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Mozart - otherworldly genius.
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Childlike naif.
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Divine gift from God.
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Serene marble bust of
transcendent perfection.
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APPLAUSE
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'Or even a bowl of perfectly
smooth chocolate.
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'All of it
the stuff of myth and legend.'
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Mozart, you see, was a human being
just like you and me.
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Except he could express
the pain and pleasure,
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the joy and darkness of
being human more completely
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and more humanly
than any other composer.
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00:00:42,900 --> 00:00:48,060
'His music isn't merely perfect
or beautiful or genius,
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'it's visceral...'
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MUSIC: Sinfonia Concertante
In E-Flat Major, K 364
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'..violent...
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'..avant-garde
and powerfully expressive.'
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MUSIC: Violin Concerto No 5
In A major, K 219
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And it was written by a composer and
a person who's still modern today,
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someone who made mistakes
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and who tried unbelievably hard
to make them right.
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Welcome to The Joy Of Mozart.
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Vienna put up this statue in 1896.
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It's a monumental fiction about
Mozart's life and music,
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an excrescence of marble,
bronze and golf leaf
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that turns Mozart into
a hyper-romantic genius,
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someone literally and figuratively
above the rest of humanity,
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someone different from us.
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It's ludicrous.
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So what we have to do
for Mozart's sake and our own
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is take him off the plinth.
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It was a strange revelation the
first time I heard Mozart's music.
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I spent years trying to explain why
Mozart's A major symphony, K 201,
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affected me so deeply
when I heard it played by
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the Scottish Chamber Orchestra
at the age of seven.
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MUSIC: Symphony No 29
In A Major, K 201
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I do know, though, it wasn't about
beauty or perfection,
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it was about exactly the opposite.
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'To try to find my Mozart,
the one who explains who I am,
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'I'm starting at the end,
here in Vienna,
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'where he lived for the last
ten years of his life from 1781.'
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In a house on this spot
on the 5th December 1791,
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Mozart died
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and at the same moment, something
else was born - the Mozart myth.
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The myth becomes powerful
because people want to believe it.
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I don't think you should
dismiss the myths
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simply because they are
factually not completely true.
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They tell us an enormous amount about
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what we want to believe
about great composers,
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about inspiration,
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about people who die young, about
people whose work is unfinished.
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00:03:21,020 --> 00:03:25,140
And some of these myths
are absolutely reflected in fact.
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Mozart the child prodigy was a fact.
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Born in Salzburg in 1756,
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he composed over 600 pieces
of catalogue music
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in a life lasting a mere 35 years,
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starting at the tender age of five.
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The infant genius was
mythologised most vividly
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in Hollywood's Oscar-gobbling movie
Amadeus.
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This lavish biopic imagined
all the tricks that Wolfgang
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and his sister were made to perform
by their father Leopold
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as he paraded them
around the courts of Europe,
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travelling from country to country
by carriage.
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'By the age of ten,
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'Mozart had already written some
astonishing sonatas and symphonies.'
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It's a powerful story
that could've applied to
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so many artists that here they are,
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divinely inspired geniuses
whose worth is not recognised
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and they are continually exploited
by people who take advantage of them.
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It makes him appear at once human
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because of this innocence
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but divine because his music
comes from another source.
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Maybe it was unprecedented,
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this talent to come from wherever
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and for it to be so perfect
and just to come out like that
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and to write these works
at such a young age. Mm.
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'Mozart's favourite string
instrument was the viola.
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00:05:04,740 --> 00:05:07,540
'It's musician Lawrence Power's,
too.
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00:05:07,540 --> 00:05:10,420
'He's often played Mozart's
Sinfonia Concertante,
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'written in response to the
composer's early experiences
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00:05:13,420 --> 00:05:16,940
'of adult life with its
disappointments and tragedies.'
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00:05:21,140 --> 00:05:23,540
It's a big responsibility
when you play this music,
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unlike any other music,
I don't know why but it's...
83
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There's an extra level of
sort of adrenaline and nerves
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when dealing with that music.
85
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His mother had just died
while he was away,
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he was looking for employment,
he didn't find employment,
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he was looking for a wife,
who turned him down,
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and I'm sure he would've
performed this with his father.
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And I think there's some sort of
role there, that, you know,
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that the viola has this wonderfully
sort of conciliatory role, you know,
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it's always sort of
looking after the violin,
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who's somehow more worried
and questioning.
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MUSIC: Sinfonia Concertante
In E-Flat Major, K 364
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00:06:04,580 --> 00:06:07,700
You already start to feel that
the viola's sort of answering
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in a very sort of fatherly way.
96
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And the conversation becomes
sort of heartbreaking at points,
97
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you know, it's very special.
98
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It's this sense of dialogue
in that piece, I think,
99
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that sort of makes it his
first sort of mature piece.
100
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Why do you think that Mozart
wanted to play the viola himself
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as opposed to the violin
or even the cello?
102
00:07:16,100 --> 00:07:19,260
It's a very sort of emotional-
sounding instrument, I think,
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00:07:19,260 --> 00:07:21,900
you know, it's very close
to the speaking voice,
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it has a certain amount of,
you know,
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pathos to it just naturally. Even
when you tune a viola, it has that.
106
00:07:38,180 --> 00:07:40,140
I mean, I was thinking
on the way here,
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he was 22 when he wrote Concertante,
which is obviously a masterpiece,
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you know, I can't sort of
get my head around that. Mm.
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I mean, it opens up lots of
questions, not just musical.
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'Another stubborn Mozart myth
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'is that his music was written
down perfectly first time
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'as if dictated directly by God.
113
00:08:04,660 --> 00:08:06,940
'I met Professor Cliff Eisen
in the British Library
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00:08:06,940 --> 00:08:11,700
'to discover first-hand
the scribbled, scratchy truth.'
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Have a look at this then,
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this is the final page of Mozart's
own manuscript of the Hunt Quartet,
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00:08:18,060 --> 00:08:21,260
which is the B-flat major,
Kochel rating 458.
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00:08:21,260 --> 00:08:24,940
Now, look, this is the
most defiant crossing out,
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this goes beyond a mistake.
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00:08:26,780 --> 00:08:30,260
He didn't want anyone to see. Even
through all this cross-hatching,
121
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you could hardly see what
he's trying to rub out.
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This is actually a passage
that was meant to be inserted
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earlier in the piece
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and then decided that he didn't want
that insertion after all
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so it represents three, if not more,
attempts to kind of go through
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the piece and decide what works
and what doesn't work.
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He's changing his mind, you know,
he's making things up.
128
00:08:48,460 --> 00:08:51,500
He's not always sure. Far from
being always sure, he's not.
129
00:08:51,500 --> 00:08:55,020
In fact, many other pages in these
six quartets dedicated to Haydn
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reveal the same thing.
131
00:08:56,420 --> 00:09:00,340
All of these documents that
are spread around us are treated
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and have been treated for
close on 200 years as relics
133
00:09:04,580 --> 00:09:08,420
that we don't interrogate in any way
to find out more about the person
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00:09:08,420 --> 00:09:11,060
or more about the times
and yet they aren't relics,
135
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they're living documents of a
variety of different processes
136
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and a variety of different times,
places, activities
137
00:09:18,380 --> 00:09:20,900
that Mozart was involved with.
138
00:09:22,020 --> 00:09:27,260
One of the most touching documents
in all of Mozart's life
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is that Thematic Catalogue
where he writes out
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the beginnings of his pieces
from 1784 onwards,
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and the touching thing
about that document,
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which is in the British Library
and it can be seen,
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is not the list of works
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but the fact that when
you get to the end of it,
145
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there are pages and pages
of empty, unfilled staves.
