The legend begins: "Amadeus (TV Mini Series 2025) Season 1, Episode 1 🌻" with English Subtitles.
Step into the world of pure genius and deadly rivalry. In this premiere episode of the highly anticipated 2025 mini-series, we witness the early sparks of Wolfgang Amadeus Mozart's brilliance as he arrives in the heart of musical Europe. But where there is light, there is shadow. Antonio Salieri, the established court composer, feels a chilling premonition as he encounters a talent that defies all rules. This is the beginning of a journey filled with passion, divine inspiration, and the bitter taste of envy. Don't miss the start of the musical event of the year in premium HD quality.
✨ Subscribe for the full series of Amadeus, Historical Masterpieces, and the best 2025 cinematic hits!
#Amadeus2025 #S01E01 #FullEpisode #EnglishSubtitles #HighClimax #MozartPremiere #HistoricalDrama #MustWatch2025 #ClassicalMusic #NewSeries2025
Step into the world of pure genius and deadly rivalry. In this premiere episode of the highly anticipated 2025 mini-series, we witness the early sparks of Wolfgang Amadeus Mozart's brilliance as he arrives in the heart of musical Europe. But where there is light, there is shadow. Antonio Salieri, the established court composer, feels a chilling premonition as he encounters a talent that defies all rules. This is the beginning of a journey filled with passion, divine inspiration, and the bitter taste of envy. Don't miss the start of the musical event of the year in premium HD quality.
✨ Subscribe for the full series of Amadeus, Historical Masterpieces, and the best 2025 cinematic hits!
#Amadeus2025 #S01E01 #FullEpisode #EnglishSubtitles #HighClimax #MozartPremiere #HistoricalDrama #MustWatch2025 #ClassicalMusic #NewSeries2025
Category
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Short filmTranscript
00:00The End
01:00Oh, no. I didn't send for you.
01:22Your footman found this on your person.
01:26It was meant to be read posthumously.
01:30And as the snow broke your fall and you didn't cut your throat deeply enough to bleed to death.
01:34I respected your wishes and I haven't opened it.
01:39Read it.
01:41I am an old woman.
01:43Antonio pulled from my bed and made a walk through the cold.
01:47But I'm here now.
01:51So why don't you just tell me whatever it was you wanted to tell me?
01:55Face to face.
01:56What is it?
02:09It's a confession.
02:15It sounded lovely.
02:45It sounded lovely up there, dear.
02:46Oh, thank you.
02:47Composing something new.
02:49Oh, a commission?
02:50No, no.
02:51A speculative work.
02:52Thank you, Bruno.
02:53Actually, I'm going to show some to the emperor today.
02:57I thought it might be fun to have him play a little and then surprise him and tell him
03:01he's the first person to perform my new opera.
03:03How could he turn it down?
03:04F-sharp, your majesty.
03:18Yes.
03:19You see, the problem with that note is that it's too difficult to arrive at from the note
03:26that precedes it.
03:28Who wrote this?
03:29I did, mad.
03:29You see, it's a new piece.
03:32Did you not consider that the F-sharp was almost impossible to ascend to from here?
03:37It seemed, at the time, as if it were the correct direction to take.
03:40Well, perhaps a reconsideration is in order.
03:42Perhaps, your majesty, yes.
03:49That's enough of it to do, I think.
03:50Just take a look at the F-sharp, will you?
03:53Of course, your majesty.
03:54You know, I have plans, Antonia.
04:00Reforms.
04:01Economic, cultural, social, religious.
04:05Reforms, the likes of which I do not believe have been attempted before.
04:08The thing with change, though, is that people aren't very keen on it.
04:12Even if it's in their best interest.
04:13So, I shall need every trick at my disposal.
04:19Do you know what opera is?
04:22Yes.
04:22Well, what do you think it is, sir?
04:26Power.
04:29Kings and queens, friends and foes, they will all come here.
