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00:00THE END
00:18KAPO MASTER
00:20KAPO MASTER
00:24KAPO MASTER
00:30KAPO MASTER
01:03Oh, no. I didn't say for you.
01:22Your footman found this on your person.
01:26It was meant to be read posthumously.
01:30And as a snow broke your fall and you didn't cut your throat deeply enough.
01:34I respected your wishes and I haven't opened it.
01:39Where are you?
01:41I am an old woman.
01:43Antonio pulled from my bed and made a walk through the cold.
01:48But I'm here now.
01:51So why don't you just tell me whatever it was you wanted to tell me?
01:56Face to face.
01:56What is it?
02:09It's a confession.
02:15It sounded lovely.
02:45It's 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
02:59and then surprise him and tell him he's the first person to perform my new opera.
03:03How could he turn it down?
03:17F sharp, your majesty.
03:19Yes.
03:19See, the problem with that note is that it's too difficult to arrive at from the note that precedes it.
03:28Who wrote this?
03:29I did, Matt.
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?
03:36It 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.
03:44That's enough of the day, I think.
03:50Just take a look at the F sharp, will you?
03:53Of course, your majesty, yeah.
03:55You know, I have plans, Antonio.
04:00Reforms.
04:01Economic, cultural, social, religious.
04:05Reforms, the likes of which I do not believe have been attempted before.
04:09The 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.
04:23Well, 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.
04:41I 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.
04:51Remake?
04:51Your, uh, your opera, Terrare.
04:55The French one.
04:56I'd like a version for us.
04:57But, uh, not in French, though.
04:59Do it in Italian.
05:01Yes, I, I, I didn't 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.
05:45I stayed up reading.
05:47Well, consider not doing that anymore.
05:49I have a new commission from the Emperor.
05:52It's an old opera of mine, originally in French,
05:55to 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 core composer.
06:04I would be on it.
06:06What opera is it?
06:07Terrare.
06:10Terrare?
06:11Terrare?
06:12It was very popular.
06:14I'm not sure I know it.
06:15Well, anyway, we're doing it again.
06:22I thought you were writing something...
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...
06:36It'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.
06:51The 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.
07:08Oh, yes, this could be him.
07:11He's not going to be your man, is he?
07:12What do you mean?
07:13Who's not going to be raucous?
07:14Do you think we'll have a lot of 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 handsome?
07:21Oh, sure, sure.
07:24Oh, hello.
07:26Oh, so welcome.
07:28Welcome to all.
07:28Firstly, I apologise.
07:35Secondly, I apologise.
07:36Secondly, a good day.
07:38There'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.
07:47Understood.
07:47Why did you throw up?
07:49Sophie, don't be worried.
07:50That's all right, I don't mind, Sophie.
07:52You 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.
08:05Dear Wolfgang, I'm writing to express my displeasure at you finding room and board in a delinquent house 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?
08:23Oh, 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 head by a donkey,
08:27and 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?
08:34We moved here recently.
08:36My husband passed away, and then my beautiful Aloysia got a role at the Imperial Opera, so here we are.
08:42Oh, that'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.
08:51Assume it won't take too long now that I'm here.
08:53Is this me?
08:54Oh...
08:55Oh...
08:56Yeah.
08:57Viana.
09:27Wolfgang, I write to you again, imploring you to see sense.
09:33Viana was not discussed.
09:34It is reckless in the extreme.
09:36Salzburg was the right position.
09:38Apologize to the Archbishop and beg your talent, which causes me worry.
09:42But you're mad.
09:43Viana have destroyed shrewder men than you.
09:45Return 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?
09:55I was asking about the tours you went on when you were younger.
09:57You travelled a lot, didn't you?
09:59Yes.
10:00No, everywhere.
10:01England, France, Italy, Vatican.
10:03Exhausting, really.
10:04And your mother and father, they accompanied you?
10:07Yes.
10:08Well, until mother died, of course.
10:10Oh.
10:11What happened?
10:12When my mother died.
10:13Well, we were in Paris and she was unwell.
10:18We meant to return together, but, er...
10:23I returned alone.