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"The thematic catalogue of all of
my works from February 1784 until
the month..."
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And he's left a space for the year.
148
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He's written one, because he wasn't
sure if this was going to be still
the 17th...the 18th century
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00:10:02,820 --> 00:10:04,740
or indeed the beginning of the 19th
century.
150
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And then a full stop. Which of
course he never finishes, he died in
1791.
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So the first page then is the first
list of pieces.
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He lived to complete... He lived to
fill in 29 of the 40 or so pages.
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Here's the very final page.
154
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Now, in a way the most obviously
moving thing about what happens is
the empty pages.
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Look at the empty staves of the
pieces he wouldn't write.
156
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This doesn't conjure up for me
the last moments of Mozart
157
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and the idea that it's some kind of
testamentary page.
158
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The other thing that I'm impressed
with
159
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is what people want to make of this.
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Right? It becomes one of the living,
surviving artefacts
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of the fact of Mozart's premature
death.
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00:11:01,180 --> 00:11:04,260
I-I-It conjures up this...
163
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this story that we want to believe,
this idea of a life cut off.
164
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But, Cliff, what's the problem with
this?
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Clearly, look, just turning to this
page of the next canto,
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this is a life unfinished, it
doesn't matter how we play it.
167
00:11:17,540 --> 00:11:20,820
To take the idea of what we might
feel about it out of the equation,
168
00:11:20,820 --> 00:11:23,820
you know, this was a life cut short,
this clearly was a life cut short.
169
00:11:23,820 --> 00:11:26,340
No, no, I don't mean in any way
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to diminish the impact of
Mozart's premature death
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and all of the perfectly natural
feelings
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and wishes and desires and hopes
and aspirations that we might have
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that were unfulfilled because of it.
174
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Rather, I think what I'm saying is
that Mozart becomes reified,
175
00:11:41,740 --> 00:11:44,220
Mozart becomes removed from...
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This is just... This is a great
heroic, mythical story in some ways.
177
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And so we then are afraid to approach
Mozart,
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because of the power of this story.
Because he's not like us?
179
00:11:56,660 --> 00:11:59,340
He's not like us. He's not like us
180
00:11:59,340 --> 00:12:03,540
and yet that seems like such an
uncommonsensical thing.
181
00:12:03,540 --> 00:12:07,100
And it's an idea we don't attribute
to other artists.
182
00:12:07,100 --> 00:12:10,660
We've discussed, you know,
Shakespeare was a real person,
183
00:12:10,660 --> 00:12:13,660
Leonardo was a real person,
they were all real people,
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00:12:13,660 --> 00:12:16,260
but somehow Mozart...
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became not an engaged, living,
genuine human being any more.
186
00:12:26,060 --> 00:12:29,500
BELL RINGS
'And here is the myth made real.
187
00:12:29,500 --> 00:12:34,580
'These chocolate Mozart balls are
the tip of the Mozart myth-berg,
188
00:12:34,580 --> 00:12:38,300
'Mozart reified into little
gold-wrapped confections
189
00:12:38,300 --> 00:12:40,740
'and the sound of saccharine
190
00:12:40,740 --> 00:12:44,060
'in this soupy recording of Eine
Kleine Nachtmusik.
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00:12:45,580 --> 00:12:47,260
'Lovely!'
192
00:12:47,260 --> 00:12:49,060
TILL CHINGS
193
00:12:49,060 --> 00:12:52,580
It occurs to me what these things
actually are, they're...
194
00:12:52,580 --> 00:12:56,220
They're transubstantiations of
the Mozartian myth,
195
00:12:56,220 --> 00:12:58,780
people literally want to eat a piece
him.
196
00:12:58,780 --> 00:13:02,900
So the question is, of course, what
they in fact taste like.
197
00:13:02,900 --> 00:13:06,340
Erm...rather nice dark chocolate on
the outside.
198
00:13:09,140 --> 00:13:12,380
Incredibly sweet. Marzipan and
praline.
199
00:13:12,380 --> 00:13:15,860
Mm. Really quite sickly, in fact.
200
00:13:15,860 --> 00:13:20,140
These are really the confectionery
embodiment of sentimentality.
201
00:13:21,220 --> 00:13:23,300
I mean, I'm going to finish it,
obviously.
202
00:13:24,820 --> 00:13:27,340
Mm. Not bad.
HE LAUGHS
203
00:13:27,340 --> 00:13:32,300
I think Mozart himself would have
been a) astonished, but b) really
chuffed...
204
00:13:32,300 --> 00:13:36,580
SHE LAUGHS
..to know that for perpetuity
205
00:13:36,580 --> 00:13:39,620
he was going to be in a chocolate
ball.
206
00:13:39,620 --> 00:13:42,260
That would have amused him on many
levels.
207
00:13:42,260 --> 00:13:47,380
Erm...or that all this...sort of
tackiness, actually,
208
00:13:47,380 --> 00:13:49,300
I think he would have loved it.
209
00:13:49,300 --> 00:13:53,500
BIKE BELL RINGS
'But there's a bitterness in that
sweetness too.
210
00:13:53,500 --> 00:13:55,460
'Mozart may have been born in
Salzburg,
211
00:13:55,460 --> 00:14:00,180
'but the city treated him as no more
than a hired hand when he was there.
212
00:14:04,260 --> 00:14:08,020
'It was only on the 50th anniversary
of his death in 1841,
213
00:14:08,020 --> 00:14:10,380
'that they claimed him as their own.
214
00:14:10,380 --> 00:14:13,540
'Salzburg erected this statue in his
honour in the old market,
215
00:14:13,540 --> 00:14:16,220
'which they renamed
the Mozartplatz.'
216
00:14:20,460 --> 00:14:23,740
That I think was the beginning
of the Mozart industry.
217
00:14:23,740 --> 00:14:28,700
And after that, you know, it has
just steamrollered and
steamrollered.
218
00:14:28,700 --> 00:14:32,620
And it's almost as if they're
atoning for all those years
219
00:14:32,620 --> 00:14:35,580
when they behaved so badly to him.
220
00:14:35,580 --> 00:14:39,700
We can't be completely sure what
Mozart looked like,
221
00:14:39,700 --> 00:14:43,500
but we can be sure that he didn't
look like this.
222
00:14:43,500 --> 00:14:47,860
This, though, is the single most
reproduced image in today's world
223
00:14:47,860 --> 00:14:50,500
of Wolfgang Amadeus Mozart.
224
00:14:50,500 --> 00:14:53,940
This is the face of Mozart balls.
225
00:14:53,940 --> 00:14:59,660
And the balls here really is to do
with the relationship between image
and reality.
226
00:14:59,660 --> 00:15:02,020
Contemporary accounts of Mozart say
that he was small,
227
00:15:02,020 --> 00:15:04,700
that he was pockmarked, that he
had a large nose,
228
00:15:04,700 --> 00:15:06,900
that he had protruding eyes.
229
00:15:06,900 --> 00:15:11,900
None of that is reflected in this
Errol Flynn airbrushing that's going
on here.
230
00:15:11,900 --> 00:15:14,380
The one thing I think I am pretty
certain of
231
00:15:14,380 --> 00:15:19,860
is that if Mozart were to see this,
the face of a more than five billion
euro industry of the Mozart brand,
232
00:15:19,860 --> 00:15:22,540
he would simply say, "Who the hell
is this guy?!"
233
00:15:22,540 --> 00:15:24,300
CHURCH BELL CHIMES
234
00:15:27,580 --> 00:15:31,780
And look, Vienna's got in on the
act just as much as Salzburg.
235
00:15:33,420 --> 00:15:35,340
Nice wigs, guys.
236
00:15:42,420 --> 00:15:44,540
NEEDLE SCRATCHES
I can't take this any longer.