04:33They will see our palaces, they will see our armies, and they will see our operas.
04:37Grander and finer than anything that London, Prague, or St. Petersburg has to offer.
04:42I cannot overstate its importance to the empire.
04:45Of course, your majesty, and it's an honour to serve the crown.
04:48Good.
04:49So, I would like you to put on a remake.
04:51A remake?
04:51Hmm.
04:52Your, uh, your opera, Terrare.
04:55The French one.
04:56I'd like a version for us.
04:58But, uh, not in French, though.
04:59Do it in Italian.
05:01Yes, I, I, I, I'd rather have my sights set on newer compositions.
05:06Well, save them.
05:07A return to past successes is what's needed in delicate times.
05:10You're a godly man, hmm?
05:13You believe that he speaks through your music.
05:16I believe he does, sir, yes.
05:18Oh, I need you to be my voice, too, Sally Harry.
05:21Do you have room for us both?
05:23Of course, sir.
05:23You seem tired today.
05:44I stayed up reading.
05:47Well, consider not doing that anymore.
05:50I have a new commission from the Emperor.
05:52It's an old opera of mine, originally in French, to be remounted in Italian and staged here.
05:58And I would very much like you to take a role in it.
06:02I'm a court composer.
06:04I would be honored.
06:06Oh, what opera is it?
06:07Terrare.
06:10Terrare?
06:12It was very popular.
06:13I'm not sure I know it.
06:18Well, anyway, we're doing it again.
06:22I thought you were writing something new.
06:25You.
06:27Oh, put on hold.
06:30Now you go home and try to get some rest.
06:32Well, I will tonight.
06:34But Friday, it's Baroness's party.
06:37Oh, I've forgotten all about her.
06:39Did you hear?
06:40She has a secret performer.
06:42Who?
06:43Well, it's a secret, isn't it?
06:44But I've heard it might be Mozart.
06:47The travelling maestro wrote his first aria in the womb and all of that.
06:56Are you not intrigued?
06:58At least to meet him.
07:00I've met my fair share of prodigies in my time.
07:04Can't say I remember many of their names now, though.
07:06Oh, yes, this could be him.
07:11He's not going to be your man, is he?
07:12What do you mean?
07:13He's not going to be raucous.
07:14Do you think we'll have other things?
07:16God, where are we going to put them all?
07:17He's not putting them in my room.
07:18Of course he's not putting them in your room.
07:20Do you think he's going to be him?
07:21You are.
07:22Sure.
07:24Oh, hello.
07:26I'm happy to sound welcome.
07:28Welcome to all.
07:29Oh.
07:34Firstly, I apologise.
07:35It's taking a good day.
07:38So it's two gold in a month for the room and only the room.
07:41One meal a day is included.
07:43And I'll do a monthly wash, but any extra is extra.
07:46Understood.
07:47Why did you throw up?
07:49Sophie, don't be worried.
07:50That's all right.
07:50I don't mind, Sophie.
07:51You see, I had quite a bit of wine last night and then a little more this morning.
07:55I think it was that combined with the motion of a carriage, really.
07:59Some letters have already arrived for you.
08:01Have you opened them?
08:02Oh, for my father.
08:03Let's have a look.
08:04Shh.
08:05Dear Wolfgang, I'm writing to express my displeasure at you finding room and board in a delinquent
08:09house of ill-reputed sluts.
08:11I think it's just a bit upset that I've left Salzburg.
08:14I did explain to him that you're not delinquents.
08:16Or sluts, obviously.
08:17Girls' bedrooms are down there.
08:19They all have locks on.
08:20You're up this way.
08:21Why did you leave Salzburg?
08:22Oh, my employer.
08:23I don't like to speak ill of the man, but I once met a stable boy who'd been kicked in the
08:27head by a donkey and I think he had more cognitive aptitude than the Archbishop of Salzburg.
08:31What a lovely house.
08:32Have you been here a long time?
08:33We moved here recently.
