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00:00The Emperor's permission me to write another opera.
00:07Fancy putting some words to the music?
00:08But you're working for me.
00:09He played me some of it.
00:11From this time on, we are enemies.
00:14They don't see him much at church on Sundays anymore.
00:17You've stolen my labresses!
00:19How's the marriage of Mozart?
00:21You're leaving Vienna?
00:22I saw you sing last year. I still think about it.
00:25You're writing it for your wife?
00:26Yes.
00:27You could just talk to her.
00:29This is how I talk.
00:31November's a long time to be alone.
00:33Yes, it is.
00:34He's refusing to reveal what his opera is even about.
00:37You're the capital-meister now, Salieri.
00:39If the audience are moved to leave the theatre
00:41and march on the palace demanding my head,
00:43then you have my permission to shut it down.
00:45Our Emperor rides to war, and you incite a mob.
00:48You couldn't hear it, could you?
00:50He has secured a great vessel.
00:59Who was on the thronereader?
01:00No, I know what he was on the throne.
01:01Who was away, I know my uhh.
01:02You couldn't hear it, could you hear it?
01:03No, I know my place.
01:04You couldn't hear it.
01:05You've been talking about the King of Mozart.
01:06Yes, I've taken a drop-down diaries on the throne,
01:07he knew it.
01:08He had a responsibility.
01:09Even the Lord would have been to live the hangout.
01:10He had a nice place.
01:11He had thezt town, he had a great vessel.
01:12And you had a great vessel.
01:13And the man would have been to live the world
01:14and he had a nice place where you never had.
01:15Well, who could that be, knocking at my door at this hour?
01:35I had your footman call for a doctor on my way here.
01:38A kindly physician come to administer a tonic,
01:41or rough men with rough hands come to drag me away.
01:45Perhaps your treatment will depend on what I say to them.
01:49I'd like you to finish your story, Kappelmeister.
01:55We still have time.
01:57You know what always puzzled me?
02:00That in the moments of my greatest wickedness, I was never punished.
02:05The more abhorrent my behavior, the more I waited for God's retribution,
02:10and it never came.
02:12In fact, the opposite was true.
02:14I was rewarded for it.
02:16I watched Bono die.
02:18I was given his position.
02:20I committed infidelities.
02:23And nothing, nothing ever happened.
02:28But there are always consequences.
02:34There is always a reckoning.
02:41there is always a thing that he opens.
02:42I found a bright light, and I do not understand it.
02:44I can't believe it or not, and it will be if that of a night was crazy.
02:47I had a pretty good luck, and I couldn't else have won immediately.
02:48But I believed that my father would be a good one.
02:50But I wouldn't have done anything.
02:51I was a true fool who was fascinated by myself.
02:53The even though I know a body might come to the flesh and a day.
02:54But I was a little too anxious.
02:55I was like, I'm a little too anxious.
02:57But I was like, I'm gonna allein.
02:58I'm gonna run a little bit better.
03:00I'm gonna be an idiotic that I knew.
03:03I knew I could've been in the middle of a minute.
03:05And I'm gonna be pissed off by myself.
04:07I had yielded more than I expected.
04:10Well, I love his music.
04:12I do.
04:12Ever since I heard it through the flowers of my mother's house, I've loved it.
04:16But I...
04:17What?
04:21It's not enough.
04:22Wolfgang?
04:34My leg has been troubling me, and the doctor thinks some time away will be good for me.
04:43He thinks I should take the waters in Barton.
04:44Does he?
04:48Just for a month or two, maybe.
04:52Carl can go and stay with my mother and sisters for a while, and I'll send for him later on.
04:55And you can have one of these if you like.
05:04Mmm.
05:08I'll send word to you when I get there.
05:10Okay, Carl, before you go, should I show you a little magic trick?
05:16Are you listening?
05:31One more time.
05:32You see?
05:47Now that's in your head, when you go down for bed tonight, you might hear it.
05:51And then you'll think of me, won't you?
05:55Yeah.
05:57There we go.
06:01There you go.
06:03You might hear it too.
06:05I can't.
06:06I can't.
06:21I can't.
06:41Kappelmeister, not interrupting, am I?
06:45Yes, but no more than the soldiers.
06:49What do you mean?