237
00:15:44,540 --> 00:15:46,940
I can't stand the Mozart industry,
238
00:15:46,940 --> 00:15:51,740
not just because it airbrushes his
image, but because it airbrushes
his music
239
00:15:51,740 --> 00:15:54,260
and how we think about what it
sounds like.
240
00:15:54,260 --> 00:15:57,020
The industry wants you to believe
that Mozart is a superficial,
241
00:15:57,020 --> 00:16:00,660
sentimentalised, nostalgic courtly
entertainer,
242
00:16:00,660 --> 00:16:04,100
but that's the exact opposite of
what he spent his whole life doing.
243
00:16:04,100 --> 00:16:08,740
He was trying to express the full
range of human expression,
ambiguities, doubts.
244
00:16:08,740 --> 00:16:11,820
He confronts us with all of that
in our essential humanity
245
00:16:11,820 --> 00:16:15,220
and all of this is a betrayal.
246
00:16:15,220 --> 00:16:16,540
# Come and rock me, Amadeus
247
00:16:16,540 --> 00:16:21,500
# Amadeus, Amadeus, Amadeus
248
00:16:21,500 --> 00:16:25,620
# Amadeus, Amadeus...Amadeus
249
00:16:25,620 --> 00:16:27,260
# Come and rock me, Amadeus... #
250
00:16:27,260 --> 00:16:31,020
But popular culture doesn't just
promote an easy-listening Mozart,
251
00:16:31,020 --> 00:16:33,700
in the early '80s, Austrian
performer Falco
252
00:16:33,700 --> 00:16:36,780
turned him into a New Romantic
Hells Angel.
253
00:16:36,780 --> 00:16:38,380
# Come and rock me, Amadeus. #
254
00:16:38,380 --> 00:16:41,700
But for Paul Morley, after a
lifetime immersed in the pop
industry,
255
00:16:41,700 --> 00:16:44,340
there's no need to turn Mozart into
anything,
256
00:16:44,340 --> 00:16:47,020
just take Wolfgang on your own
terms.
257
00:16:50,540 --> 00:16:53,820
I realised that this music that I'd
previously ignored or reviled
258
00:16:53,820 --> 00:16:55,940
because it sounded quaint or
peculiar,
259
00:16:55,940 --> 00:16:58,660
or because I didn't understand it,
was actually really radical
260
00:16:58,660 --> 00:17:01,340
and, actually, mostly where the
avant-garde had gone.
261
00:17:01,340 --> 00:17:04,380
The avant-garde, oddly, had gone into
the past,
262
00:17:04,380 --> 00:17:06,700
you know, "Well, let's try Mozart,
then,"
263
00:17:06,700 --> 00:17:10,220
because it's this all the time, it's
souvenirs,
264
00:17:10,220 --> 00:17:14,460
it's the past, it's quaint. So how
did you get past that?
265
00:17:14,460 --> 00:17:16,660
Because Mozart has had the odd
toehold here and there.
266
00:17:16,660 --> 00:17:18,580
I'm thinking of Falco's Rock Me
Amadeus.
267
00:17:18,580 --> 00:17:21,100
I'm thinking of the fact that this
bust or a version of it
268
00:17:21,100 --> 00:17:24,500
is on the desk of Mr Garrison in
every episode of South Park.
269
00:17:24,500 --> 00:17:28,220
The chocolate box, tinkly, powdered
wigs, child genius. Yeah.
270
00:17:28,220 --> 00:17:30,460
And I realised of course that
everybody makes up a Mozart.
271
00:17:30,460 --> 00:17:32,380
I'll make up my own Mozart.
272
00:17:32,380 --> 00:17:34,220
I'd strip away everything.
273
00:17:34,220 --> 00:17:36,900
I'd strip away this, I'd strip away
the cute pictures,
274
00:17:36,900 --> 00:17:39,060
I'd strip away the academic side,
275
00:17:39,060 --> 00:17:42,140
I'd even strip away the music to
an extent and just begin again.
276
00:17:42,140 --> 00:17:45,420
And there was a way that I could
begin again I found very quickly,
277
00:17:45,420 --> 00:17:49,660
which was something I found very
contemporary, very modern and very
abstract, which was the K-numbers.
278
00:17:52,140 --> 00:17:54,420
Ah, yes, the K-numbers,
279
00:17:54,420 --> 00:17:56,780
the chronological catalogue of
Mozart's works
280
00:17:56,780 --> 00:18:00,340
as documented by this man,
Ludwig von Kochel,
281
00:18:00,340 --> 00:18:03,740
70 years after the composer's death,
282
00:18:03,740 --> 00:18:07,580
from K 1, a minuet for piano written
when Mozart was five,
283
00:18:07,580 --> 00:18:12,820
to K 626, the requiem unfinished on
his death only 30 years later.
284
00:18:15,060 --> 00:18:17,100
ACTOR SIGHS
285
00:18:17,100 --> 00:18:19,500
The K-numbers in a way was my way
of coming into it
286
00:18:19,500 --> 00:18:21,820
like it was a little like Factory
Records,
287
00:18:21,820 --> 00:18:24,980
you know, a catalogue of amazing
moments.
288
00:18:27,380 --> 00:18:31,380
And I would get to, say, a piano
quartet, and that would be, say, 491,
289
00:18:31,380 --> 00:18:33,460
and then I would start to wonder...
493.
290
00:18:33,460 --> 00:18:36,780
493, OK. And then I would start to
wonder, "What's around it, then?"
291
00:18:36,780 --> 00:18:39,940
And what I found startling and which
really blew my mind
292
00:18:39,940 --> 00:18:41,660
is that if you just go one way or the
other,
293
00:18:41,660 --> 00:18:44,340
which means it was written
more or less at the same time,
294
00:18:44,340 --> 00:18:47,860
on one side you have, say... Correct
me again, Tom, because I'm not good
on the titles.
295
00:18:47,860 --> 00:18:49,780
..you'd get Marriage Of Figaro. 490.
296
00:18:49,780 --> 00:18:54,220
OK, and on the other side... Oh, my
God! ..you get a concerto. Maybe 24?
297
00:18:54,220 --> 00:18:58,340
491 is the piano concerto. But isn't
that amazing?
298
00:19:04,980 --> 00:19:06,940
Doing the K-numbers is not unlike
299
00:19:06,940 --> 00:19:09,900
watching an entire series of Breaking
Bad over a weekend.
300
00:19:09,900 --> 00:19:12,060
You can do the K-numbers in a week.
301
00:19:12,060 --> 00:19:15,180
You know, I can do them very quickly,
actually, quite a few.
302
00:19:15,180 --> 00:19:17,980
And if there was a way... And I throw
it back to you, Tom, again
303
00:19:17,980 --> 00:19:21,340
of explaining that the K-numbers to
an extent is like binge watching.
304
00:19:21,340 --> 00:19:24,180
It's that exciting! You know, for me
some of the K-numbers,
305
00:19:24,180 --> 00:19:26,540
they are like a great series of Game
Of Thrones.
306
00:19:31,060 --> 00:19:35,780
'K 219 is his fifth and I think
his finest violin concerto.
307
00:19:38,820 --> 00:19:42,180
'But it's not the numbers that
excite violinist Nicola Benedetti,
308
00:19:42,180 --> 00:19:44,220
'it's the wildness
of that solo part,
309
00:19:44,220 --> 00:19:48,820
'the different characters he's
creating in just a few seconds of
music.'
310
00:19:48,820 --> 00:19:51,380
To me it sounds like so much...
311
00:19:51,380 --> 00:19:55,180
enjoyment in his ability to create
these voices.
312
00:19:55,180 --> 00:19:59,260
He's just toying with the listener,
with...