08:36My husband passed away and then my beautiful Aloysia got a role at the Imperial Opera, so
08:41here we are.
08:42That's marvellous news.
08:43Not about your husband, obviously.
08:45The Imperial Opera?
08:46That's marvellous.
08:47Hope to have my own work performed there one day.
08:49Oh, do you have a commission?
08:50No, just as in, I assume it won't take too long now that I'm here.
08:54Is this me?
08:54Oh.
09:19Vienna.
09:29Wolfgang, I write to you again, imploring you to see sense.
09:32This move to Vienna was not discussed.
09:34It is reckless in the extreme.
09:36Salzburg was the right position.
09:38I should apologise to the Archbishop.
09:39It's not your talent which causes me worry.
09:42But your manners.
09:42Things in Vienna have destroyed shrewder men than you.
09:44Return to Salzburg.
09:46Let me guide your career.
09:47Don't ruin what we have spent so long trying to build.
09:50Mozart?
09:52Wolfgang?
09:54Sorry?
09:54I was asking about the tours you went on when you were younger.
09:57You travelled a lot, didn't you?
09:59Yes, no, everywhere.
10:01England, France, Italy, Vatican.
10:03Exhausting, really.
10:05And your mother and father, they accompanied you?
10:07Yes.
10:09Well, until Mother died, of course.
10:10Oh, what happened?
10:13When my mother died.
10:14Um, well, we were in Paris and she was unwell.
10:18We meant to return together, but, uh...
10:23I returned alone.
10:32Have you been to the Opera House yet?
10:35Yes, of course.
10:36We went last year when we were visiting the city.
10:38The girl's father wasn't very well, but we still managed to see her meet.
10:41Do you remember?
10:42Oh, Salieri.
10:43Yes, Salieri.
10:44I thought it was quite wonderful.
10:45Oh, yes.
10:48Oh, you didn't like it?
10:49No, no, no, no.
10:49It was fine.
10:51It was fine.
10:52Constanza thinks herself quite the expert, which is funny.
10:54But she is the least capable vocalist in the family.
10:56Stanzi just has a smaller spectrum of ability, that sort.
10:59Oh, she wanted to be a star soprano when she grew up.
11:01I'm four notes short in my range.
11:02She doesn't reach, so...
11:02These notes.
11:07Right at the top.
11:08Stanzi can't hit them.
11:09Oh, God.
11:10She's trying and trying all about floods of tears.
11:13I wonder if you hit that high note if I kicked you in the cunt.
11:15Stanzi!
11:16She's starting today!
11:18What?
11:18We have it.
11:19She's starting today!
11:20Why did you say that?
11:22You do the thing.
11:22Me?
11:23Me?
11:23You do the thing.
11:53Oh, this is going to be a joke.
12:23You're not supposed to be in here.
12:27Treat room.
12:28Don't touch them.
12:29Actually, in my experience, the things you're not supposed to touch
12:32are the very things that you should touch first.
12:35And taste?
12:50Ow!
12:53Oh, that's nice.
13:01It's okay.
13:03Fuck.
13:07A direct hit.
13:08Shit, I have a performance to give.
13:10Katerina Cavaliari.
13:12My name, by the way.
13:13I want you to remember it.
13:14How could I not?
13:16Doodly.
13:20Oh.
13:21Oh.
13:22Oh.
13:23David Cavaliari.
13:29David Cavaliari.
13:29David Cavaliari.
13:31It was on the surface a simple piece.
13:45But the more you listened, the more the layers presented themselves.
13:52The melody and the harmony alternating seamlessly between right and left hands.
13:56hands, which glanced over the baroness's fortepiano, as if guided by something greater than himself.
14:10This repulsive creature playing so explicitly.
14:15What do you think?
14:30I don't know.
14:31I don't know.
14:32Wolfgang Amadeus Mozart.
14:35Antonio Salio.
14:36The court composer?
14:37The court composer?