06:50I heard some news this morning from my lodge.
06:54The masons.
06:55I'm a brother there, you know.
06:56Yes, I had heard that.
06:57We'd be very keen in having you join us, by the way.
07:00Bless you.
07:01But I serve only one master.
07:03Yes, of course.
07:05Well, this morning, I heard that one of our brotherhood had passed away suddenly.
07:10Oh, dear.
07:10Who?
07:14Who?
07:18Antonio.
07:18They told me this was, well, they told me this is where you're living now.
07:23Yes, what do you think?
07:25I'm joking.
07:26It's a shit hole.
07:27I know it is.
07:28Don't worry.
07:29We'll be back somewhere nicer soon.
07:31Is, uh, the stars are here?
07:33No.
07:33She's in Barden.
07:34Do you know Barden?
07:35It's a lovely spa town.
07:37She gets this thing with her legs.
07:38The waters help, apparently.
07:40Don't worry, Anton.
07:40I don't know.
07:42Well, it's sad.
07:45Your father has died.
07:52I received the news this morning from the brotherhood.
08:00Right.
08:01I see you.
08:07Um.
08:16Uh, when?
08:17When did he?
08:18Two days ago.
08:19I wanted to be the one to tell you.
08:23I thought it might help to have the news delivered by a friendly face.
08:30Is that who you are?
08:33Not so.
08:35Many composers view the Kappelmeister as an adversary, but I'm not.
08:40I'm really not.
08:43Of course.
08:44Well, thank you for letting me know.
08:53I prefer to be on my own now, though, I think.
08:58Of course.
09:00Absolutely.
09:04If you need anything, anything, my condolences, Wolfgang.
09:10Is that what it's going to do?
09:13I'm going to ask you.
09:23I'm going to ask you.
09:26Please.
09:30I'm sorry.
09:31I'm sorry.
09:33I'm sorry.
09:36I'm sorry.
09:37Here rests a bird called Starling, a foolish little darling.
09:59He was still in his prime when he ran out of time,
10:03and my sweet little friend came to a bitter end.
10:08Gentle crowd shed a tear, for he was dear.
10:14I bet he is now up on high, praising my friendship to the sky.
10:21For when he took his sudden leave, which brought to me such grief.
10:33To a good companion.
10:44That's the first time I've been to a bird's funeral, that's for sure.
10:49Well, he was quite a creature.
11:59Oh, my God.
12:29Oh, my God.
12:59Oh, my God.
13:29Our next opera.
13:31Our next opera?
13:33Our next opera.
13:34And what's it about?
13:36Oh, my God.
13:38Oh, my God.
13:40Oh, my God.
13:41Oh, my God.
13:42Oh, my God.
14:00In Italy, 640, in Almanya, 200, 101, 100 in Francia, in Turchia, 90 in Francia.
14:30Ma in España, ma in España son ya mille tres, mille tres, mille tres.
14:49What do you think of it so far?
14:51I think we'd rather get the point, don't we? The man's an unrepentant fornicator.
14:55A thousand women in Spain?
14:57A thousand and three.
14:58A thousand and three. Well, there you go.
15:00Have you spoken to the emperor yet?
15:03No, not yet. I was advised that he wasn't in the mood for conversing.
15:09How long has he been back from the front, so to speak?
15:12Two weeks. He didn't want to leave, but his health has been poor.
15:17Does anyone know if we're winning?
15:19Winning what?
15:20The war.
15:25Of course we're winning.
15:27Yes, of course. Emphatic.
15:29Well, that's a relief.
15:31What did you think?
15:33I thought he looked pale.
15:35Mozart, did you see him swaying at the podium? He doesn't look well.
15:38A problem in drinking.
15:40Yeah, that's how he spends most of his time these days.
15:42I'm enjoying it. I found it rather, um, tuneful.
15:47Tuneful?
15:48Yes, tuneful.
15:50Antonio, wouldn't you agree?
15:52No, I wouldn't. I'd say the whole thing's rather thin so far.
15:55Let's hope the second half gives us something more to chew on.
15:59Don Giovanni
16:22I watched that performance on opening night.
16:46I heard those words, I listened to that music, and I knew he'd opened himself up.
16:51Reveal the darkest parts of his being.