313
00:19:59,260 --> 00:20:00,980
He's constantly working out,
314
00:20:00,980 --> 00:20:05,740
"How can I make this as varied as
possible, as expressive as
possible?"
315
00:20:05,740 --> 00:20:08,540
And...enjoying it.
316
00:20:08,540 --> 00:20:12,180
You...you can sense the almost
euphoria.
317
00:20:12,180 --> 00:20:14,380
And I answer...
318
00:20:15,580 --> 00:20:18,540
So it's the same material, but mine
is instantly feminine.
319
00:20:18,540 --> 00:20:20,540
And then...
320
00:20:20,540 --> 00:20:23,260
And then again low. And then...
321
00:20:40,900 --> 00:20:43,940
It's really very extreme.
You couldn't play this...
322
00:20:43,940 --> 00:20:45,620
HE HUMS MELODY
323
00:20:45,620 --> 00:20:47,460
No, well... Like...nicely?
324
00:20:47,460 --> 00:20:50,940
It can't be nice? Some...some do.
HE LAUGHS
325
00:20:50,940 --> 00:20:54,500
I just don't ever hear Mozart like
that, ever.
326
00:20:54,500 --> 00:20:58,060
Erm...I just don't.
327
00:20:58,060 --> 00:20:59,980
I don't hear in his voice.
328
00:20:59,980 --> 00:21:01,860
I don't hear in his character.
329
00:21:01,860 --> 00:21:04,420
There's too much natural wildness.
330
00:21:04,420 --> 00:21:07,300
Erm...and I think...
331
00:21:07,300 --> 00:21:11,900
I think Mozart with caution is
just not doing him justice.
332
00:21:11,900 --> 00:21:14,780
I actually nearly hyperventilate.
333
00:21:14,780 --> 00:21:18,340
No, what's the thing when you stop
breathing? It's the opposite of
that?
334
00:21:18,340 --> 00:21:19,980
Yeah, you kind of asphyxiate.
Right.
335
00:21:19,980 --> 00:21:22,740
I stop breathing, that's what I
do... Right.
336
00:21:22,740 --> 00:21:26,460
..during the development of this
second movement. The slow movement?
337
00:21:26,460 --> 00:21:29,740
The slow movement of the A Major
Concerto, his last concerto,
338
00:21:29,740 --> 00:21:33,260
to me is just one of the most...
339
00:21:41,900 --> 00:21:43,660
And now...
340
00:22:05,060 --> 00:22:07,180
And here's when I stop breathing.
341
00:22:40,540 --> 00:22:43,660
You have long held notes in the
winds.
342
00:22:45,260 --> 00:22:47,500
And now syncopation.
343
00:22:50,180 --> 00:22:53,140
And at the end of it all...silence.
344
00:22:54,220 --> 00:22:56,420
From the whole orchestra.
345
00:23:00,260 --> 00:23:01,700
And then back.
346
00:23:03,140 --> 00:23:05,420
And it is just the most...
347
00:23:05,420 --> 00:23:08,580
It's just so shocking and it
literally takes your breath away,
348
00:23:08,580 --> 00:23:11,060
it doesn't matter how many times
you hear it.
349
00:23:11,060 --> 00:23:16,580
One of the most unexpected and just
glorious developments of a second
movement...ever.
350
00:23:23,340 --> 00:23:25,860
'From the sublime to the holy.
351
00:23:25,860 --> 00:23:28,660
'This is Salzburg Cathedral with its
five organs,
352
00:23:28,660 --> 00:23:34,140
'which Mozart would have played, and
where much of his early sacred music
was first performed.
353
00:23:36,940 --> 00:23:40,820
'It's grand, yes, but only
occasionally inspired.
354
00:23:40,820 --> 00:23:46,140
'The teenage Mozart had to write
what Prince-Archbishop Colloredo and
his court demanded.
355
00:23:46,140 --> 00:23:48,260
'Not a recipe for commitment.'
356
00:23:50,220 --> 00:23:53,940
So what of Mozart's relationship
with Catholicism, with God?
357
00:23:53,940 --> 00:23:56,540
Well, I think it's possible that
Salzburg
358
00:23:56,540 --> 00:24:01,420
turned Mozart away from the
institutions of the church and of
writing sacred music.
359
00:24:01,420 --> 00:24:06,660
It was in his unfulfilling years
here working for Archbishop
Colloredo in Salzburg
360
00:24:06,660 --> 00:24:11,740
that Mozart wrote the vast majority
of his church music, because he had
to.
361
00:24:13,940 --> 00:24:18,060
In fact, in his later life there
are just two major sacred works,
362
00:24:18,060 --> 00:24:20,540
both astonishing masterpieces -
363
00:24:20,540 --> 00:24:22,580
but he didn't finish either of them.
364
00:24:22,580 --> 00:24:24,580
There was the Mass in C minor,
365
00:24:24,580 --> 00:24:27,940
composed with soprano solos
for his wife Constanze to sing
366
00:24:27,940 --> 00:24:31,260
when they came to Salzburg in 1783,
367
00:24:31,260 --> 00:24:33,900
for the only
time in their lives together,
368
00:24:33,900 --> 00:24:36,140
to meet Wolfgang's father Leopold,
369
00:24:36,140 --> 00:24:39,420
who had disapproved of their
marriage, and his sister Nannerl.
370
00:24:39,420 --> 00:24:41,260
The C minor Mass was first
performed here
371
00:24:41,260 --> 00:24:45,420
at St Peter's
on the 26th October 1783.
372
00:24:46,660 --> 00:24:52,820
SOPRANO: # Christe
373
00:24:52,820 --> 00:24:59,060
# Eleison, eleison
374
00:25:00,100 --> 00:25:05,580
# Christe
375
00:25:06,540 --> 00:25:14,340
# Christe eleison
376
00:25:18,380 --> 00:25:27,100
# Eleison
377
00:25:28,020 --> 00:25:34,580
# Eleison, eleison
378
00:25:34,580 --> 00:25:44,660
# Eleison... #
379
00:25:44,780 --> 00:25:48,500
Magnificent though it is, what
audiences then and now
380
00:25:48,500 --> 00:25:53,100
hear and heard in the Mass in C
minor is only an incomplete torso.
381
00:25:53,100 --> 00:25:56,740
Mozart for some reason couldn't
complete the Mass in C minor,
382
00:25:56,740 --> 00:25:58,780
and he never returned to it either.
383
00:25:58,780 --> 00:26:00,700
And then, there's the Requiem,
384
00:26:00,700 --> 00:26:06,100
unfinished notoriously at Mozart's
death on 5th December 1791,
385
00:26:06,100 --> 00:26:08,140
parts of which were
performed for the first time
386
00:26:08,140 --> 00:26:11,460
here at St Michael's Church
in Vienna, conducted by his friend,
387
00:26:11,460 --> 00:26:16,620
the librettist of The Magic Flute,
Emanuel Schikaneder,
just five days after he died.
388
00:26:16,620 --> 00:26:22,380
CHOIR: # ..dona eis, Domine
389
00:26:24,660 --> 00:26:35,220
# Et lux perpetua
390
00:26:35,220 --> 00:26:38,380
# Luceat
391
00:26:41,300 --> 00:26:49,740
# Luceat eis... #
392
00:26:52,660 --> 00:26:56,740
I had real problems with
the religious music,
393
00:26:56,740 --> 00:26:59,460
because I think Mozart himself
had problems with it.
394
00:26:59,460 --> 00:27:03,380
I mean, think of his religious music
and think how unreligious it is.
395
00:27:03,380 --> 00:27:11,140
# ..hymnus, Deus, in Sion... #
396
00:27:11,140 --> 00:27:14,540
His earlier pieces
are not that good.