14:38Yes.
14:39This is incredibly fortuitous.
14:40The whole reason why I came to Vienna was to write for the Imperial Opera.
14:46Well, there's a process to all of that.
14:50I wouldn't be a bit tired.
14:51You must at least be able to get me one meeting with the Emperor.
14:54He's a very busy man.
14:55And what could be more important than this?
14:56The meeting you.
14:58Well, I believe he's currently drawing up plans to ensure our nation's claim on the kingdom of Bavaria.
15:04I suppose that might be taking up some of his time.
15:07Please.
15:08Just one meeting.
15:09I'll be forever in your debt, obviously.
15:13Well, there is an opportunity coming up.
15:16It's a duel at the palace against Clemente.
15:18The Emperor will be judging the winner.
15:20But it's in less than a week.
15:22There's no time to prepare.
15:23That's loads of time to prepare.
15:24You might start to perform badly, but do you more harm than not performing at all.
15:28I don't.
15:29You don't what?
15:29Perform badly.
15:33Then I shall make arrangements.
15:35Yes.
15:36Thank you so much.
15:37Thank you, Herr Salieri.
15:38Of course.
15:39Pleasure to meet you.
15:39You've just made an excellent evening even better.
15:50Renaud?
15:52Yes, sir.
15:53Oh, Bruno.
15:54I'll forgo dinner tonight.
15:55I mean to compose.
15:56Excellent, sir.
15:57Actually, leave me a small cut of beef and some vegetables on a tray outside the door.
16:01Yes, sir.
16:02And potatoes are in season, aren't they?
16:04They are, sir.
16:05I'll have some of those, too.
16:06And a glass of wine.
16:07There's a Brunello that will pair excellently.
16:09But it's young, so open it now.
16:11We'll need time to breathe.
16:12Of course, sir.
16:13No disturbances of any kind.
16:15I believe inspiration will not be in short supply.
16:17And say goodnight to my wife.
16:20I don't think I'll see her this evening.
16:22Right.
16:22Don't do it.
16:35Okay?
16:36Oh, okay.
17:07Wolfgang.
17:11Constanza. Everything all right?
17:13It's three o'clock in the morning.
17:14Is it?
17:15Yes, it is. And most people are asleep.
17:18In the quiet.
17:21Ah.
17:24Hm.
17:28Did you just write this?
17:30Can I?
17:32Please.
17:37It's quite good.
17:42Thank you. Quite good.
17:48Is it true what your sister said about you the other night?
17:51My range?
17:52Mm-hmm.
17:53Yes. I used to dream about it, being a singer.
17:58Call her a chiro soprano.
18:00Wanted to be a star, I suppose.
18:03I agreed with you about Armida, by the way.
18:07All those boring trails.
18:09Only a fool would like something like that.
18:11Maybe not calling my sister a fool.
18:13Oh, I wouldn't dream of it.
18:14I felt really sorry hearing about your childhood, having to travel around like that.
18:23I was a very happy child.
18:26Were you?
18:29I don't know.
18:32Were you?
18:34No.
18:34Well, I wasn't happy or sad.
18:38I was just unremarkable.
18:45Unremarkable?
18:45Mm-hmm.
18:48There are only four notes, Constanza.
18:50But I can't reach them.
18:56Okay, well, I'm going to go back to bed now.
19:00Yes, I'll stop playing.
19:02No, don't.
19:04Okay.
19:04No, don't.
19:32No, don't.
20:00Okay.
20:00Did you just walk on the stairs?
20:15No.
20:16Why do you ask?
20:20What time's the duel?
20:21I think it's in about an hour.
20:23Right.
20:24Should you be completely smashed for that?
20:26I'm not completely smashed for that.
20:28I've just had a couple of sharpeners with lunch, honestly.
20:31Pulled down one flight of stairs, suddenly everyone's accusing you of being completely smashed.
20:35Hey, excuse me.
