how good is he, this mozart?
ah-ha. well then, we should make some effort to acquire him. we could use a good german composer in vienna, surely?
very small pay, i imagine. i'm sure he could be tempted with the right offer. say, an opera in german for our national theatre.
ah-ha. what do you say, chamberlain?
ah-ha. kapellmeister?
ah-ha. court composer, what do you say?
you are cattivo, court composer. i want to meet this young man. chamberlain, arrange a pleasant welcome for him.
well. there it is.
good, good, good.
good morning, gentlemen.
well, what do you have for me today?
yes, what about him?
ah-ha. well. there it is. good.
what a charming idea. may i see?
may i try it?
delightful, court composer. would you permit me to play it as he comes in?
let's have some fun. bring in herr mozart, please. but slowly, slowly. i need a minute to practice.
ah-ha!
gentlemen, gentlemen, a little less enthusiasm, i beg you. ah, mozart.
no, no, please! it is not a holy relic. you know we have met already? in this very room. perhaps you won't remember it, you were only six years old. he was giving the most brilliant little concert here. as he got off the stool, he slipped and fell. my sister antoinette helped him up herself, and do you know what he did? jumped straight into her arms and said, will you marry me, yes or no?
you know all these gentlemen, i'm sure.
the baron von swieten.
the director of our opera. count orsini-rosenberg.
and here is our illustrious court composer, herr salieri.
and now he has returned the compliment. herr salieri composed that march of welcome for you.
well, there it is. now to business. young man, we are going to commission an opera from you. what do you say?
did we vote in the end for german or italian?
why so?
well, what is it about? tell us the story.
yes, where?
ah-ha.
well, i'm glad to hear that.
cattivo again, court composer. well, tell him, mozart. name us a german virtue.
well, there it is. let it be german.
ah, this is yours.
what? on one hearing only?
show me.
bravo, madame. you are an ornament to our stage.
and to you, court composer. your pupil has done you great credit.
well, herr mozart! a good effort. decidedly that. an excellent effort! you've shown us something quite new today.
yes, indeed.
oh, yes. absolutely. german. unquestionably!
of course i do. it's very good. of course now and then - just now and then - it gets a touch elaborate.
well, i mean occasionally it seems to have, how shall one say? how shall one say, director?
exactly. very well put. too many notes.
my dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. i think i'm right in saying that, aren't i, court composer?
my dear, young man, don't take it too hard. your work is ingenious. it's quality work. and there are simply too many notes, that's all. cut a few and it will be perfect.
well. there it is.
enchanted, madame.
really? how delightful. may i ask when you marry?
excuse me, but how old are you?
well, my advice is to marry this charming young lady and stay with us in vienna.
well. there it is. strack.
good morning, court composer. this is my niece, the princess elizabeth.
she has asked me to advise her on a suitable musical instructor. i think i've come up with an excellent idea.
i'm thinking about herr mozart. what is your view?
yes?
and the result satisfies.
ah-ha. favouritism. but i so want mozart.
you please me, court composer. a very clever idea.
well. there it is.
i don't think you understand me, court composer.
why not?
oh?
of course not.
really?
yes?
ah-ha. well. there it is.
bravo, mozart. most charming. yes, indeed. clever man.
what is it?
ah! by all means.
good evening. we have met before, herr mozart.
bravo?
ah-ha. well. there it is.
sit down, gentlemen, please.
mozart, are you aware i have declared the french play of figaro unsuitable for our theatre?
yet we hear you are making an opera from it. is this true?
it is not your place to ask questions. is it true?
would you tell me why?
mozart, i am a tolerant man. i do not censor things lightly. when i do, i have good reason. figaro is a bad play. it stirs up hatred between the classes. in france it has caused nothing but bitterness. my own dear sister antoinette writes me that she is beginning to be frightened of her own people. i do not wish to see the same fears starting here.
i think you are rather innocent, my friend. in these dangerous times i cannot afford to provoke our nobles or our people simply over a theatre piece.
ah, love again.
i have no idea.
well, six or seven minutes! maybe eight!
you are passionate, mozart! but you do not persuade.
please.
what is this? i don't understand. is it modern?
why?
do you like this, salieri?
well, look at them.
no, no, no! this is nonsense. let me hear the scene with the music.
oblige me.
what i hoped by that edict, director, was simply to prevent hours of dancing like in french opera. there it is endless, as you know.
i believe that is the best opera yet written, my friends. salieri, you are the brightest star in the musical firmament. you do honour to vienna and to me.