397
00:27:14,540 --> 00:27:17,660
Get to the C minor Mass...
398
00:27:17,660 --> 00:27:20,820
Written for Constanze, in Salzburg.
Absolutely. Unfinished...
399
00:27:20,820 --> 00:27:23,900
Unfinished.
I mean, it starts off like an epic -
400
00:27:23,900 --> 00:27:26,740
you think, "This is going to be
colossal."
401
00:27:26,740 --> 00:27:29,580
And it gradually runs out of puff.
402
00:27:30,820 --> 00:27:32,420
The same with the Requiem.
403
00:27:32,420 --> 00:27:33,860
What is it?
404
00:27:39,500 --> 00:27:49,580
# Requiem aeternam... #
405
00:27:49,940 --> 00:27:52,980
Is that about a relationship with
God, Catholicism...? What is that?
406
00:27:52,980 --> 00:27:57,420
I think it's to do with
enlightened thought,
I think it's to do with Freemasonry.
407
00:27:57,420 --> 00:28:00,060
I think Freemasonry is
408
00:28:00,060 --> 00:28:02,620
a much more important
409
00:28:02,620 --> 00:28:06,860
kind of centrifugal
environment for Mozart.
410
00:28:09,620 --> 00:28:12,820
I think the religion is much
more superstitious,
411
00:28:12,820 --> 00:28:16,940
it's more Masonic,
it's more rational.
412
00:28:16,940 --> 00:28:21,580
Mozart has a tremendous fear
of authority, a fear of dread.
413
00:28:23,380 --> 00:28:27,100
He can't really subscribe to the
whole theological package.
414
00:28:28,700 --> 00:28:31,020
MUSIC: Symphony No 34 in C
415
00:28:37,660 --> 00:28:40,500
'Mozart the Mason was a humanist
at heart,
416
00:28:40,500 --> 00:28:45,780
'and his music is
a consecration of humanity in all
its messy, joyous ambiguity.
417
00:28:48,620 --> 00:28:51,340
'I think that's closer
to his true spirituality
418
00:28:51,340 --> 00:28:54,100
'than his relationship with
organised religion.'
419
00:29:00,140 --> 00:29:02,220
BELLS PEAL
420
00:29:02,220 --> 00:29:04,060
Beautiful, isn't it?
421
00:29:04,060 --> 00:29:07,300
But I think there's something
claustrophobic about Salzburg -
422
00:29:07,300 --> 00:29:11,620
it's hemmed in on three sides
by the fortress and by the mountains
423
00:29:11,620 --> 00:29:15,380
that surround it,
and I think Mozart felt that sense
of claustrophobia too.
424
00:29:15,380 --> 00:29:19,740
Ultimately this was a place he had
to escape - from his employer,
Archbishop Colloredo,
425
00:29:19,740 --> 00:29:23,100
from his father Leopold,
and his family too.
426
00:29:23,100 --> 00:29:26,860
Born in Salzburg maybe, but Mozart
the musician, the composer,
427
00:29:26,860 --> 00:29:30,300
was formed everywhere else -
in Paris, in London,
428
00:29:30,300 --> 00:29:33,780
in Milan, in Mannheim,
in Munich, and above all in Vienna.
429
00:29:33,780 --> 00:29:36,140
Mozart had to get out.
430
00:29:36,140 --> 00:29:37,580
SOUND OF COACH AND HORSES
431
00:29:45,100 --> 00:29:49,340
MUSIC: Overture to
Die Entfuhrung aus dem Serail
432
00:29:49,340 --> 00:29:52,180
'Mozart arrived in Vienna in 1781,
433
00:29:52,180 --> 00:29:55,220
'determined to rewrite
the musicians' rule book.
434
00:29:57,940 --> 00:30:01,580
'He probably performed here,
in the Sala Terrena.'
435
00:30:02,660 --> 00:30:06,420
After years of needling
and frustration,
436
00:30:06,420 --> 00:30:08,860
Mozart made the astonishingly
self-confident decision
437
00:30:08,860 --> 00:30:12,220
to become a freelance composer
independent of any court -
438
00:30:12,220 --> 00:30:15,060
a completely new phenomenon
in Vienna.
439
00:30:15,060 --> 00:30:17,900
He knew he had as much
honour as any nobleman,
440
00:30:17,900 --> 00:30:20,820
so why shouldn't he be their equal
rather than their lackey?
441
00:30:21,780 --> 00:30:27,580
Now, this really is the key moment
of Mozart's adult life.
442
00:30:27,580 --> 00:30:31,580
His path towards personal
and musical fulfilment
443
00:30:31,580 --> 00:30:34,660
and emancipation from Salzburg,
from his father,
444
00:30:34,660 --> 00:30:39,900
towards new kinds of expression
and his marriage to Constanze Weber,
had begun.
445
00:30:43,180 --> 00:30:46,460
'This building was a symbol
of Mozart's self-confidence,
446
00:30:46,460 --> 00:30:49,740
'the grandest of the 14 apartments
in Vienna that he lived in.
447
00:30:49,740 --> 00:30:51,380
'He was the only composer
at the time
448
00:30:51,380 --> 00:30:54,940
'who could afford to live
WITHIN Vienna's city walls -
449
00:30:54,940 --> 00:30:58,340
'in demand as teacher, performer,
impresario,
450
00:30:58,340 --> 00:31:03,220
'as well as husband, father,
pet owner and billiard player.
451
00:31:06,740 --> 00:31:09,860
'This house would have thrummed
and thrilled with noise
452
00:31:09,860 --> 00:31:12,220
'all day and all night.
453
00:31:12,220 --> 00:31:15,420
'It's also the place where some of
Mozart's most important compositions
454
00:31:15,420 --> 00:31:18,140
'were heard
for the very first time.'
455
00:31:56,500 --> 00:31:58,340
On the second day
of his father's visit here
456
00:31:58,340 --> 00:32:01,420
on the 12th February 1785, there was
457
00:32:01,420 --> 00:32:03,620
a performance
of incredible significance
458
00:32:03,620 --> 00:32:06,740
that probably happened on the
floorboards I'm standing on...
459
00:32:06,740 --> 00:32:08,940
the first three of six quartets
460
00:32:08,940 --> 00:32:12,100
that Mozart would dedicate
to Joseph Haydn.
461
00:32:12,100 --> 00:32:14,860
Haydn came here to watch
this performance -
462
00:32:14,860 --> 00:32:19,580
Leopold Mozart
played one of the violin parts
and Mozart himself played the viola.
463
00:32:26,340 --> 00:32:29,580
These string quartets meant
so much to him as a composer,
464
00:32:29,580 --> 00:32:31,900
as a human being, that he
spent three years refining them.
465
00:32:35,740 --> 00:32:39,340
It's hard to imagine
the effect of hearing that music
466
00:32:39,340 --> 00:32:42,660
for the first time, but we do
have Joseph Haydn's reaction.
467
00:32:42,660 --> 00:32:44,660
He said simply to Leopold,
468
00:32:44,660 --> 00:32:49,060
"Your son, before God,
is the greatest composer
I have ever known."
469
00:32:52,940 --> 00:32:54,740
Fine...
470
00:32:54,740 --> 00:32:57,020
'Kristian Bezuidenhout's
living room in London
471
00:32:57,020 --> 00:32:58,820
'is dominated by an instrument
472
00:32:58,820 --> 00:33:01,180
'that also came to define
Mozart's life
473
00:33:01,180 --> 00:33:04,780
'as both composer and performer -
the fortepiano,
474
00:33:04,780 --> 00:33:09,580
'a much more intimate
and colourful instrument
than the modern-day grand.