20:36It's not too important for you to mess it up.
20:37Sit down.
20:38Sit down.
20:39I'm making you coffee.
20:40Coffee, yes.
20:41Good idea.
20:42Coffee with a little splash of cognac, if you don't mind.
20:44This is excellent.
20:45Truly.
20:46Actually, no health, Joel.
20:47What's excellent?
20:49You're adding self-sabotage to all your other character flaws.
20:52I don't have character flaws.
20:53You have almost nothing but character flaws.
20:55Yeah, it isn't Paris.
20:56It isn't London.
20:57It isn't Prague.
20:58Where else did it?
20:59Well, Wolfgang.
21:00I want you to succeed here.
21:03Because if you don't, then you can't pay rent.
21:06I will have to sell my things, prostitute my sisters, and I really like my things.
21:10Tonight isn't a lot of game.
21:13It's an audition.
21:15You need these people.
21:26Very fancy.
21:27Very fancy.
21:28Oh my gosh.
21:29Oh my gosh.
21:30Have you ever met the Emperor before?
21:31No.
21:32Wolfgang, no.
21:33I've not met the Emperor before.
21:34Most people don't.
21:35We should have worn a different dress.
21:37Why?
21:38I think you look very comely.
21:39What do you mean?
21:40Very comely?
21:41Nothing.
21:42I just think you look nice.
21:43You're helping.
21:44Wolfgang.
21:45Hello.
21:46Hello, Sartre.
21:47Come.
21:48Your Majesty.
21:49Oh, don't need to worry about that.
21:50Oh, sorry.
21:51Yes.
21:52I've heard many stories about your talents.
21:53Can't tell you how keen I am to hear them for myself.
21:54Yes.
21:55And this is?
21:56Your Constanza, Majesty.
21:57I mean, Constanza, Your Majesty.
21:58Very good.
21:59Well, shall we begin?
22:00Very good.
22:01Very good.
22:02Well, shall we begin?
22:03Very good.
22:04Very good.
22:05Well, shall we begin?
22:06Very good.
22:07Well, shall we begin?
22:08Very good.
22:10Very good.
22:11And now, your majesty.
22:13Very good. Well, shall we begin?
22:43All right, then.
22:45Juventus.
22:47Ooh.
23:05Very good.
23:07Thank you. Actually, may I have a go at that one first? I quite like that one.
23:14By all means. Do you need the music?
23:16No, thank you.
23:17Oh, very good. Very jolly.
23:32Oh, yuck. Who wrote this? Can I change it?
23:44Feel free.
23:47Oh!
23:50Oh, how was it?
23:52Ha, ha, ha!
23:53Oh, thank goodness!
23:55The F-flop is difficult, isn't it?
23:57Ah!
23:58Ah!
23:59Leventi, your response!
24:15Mozart!
24:17Oh!
24:18Ha, ha, ha!
24:20Oh!
24:22Oh!
24:23Yeah!
24:24Oh!
24:25Oh, my God!
24:26Oh!
24:27Oh!
24:29Oh!
24:30Oh!
24:31Oh!
24:32Oh!
24:33Oh!
24:34Oh!
24:35Oh!
24:36Clemente.
24:49Come on, Clemente!
24:51Come on, Clemente!
25:04Do you like that one?
25:06Have you ever seen anything like it?
25:08Brother Eddie, well done you, man.
25:12Ladies and gentlemen, round of applause, Mr. Mozart!
25:16Oh, he was a real man.
25:18Extraordinary.
25:21Absolutely shitting outrageous.
25:23Mozart! Mozart! Mozart!
25:25Oh, well, that was memorable.
25:27Never been fucked in a palace before.
25:28Excuse me?
25:29Tie after that.
25:30Would it have helped if I played upside down?
25:31I can do that, you know.
25:32Well, God willing, I won't die without witness.
25:34You owe me 50 ducats.
25:35That prize should have been mine in its entirety.