10:26Oh.
10:27Have you been to the Opera House yet?
10:33Yes.
10:34Of course.
10:35We 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 her.
10:41Do you remember?
10:42Oh.
10:43Salieri.
10:44Yes.
10:45Salieri.
10:46I thought it was quite wonderful.
10:47Oh, yes.
10:48Oh, you didn't like it?
10:49It was fine.
10:50It was fine.
10:51Constanza thinks herself quite the expert, which is funny, but she is the least capable vocalist
10:55in the family.
10:56Stanzi just has a smaller spectrum of ability, that's all.
10:58Oh, she wanted to be a star soprano when she grew up.
10:59I'm four notes short in my range.
11:00She doesn't reach, so...
11:01These notes.
11:02Right at the top.
11:03Stanza can't hit them.
11:04Oh, God.
11:05She's just trying and trying all about in the floods of tears.
11:06I wonder if you hit that high note if I kicked you in the cunt...
11:07Stanza!
11:08What?
11:09She's starting today!
11:10What?
11:11What?
11:12She's starting today!
11:13What?
11:14What?
11:15What?
11:16She's starting today!
11:17She's starting today!
11:18She's starting today!
11:19She's starting today!
11:20She's starting today!
11:21You do that!
11:22You do that!
11:23You do that!
11:24Me!
11:25You do that!
11:26You do that!
11:27You do that!
11:28You do that!
11:29You do that!
11:30You do that!
11:31You do that!
11:32You do that!
11:33You do that!
11:34You do that!
11:35You do that!
11:36You do that!
11:37You do that!
11:38You do that!
11:39You do that!
11:40You do that!
11:41You do that!
11:42You do that!
11:43You do that!
11:44You do that!
11:45You do that!
11:46You do that!
11:47You do that!
11:48You do that!
11:49You do that!
11:50You do that!
11:51You do that!
11:52You do that!
11:53You do that!
11:54Oh, this is going to be a joke.
12:24Oh, you'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 are the very things that you should touch first.
12:35And taste?
12:50Ow!
12:54Oh, 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.
13:16David Carpenter.
13:27David Carpenter.
13:28It was, on the surface, a simple piece.
13:46But the more you listened, the more the layers presented themselves.
13:49The melody and the harmony alternating seamlessly between right and left hand.
14:00Hands which glanced over the Baroness's forte piano, as if guided by something greater than himself.
14:08This repulsive creature, playing so explicitly.
14:15What do you think?
14:30Fun, no?
14:32Wolfgang Amadeus Mozart.
14:35Antonio Salio.
14:36The 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.
14:55What could be more important than this?
14:56They're 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.
15:10I'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?
15:30Perform 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.
15:50Bruno?
15:53Yes, sir.
15:53Oh, Bruno.
15:54I'll forgo dinner tonight.
15:56I mean to compose.
15:56Excellent, sir.
15:58Actually, leave me a small cut of beef and some vegetables on a tray outside the door.
16:02Yes, 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.
16:18And say goodnight to my wife.
16:20I don't think I'll see her this evening.
16:22Right.
16:22Let's go.
16:27Let's go.
16:27I don't know.
16:57Wolfgang.
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?
17:31Can I?
17:32Please.
17:40It's quite good.
17:42Thank you. Quite good.
17:44Is it true what your sister said about you the other night?
17:51My range?
17:52Mm-hmm.
17:54Yes. I used to dream about it, being a singer.
17:58Call her a chiro soprano.
18:00Wanted to be his star, I suppose.
18:03I agreed with you about Armida, by the way.
18:05All 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.
18:19I felt really sorry hearing about your childhood.
18:22Having to travel around like that.
18:23I was a very happy child.
18:26Were you?
18:26I don't know.
18:32Were you?
18:34No.
18:34Well, I...
18:35I wasn't happy or sad.
18:38I was...
18:38I was...
18:39Unremarkable.
18:45Unremarkable?
18:45Mm-hmm.
18:48There are only four notes, Constanza.
18:50But I can't reach them.
18:51I can't reach them.
18:51OK, well, I'm going to go back to bed now.
