You won't have to do anything for me AGAIN! I'm leaving!	1:25:07	1:25:13
-Papa! -I won't be a BURDEN to you! -No-one calls you that!	1:25:13	1:25:18
-SHE does! She says I sleep all day! -And so you DO!	1:25:18	1:25:24
-The only time you come out is to eat! -What do you expect?!	1:25:24	1:25:30
Do you expect anyone to walk out into a MESS like THIS every day?!	1:25:31	1:25:37
-So now I'm a bad housekeeper?! -You are! The place is like a pigsty all the time!	1:25:37	1:25:42
When can you start? Right away, ma'am.	1:25:44	1:25:46
'AH TUTTI CONTENTI' FROM 'THE MARRIAGE OF FIGARO' PLAYS IN HIS HEAD, DROWNING THE ROW	1:25:52	1:26:00
They are out every night, sir.	1:26:14	1:26:17
Thank you, sir.	1:26:17	1:26:20
Do any pupils come to the house?	1:26:20	1:26:24
Not that I've seen.	1:26:25	1:26:28
Then how does he pay for all this?	1:26:28	1:26:30
Does he work at all?	1:26:30	1:26:33
Oh, YES, sir, all day long!	1:26:33	1:26:37
He never leaves the house till night. He just sits there, writing.	1:26:37	1:26:42
Really?	1:26:42	1:26:44
What is it he's writing?	1:26:45	1:26:48
I wouldn't know that, sir.	1:26:50	1:26:53
Of course not. You're a good girl. You're very kind to do this.	1:26:53	1:26:59
The next time you are sure they'll be out of the house, let me know.	1:26:59	1:27:06
Thank you, sir!	1:27:11	1:27:13
PLAYS PIANO CONCERTO IN E FLAT	1:27:38	1:27:43
I think I've found out about the money, sir.	1:28:48	1:28:52
Yes? What?	1:28:52	1:28:55
He kept seven snuff-boxes in here. I could swear they were all gold.	1:28:55	1:29:00
-And now, look, there's only one left. -Where does he work?	1:29:00	1:29:07
There.	1:29:09	1:29:10
Gentlemen, I have heard something interesting.	1:29:55	1:29:59
-What? -Mozart is writing a new opera. An Italian opera.	1:30:01	1:30:06
-Italian?! -Oh! -And that's not all.	1:30:07	1:30:11
His subject is...Figaro!	1:30:11	1:30:14
The marriage of Figaro.	1:30:14	1:30:17
He is setting THAT play to music?!	1:30:17	1:30:21
Yes.	1:30:21	1:30:22
Er...what is this "Marriage of Figaro"?	1:30:22	1:30:27
It's a French play, Kapellmeister.	1:30:27	1:30:30
It has been BANNED by the Emperor.	1:30:30	1:30:33
You are absolutely sure?	1:30:33	1:30:36
'Herr Mozart.'	1:30:39	1:30:42
Gentlemen, sit down.	1:30:42	1:30:44
Mozart, are you aware that I have declared the play "Figaro" unsuitable for our theatre?	1:30:50	1:30:57
Yes, Sire.	1:30:59	1:31:01
Yet we hear you are making an opera from it.	1:31:01	1:31:05
< Is this true?	1:31:05	1:31:08
Who told you this, Majesty?	1:31:09	1:31:11
It is not your place to ask questions.	1:31:11	1:31:16
-Is it true? -Well, yes, I admit it is.	1:31:16	1:31:21
Would you tell me why?	1:31:23	1:31:25
Well... Majesty, it is only a comedy!	1:31:25	1:31:31
That's YOUR opinion! His Majesty's opinion is what counts!	1:31:31	1:31:36
But, Your Majesty...!	1:31:36	1:31:39
Mozart, I am a tolerant man.	1:31:40	1:31:43
I do not censor things lightly. When I do, I have good reason!	1:31:43	1:31:50
"Figaro" is a BAD play. It stirs up hatred between the classes.	1:31:50	1:31:56
In France it has caused trouble. My sister, Antoinette, is frightened of her own people!	1:31:56	1:32:03
Sire, I swear, I have taken out everything that may give offence!	1:32:04	1:32:09
I...I HATE politics!	1:32:09	1:32:12
I'm afraid you're rather innocent.	1:32:12	1:32:15
In these dangerous times, I cannot afford to provoke our nobles or people simply over a theatre piece!	1:32:15	1:32:23
Majesty, this is just a frolic!	1:32:23	1:32:26
-It's about love! -Love, again(!)	1:32:26	1:32:29
And it's new! It's entirely new! It's SO new, the people will go mad for it!	1:32:30	1:32:36
I have scenes...!	1:32:36	1:32:39
The end of the second half starts as a duet, just a husband and wife quarrelling.	1:32:39	1:32:46
Suddenly, the wife's scheming maid comes in...	1:32:46	1:32:50
..duet turns into trio.	1:32:50	1:32:53
Then the husband's valet comes in, trio turns into quartet!	1:32:53	1:32:58
Then a stupid gardener comes in, quartet becomes quintet!	1:32:58	1:33:03
And on and on! Sextet, septet... How long can I sustain that, Sire?	1:33:03	1:33:08
I have no idea.	1:33:08	1:33:11
Guess, Sire!	1:33:11	1:33:14
Imagine the longest time it could be sustained	1:33:14	1:33:18
and then DOUBLE it!	1:33:18	1:33:21
Well...six...	1:33:21	1:33:24
< ..seven minutes.	1:33:25	1:33:27
-Eight minutes? -Twenty, Sire! Twenty minutes!	1:33:29	1:33:34
Twenty minutes of continuous music! No recitatives!	1:33:34	1:33:39
MOZART GIGGLES	1:33:39	1:33:41
Only opera can do this! In a play, if people speak together, it's NOISE, no-one can understand!	1:33:41	1:33:48
But with opera, with MUSIC...	1:33:48	1:33:51
..you can have 20 individuals talking at once and it's not noise, it's a perfect harmony!	1:33:51	1:33:58