25:37Wolfgang, he doesn't mean it, sir.
25:39He just gets passionate.
25:40The prize wasn't the money Mozart,
25:42it was the emperor's favour,
25:43and believe you me, you didn't share in that.
25:46Who wants to commission an opera for me?
25:48What?
25:49There was some in the court
25:51who thought you might be a little too green,
25:53but I convinced them you should be given a go.
25:56I don't know what to say.
25:58Well, let us all revel in your temporary silence.
26:00Be here Monday afternoon, 1pm sharp.
26:03We'll discuss plans.
26:04Thank you so much, Cork.
26:06Of course, of course.
26:08Oh my God, let's go.
26:09Let's go.
26:10Let's go.
26:11Let's go.
26:12Of course.
26:13Shhh.
26:14Shhh.
26:15Shhh.
26:16Shhh.
26:17Shhh.
26:18Shhh.
26:19Shhh.
26:20Shhh.
26:33To the emperor.
26:34To the emperor.
26:35To you.
26:36To us.
26:37Is this what you do?
26:38What?
26:39Kiss any girl who's nice to you.
26:40Would you prefer for me to not kiss you?
26:41I think it would be improper.
26:42Hmm.
26:43That's not what I asked her.
26:44Oh, I know that's not what you asked her.
26:45If you don't tell me not to kiss you, then I'm going to kiss you.
26:48I'm going to tell you not to kiss you.
26:49I'm going to tell you not to kiss me.
26:50Oh, my goodness.
26:51I can't listen to her anymore.
26:52Mother.
26:53Constanza.
26:54Hello.
26:55Wolfgang.
26:56Hello.
26:57Wolfgang.
26:58Have you been listening the whole time?
26:59One rule I have, Wolfgang.
27:00I will not allow wickedness under this roof.
27:01I will not have my girl's reputations damaged.
27:02If you break this rule, I will throw you out of this house myself and chop up your instruments
27:08for firewood.
27:09Do you understand?
27:10Yes, very well, but yes.
27:11So, it is late and it would do it all well to go to our separate rooms.
27:12Yes, ma'am.
27:13Absolutely.
27:14Yes.
27:15Yes.
27:16Yes.
27:17Yes.
27:18Yes.
27:19Yes.
27:20Yes.
27:21Yes.
27:22Yes.
27:23Yes.
27:24Yes.
27:25Yes.
27:26Yes.
27:27Yes.
27:28Yes.
27:29Yes.
27:30Yes.
27:31Yes.
27:32Yes.
27:33Yes.
27:34Yes.
27:35Yes.
27:36Yes.
27:37Yes.
27:38Yes.
27:39Yes.
27:40Good night, Wolfgang.
27:41Another letter for you.
27:47From your father.
27:49You know, you really should write back to him.
27:52Or I will.
27:53Oh, here he is.
27:54Good afternoon, your majesty.
28:02Ah, Mozart, do come in.
28:03So, Herr Mozart, congratulations on your commission.
28:15We're all very intrigued to see what you can do.
28:16Now, I'd like to start by talking about possible themes.
28:17Oh, I already have an idea.
28:18Oh.
28:19Really?
28:20Yes.
28:21Yes.
28:22Very excited about it, actually.
28:23But first of all, just to say, this will be an opera in German.
28:24German?
28:25Yes.
28:26Not Italian?
28:27Not Italian.
28:28Well, I just thought it would be nice if the audience could understand what was being sung,
28:29for once.
28:30I haven't always found that to improve the experience.
28:31All right.
28:32What's your idea?
28:33Ah-ha-ha.
28:34What's your idea?
28:35Yes.
28:36I've written the first act already, but in terms of story, ah, well, here's the thing.
28:38It's quite daring, both in its composition and in its setting.
28:40Setting?
28:41Yes, it takes place in a harem.
28:42A fucking what...
28:43Oh, pardon me.
28:44Just excuse me.
28:45Excuse me.