19:00Yes, I'll stop playing.
19:03No, don't.
19:04No, don't.
19:21It's so funny.
19:56I'll believe it.
20:14Did you just walk down the stairs?
20:16No.
20:18Why do you ask?
20:20What time's the duel?
20:21I think it's in about an hour.
20:23Right?
20:25Should you be completely smashed for that?
20:27I'm not completely smashed for that.
20:28I've just had a couple of sharpeners with lunch, honestly.
20:31Pull down one flight of stairs.
20:33Suddenly everyone's accusing you of being completely smashed.
20:35Hey, excuse me.
20:36It's not too important for you to mess it up.
20:38Sit down.
20:38Sit down.
20:39I'm making you coffee.
20:40Coffee.
20:41Yes, good idea.
20:42Coffee with a little splash of cognac, if you don't mind.
20:44This is excellent.
20:45Truly.
20:46I don't actually know how to do it.
20:47What is excellent?
20:48You're adding self-sabotage to all your other character flaws.
20:53I don't have character flaws.
20:54You have almost nothing but character flaws.
20:56The end is in Paris.
20:57It isn't London.
20:58It isn't Prague.
20:59Anywhere else than it is?
21:00Wolfgang.
21:01I want you to succeed here.
21:04Because if you don't, then you can't pay rent.
21:06I will have to sell my things, prostitute my sisters.
21:09And I really like my things.
21:12Tonight isn't a Vala game.
21:14It's an audition.
21:17You need these people.
21:25Oh, my gosh.
21:29Oh, my gosh.
21:29Have you ever met them before?
21:31No.
21:32Wolfgang, no.
21:33I've not met the Emperor before.
21:34Most people don't.
21:36We should have worn a different dress.
21:37Why?
21:38I think you look very comely.
21:39What do you mean by comely?
21:40Nothing.
21:41I just think you look nice.
21:42I thought you had to say that.
21:42No, no, no.
21:42You're not helping.
21:43Shh.
21:43You're not helping.
21:44Wolfgang.
21:48Hello.
21:51Mozart.
21:53Come.
21:56Your Majesty.
21:57Oh, don't need to worry about that.
21:58Oh, sorry.
21:58Yes.
21:59I've heard many stories about your talents.
22:00I can't tell you how keen I am to hear them for myself.
22:04Yes.
22:06And this is?
22:07Your Constanza, Majesty.
22:09I mean, Constanza, Your Majesty.
22:14Very good.
22:15Well, shall we begin?
22:16All right, then.
22:29All right, then.
22:45Good.
22:46I'll take.
22:46Oh.
22:47Oh, oh, oh, oh, oh, oh, oh.
23:17Oh, very good, very jolly.
23:32Oh, yuck, who wrote this?
23:44Can I change it?
23:45Feel free.
23:47Oh, oh, oh, oh, oh, oh.
23:52Thank goodness.
23:56The F-flop is difficult, isn't it?
23:58Ah.
23:59Leventy, your response.
24:01Oh, oh, oh, oh, oh, oh, oh, oh, oh.
24:14Oh, oh, oh, oh, oh, oh.
24:27Come on, Clemente.
24:38Come on, Clemente.
24:42Come on, Clemente.
24:51Come on, Clemente.
24:55You like that?
25:05Have you ever seen anything like it?
25:08Brother Andy, brother Neil, man.
25:12Ladies and gentlemen, round of applause, Mr Mozart.
25:16Oh, he's Robert, young man.
25:19Extraordinary.
25:21Absolutely shitting outrageous.
25:23Mozart! Mozart! Mozart!
25:26Oh, well, that was memorable.
25:27Never been fucked in a palace before.
25:29Excuse me.
25:29Tie after that?
25:30Would it have helped if I played upside down?
25:32I can do that, you know.
25:33Oh, God willing, I won't die without witness.
25:35You owe me 50 ducats.
25:36That prize should have been mine in its entirety.
25:38Wolfgang, he doesn't mean it, sir.
25:40He just gets passionate.
25:41The prize wasn't the money Mozart.
25:43It was the emperor's favor.
25:44And believe you me, you didn't share in that.