Music is not the issue. It's your judgement of literature that is in question.	1:34:00	1:34:06
< Even with the politics removed, this thing would still remain a vulgar farce.	1:34:06	1:34:13
Why waste your spirit on this? You COULD choose elevated themes.	1:34:13	1:34:18
Oh, ELEVATED(!) What does that mean?	1:34:18	1:34:22
I am fed to the TEETH with all of these...ELEVATED things!	1:34:22	1:34:28
Old dead legends(!)	1:34:28	1:34:30
-Why must we go on forever writing about them?! -Because THEY do.	1:34:30	1:34:37
They go on FOREVER!	1:34:37	1:34:40
They represent the eternal in US!	1:34:40	1:34:43
< Opera is here to enoble us!	1:34:43	1:34:47
You and me, just like His Majesty.	1:34:47	1:34:50
Bello, bello! Veramente.	1:34:50	1:34:53
Oh, bello(!) Come on, be honest...	1:34:53	1:34:58
..who wouldn't rather listen to his hairdresser than Hercules, or Orpheus?!	1:34:58	1:35:04
People so lofty, they shit marble!	1:35:04	1:35:08
WHAT?!	1:35:09	1:35:10
GIGGLES Hold your tongue, Mozart!	1:35:10	1:35:14
Forgive me, Majesty.	1:35:18	1:35:21
I am a vulgar man... but, I assure you, my music is not!	1:35:23	1:35:28
You ARE passionate, Mozart.	1:35:31	1:35:34
But, you do not...persuade.	1:35:37	1:35:39
Sire, the whole opera is finished.	1:35:42	1:35:44
Do you know how much WORK that is?	1:35:44	1:35:47
His Majesty has been more than patient, signore.	1:35:49	1:35:54
-How can I persuade you, if you won't let me show it? -That will do, Herr Mozart.	1:35:54	1:36:02
.	2:59:50	2:59:57
Just let me tell you how it begins!	3:00:02	3:00:04
May I just show you that, Majesty?	3:00:04	3:00:07
Just that?	3:00:07	3:00:09
Please.	3:00:13	3:00:15
Look, there's a servant down on his knees.	3:00:15	3:00:20
Why? Not from oppression - he's measuring a space.	3:00:20	3:00:24
Do you know what for...? His bed! His wedding bed!	3:00:24	3:00:29
To see if it will fit!	3:00:29	3:00:32
OPENING OF "THE MARRIAGE OF FIGARO"	3:00:32	3:00:36
-Cinque... -Late!	3:00:40	3:00:42
-Dieci! -Late!	3:00:43	3:00:45
-On the beat! -Venti! -Good!	3:00:45	3:00:48
-Trenta! -Yes.	3:00:49	3:00:52
-Trentasei! -Yes.	3:00:52	3:00:55
Quarantatre!	3:00:55	3:00:57
-# Orasi... -Early! -..ch'io son contenta... #	3:00:57	3:01:04
Well, Mozart is already rehearsing.	3:01:04	3:01:07
In that case, gentlemen, I think...	3:01:12	3:01:17
..we should help Mozart all we can.	3:01:19	3:01:21
And do our best to protect him against the Emperor's anger.	3:01:24	3:01:29
-What anger? -About the ballet.	3:01:29	3:01:32
What ballet?	3:01:34	3:01:36
Excuse me, but...didn't His Majesty specifically forbid the ballet in his opera?	3:01:36	3:01:44
'ECCO LA MARCIA' FROM 'THE MARRIAGE OF FIGARO'	3:01:44	3:01:49
Mozart...	3:02:17	3:02:19
-Herr Mozart...! -Yes? -A word, please.	3:02:19	3:02:23
Certainly, Director.	3:02:23	3:02:25
Now, Mozart!	3:02:25	3:02:27
Five minutes, please. Five minutes!	3:02:27	3:02:31
-Yes? -Do you not know that His Majesty has expressly forbidden ballet in his operas?	3:02:33	3:02:40
It's not a ballet, it's Figaro's wedding dance.	3:02:40	3:02:45
Surely His Majesty didn't mean dancing that's part of the story?	3:02:45	3:02:48
It's dangerous to interpret edicts. Give me your score, please.	3:02:48	3:02:53
Thank you.	3:03:02	3:03:04
What are you doing, Herr Director?	3:03:07	3:03:10
-What are you doing?! -Taking out what should not be in.	3:03:10	3:03:15
Please... Please, I've no-one else to turn to.	3:03:15	3:03:19
-What is it? -It's unbelievable. Herr Director has torn up parts of my music!	3:03:19	3:03:26
They say I have to rewrite the opera!	3:03:26	3:03:30
But it's PERFECT as it is!	3:03:30	3:03:33
I can't rewrite what's perfect!	3:03:34	3:03:37
Please... Can't you talk to them?	3:03:39	3:03:42
-Please! -Why bother with Rosenberg? He's obviously no friend of yours.	3:03:43	3:03:48
I could KILL him! REALLY kill him!	3:03:48	3:03:51
-I threw the whole score on the fire, I was so angry! -You BURNED it?	3:03:53	3:03:59
No. My wife took it out in time.	3:04:00	3:04:03
Thank God.	3:04:04	3:04:06
THAT man should not have power over our work!	3:04:06	3:04:11
Others have power over him.	3:04:13	3:04:16
I think I'll take this up with the Emperor.	3:04:18	3:04:22
Excellency...	3:04:22	3:04:24
..would you?	3:04:24	3:04:27
With all my heart, Mozart.	3:04:27	3:04:30
Oh, thank you! Thank you!	3:04:32	3:04:35
Please, Herr Mozart. "This is not a holy relic!"	3:04:35	3:04:40
GIGGLES	3:04:40	3:04:41
I don't need to tell you I said nothing whatever to the Emperor.	3:04:41	3:04:46
I went to the theatre to see Mozart.	3:04:46	3:04:49
'ECCO LA MARCIA' PERFORMED WITHOUT ACCOMPANIMENT	3:04:49	3:04:53
Then, suddenly, in the middle of the third act,	3:04:53	3:04:57