28:46It's just a big moment.
28:47It's just a big time.
28:48A horse.
28:49I'm not just kidding.
28:50He's not a young man.
28:51He's not a young man.
28:52Oh, man.
28:53He's a young man.
28:54How are you?
28:55He's a young man who's friends?
28:56I teach.
28:57He's a young woman.
28:58He's a young man.
28:59He's a young man.
29:00He's a young man.
29:01Justice, excuse me. Except where?
29:05A harem. A whorehouse. A seraglio.
29:07And you consider this appropriate?
29:09Yes. I mean, it's funny. It's different.
29:12I can assure you there won't be any inappropriateness.
29:15And, of course, it will contain many fine German virtues.
29:21And what are those, exactly? Being Italian, I'm not sure.
29:24Yes, come on, Mertup. Name us a proper German virtue.
29:28Um, well, love, sir, I suppose.
29:34What? This feels like a risk.
29:38I'll say.
29:41Well, we already have Antonio redoing his terraria.
29:45We can probably afford to be a bit exciting with this one.
29:49Give it a short run. Low costs. There seems to be too much risk there.
29:53Thank you, Your Majesty. Thank you.
29:55Thank you, Mozart.
29:55Oh, thank you so much.
30:05Dear Lord, please speak through me.
30:11Please use me as you have used me before.
30:16Let me be your vessel.
30:19Let me be your voice.
30:24Speak.
30:24Speak.
30:26Speak.
30:28Speak.
30:28Well, one part excels at least.
30:55Well, though.
30:57Well, though.
30:58That'll do for today.
31:00Thank you, court composer.
31:04Bravo, court composer.
31:05Sounding magnificent.
31:07Don't pretend it's something it's not.
31:10I know you know.
31:12Anyone in this city, you know.
31:14I mean, it doesn't disgrace you, at least.
31:16I have done better work than this.
31:18I'll meet her.
31:18Now, there was an opera.
31:20There was an opera, yes, indeed.
31:22I'm trying to compose something new, but it's not coming to me.
31:26I've had dry spells before.
31:27Well, the voice leaves me for periods, but it always comes back.
31:33But you can't help fear.
31:37What if?
31:40What if?
31:41What if?
31:44What if it doesn't come back?
31:47Wait there a moment.
31:54Oh, no.
31:54Oh, yeah.
31:55Oh, no.
31:55As a thank you.
31:57A bit strong.
32:06It used to be that I could find his voice as easily as I found my own.
32:11His?
32:13God's.
32:16Oh, yes.
32:17Him.
32:17You don't believe what we do is divine.
32:21This, this is a gift that's given to us, no?
32:26Music is the closest man gets to conversing with God.
32:29And if this is a conversation with God, I'm not composers the one speaking in his voice.
32:32Let's have a look.
32:41I mean, a few lines and dots.
32:45It's just instructions, isn't it?
32:47Mathematical instructions.
32:49I mean, are these methods to capture the voices of angels or merely a command to an oboe player?
32:54I believe it's more than that.
32:58I believe it must be a holy gift.
33:00Holy gift?
33:02I mean, say it is God who gives us this.
33:06Fucking hell, I wish he'd leave me alone sometimes.
33:08It's constant, the bombardment, the arrangements, the variations.
33:12I mean, what's he trying to say with it all?
33:24It'll be full in a week.
33:28The watchers come to accept our offerings.
33:39I keep having this dream.
33:43I'm walking through my house and I hear a noise and I look out and I see that there's an audience watching me.
33:50I mean, watch as I sweep and eat and drink and perform all the human acts a man might perform.
34:01And they applaud at the end.
34:02At the end, they applaud.
34:06But they never stand.
34:10And it kills me.
34:14They like it well enough.
34:17My little performance.
34:20I know that when they leave the theater and they return to their homes, the memory of me will fade.
34:29I used to write all night long.
34:34Pages upon pages of music just flowing.