25:46Who wants to commission an opera for me?
25:49No, there was some in the court who thought you might be a little too green,
25:53but I convinced them you should be given a go.
25:57I don't know what to say.
25:58Well, let us all revel in your temporary silence.
26:01Be here Monday afternoon, 1 p.m. sharp.
26:04We'll discuss plans.
26:05Thank you so much, court composure.
26:07Of course.
26:09Oh, God, let's go.
26:09Of course.
26:13Of course.
26:17Shh.
26:19Shh.
26:20Shh.
26:20To the emperor.
26:35To the opera.
26:38To you.
26:39To us.
26:40To us.
26:40Is this what you do?
26:47What?
26:49Kiss any girl who's nice to you.
26:51Would you prefer for me to not kiss you?
26:54I think it would be improper.
26:58Hmm.
26:58That's not what I asked, though.
27:00Oh, I know that's not what you asked, though.
27:01If you don't tell me not to kiss you, then I'm going to kiss you.
27:07I'm not going to tell you not to kiss me.
27:08Oh, my goodness.
27:09I can't listen to her anymore.
27:11Mother.
27:13Constanza.
27:14Hello.
27:14Wolfgang.
27:15Have you been listening the whole time?
27:17There's one rule I have, Wolfgang.
27:18I will not allow wickedness under this roof.
27:20I will not have my girl's reputations damaged.
27:23If you break this rule, I will throw you out of this house myself
27:25and chop up your instruments for firewood.
27:27Do you understand?
27:28Yes, very well, but yes.
27:31So, it is late and it would do us all well to go to our separate rooms.
27:36Yes, my lord.
27:36Absolutely, yes.
27:40Good night, Wolfgang.
27:47Another letter for you.
27:49From your father.
27:50You know, you really should write back to him.
27:53Or I will.
27:58Good afternoon, Your Majesty.
28:15Ah, Mozart, do come in.
28:17So, Herr Mozart, congratulations on your commission.
28:20We're all very intrigued to see what you can do.
28:23Now, I'd like to start by talking about possible themes.
28:26Oh, I already have an idea.
28:28Oh, really?
28:29Yes, very excited about it, actually.
28:31But first of all, just to say, this will be an opera in German.
28:34True.
28:35Yes.
28:36Not Italian?
28:38Well, I just thought it would be nice if the audience could understand what was being sung for once.
28:41I haven't always found that to improve the experience.
28:43All right.
28:46What's your idea?
28:46Uh, yes.
28:47I've written the first act already.
28:49But in terms of story, uh, well, here's the thing.
28:52It's quite daring.
28:53Both in its composition and in its setting.
28:56Setting?
28:56Yes.
28:57It takes place in a harem.
28:58A fucking what?
29:00Oh, pardon.
29:01I'm just excusing.
29:03It's set where?
29:05A harem.
29:05A whorehouse.
29:06A seraglio.
29:07And you consider this appropriate?
29:09Yes.
29:10I mean, it's funny.
29:11It's different.
29:12I can assure you there won't be any inappropriateness.
29:15And, uh, of course, it will contain many fine German virtues.
29:21And what are those, exactly?
29:22Being Italian, I'm not sure.
29:25Yes, come on, let's not.
29:26Name us a proper German virtue.
29:29Um.
29:32Well, love, sir, I suppose.
29:35But this feels like a risk.
29:38I'll say.
29:39Well, we already have Antonio redoing his terraria.
29:45I think we can probably afford to be a bit exciting with this one.
29:49Give it a short run.
29:50Low costs.
29:51There seems to be too much risk there.
29:53Thank you, Your Majesty.
29:55Thank you, Mozart.
29:56Oh, thank you so much.
30:05Dear Lord, please speak through me.
30:09Please use me as you have used me before.
30:16Let me be your vessel.
30:19Let me be your voice.
30:24Speak.
30:28Speak.
30:28Well, one part excels at least.
30:55Bravo.
30:57Bravo.
30:58That'll do for today.
31:00Thank you, court composer.
31:04Bravo, court composer.
31:06Sounding magnificent.
31:07Don't.