17:07I saw it then.
17:09His damaged mind, the naked ugliness, his grief and guilt.
17:16There, in that demonic figure on the stage with his own father.
17:21Then, in that poor, wretched philander of Mozart himself,
17:26Punished for his sins,
17:28His pachish abouliance, his insolent virility.
17:31"'Chick is
17:37...Anh armas'
17:39...Anh skills
17:40...Anh skills
17:41...Anh東
17:42...Anh
17:44...E
17:45...Anh
17:48...Org
17:50...Anh
18:22I saw his open wound, and through it, his barely beating heart.
18:35And I knew exactly where in time I would place the final blade.
18:43Bravo, maestro.
18:45It's, well, it's a triumph.
18:49You don't seem well, sir, if you don't mind my saying.
18:54Oh, I'm fine.
18:58I, I didn't see your wife in the audience.
19:03No.
19:04She's still away.
19:06Oh, she's been gone a long time.
19:09Well, I hope you're looking after yourself.
19:13The, uh, Brotherhood has been looking after me.
19:18The Freemasons.
19:20Yes.
19:21They've been keeping me afloat since Father died.
19:24A few commissions.
19:25It's all charity, really.
19:26But, uh, I'll pay them back when I can, obviously.
19:30Well, I'm just glad to see you still have some old friends looking out for you.
19:35That's, that's wonderful.
19:38You really liked it?
19:39It was as though I were looking into your soul.
19:47He had written a masterpiece again.
20:01And I was nothing but a spectator.
20:04But my power was undiminished.
20:06My influence remained.
20:09And I used it to ensure that Don Giovanni played only five times.
20:15Of course, I saw every one of those five performers.
20:20And I wasn't the only one.
20:24And I was like, all right?
20:26All right.
20:26All right.
20:27All right.
20:28All right.
20:28All right.
20:30Your Majesty.
20:32And I do.
20:36I wondered whether you were going to come and say hello.
20:38I'm sorry, Your Majesty. I...
20:40I didn't know if you want to be disturbed.
20:43It's all right.
20:47How is... how is the war?
20:51How is the war?
20:53I have all the music manuscripts sent to me.
21:01At the front.
21:02All the new work.
21:04I...
21:06I sit and try and read and...
21:10and hear the music.
21:12As I know you can.
21:14But, uh...
21:16My ears...
21:18I'd love to be able to have your ear.
21:21To be able to sit and...
21:24hear the music and truly understand it.
21:27Yeah.
21:29My great regret.
21:35What about this boy?
21:42My God, Aunt Daddy, I've listened to this.
21:45Do you ever marvel...
21:47how lucky we are?
21:49Out of all of human history to have...
21:53shared our time with music such as this.
21:59I do.
22:10You promised me one thing.
22:11that you'll continue to commission new work.
22:19For the people left behind.
22:21And the men who return.
22:25Let there be music for them at least.
22:28Of course you'll notice.
22:30There's so much trouble to do, Antonia.
22:36There's so much trouble to do, Antonia.
22:51That was the last time I ever saw the Emperor.
22:53He returned to the front and died six months later in his bed.
23:04And with him went your husband's most powerful ally.
23:10Once that we have to shut down.
23:12We love it. We believe in it.
23:14I advocated for it.
23:15But...
23:17With budgets as tight as they are, I'm afraid it's just more cost effective to scrap it.
23:25Well...
23:27The next one will be even better.
23:29The next one?
23:31Yes.
23:33Wolfgang.
23:35Figaro.
23:36Don Giovanni.
23:38Your work is strong.
23:39We both know that.
23:41The Imperial Opera.
23:42It's not for everyone.
23:45These big old halls, they can be unforgiving.
23:48It's not just you.
23:50Everything's been cut.
23:51I'm sorry.
23:55Why can't they hear it?
24:00These are dark times, Mozart.
24:04Perhaps the people desire light.
24:07If you have Cynthia, I'm sure.
24:09Sure is a matter of leaving, but...
24:11what is your Feeson?
24:13Right...
24:169...
24:18Fuck off, please.
24:20Fuck off!
24:26Groß.
24:28Yes...
24:32Hi Stroke.
24:33We would like to formally invite you to the wake of Don Giovanni.