475
00:33:10,700 --> 00:33:15,060
'The piano as a piece of equipment
had evolved during
Mozart's short life,
476
00:33:15,060 --> 00:33:20,500
'and he in turn would fulfil
its as yet unrealised potential.
477
00:33:20,500 --> 00:33:24,060
'We just have to get this one
fully operational.'
478
00:33:24,060 --> 00:33:27,500
So I tend to lift the pedal
just to be sure... But there it is.
479
00:33:28,500 --> 00:33:32,780
This is the piece of equipment
that might best serve
480
00:33:32,780 --> 00:33:34,980
the unbelievably mercurial
481
00:33:34,980 --> 00:33:38,700
and highly changeable surface texture
of Mozart's music
482
00:33:38,700 --> 00:33:41,300
better than any other piece
of equipment I'd ever played.
483
00:33:41,300 --> 00:33:44,580
I started learning pieces on it,
484
00:33:44,580 --> 00:33:47,420
and that was a fascinating journey -
485
00:33:47,420 --> 00:33:50,900
to kind of go to zero and delete
the preconceptions that we have
486
00:33:50,900 --> 00:33:52,860
from the world of playing
the modern piano
487
00:33:52,860 --> 00:33:56,180
and start working on a piece
on this piece of equipment
488
00:33:56,180 --> 00:33:58,860
and see what it tells us
about Mozart's playing,
489
00:33:58,860 --> 00:34:01,740
his conceptions of sound,
his approach to the piano,
490
00:34:01,740 --> 00:34:05,900
and how all of this is
so deeply linked on every level.
491
00:34:05,900 --> 00:34:07,340
333...
492
00:34:07,340 --> 00:34:09,780
MUSIC: Piano Sonata No 13
In B-Flat Major
493
00:34:12,540 --> 00:34:14,820
This is where all this stuff happens.
494
00:34:14,820 --> 00:34:17,100
MUSIC: Piano Sonata No 5
In G Major
495
00:34:17,100 --> 00:34:19,580
283...
496
00:34:21,740 --> 00:34:23,660
A piece like 282...
497
00:34:23,660 --> 00:34:26,220
MUSIC: Piano Sonata No 4
In E-flat Major
498
00:34:41,340 --> 00:34:45,900
Mozart is one of these amazing people
who bridges an incredible...
499
00:34:45,900 --> 00:34:49,100
bridges an incredible gap,
historically speaking,
500
00:34:49,100 --> 00:34:53,420
and is at a sort of fascinating
kind of crossroads
501
00:34:53,420 --> 00:34:55,580
in terms of instrumental equipment.
502
00:34:55,580 --> 00:34:57,940
This is an action
503
00:34:57,940 --> 00:35:01,740
that requires
a lot of Fingerspitzengefuhl -
504
00:35:01,740 --> 00:35:06,860
I mean, fingertip sensitivity.
Lots of finger work, hand delicacy.
505
00:35:06,860 --> 00:35:09,820
There isn't much of this kind of,
you know, smashing
506
00:35:09,820 --> 00:35:14,900
and upper body activation
that you might see on the Steinway.
507
00:35:14,900 --> 00:35:18,380
Mozart grew up with an unbelievably
precise keyboard technique.
508
00:35:18,380 --> 00:35:20,700
When you want to write beautiful
music, you write it here.
509
00:35:20,700 --> 00:35:23,300
HE PLAYS A DELICATE THEME
510
00:35:23,300 --> 00:35:25,260
When you're trying to express
true trauma...
511
00:35:25,260 --> 00:35:26,900
HE PLAYS A DRAMATIC FLOURISH
512
00:35:28,180 --> 00:35:29,860
..you do it down there.
513
00:35:29,860 --> 00:35:33,180
I will say that this is a slightly
later instrument than the one Mozart
514
00:35:33,180 --> 00:35:35,860
was writing about
when he writes to his dad,
515
00:35:35,860 --> 00:35:38,940
and there are a lot of modifications
in an action like this -
516
00:35:38,940 --> 00:35:42,660
this is a real prototypical
Walter piano from the 1780s.
517
00:35:42,660 --> 00:35:46,380
The action remains essentially
unchanged until the beginning of
the 19th century.
518
00:35:46,380 --> 00:35:48,220
It's a coming
together of technology,
519
00:35:48,220 --> 00:35:50,580
with what he can do as a composer
and who he is as a person,
520
00:35:50,580 --> 00:35:54,580
all of those things come together.
Yeah. It's a magic moment.
521
00:35:56,020 --> 00:35:58,780
The other thing about it that's
so extraordinary is Mozart's
522
00:35:58,780 --> 00:36:02,100
gift at predicting these
kind of blockbuster trends.
523
00:36:02,100 --> 00:36:05,020
In the decade from '81 to '91,
524
00:36:05,020 --> 00:36:11,660
the piano becomes THE most
important solo instrument
for public consumption, essentially.
525
00:36:11,660 --> 00:36:15,140
I mean, it eclipses all other
equipment in this period
526
00:36:15,140 --> 00:36:18,740
as the number one way to make your
name as a massive virtuoso, really.
527
00:36:18,740 --> 00:36:23,420
From that point forward, he really
writes exclusively for the piano.
528
00:36:23,420 --> 00:36:25,060
He somehow gets a new
piece of equipment
529
00:36:25,060 --> 00:36:27,660
and understands immediately what
makes it tick.
530
00:36:28,820 --> 00:36:31,820
MUSIC: Piano Sonata No 11 in A major
531
00:36:34,980 --> 00:36:39,060
'Mozart's own piano -
the one he played in Vienna -
532
00:36:39,060 --> 00:36:43,940
'is now in Salzburg in a large
apartment where the Mozart family
once lived.
533
00:36:43,940 --> 00:36:47,380
'It's now a museum,
where I can literally hear
534
00:36:47,380 --> 00:36:50,260
'the ghost of the actual sounds
that Mozart created -
535
00:36:50,260 --> 00:36:53,660
'with the help of its head
of research, Ulrich Leisinger.'
536
00:36:54,900 --> 00:36:58,140
Ulrich, this is Mozart's
Vienna piano -
537
00:36:58,140 --> 00:37:01,060
the piano that he had with him
from virtually the time
538
00:37:01,060 --> 00:37:03,300
he moved to Vienna
until the end of his life.
539
00:37:03,300 --> 00:37:08,380
Just thinking about what he played
on this instrument
and the music that happened here-
540
00:37:08,380 --> 00:37:11,220
it's just an astonishing thought,
really.
541
00:37:11,220 --> 00:37:14,860
Whatever we have from Mozart -
if we have the portraits,
they are not photographic,
542
00:37:14,860 --> 00:37:17,660
if we have the letters,
Mozart tells us some things
543
00:37:17,660 --> 00:37:21,500
but he conceals others, and from time
to time he's not telling the truth,
544
00:37:21,500 --> 00:37:25,460
but the instrument IS telling
the truth about Mozart's music -
545
00:37:25,460 --> 00:37:28,260
at least about the keyboard music -
and so we can really learn
546
00:37:28,260 --> 00:37:32,300
a lot from carefully looking
and listening to this instrument.
547
00:37:32,300 --> 00:37:34,380
This is really the instrument
548
00:37:34,380 --> 00:37:37,980
where all these great piano concertos
were conceived,
549
00:37:37,980 --> 00:37:41,820
where they got
their premiere performances
550
00:37:41,820 --> 00:37:45,220
and many follow-up performances
during Mozart's lifetime,
551
00:37:45,220 --> 00:37:49,500
and so it's really a big stroke
of luck that this instrument
552
00:37:49,500 --> 00:37:54,180
has survived
in almost original shape.
553
00:37:54,180 --> 00:37:56,300
This isn't a concerto.