to my astonishment, the Emperor, who never saw rehearsals, appeared!	3:04:57	3:05:03
THEY DANCE IN SILENCE	3:05:10	3:05:15
What is this?	3:05:21	3:05:23
I don't understand. Is it modern?	3:05:27	3:05:31
Majesty, Herr Direttore has removed uno balleto	3:05:32	3:05:37
that would have occurred at this place.	3:05:37	3:05:42
-Why? -It is your regulations, Sire.	3:05:43	3:05:47
No ballet in your opera.	3:05:47	3:05:49
Salieri...	3:05:56	3:05:57
..do YOU like this?	3:05:58	3:06:01
It's not a question of liking. Your law decrees it.	3:06:03	3:06:08
Well, LOOK at them!	3:06:10	3:06:13
Oh, no, no, no! This is nonsense!	3:06:15	3:06:19
-Let me see the scene with the music. -But, Sire...	3:06:19	3:06:23
-Oblige me! -Yes, Your Majesty.	3:06:23	3:06:26
-Can we see the scene with the music BACK, please? -Certainly, Herr Director!	3:06:35	3:06:42
Bring the palace set back in!	3:06:48	3:06:50
WEDDING DANCE	3:06:50	3:06:54
The restored third act was bold, brilliant!	3:07:26	3:07:31
The fourth...	3:07:31	3:07:33
..was astounding!	3:07:35	3:07:38
'AH TUTTI CONTENTI' FROM 'THE MARRIAGE OF FIGARO'	3:07:38	3:07:42
I saw a woman, disguised in her maid's clothes,	3:07:46	3:07:50
hear her husband speak the first tender words to her in years	3:07:50	3:07:56
because he thinks she is someone else.	3:07:56	3:07:59
I heard the music of full forgiveness FILLING the theatre,	3:07:59	3:08:06
conferring, on all who sat there, perfect absolution.	3:08:06	3:08:11
God was singing through this little man to all the world.	3:08:11	3:08:18
Unstoppable! Making my defeat more bitter with every passing bar.	3:08:18	3:08:23
# Ah tutti contenti	3:08:27	3:08:33
# Saremo cosi,	3:08:34	3:08:41
# Saremo cosi,	3:08:42	3:08:50
# Ah tu-tti contenti saremo cosi, # Ah tutti contenti saremo cosi... #	3:08:50	3:09:02
Then, do you know what happened?	3:09:02	3:09:05
A miracle!	3:09:08	3:09:09
That yawn turned my defeat into victory!	3:09:16	3:09:20
And Mozart was lucky the Emperor yawned only once! Three yawns and the opera failed that night!	3:09:27	3:09:35
Two yawns was a week at most. But with one yawn, the composer could still get...	3:09:35	3:09:42
NINE performances, and withdrawn!	3:09:44	3:09:47
I know...I know! It's outrageous.	3:09:48	3:09:52
Still, if the public doesn't like one's work...	3:09:53	3:09:58
-..one must accept it. -But WHAT is it they don't like?!	3:09:58	3:10:03
I can speak for the Emperor. You demand too much from the Royal ear!	3:10:03	3:10:09
The man can't concentrate for more than an hour - you gave him FOUR!	3:10:09	3:10:14
What did you think of it?	3:10:19	3:10:22
Did you like it at all?	3:10:22	3:10:24
I thought it was marvellous.	3:10:25	3:10:28
Of course! It's the best opera yet written!	3:10:29	3:10:33
I KNOW it!	3:10:33	3:10:36
Why didn't they come?	3:10:37	3:10:40
I think you overestimate our dear Viennese, my friend!	3:10:40	3:10:45
You didn't have a bang after songs to let them know when to clap!	3:10:45	3:10:51
I know! Maybe you should give me some lessons in that!	3:10:53	3:10:57
(I wouldn't presume.)	3:10:58	3:11:01
However, at the risk of imposing, I'd like you to see my new piece.	3:11:05	3:11:10
-It would be a great honour for me. -Oh, no. The honour is all mine!	3:11:12	3:11:17
Grazie, Wolfgang.	3:11:19	3:11:22
Grazie a lei, Signor Antonio.	3:11:22	3:11:25
DRAMATIC, MAJESTIC AND ENTIRELY PREDICTABLE FINALE	3:11:28	3:11:34
TUMULTUOUS APPLAUSE	3:12:27	3:12:30
I believe...	3:12:40	3:12:42
..it is the BEST opera yet written!	3:12:44	3:12:48
Salieri, you are the brightest star in the musical firmament.	3:12:52	3:12:59
You bring honour to Vienna and me!	3:12:59	3:13:01
Herr Mozart!	3:13:26	3:13:28
-Good of you to come. -How could I not?	3:13:28	3:13:32
H...h...how... Did my work please you?	3:13:32	3:13:36
I never knew that music like that was possible!	3:13:38	3:13:42
You flatter me.	3:13:43	3:13:45
No. One hears such sounds and what can one say but...Salieri!	3:13:45	3:13:53
< MOZART'S LAUGH	3:13:57	3:13:59
Oh! Everybody's here! We've got guests!	3:13:59	3:14:03
I've brought more! Stanzi, you remember my friend Schikaneder?	3:14:03	3:14:08
Come in! Don't be shy! This is a very nice girl...	3:14:08	3:14:13
-And this is also... -Wolfie? -Yes, my love?	3:14:13	3:14:18
-These gentlemen are from Salzburg. -Salzburg?!	3:14:18	3:14:22
-We were just TALKING of Salzburg! -Wolfie...	3:14:22	3:14:26
Your father is dead.	3:14:27	3:14:30
CRASHING CHORDS FROM 'DON GIOVANNI' SIGNALLING THE COMMENDATORE'S ENTRY	3:14:34	3:14:41
So rose the dreadful ghost from his next, and blackest, opera.	3:14:52	3:14:57
On stage, stood a dead commander.	3:15:03	3:15:07
-And I knew...only -I -understood	3:15:07	3:15:10
that the horrifying apparition was Leopold raised from the dead!	3:15:10	3:15:16