24:41Thank you for inviting us in.
24:48Down, gentlemen, please.
24:51Oh, thank you.
24:59To another dead darling.
25:01Hooray!
25:04To another dead darling.
25:06Hooray!
25:21Excuse me.
25:22I'm sorry.
25:24I'm sorry to be bothering you.
25:27Why are you doing it, then?
25:28Uh, um, I'm a huge, huge, uh, admirer of yours.
25:34He doesn't write the words, you know.
25:36Sorry, who are you?
25:37Yeah, sorry.
25:38I'm Gregor, sir.
25:40I'm, I'm, um, Gregor Braun.
25:42I work backstage, so we've never spoken.
25:45Please.
25:46So which of my works have you seen?
25:49Uh, all of them.
25:52I mean, as many as I've been able to.
25:54And I bought all of the pieces that I couldn't, that I could find.
25:57So I've bought, um, the, the six piano sonatas,
26:01both from Paris, uh, and the twelve variations on the bell-francoise.
26:05Um, and then the Turkish March, the piece from the A major sonata.
26:09Uh.
26:10Wow, you really are an expert on him.
26:12What, what did he have for dinner last night?
26:15Ooh.
26:16How low do his balls hang?
26:20Uh.
26:21I don't, I don't know everything about you, Maestro.
26:24I, I just really, um, I really dream of emulating you.
26:30Hm.
26:31I was ten years old when I first heard your work.
26:35And it just felt as though...
26:39Yes?
26:40Yes.
26:44We felt as though the heavens were talking to me.
26:51As though God was speaking through me.
26:55Yes.
27:00Well, let's see if you can speak back, shall we?
27:03You're rude not to.
27:04What did you say your name was again?
27:05Um, Gregor.
27:06Ah, Gregor, that's funny.
27:08My father had a dog named Gregor.
27:10Can you do tricks too?
27:11Uh.
27:12Come on, make yourself comfortable.
27:13Show us what you can do.
27:14Gather round, everyone.
27:16This is Gregor.
27:17He's gonna play us some tunes.
27:19Please, don't be shy.
27:20Come forward.
27:21Come forward.
27:23In your own time.
27:24Shh, shh.
27:32Thanks, guys.
27:37Thanks, guys.
27:38You wanna sing a song?
27:41Thanks, guys.
27:43You wanna sing?
27:44You wanna sing?
27:45Thanks, guys.
27:46Mm-hmm.
27:48What do you wanna sing?
27:49Gosh, well, there it is.
28:16What did everybody think?
28:17I'll tell you what I made of that.
28:19I recognised the notes, but very little else,
28:21as if the soul had been ripped out of it.
28:23Go on, please, let's try another one.
28:24Surprise me.
28:26Uh, OK, I, uh, actually, this one's quite fun.
28:30I just, um, had an arrangement of one of your, uh,
28:34Serenades for Forte Piano.
28:35Please.
28:41No, no, no, no.
28:43If you're going to play that one, it's not like that, is it?
28:47It's like this.
28:49Can you hear the difference?
28:50OK, start again.
28:51Wolfgang, why don't we...
28:52Start again.
28:59Gregor, you tell me that you want to be a musician,
29:02and then you embarrass us both with this half-baked shit.
29:05I didn't say stop.
29:06Keep playing.
29:07But for fuck's sake, Gregor, do it properly.
29:09I thought you liked my music.
29:11Why are you butchering it?
29:12Not like that.
29:13You're getting distracted.
29:14You have to focus on the music.
29:18Do you want my advice, Gregor?
29:19Find another dream.
29:20Find something you can actually do,
29:22and find some other composer to fawn over.
29:24Maybe you can waste his time instead.
29:26Did it make you feel good,
29:39humiliating that poor boy in front of everyone?
29:42When did you get back?
29:45This afternoon.
29:46So did you see it?
29:47What?
29:48Don Giovanni, my opera.
29:49Did you see it?
29:50Yes.
29:51And?
29:52What did you think?
29:531003 in Spain.
29:54Well, Lorenzo writes the words, so...
29:56Well, I know how you inspire him.
29:59Your leg seems much better.
30:02How was Barden?
30:03Good.
30:04How was Franz?
30:05Oh, so I'm the subject of gossip, am I?