No, this is a sonata.
554
00:37:56,300 --> 00:38:00,740
No, it should not be a problem.
I am not Kristian Bezuidenhout...
555
00:38:01,740 --> 00:38:04,060
MUSIC: Piano Sonata No 13
In B-Flat Major
556
00:38:23,300 --> 00:38:25,900
Mozart obviously loved
this instrument -
557
00:38:25,900 --> 00:38:29,260
I mean, it was his constant
companion for that decade in Vienna.
558
00:38:29,260 --> 00:38:31,820
He would have had enough money to
replace it if he'd wanted to -
559
00:38:31,820 --> 00:38:36,260
I mean, why did he stick with this
Anton Walter instrument, its maker,
560
00:38:36,260 --> 00:38:38,060
why did he love it so much?
561
00:38:38,060 --> 00:38:41,820
Apparently it was one of the best
instruments that Walter ever built.
562
00:38:41,820 --> 00:38:45,180
It's one of the earliest
of his fortepianos,
563
00:38:45,180 --> 00:38:51,580
and it has a very easy action,
a very even action,
564
00:38:51,580 --> 00:38:57,780
and when Leopold visited his son
in 1785 he wrote to his daughter
565
00:38:57,780 --> 00:39:02,460
that this very instrument was carried
out of the house practically
every other day,
566
00:39:02,460 --> 00:39:06,940
set up in a theatre here,
in a concert hall there,
in a private place there
567
00:39:06,940 --> 00:39:12,420
and that Mozart was practically
giving a concert every other night.
568
00:39:12,420 --> 00:39:14,660
MUSIC: Fantasia No 3 In D
569
00:39:24,580 --> 00:39:25,980
Wunderschon.
570
00:39:39,460 --> 00:39:42,980
'For Mozart, music was part of
a bigger world of ideas,
571
00:39:42,980 --> 00:39:45,220
'of culture, of feelings, of people,
572
00:39:45,220 --> 00:39:47,620
'and that was true in his
earlier life too,
573
00:39:47,620 --> 00:39:50,300
'in Salzburg as well as in Vienna.'
574
00:39:50,300 --> 00:39:53,020
The thing is, when Mozart was
back in Salzburg,
575
00:39:53,020 --> 00:39:56,100
when he came back from his travels,
especially as a teenager,
576
00:39:56,100 --> 00:39:59,140
he was part of a wider social
and cultural scene here.
577
00:39:59,140 --> 00:40:02,420
He used to socialise with the
family who owned this cafe,
578
00:40:02,420 --> 00:40:05,620
used to play billiards with them
upstairs and dance with them.
579
00:40:05,620 --> 00:40:06,820
Parties, basically.
580
00:40:06,820 --> 00:40:08,540
Now, it's inconceivable to me
581
00:40:08,540 --> 00:40:11,540
that Mozart, as a supremely
intelligent young man,
582
00:40:11,540 --> 00:40:15,020
wouldn't have been talking to
his friends about his frustrations
583
00:40:15,020 --> 00:40:16,860
with his employment in Salzburg,
584
00:40:16,860 --> 00:40:20,060
about the poor quality of
the musicians here, and maybe also
585
00:40:20,060 --> 00:40:23,380
the new political ideas that were
emerging all over Europe.
586
00:40:23,380 --> 00:40:26,140
Mozart, in other words,
was part of cafe culture.
587
00:40:32,540 --> 00:40:36,140
'Nicholas Till thinks that Mozart's
intellectual curiosity is
588
00:40:36,140 --> 00:40:39,580
'a crucial part of how we should
hear and think about his music.'
589
00:40:41,620 --> 00:40:44,620
If you look at his library,
er, it's not large,
590
00:40:44,620 --> 00:40:46,780
he didn't own a huge number of books.
591
00:40:46,780 --> 00:40:53,380
But the books he owned were really
quite current, contemporary thinking.
592
00:40:53,380 --> 00:40:57,420
Mozart is hanging out with the...
593
00:40:57,420 --> 00:41:03,220
the Austrian Empire's
Education Minister once a week.
594
00:41:03,220 --> 00:41:06,860
He's going round to his house,
erm, playing music.
595
00:41:06,860 --> 00:41:11,620
Van Swieten was
a very keen music lover,
596
00:41:11,620 --> 00:41:14,980
introduced Mozart to
Bach and Handel's music.
597
00:41:14,980 --> 00:41:17,380
So, this...
598
00:41:17,380 --> 00:41:21,260
He's right in the heart of the
most progressive aspects of
599
00:41:21,260 --> 00:41:23,180
Viennese life at that time.
600
00:41:24,820 --> 00:41:29,100
'And at that time Europe was in a
foment of pre-revolutionary fever,
601
00:41:29,100 --> 00:41:33,660
'which Mozart caught in his opera
The Marriage of Figaro, in 1786.'
602
00:41:45,300 --> 00:41:48,780
In the kind of coffee house culture
and the intellectual culture
603
00:41:48,780 --> 00:41:50,500
that Mozart was part of then,
604
00:41:50,500 --> 00:41:54,180
I mean, do you think he was
sympathetic to the ideals of
605
00:41:54,180 --> 00:41:55,940
the French Revolution?
606
00:41:55,940 --> 00:41:57,980
Do you think Mozart was
fundamentally
607
00:41:57,980 --> 00:41:59,900
a kind of revolutionary?
608
00:41:59,900 --> 00:42:02,140
Well, of course, we can't project...
609
00:42:02,140 --> 00:42:05,500
The French Revolution happens
right at the end of his life.
610
00:42:08,540 --> 00:42:11,940
But, yes, both at a personal level,
611
00:42:11,940 --> 00:42:17,380
he felt that it was wrong that
certain kinds of people had
612
00:42:17,380 --> 00:42:21,300
power and control over someone like
him that they had, and that would
613
00:42:21,300 --> 00:42:25,180
have translated into the broader
political agenda of the period.
614
00:42:25,180 --> 00:42:28,220
MUSIC: Se Vuol Ballare
from The Marriage Of Figaro
615
00:42:42,620 --> 00:42:48,500
# Il chitarrino le suonero, si
616
00:42:48,500 --> 00:42:51,180
# Le suonero, si
617
00:42:51,180 --> 00:42:53,860
# Le suonero. #
618
00:42:56,300 --> 00:42:59,860
'Mozart singlehandedly
dragged opera kicking,
619
00:42:59,860 --> 00:43:03,780
'and singing, into the present day
by hijacking a high art form,
620
00:43:03,780 --> 00:43:07,420
'taking it away from gods and kings,
and handing it over to the lives of
621
00:43:07,420 --> 00:43:11,580
'ordinary people and their
complicated, chaotic relationships.
622
00:43:15,980 --> 00:43:18,820
'He put his own life,
and the lives of people he knew,
623
00:43:18,820 --> 00:43:21,060
'onstage for all to see.
624
00:43:21,060 --> 00:43:23,060
'Servants became heroes
625
00:43:23,060 --> 00:43:26,740
'and women were written with a
unique empathy and understanding.
626
00:43:29,780 --> 00:43:31,300
'That's no surprise.
627
00:43:31,300 --> 00:43:34,980
'Mozart fell in love with,
married or wrote music for
628
00:43:34,980 --> 00:43:37,060
'three of the Weber sisters -
629
00:43:37,060 --> 00:43:39,100
'Aloysia, Constanze and Josepha.'
630
00:43:39,100 --> 00:43:42,780
I think we should be extremely
grateful that he was surrounded
631
00:43:42,780 --> 00:43:47,460
by all these fantastic women who...
who could sing and could portray,
632
00:43:47,460 --> 00:43:50,020
because one thing with Mozart also,
633
00:43:50,020 --> 00:43:52,740
if you read his letters
and everything,
634
00:43:52,740 --> 00:43:55,340
he really wanted people
to be sincere.