# Ma faro quelche potro.	3:15:16	3:15:22
# Leporello, un altra cena	3:15:22	3:15:26
# Fache subito si porti! # Ah, padron!	3:15:26	3:15:30
# Ah, padron! Siam tutti morti!	3:15:30	3:15:36
# Vanne, dico!	3:15:36	3:15:39
# Ferma un po... #	3:15:39	3:15:44
Mozart had summoned up his father	3:15:45	3:15:47
to accuse his son before all the world!	3:15:47	3:15:52
It was...terrifying AND wonderful to watch.	3:15:53	3:15:58
# Chi si pasce di cibo celeste.	3:15:58	3:16:10
# Altre cure	3:16:11	3:16:17
# Piu gravi di queste,	3:16:17	3:16:23
# Altra brama	3:16:24	3:16:30
# Quaggiu mi guido!	3:16:30	3:16:39
# Parla dunque: che chiedi?	3:16:39	3:16:43
# La terzana d'avere mi sembra...	3:16:43	3:16:47
# Parlo, ascoltu,	3:16:47	3:16:52
# Piu tempo non ho... #	3:16:52	3:16:58
-THE SCENE BUILDS TO A CRESCENDO -And now...	3:16:58	3:17:02
..the madness began in me!	3:17:07	3:17:10
The madness of a man split in half!	3:17:12	3:17:16
Through my influence, I saw to it that 'Don Giovanni' was played only five times.	3:17:16	3:17:23
But, in secret, I went to EVERY ONE of those five!	3:17:23	3:17:29
Worshipping the sound that I alone seemed to hear!	3:17:29	3:17:35
# Cos'hai? # Che gelo e questo mai!	3:17:35	3:17:38
# Pentiti, cangia vita; e l'ultimo momento!	3:17:39	3:17:45
# No, no, ch'io non me pento,	3:17:45	3:17:50
# Vanne lontan da me!	3:17:50	3:17:54
# Pentiti, scellerato!	3:17:54	3:17:58
# No, vecchio infatuato!	3:17:58	3:18:02
# Pentiti! # No!	3:18:02	3:18:05
# Pentiti! # No!	3:18:05	3:18:08
# Si! # No!	3:18:08	3:18:12
# Si! # No!	3:18:12	3:18:14
# Si! # Si! # No!	3:18:14	3:18:18
# No! #	3:18:18	3:18:20
As I stood there, I understood.	3:18:20	3:18:23
That bitter old man was still possessing his son, even from BEYOND the grave!	3:18:23	3:18:31
I began to see a way, a TERRIBLE way, I could finally triumph over God!	3:18:31	3:18:38
# Di foco pien d'orror?	3:18:40	3:18:44
# Tutto a tue colpe e poco,	3:18:44	3:18:48
# Vieni, c'e un mal peggior! # Chi l'anima mi lacera?	3:18:49	3:18:55
# Che ceffo disperato!	3:18:55	3:18:59
# Che starzio ohime, che smania!	3:18:59	3:19:03
# Che inferno! # Come mi fa terror!	3:19:03	3:19:07
# Tutto a tue colpe e poco! # Chi l'anima mi lacera?	3:19:07	3:19:13
# Vieni, c'e un mal peggior! # Chi m'agita le viscere?	3:19:13	3:19:19
# Che strazio, ohime, che smania!	3:19:19	3:19:23
# Ah! # Vieni!	3:19:23	3:19:26
# Che terror! # Vieni, c'e un mal peggior!	3:19:26	3:19:30
A-a-a-a-a-h!	3:19:33	3:19:35
HALF-HEARTED APPLAUSE	3:19:53	3:19:56
PIANO CONCERTO IN D MINOR	3:20:00	3:20:05
< KNOCKING	3:21:18	3:21:21
Herr Mozart?	3:21:41	3:21:43
-I have come to commission a work from you. -What work?	3:21:45	3:21:50
A mass for the dead.	3:21:50	3:21:53
What dead? Who is dead?	3:21:54	3:21:57
A man who deserved a Requiem Mass,	3:21:58	3:22:01
-and never got one. -Who are you?	3:22:01	3:22:04
I am only a messenger. Do you accept?	3:22:04	3:22:08
You will be well paid.	3:22:08	3:22:11
Do you accept?	3:22:18	3:22:21
Work fast, and be sure to tell no-one what you do. You will see me again.	3:22:31	3:22:38
Wolfie?	3:23:13	3:23:15
My plan was so simple.	3:23:24	3:23:27
And it terrified me.	3:23:29	3:23:31
First, I must get the Death Mass, and then I...	3:23:33	3:23:37
..I must achieve his death.	3:23:38	3:23:41
What?	3:23:42	3:23:44
His funeral!	3:23:44	3:23:46
Imagine it...the cathedral, all Vienna sitting there,	3:23:47	3:23:53
his coffin, Mozart's little coffin in the middle...	3:23:53	3:23:57
..and then, in that silence...	3:23:58	3:24:02
..music!	3:24:04	3:24:06
-REQUIEM STARTS -A DIVINE music bursts out over them all!	3:24:06	3:24:14
A great Mass of DEATH!	3:24:14	3:24:17
A Requiem Mass for Wolfgang Mozart...	3:24:18	3:24:22
..composed by his DEVOTED friend...	3:24:22	3:24:26
..Antonio Salieri!	3:24:27	3:24:30
Oh, what sublimity! What depth! What PASSION in the music!	3:24:30	3:24:37
Salieri has been touched by God at last!	3:24:38	3:24:43
And God FORCED to listen!	3:24:43	3:24:46
Powerless to choose! Powerless to stop it!	3:24:46	3:24:50
I, for once, laughing at HIM!	3:24:50	3:24:53
REQUIEM SOARS TO A CRESCENDO	3:24:53	3:24:57
The only thing that worried me was the actual killing.	3:25:01	3:25:06
How does one do that? Eh?	3:25:06	3:25:08
How does one kill a man?	3:25:08	3:25:11
It's one thing to dream about it,	3:25:13	3:25:16
but very different when you...	3:25:17	3:25:20
..when you have to do it...	3:25:21	3:25:24
..with your own hands.	3:25:27	3:25:30
< KNOCKING	3:25:36	3:25:38
C-c-c-c...COME IN!	3:25:38	3:25:41
AUDIENCE SCREAMS WITH LAUGHTER	3:25:48	3:25:51
# Don Giovanni!	3:25:51	3:25:55
AUDIENCE CHEERS # I've come for dinner!	3:25:55	3:26:01
-# -Are you mad?! I'm a nobleman! I only dine with people my height!	3:26:01	3:26:06