30:07Well, you make yourself the subject of gossip, am I?
30:09Well, you make yourself the subject of gossip, am I?
30:11Well, you make yourself the subject of gossip, am I?
30:14Well, you make yourself the subject of gossip, am I?
30:20You make yourself the subject of gossip.
30:21Do I?
30:22Yes.
30:23How?
30:24By carrying on.
30:25Like a...
30:26Like a what?
30:27Like a whore.
30:28Like a cheap...
30:29a fucking whore.
30:30Well, a cheap fucking whore is the only kind of whore you'd be able to afford, Wolfgang.
30:35Mother said you haven't been to see Carl at once.
30:40She said she saw you one morning and you were too drunk to even recognise your own son.
30:44Well, I would see more of my son if his mother wasn't constantly running off to moisten the balls of every inadequate fucking student musician.
30:49to look her way.
30:50Well, yes, Franz did.
30:51He did look my way.
30:52He looked at me, yeah.
30:53He saw me.
30:54He spoke to me.
30:55He...
30:56He bothered to ask my opinion on things in the world beyond what you think of my fucking opera.
31:02What did you think of my fucking opera?
31:04What did you think of my fucking opera?
31:06I thought it was too fucking long.
31:09It made me sad.
31:22I was intruding on something I wasn't supposed to see.
31:29It made me realise everything I know about you, I've had to learn through your characters.
31:42And I wondered if you could ever open up to me or just be stuck hoping that Tigguro or Don Giovanni would tell me the things that you weren't.
31:54You're supposed to see it.
31:55You're supposed to see it.
32:09You can't stay with me.
32:16It isn't good to hear.
32:39You can't stay with me.
33:09We'll go again.
33:11We'll write something else.
33:12You'll write something else.
33:14You shouldn't do this.
33:16Keep working with me, I'm cursed.
33:18Oh, please, don't be a fucking martyr.
33:20Go write for Salieri or fucking Regini or anyone else.
33:24We're having a small run of bad luck, I'll give you that.
33:27Look, I don't want to write for any of them.
33:29I want to write for you.
33:33It's different with you, and you know that.
33:35And that's as much of a compliment as you'll get out of me,
33:38so don't look for any more.
33:45I hate this.
33:47What?
33:50The end of a party.
33:54I mean, obviously, Wolfgang, I'd be delighted to have you put something on here.
33:57I just assumed you'd be staging your next one at the Bird's Theater again.
34:00Oh, no, it's too stuffy.
34:02I feel like I need something more alive.
34:06Oh, wait, that's us.
34:08Wait, we're alive all right.
34:10No, we're packed.
34:11Every weekend.
34:12Wolfgang, I can guarantee you a full house of excited music lovers.
34:16Desperate, desperate to be entertained.
34:19Right, they won't just sit there like the aristocrats.
34:21No, they sing along, they dance.
34:23Right, they laugh.
34:25And on the takings, I can give you off.
34:29Oh.
34:30Well, if that's the best you can do, I suppose we'd better shake on that.
34:34I'm so pleased.
34:37He's very excited.
34:38I'm sure it's going to be a hit.
34:39And actually, between you and I, the Brotherhood owns the lease on the place,
34:43so it gets a cut of the takings as well.
34:45Everyone's doing very nicely.
34:47Mozart might be able to pay off his debts.
34:49Get back into the city.
34:54You're very quiet this morning, dear.
34:59Oh.
35:00Just in my thoughts.
35:01What are you thinking about?
35:07The Masons.
35:10Wolfgang!
35:11Cabermeister!
35:12I wanted to find you and congratulate you on your new commission.
35:15Oh, thank you.
35:16You were right, by the way.
35:17Much better to get away from the Berk Theatre.
35:19Well, I think it's wonderful news.
35:20Let's celebrate.
35:21Yes.
35:22So, tell me.
35:24What have you got so far?
35:26Love, sire.
35:27Excuse me?
35:28Do you remember?
35:30The first time I ever went to the Emperor's Palace.
35:33He asked me what a good German virtue might be.
35:35Ah, yes, yes, yes.
35:36You said love, sire.
35:37Yes.
35:38Love.
35:39I want to write about love.
35:43And light.
35:45I think it's a wonderful idea.