34:40Not anymore.
34:46Oof.
34:47My goodness.
34:48Sorry.
34:52Sounds like you're a little bit blocked, Herr Salieri.
34:55Maybe you need to try to flush the pipes out somehow.
34:58How do you mean?
35:03Noticed you were paying Frau Cavalieri a bit of extra attention just now.
35:10So?
35:10Well, maybe you need to try a different kind of night music, court composer.
35:17See if that helps.
35:37Night music.
35:37Noticed.
36:01Oh.
36:03Yeah.
36:04Yeah.
36:04Hello.
36:33Hello.
36:34Hello.
36:34Just checking you're all right.
36:36Not drinking yourself into a super or anything.
36:38No, I'm all right, thank you.
36:42Oh, yes, another one.
36:49Your father.
36:51Will he be there tonight?
36:53No.
36:56Well, fuck him then.
37:00Goodbye.
37:00Goodbye.
37:01Goodbye.
37:02Goodbye.
37:03Goodbye.
37:04Goodbye.
37:05S'il est befreit
37:15S'il est befreit
37:22S'il est befreit
37:25S'il est befreit
38:40Bravo.
38:41Bravo.
38:42Well done.
38:43Excellent performance.
38:44Ah, my dear.
38:45You were radiant.
38:46Thank you, Majesty.
38:47Bravo.
38:48Bravo.
38:49That was...
38:50Well, that was very interesting.
38:53And new.
38:54Felt very new.
38:55Thank you, Majesty.
38:56Although, of course, perhaps not without its faults.
38:59Though, er, I'm sure that's only to be expected.
39:02Faults, Your Majesty?
39:04Er...
39:05Well, yes, um...
39:06Yes, it just felt at times that there were...
39:08Well, perhaps...
39:09It was just...
39:16Too many notes.
39:17Too many notes?
39:19Yes, too many notes.
39:20There are only so many notes that an audience can listen to of an evening before one cannot
39:24take any more.
39:25It did feel at times as though one was being slightly bombarded.
39:30With notes.
39:31With notes, yes.
39:33You agree, court composer?
39:40Yes, Your Majesty, you're not wrong.
39:43A piece can become too busy.
39:46It's a mistake a young composer can easily make.
39:50Well, it was a very fine opera, all the same.
39:53Just, perhaps, remove some of the notes and...
39:56It'll be perfect.
39:58Yes.
39:59Which notes, er, did you have in mind, Emperor?
40:06One more round of applause for our young composer.
40:09He's fine performance.
40:10Hey, Salieri.
40:11How could you do that?
40:12What?
40:13Why didn't you stand up for the music?
40:14It's politic to myself.
40:15You can't disagree with the Emperor in front of the warriors.
40:16I didn't ask why you didn't stand up for me.
40:17I asked why you didn't stand up for the music.
40:18It was perfect.
40:19How could you stand there as a composer and just agree with him?
40:23He liked the piece.
40:24I'm sure there'll be another.
40:25Take the victory.
40:26You know, just because you're stuck rehashing boring old operas doesn't mean I have to be.
40:30Maybe God doesn't speak to you because you fucking bore him.
40:51Be no one line.
41:13Oh, yeah.
41:16too many notes ridiculous criticism the emperor couldn't hear it most people couldn't hear it
41:26but i could i could hear even then what he was and what he would become
41:35it wasn't then though it was later a month or so later at a performance in the palace gardens
41:44excuse me sorry sorry i'm late excuse me thank you excuse me sorry he managed to get in one final
41:53insult delivered as only he could
41:56ladies and gentlemen we would like to begin with a new composition
42:11it's a modest piece but i wrote it in the small hours of the night as if a voice was speaking to
42:18me and only to me if you look under your chairs the details are on the back of your programs
42:24perhaps it was in that moment i knew what i was going to do the moment you knew you were going
42:42to do it i was going to kill wolfgang amadeus mozart
42:47yes
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