Whoa! Stop it!	3:26:06	3:26:10
# Oh, be careful! Be careful, papa!	3:26:10	3:26:15
# I'm a famous horseman!	3:26:15	3:26:21
# And we're his famous horse!	3:26:21	3:26:25
# Give me your hoof, my darling,	3:26:26	3:26:30
# And I'll give you my heart.	3:26:30	3:26:34
AUDIENCE JOIN IN # Take me to your stable,	3:26:34	3:26:40
# And never more we'll part. #	3:26:40	3:26:43
# We're going to make a soprano stew!	3:27:13	3:27:18
# We're going to make a soprano stew!	3:27:18	3:27:23
# And when you make... # Oh, shut up!	3:27:23	3:27:28
I'm sick to death of that tune!	3:27:28	3:27:31
Good fellow! Some hay! Prestissimo!	3:27:57	3:28:01
# We hope you're contented,	3:28:48	3:28:54
# With what we've presented,	3:28:54	3:29:02
# And love our dove	3:29:02	3:29:09
# Of peace and love! # And love our dove of peace! #	3:29:09	3:29:20
So... What did you think of THAT, eh?	3:29:30	3:29:34
-Wonderful! He liked the little people, didn't you? -All good fun!	3:29:34	3:29:40
I liked the horse.	3:29:40	3:29:43
I tell you, if you'd played 'Don Giovanni' here,	3:29:52	3:29:57
you would've had a great success!	3:29:57	3:30:01
You belong HERE, not the snobby Court!	3:30:01	3:30:05
Do as you want! The more fantastic, the better! People want fantasy!	3:30:05	3:30:11
You write a proper part for me and a couple of catchy songs,	3:30:11	3:30:16
I GUARANTEE you a Triumph Deluxe!	3:30:16	3:30:21
-What do you say? -What will you pay?	3:30:22	3:30:25
Ah! I see you brought your manager with you!	3:30:26	3:30:30
Well, madame... How about HALF the receipts?	3:30:33	3:30:39
-Half the receipts?! Stanzi! -I'm talking about NOW. How much NOW?	3:30:39	3:30:45
-Down payment. -Down payment?!	3:30:45	3:30:48
Who do you think I am? The Emperor?	3:30:49	3:30:52
Whoops! I have to go. Stay here and enjoy this next one.	3:30:52	3:30:57
-You're not going to do this. -Why not? Half the house! -When?	3:30:59	3:31:04
-We need money now! Either he pays now or you don't do it! -Oh, Stanzi! -I don't trust him.	3:31:04	3:31:10
-And he made your opera common! -Well, you liked it, didn't you, monkey-punkey?	3:31:10	3:31:17
Half the house(!) You'll never see a penny! I want it IN my hand!	3:31:17	3:31:22
Stanzi, I'll put it in your hand!	3:31:22	3:31:25
Shut up! You won't put anything in my hand, until I see some money!	3:31:25	3:31:29
It's embarassing	3:31:29	3:31:31
Can't you think of anyone who could do something for him?	3:31:31	3:31:34
I'm afraid Mozart is a lost cause.	3:31:36	3:31:39
He has succeeded in alienating practically the whole of Vienna.	3:31:41	3:31:44
He never pays his debts.	3:31:44	3:31:47
I can't think of anyone to whom I dare recommend him.	3:31:47	3:31:50
Herr Mozart, what a surprise!	3:31:50	3:31:54
What can I do for you?	3:31:56	3:31:58
Is my pupil still interested in learning the art of music?	3:31:58	3:32:03
Your pupil is married and living in Mannheim, young man.	3:32:06	3:32:09
Really?	3:32:11	3:32:12
HE LAUGHS	3:32:13	3:32:14
Perhaps your dear wife might care to profit from my instruction.	3:32:17	3:32:23
What is it, Mozart? What's the matter with you?	3:32:23	3:32:27
Well, since it appears no one is eager to hire my services,	3:32:27	3:32:33
could you favour me with a little money instead?	3:32:33	3:32:37
What for?	3:32:42	3:32:43
If a man cannot earn, he must borrow.	3:32:45	3:32:47
It's hardly the way to go about it.	3:32:52	3:32:54
You are right, sir.	3:32:55	3:32:57
You are right.	3:32:57	3:32:58
But, you see, I am endowed with talent and you with money.	3:32:58	3:33:03
If I offer mine, you should offer yours.	3:33:03	3:33:07
I'm sorry. No.	3:33:11	3:33:13
Please.	3:33:16	3:33:18
My answer is no, Mozart.	3:33:18	3:33:21
Please!	3:33:27	3:33:29
Please!	3:33:33	3:33:35
REQUIEM BOOMS OUT	3:33:49	3:33:52
< KNOCKING AT THE DOOR	3:33:52	3:33:56
Wolfie?	3:33:58	3:33:59
REQUIEM AND KNOCKING CONTINUE	3:33:59	3:34:02
WOLFIE!	3:34:03	3:34:05
SILENCE	3:34:05	3:34:07
KNOCKING RESUMES	3:34:07	3:34:10
Don't answer it!	3:34:10	3:34:12
Why?	3:34:14	3:34:15
Tell him...	3:34:18	3:34:20
Tell him I'm not here!	3:34:21	3:34:23
Tell him I'm... Tell him I'm working on it!	3:34:23	3:34:27
He can come back later!	3:34:30	3:34:33
-Am I interrupting something? -No.	3:34:46	3:34:49
Good. Where's our friend?	3:34:49	3:34:52
He's not here.	3:34:52	3:34:55
-But he's working on it, he told me to tell you. -Is that it?	3:34:55	3:35:00
Happy with it?	3:35:06	3:35:08
What's this? A REQUIEM Mass? Think I'm an undertaker?!	3:35:12	3:35:17
LEAVE THAT ALONE! PUT IT DOWN! IT'S NOTHING FOR YOU!	3:35:17	3:35:23
Sorry. Have you got it finished?	3:35:23	3:35:27
What?	3:35:30	3:35:31
The vaudeville, what did you think?	3:35:31	3:35:34
Yes.	3:35:35	3:35:36
-May I see it? -No.	3:35:36	3:35:39