31:08Don'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.
31:21Yes, indeed.
31:23I'm trying to compose something new, but it's not coming to me.
31:26I've had dry spells before.
31:27You know, the voice leaves me for periods, but it always comes back.
31:33But you can't help fear.
31:37What if?
31:40What if?
31:44What if?
31:44What if it doesn't come back?
31:47Wait there a moment.
31:48Oh, no.
31:54Oh, no.
31:56As 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?
32:14God'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, and if this is a conversation with
32:30God, I'm not composers, the one speaking in his voice.
32:36Let'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.
33:09The bombardment.
33:10The arrangements.
33:11The variations.
33:12I mean, what's he trying to say with it all?
33:15It'll be full in a week.
33:27The watchers come to accept our offerings.
33:31I 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
33:48an audience watching me.
33:51I 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.
34:07But 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.
34:26I used to write all night long.
34:34Pages upon pages of music just flowing.
34:40Not anymore.
34:46Oof.
34:47My goodness.
34:49Sorry.
34:52Sounds like you're a little bit blocked, Herr Salieri.
34:54Maybe 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?
35:12Maybe you need to try a different kind of night music, court composer.
35:16See if that helps.
35:24I'm a musician.
35:37Naime etc.
35:37Oh, my God.
36:07Oh, my God.
36:37Oh, my God.
36:39Oh, yes, another one.
36:44Your father.
36:48Will he be there tonight?
36:50No.
36:51tonight? No. Well, fuck him then. Goodbye.
37:21Oh, fuck.
38:21Oh
38:37Oh
38:39Excellent performance
38:41Yeah
38:43That was, well, that was very interesting.
38:54And new, felt very new.
38:56Thank you, Majesty.
38:57Although, of course, perhaps not without its faults.
39:00Though, I'm sure that's only to be expected.
39:03Faults, Your Majesty?
39:05Well, yes.
39:07Yes, it just felt at times that there were...
39:10Well, perhaps it was just...
39:14Too many notes.
39:18Too many notes?
39:20Yes, too many notes.
39:22There are only so many notes that an audience can listen to of an evening before one cannot take any more.
39:27It did feel at times as though one was being slightly bombarded.
39:31With notes?
39:32With notes, yes.
39:34You agree, court composer?
39:40Yes, Your Majesty, you're not wrong.
39:44A piece can become too busy.
39:46It's a mistake a young composer can easily make.
39:51Well, it was a very fine opera, all the same.
39:54Just, perhaps, remove some of the notes and it'll be perfect.
39:58Yes.
40:00Which notes, sir, did you have in mind, Emperor?
40:02One more round of applause for our young composer.
40:09It's a fine performance.
40:22Hey, Salieri.
40:24How could you do that?
40:25What?
40:26Why didn't you stand up for the music?
40:28It's politic to myself.
40:29You can't disagree with the Emperor.
40:30I didn't ask why you didn't stand up for me.
40:32I asked why you didn't stand up for the music.
40:34It was perfect.
40:35How could you stand there as a composer and just agree with him?
40:39He liked the piece.
40:41I'm sure there'll be another.
40:42Take the victory.
40:43You know, just because you're stuck rehashing boring old operas doesn't mean I have to be.
40:48Maybe God doesn't speak to you because you fucking bore him.
40:51No.
41:00Too many notes.
41:22Ridiculous criticism.
41:24The Emperor couldn't hear it.
41:25Most people couldn't hear it.
41:27But I could.
41:29I could hear even then what he was and what he would become.
41:37It wasn't then, though.
41:38It was later, a month or so later, at a performance in the palace gardens.
41:44He managed to get in one final insult, delivered as only he could.
41:56Ladies and gentlemen, we would like to begin with a new composition.
42:12It's a modest piece, but I wrote it in the small hours of the night, as if a voice was
42:17speaking to me.
42:19And only to me.
42:21If you look under your chairs, the details are on the back of your programmes.
42:26Perhaps it was in that moment I knew what I was going to do.
42:41The moment you knew you were going to do what?
42:43I was going to kill Wolfgang Amadeus Mozart.
42:51Yes.
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