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