-Why not? -There's nothing to see!	3:35:41	3:35:44
Look...	3:35:53	3:35:55
You said that we could start rehearsals next week!	3:35:55	3:36:00
-Well, you can. -Then, let me see it! Where IS it?	3:36:00	3:36:05
Here... It's all right here in my noodle!	3:36:07	3:36:11
The rest is just scribbling. Scribbling-bibbling!	3:36:13	3:36:17
-Would you like... -You LITTLE ant!	3:36:21	3:36:24
-DO YOU KNOW HOW MANY PEOPLE I'M PAYING?! -LEAVE HIM ALONE!	3:36:24	3:36:30
-He's doing his best! -It's RIDICULOUS!	3:36:30	3:36:33
It's your libretto that's ridiculous!	3:36:33	3:36:37
-Oh? -Only an idiot would ask for it!	3:36:37	3:36:41
12-foot snakes! Magic flutes!	3:36:41	3:36:44
-What's so INTELLIGENT about writing a Requiem? -Money! Money.	3:36:44	3:36:49
You're mad!	3:36:52	3:36:54
-She's mad, Wolfie. -Oh, yes(?)	3:36:54	3:36:58
Wolfie, write it down.	3:36:58	3:37:00
Write it down on paper.	3:37:00	3:37:03
It's no use to anybody in your head.	3:37:03	3:37:08
To hell with your...DEATH MASS!	3:37:08	3:37:12
Calm yourself. What's the matter?	3:37:12	3:37:15
-I'm not working there any more! -Why?	3:37:15	3:37:19
You don't know what it's like! Herr Mozart frightens me!	3:37:19	3:37:24
He drinks ALL day, then takes all that medicine and it makes him WORSE!	3:37:24	3:37:31
Is he working?	3:37:31	3:37:33
-Oh, I'm frightened, sir, really! When he speaks, he makes no sense! -Is he WORKING?!	3:37:34	3:37:42
I suppose so.	3:37:44	3:37:46
He sits doing some silly opera!	3:37:47	3:37:50
-Opera?! -Please, don't ask me to go back! I'm VERY frightened!	3:37:52	3:37:58
Are you SURE it's an opera?	3:37:58	3:38:00
KNOCKING >	3:39:25	3:39:27
I don't have it yet.	3:39:40	3:39:42
Are you neglecting my request?	3:39:42	3:39:45
No! No...I...I...I promise you!	3:39:45	3:39:51
I'll give you a wonderful piece, the best I ever...	3:39:52	3:39:56
This is my wife.	3:39:58	3:40:00
-I've been sick, but I'm fine now, aren't I? -Yes, sir, he's fine.	3:40:05	3:40:10
And he's working on it very hard.	3:40:10	3:40:13
Give me two more weeks.	3:40:13	3:40:16
-Please. -The sooner you finish, the greater your reward.	3:40:16	3:40:22
Work.	3:40:22	3:40:23
Wolfie...	3:40:32	3:40:34
..I think you really are going mad.	3:40:36	3:40:39
You work like a slave for that idiot actor who won't pay you,	3:40:41	3:40:46
and here... THIS IS NOT A GHOST!	3:40:46	3:40:49
He's a REAL man who puts down REAL money!	3:40:49	3:40:53
Why on earth won't you FINISH it?!	3:40:55	3:40:58
Can you give me one reason I can understand?	3:40:58	3:41:02
It's killing me.	3:41:02	3:41:05
You're drunk, aren't you? Be honest, tell me, you're DRUNK!	3:41:10	3:41:15
It's not fair!	3:41:18	3:41:20
I worry about you all the time,	3:41:20	3:41:23
I do everything I can to help you,	3:41:23	3:41:25
and all you can do is drink, talk nonsense and FRIGHTEN ME!	3:41:25	3:41:31
Go back to bed!	3:41:31	3:41:34
REQUIEM BURSTS INTO LIFE Please... Let me sit here.	3:41:42	3:41:48
Let me stay here with you.	3:41:50	3:41:53
PAPAGENO'S SONG FROM 'THE MAGIC FLUTE'	3:42:28	3:42:33
THE SOARING NOTES OF THE REQUIEM	3:43:13	3:43:17
Stanzi?	3:43:53	3:43:55
Stan...	3:44:04	3:44:06
I was PROUD to do it! "Leave," I said, "and take the child! Here's money. Go to the spa."	3:44:21	3:44:28
"Get your health back!"	3:44:28	3:44:32
I was SHOCKED when I saw her! Couldn't believe my eyes, poor thing!	3:44:32	3:44:37
You monster! No-one exists but YOU, do they? You and your MUSIC!	3:44:37	3:44:45
I warned her! I said, "If you marry him, you won't have a pot to piss in!"	3:44:45	3:44:52
SOPRANO SINGS IN HIS HEAD	3:44:52	3:44:55
HER RANTING TURNS INTO SONG	3:44:55	3:44:58
THE QUEEN OF THE NIGHT ARIA FROM 'THE MAGIC FLUTE'	3:44:58	3:45:03
# Rejected be forever! Forsaken be forever!	3:45:32	3:45:38
# Sundered be forever	3:45:38	3:45:40
# From the bonds of kin and blood.	3:45:40	3:45:46
# Rejected, forsaken, sundered	3:45:46	3:45:51
# From the bonds of kin and blood!	3:45:51	3:45:55
TRILLING ARPEGGIOS	3:46:00	3:46:06
# From the bonds of kin and blood!	3:46:17	3:46:21
# If not through this,	3:46:21	3:46:24
# Sarastro's life be taken!	3:46:24	3:46:32
# Hark! Hark! HARK!	3:46:32	3:46:40
# Gods of vengeance!	3:46:40	3:46:42
# Hark!	3:46:42	3:46:45
# My mother's curse! #	3:46:45	3:46:49
'DAS KLINGET SO HERRLICH, DAS KLINGET SO SCHON' STARTS ON THE GLOCKENSPIEL	3:47:11	3:47:18
-# -A sweetheart or a pretty wife,	3:47:24	3:47:26
-# -Is Papageno's wish.	3:47:26	3:47:30
-# -A willing, billing lovey-dovey would be my most tasty little dish!	3:47:30	3:47:35
-# -Be my most tasty little dish!	3:47:35	3:47:39
-# -Be my most tasty little dish!	3:47:39	3:47:42
-# -That would be eating and drinking. I'd live like a prince without thinking.	3:47:48	3:47:54
-# -The wisdom of old would be mine.	3:47:54	3:47:57