35:48Although it strikes me there are different kinds of love, aren't there?
35:52There's romantic love, certainly, but that feels pretty played out at this point.
35:57But what of maternal love, familial love, fraternal love?
36:02Fraternal love, brotherly love.
36:04That's a thought, yeah.
36:05Brotherhood.
36:06I mean, that's what the Masons are all about.
36:08My father used to talk about it all the time.
36:10The sucker that we got from them.
36:11Perhaps...
36:12No, that's too much.
36:14What?
36:15No, no, no.
36:16It's a bad idea.
36:17What?
36:18Well, I was just thinking, why not put them into it?
36:23Into it?
36:25Show them in all their generosity.
36:27Let people see the kindness of the Masons.
36:29Well, the Brotherhood's rituals are a secret, of course.
36:32Needn't copy them exactly.
36:34You could adapt them.
36:35Change a few details here and there.
36:37One step away, but still recognizable.
36:39Change a few details, but keep the intention.
36:42I like it.
36:46In fact, I'm going to speak to De Ponte.
36:55Antonio.
36:56What a surprise.
36:58You've caught me at an inopportune time.
37:02Well, it's hard not to.
37:12Oh.
37:14Entertaining.
37:15Very.
37:16Um.
37:18Please.
37:19Sit soft.
37:21No, no.
37:22I think I'll come straight to the point, Lorenzo.
37:24There were people who were disturbed by your presence when you first arrived in Vienna.
37:30But I vouched for you.
37:31I saw something in you and the Emperor was moved by your work.
37:34We all have been.
37:36Times are changing.
37:38The Emperor is unwell.
37:39He won't recover?
37:40His brother stands ready to take over when the time comes.
37:43It will be a rude awakening for many of us.
37:46He has none of Joseph's love of the arts.
37:50I expect budgets to tighten.
37:52I expect there to be a less liberal outlook.
37:56Formal notice that you were to be removed from your position as court poet and dismissed from Imperial service.
38:04Now, I'm afraid with the loss of both your patron and your position, questions have been raised about your continued residence here in Vienna.
38:11Figaro.
38:19Politics.
38:23How long do I have?
38:27Oh.
38:28I wouldn't linger.
38:30The mood is changing.
38:34You're a man out of time.
38:41Is something that is known in time.
38:54Lorenzo?
39:11I don't know.
39:41Hello, Wolfgang.
40:10Your mother took Carl up to Baden to see Stanza.
40:14Oh.
40:15We would have told you, but you haven't been to visit, so...
40:21Would you like a seat, Wolfgang?
40:37How is Carl?
40:39He's well.
40:40He can basically talk now.
40:43And Sophie's been giving him piano lessons.
40:46He's very bad, but so am I.
40:49Have you heard from Constanza?
40:52She writes.
40:54Is she happy?
40:56She is.
41:00I'm not looking for them.
41:14I'm not going to subscribe now.
44:38what's that why are they so angry what's that i spoke to the brothers
44:45i thought you were only going to make a nod to the masons i did that i changed all the symbols
44:49i called it the order of eternal priests i thought that would be okay to hint at yes what
44:53were you thinking listen to the audience they love it listen to them this can't happen again
44:58i need to talk to shikhanada the box office the masons own the lease on the theater they
45:01also control the box office and i don't think now's a good time to ask them for more money
45:05you told me to do this no no this was your idea mozart this was you remember
45:11mozart i would make haste for home i'll find them i'll calm them down they'll be away mozart
45:17they'll be away
45:35for the brotherhood
46:03you
46:08you
46:33A commission, a mass for the dead.
46:57You have seven days.
47:13The pieces had fallen into place.
47:19He was weak, broken, and alone, teetering on the edge of a precipice.
47:34And all that was needed was my hand to finally guide him over.
47:41So, into the darkness we go.
47:48So, into the darkness we go.
48:18So, into the darkness we go.
48:25So, into the darkness we go.
48:33So, into the darkness we go.
48:40So, into the darkness we go.
48:47So, into the darkness we go.
48:54So, into the darkness we go.
49:01So, into the darkness we go.
49:09So, into the darkness we go.
49:16So, into the darkness we go.
49:18So, into the darkness we go.
49:25So, into the darkness we go.
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