-# -A woman's much better than wine!	3:47:57	3:48:00
-# -Then that would...be eating... and drinking!	3:48:00	3:48:06
-# -The wisdom of old would be mine. A woman's much better than wine!	3:48:08	3:48:14
-# -Much better than wine... Much better than wine... -#	3:48:15	3:48:19
Pick him up! PICK HIM UP!	3:48:31	3:48:34
Come with me! You, follow me!	3:48:37	3:48:40
-Is it over? -Yes, yes, it's over.	3:49:06	3:49:10
GO!	3:49:12	3:49:13
-# -Pa! Pa-pa! -Pa! Pa-pa!	3:49:21	3:49:25
-# -Pa, pa, pa, pa! -Pa, pa, pa, pa!	3:49:25	3:49:29
CLUCK AND ANSWER IN DIFFERENT RHYTHMS	3:49:29	3:49:37
-# -Will you be mine forever? -Yes, I will be yours forever... #	3:49:37	3:49:43
Go, go!	3:49:53	3:49:55
GO! GO!	3:49:56	3:49:59
(Where is your wife?)	3:50:25	3:50:27
Where is your wife?	3:50:30	3:50:32
She's not well either. She went to the spa.	3:50:32	3:50:37
You are so good to me...truly.	3:50:41	3:50:44
-Thank you. -No, please, please.	3:50:44	3:50:49
No, I mean, to come to my opera.	3:50:49	3:50:52
You are the only colleague who came.	3:50:55	3:50:58
Oh, Mozart! Mozart, I would never miss ANYTHING you had written!	3:51:01	3:51:06
-It's just vaudeville! -No, no! It's a SUBLIME piece!	3:51:06	3:51:13
The grandest Oberon!	3:51:13	3:51:17
I tell you, you are the greatest composer known to me!	3:51:25	3:51:31
(Do you mean it?)	3:51:34	3:51:36
< KNOCKING	3:51:36	3:51:40
It's him!	3:51:40	3:51:43
-Who? -The man. -< LOUDER KNOCKING -He's here.	3:51:43	3:51:47
Tell him to go away.	3:51:49	3:51:52
Tell him I'm still working on it. Don't let him in!	3:51:52	3:51:57
Wait!	3:51:58	3:51:59
Ask him if he'd give me some money. Tell him if he could it would help me to finish it.	3:51:59	3:52:06
-Salieri?! -Yes.	3:52:26	3:52:29
-C-could we come in? -You'd better not. He's sleeping.	3:52:29	3:52:34
-He's all right though? -Oh, yes. He's just exhausted. He became dizzy.	3:52:34	3:52:40
-That's all. -Well, tell him we came by.	3:52:40	3:52:44
-Of course. -Oh...and give him this. That's his share.	3:52:44	3:52:50
-That should cheer him up! -Indeed! And now, goodnight to you all. It was...perfection, truly!	3:52:50	3:52:58
What happened?	3:53:09	3:53:12
He said to give you this.	3:53:19	3:53:22
And, if you finish the work by tomorrow night, he will pay you another 100 ducats.	3:53:22	3:53:29
Another...?	3:53:31	3:53:33
That's too soon, tomorrow night!	3:53:33	3:53:37
It's impossible!	3:53:37	3:53:39
Did he say a hundred?	3:53:42	3:53:45
Yes.	3:53:45	3:53:46
It's too soon!	3:53:51	3:53:54
-(Can I...) Could -I -help you?	3:53:56	3:53:59
Would you?	3:54:02	3:54:04
Actually, you could.	3:54:06	3:54:09
I want to go! Where? To Vienna!	3:54:16	3:54:20
STANZI: I want to go now!	3:54:20	3:54:24
Why? I feel wrong!	3:54:24	3:54:27
I feel wrong being here!	3:54:28	3:54:31
-Where did I stop? -At the end of the Recordare.	3:54:33	3:54:37
So... Confutatis maledictis flammis acribus addictis...	3:54:37	3:54:42
..flammis acribus addictis...	3:54:42	3:54:45
How would you translate that?	3:54:45	3:54:48
-Consign to flames of woe. -Do you believe in it?	3:54:48	3:54:54
-What? -A fire which never dies, burning you forever.	3:54:54	3:54:59
Oh, yes!	3:55:01	3:55:04
Is it possible?	3:55:04	3:55:06
Come, let's begin.	3:55:06	3:55:08
-We ended in F major. -Yes.	3:55:10	3:55:13
So, now... A minor...	3:55:13	3:55:15
A minor...	3:55:22	3:55:24
Yes...?	3:55:24	3:55:25
Confutatis, A minor...	3:55:27	3:55:30
-Start with the voices. Bass - second beat... -Time, time?	3:55:33	3:55:39
Common time. Second beat, first measure...	3:55:39	3:55:43
..on A...	3:55:43	3:55:45
-# -Con-futa-tis...	3:55:45	3:55:48
-Second measure, second beat - -# -Ma-ledic-tis...	3:55:48	3:55:51
-Yes, yes. D sharp? -Of course!	3:55:51	3:55:54
-Second beat, third measure - -# -Flammis acribus addictis, rest, maledictis flammis...	3:55:54	3:56:01
-# -acribus addictis... Do you have me?	3:56:01	3:56:05
Show me!	3:56:05	3:56:08
CHOIR SINGS THE BASS PART IN HIS HEAD	3:56:12	3:56:18
Good...good!	3:56:25	3:56:28
Now the tenors. Fourth beat of the first measure, on C...	3:56:28	3:56:33
-# -Con-futa-tis...	3:56:33	3:56:35
-Second measure, fourth beat, D... -# -Ma-ledic-tis...	3:56:35	3:56:40
-Do you have it? -Yes! Continue! -Second beat, fourth measure, F...	3:56:40	3:56:45
-# -Flammis acribus addictis, flammis acribus addic-tis...	3:56:45	3:56:52
The orchestra - second bassoons with the basses,	3:56:52	3:56:56
-identical notes and rhythm... -BASSOON PART PLAYS	3:56:56	3:57:00
Tenor trombone with the tenors.	3:57:00	3:57:04
THE TWO PARTS PLAY TOGETHER	3:57:04	3:57:07
-MOZART HUMS IT -Not too fast!	3:57:07	3:57:11
-Do you have it? -Too fast! -DO you?	3:57:11	3:57:14
-Tenor trombone...? -With the tenors! -Identical?	3:57:14	3:57:18
-Yes, they double the voices! Now, trumpets and timpani... -No!	3:57:18	3:57:23
-I don't UNDERSTAND! -Listen to me!	3:57:23	3:57:26
Trumpets in D, tonic and dominant, first and third beats... It goes with the HARMONY!	3:57:26	3:57:34
THE TRUMPET PART PLAYS	3:57:34	3:57:38
YES! Yes! Yes, yes!	3:57:40	3:57:44
I understand! And that's all?	3:57:51	3:57:54
No, now for the fire! Strings in unison, ostinato on A.	3:57:54	3:57:58
-Like this... -VIOLINS BURST INTO LIFE	3:57:58	3:58:01
The next measure is rising...	3:58:02	3:58:05
-Do you have it? -Yes, I think so!	3:58:05	3:58:08
-Show me! -THEY BOTH SING WITH THE VIOLINS PLAYING IN THEIR HEADS	3:58:08	3:58:13
-It's wonderful! -Yes, yes. Go on. Voca me.	3:58:16	3:58:19
Sotto voce.	3:58:22	3:58:24
-Write that down! Sotto voce... -Yes, yes.	3:58:25	3:58:29
-Pianissimo? -Yes.	3:58:29	3:58:32
C major. Sopranos and altos in thirds. Altos on C, sopranos above.	3:58:34	3:58:41
ANGELIC VOICES SING VOCA ME	3:58:41	3:58:47
-# -Voca me cum benedictis...	3:58:47	3:58:53
-Sopranos on F on the second 'voca'? -Yes, and on 'dictus'! Underneath, violin arpeggios.	3:58:53	3:59:00
Descending scale in eighth notes and then back to the ostinato.	3:59:00	3:59:05
-That's it! Do you have it? -You go too fast! -Do you HAVE it? -One moment!	3:59:05	3:59:11
Yes.	3:59:13	3:59:14
Good! Show me the whole thing!	3:59:14	3:59:17
THE PARTS FUSE TOGETHER AND THE CONFUTATIS FLARES INTO LIFE	3:59:23	3:59:29
MOZART SINGS VOCA ME WITH THE HEAVENLY CHOIR	3:59:42	3:59:49
(Do you want to rest a bit?)	4:01:15	4:01:17
No! No, I'm not tired at all!	4:01:18	4:01:21
-We'll stop a moment, then finish the Lacrymosa. -I can keep going!	4:01:26	4:01:33
Will you stay while I sleep?	4:01:33	4:01:36
I'm not leaving you.	4:01:37	4:01:40
I'm so ashamed!	4:01:48	4:01:50
Of what?	4:01:51	4:01:53
I was foolish! I...I thought you did not care for my work!	4:01:53	4:02:00
Or me either.	4:02:00	4:02:02
(Forgive me.)	4:02:05	4:02:07
(Forgive me.)	4:02:11	4:02:13
What are YOU doing here?	4:03:08	4:03:10
Your husband took sick.	4:03:13	4:03:16
I brought him home.	4:03:17	4:03:20
Why you?	4:03:20	4:03:22
-Because, madame, -I -was at hand.	4:03:23	4:03:26
Well, thank you. You can go now.	4:03:31	4:03:34
-He needs me, ma'am. -No, he doesn't. And I don't want you here.	4:03:36	4:03:42
Just go.	4:03:42	4:03:44
-He asked me to stay. -And I'm...	4:03:44	4:03:48
Wolfie.	4:04:04	4:04:06
Wolfie?	4:04:11	4:04:13
I'm back!	4:04:15	4:04:17
I missed you SO much!	4:04:21	4:04:23
If you'd just... show me that you need me!	4:04:28	4:04:33
< And I'll try and do better, too.	4:04:39	4:04:42
What is this?	4:04:54	4:04:56
No, Wolfie, not this!	4:04:58	4:05:01
Not THIS!	4:05:01	4:05:03
You're not to work on this ever again!	4:05:05	4:05:09
I've decided!	4:05:11	4:05:13
This is not his handwriting.	4:05:15	4:05:18
It's mine! I was assisting him.	4:05:21	4:05:24
Well, he's not to work on this any more!	4:05:25	4:05:29
-It's making him ill! -But...	4:05:29	4:05:32
Goodnight.	4:05:33	4:05:35
I regret we have no servants to show you out, Herr Salieri.	4:05:39	4:05:44
-Please respect my wish and go. -Madame, I will respect HIS.	4:05:44	4:05:50
Wolfie?	4:05:53	4:05:55
Wolfie...	4:05:57	4:05:59
Wolfie?	4:06:03	4:06:04
Wolfie!	4:06:07	4:06:10
Wolfie!	4:06:12	4:06:14
WOLFIE!	4:06:15	4:06:17
WOLFIE!	4:06:17	4:06:20
THE SOLEMN QUIET LACRYMOSA FROM THE REQUIEM MASS	4:06:20	4:06:27
In nomine Patris,	4:08:42	4:08:44
et Filii, et Spiritus Sancti.	4:08:44	4:08:48
Amen.	4:08:58	4:09:00
Your MERCIFUL God(!)	4:09:47	4:09:50
He destroyed His own beloved,	4:09:50	4:09:54
rather than let a mediocrity share in the smallest part of His glory!	4:09:54	4:10:01
He killed Mozart,	4:10:01	4:10:04
and kept me alive to torture!	4:10:04	4:10:07
32 years of torture! 32 years of slowly watching myself become extinct!	4:10:07	4:10:15
My music...growing fainter, all the time, fainter.	4:10:15	4:10:22
Till no-one plays it at all.	4:10:22	4:10:25
And HIS...	4:10:25	4:10:28
< 'Morning, Professor!	4:10:28	4:10:30
Time for the water closet.	4:10:30	4:10:34
Then we have your favourite - sugar rolls! He loves those!	4:10:34	4:10:39
-< Fresh sugar rolls. -I will speak for you, Father.	4:10:39	4:10:44
I speak for ALL mediocrities in the world.	4:10:44	4:10:48
I am their champion.	4:10:48	4:10:51
I am their patron saint!	4:10:51	4:10:54
Mediocrities everywhere, I absolve you!	4:11:04	4:11:09
I absolve you!	4:11:11	4:11:14
I absolve you!	4:11:14	4:11:16
I absolve you!	4:11:18	4:11:21
I absolve you!	4:11:22	4:11:24
MOZART'S BRAYING LAUGH	4:11:32	4:11:35
Subtitles by BBC - 1988	4:11:50	4:11:53
E-mail [email protected]	4:11:53	4:11:57

Amadeus

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