635
00:43:58,820 --> 00:44:02,060
'Cosi Fan Tutte, with an original
text by Lorenzo Da Ponte,
636
00:44:02,060 --> 00:44:04,900
'is about a quartet of lovers.
637
00:44:04,900 --> 00:44:08,180
'The boys are persuaded to test
their beloveds' fidelity.
638
00:44:10,780 --> 00:44:14,540
'And the result is confusion
and turmoil for all four of them,
639
00:44:14,540 --> 00:44:16,220
'including Fiordiligi.'
640
00:44:20,780 --> 00:44:22,820
MUSIC: Per Pieta
from Cosi Fan Tutte
641
00:44:43,900 --> 00:44:51,300
# D'un alma amante... #
642
00:44:51,300 --> 00:44:56,300
When she struggles, she realises
that she has actually fallen,
643
00:44:56,300 --> 00:45:01,180
but she's just desperately trying to
hold on to the love for Guglielmo.
644
00:45:01,180 --> 00:45:05,820
I think Per Pieta is just one of
the most amazing arias to actually
645
00:45:05,820 --> 00:45:09,460
show that, but she always
comes back to, always,
646
00:45:09,460 --> 00:45:12,060
always comes back to this,
that she feels ashamed,
647
00:45:12,060 --> 00:45:15,820
that she has this, you know,
massive shame that she has, you know,
648
00:45:15,820 --> 00:45:19,340
gone towards Ferrando
rather than staying constant.
649
00:45:42,660 --> 00:45:43,940
'It's about us.'
650
00:45:43,940 --> 00:45:47,380
It is about normal people - they are
fighting, they are, you know,
651
00:45:47,380 --> 00:45:52,500
they are in love, they are arguing,
it's just about normal life.
652
00:45:52,500 --> 00:45:55,700
They are betraying,
they are being betrayed, they are...
653
00:45:55,700 --> 00:46:00,100
So it's basically like he's just
making an opera about
654
00:46:00,100 --> 00:46:04,460
everyday situations,
which I think that's why
655
00:46:04,460 --> 00:46:08,820
it's so easy to take to heart,
you know, take to your heart.
656
00:46:08,820 --> 00:46:13,900
# Deh vieni, non tardar
657
00:46:13,900 --> 00:46:18,220
# O gioja bella
658
00:46:19,580 --> 00:46:23,860
# Vieni ove amore per... #
659
00:46:23,860 --> 00:46:27,500
'I remember once when I was doing
Susanna in Berlin, and I just felt'
660
00:46:27,500 --> 00:46:30,100
as if everything
just parted away from me,
661
00:46:30,100 --> 00:46:31,980
and I was just sitting there.
662
00:46:31,980 --> 00:46:34,900
I could almost see myself
as an out-of-body experience,
663
00:46:34,900 --> 00:46:36,260
and when I looked down,
664
00:46:36,260 --> 00:46:38,980
I realised that Barenboim had
stopped conducting,
665
00:46:38,980 --> 00:46:40,860
and he was just sitting like this,
666
00:46:40,860 --> 00:46:44,580
and that's the moment
when you realised that Mozart music,
667
00:46:44,580 --> 00:46:49,100
when everything is right,
when everyone feels the same,
668
00:46:49,100 --> 00:46:50,620
it just becomes one body.
669
00:46:50,620 --> 00:46:53,900
And I'm sure that the audience
felt it, the orchestra felt it,
670
00:46:53,900 --> 00:46:57,860
I felt it, and we all sang
and did the same thing,
671
00:46:57,860 --> 00:47:00,460
the whole theatre were just
there in that moment.
672
00:47:00,460 --> 00:47:02,260
That's one of the most, like...
SHE GASPS
673
00:47:02,260 --> 00:47:04,780
..experiences that
I've ever had in my life.
674
00:47:06,500 --> 00:47:12,060
What's different in the Mozart
operatic women is, as I say,
675
00:47:12,060 --> 00:47:17,060
is this tremendous sort of
emotional veracity, and, er,
676
00:47:17,060 --> 00:47:20,020
and a sympathy for them.
677
00:47:26,220 --> 00:47:29,300
The Countess in
The Marriage Of Figaro,
678
00:47:29,300 --> 00:47:32,700
I mean, she... Again, it's
another of these places in Mozart
679
00:47:32,700 --> 00:47:37,060
that gives you so many different
feelings somehow. How does he do it?
680
00:47:37,060 --> 00:47:39,540
Well, the first time we meet her,
as you say, er,
681
00:47:39,540 --> 00:47:45,540
we meet her in soliloquy, just
telling us again in a very short,
682
00:47:45,540 --> 00:47:49,180
slow, 90-second aria,
very difficult to sing...
683
00:47:50,940 --> 00:47:54,420
..that her life is really ghastly.
I mean, her husband is...
684
00:47:54,420 --> 00:47:57,380
Two years, she's only been
married a couple of years,
685
00:47:57,380 --> 00:48:01,580
and already her husband is
bonking every woman on the estate,
686
00:48:01,580 --> 00:48:04,500
and is behaving appallingly to her,
687
00:48:04,500 --> 00:48:08,140
and she's isolated and miserable,
688
00:48:08,140 --> 00:48:11,140
and although she has
a wonderful best friend
689
00:48:11,140 --> 00:48:13,220
in her maidservant Susanna,
690
00:48:13,220 --> 00:48:15,980
she's essentially alone,
691
00:48:15,980 --> 00:48:20,100
and there is really nothing more
lonely than Porgi, Amor.
692
00:48:20,100 --> 00:48:22,860
MUSIC: Porgi, Amor
from The Marriage Of Figaro
693
00:48:37,940 --> 00:48:45,660
# Al mio duolo
694
00:48:45,660 --> 00:48:53,140
# A'miei sospir! #
695
00:48:56,820 --> 00:48:59,300
Women loved him and he loved women,
696
00:48:59,300 --> 00:49:03,100
and we can certainly
see that in his operas.
697
00:49:03,100 --> 00:49:08,380
What I don't want to do, however, is
overstress this at all, because he
698
00:49:08,380 --> 00:49:12,260
was also a really good bloke, and he
had a lot of good bloke friends too.
699
00:49:12,260 --> 00:49:15,620
I mean, the whole Masonic thing,
after all, was like, you know,
700
00:49:15,620 --> 00:49:17,620
the ultimate men's club!
701
00:49:31,540 --> 00:49:34,660
'In Salzburg, there's another
piece of Vienna that Mozart's
702
00:49:34,660 --> 00:49:36,260
'birthplace has uprooted...
703
00:49:38,980 --> 00:49:40,700
'..a little hut that looks like
704
00:49:40,700 --> 00:49:42,820
'something out of
a German fairy tale.
705
00:49:44,900 --> 00:49:49,220
'And funnily enough, it's where an
operatic fairy tale came to life.'
706
00:49:50,420 --> 00:49:53,500
This is Das Zauberflotenhauschen -
707
00:49:53,500 --> 00:49:57,020
The Magic Flute Hut,
where, in the summer of 1791,
708
00:49:57,020 --> 00:49:59,820
Mozart wrote The Magic Flute
in Vienna in the grounds
709
00:49:59,820 --> 00:50:02,620
of the Freihaustheater,
where the opera would have
710
00:50:02,620 --> 00:50:05,580
its first performance on the
30th of September that year.
711
00:50:11,420 --> 00:50:13,580
He would write on a little
clavichord in there
712
00:50:13,580 --> 00:50:15,860
and he'd invite the singers in
to try out things,
713
00:50:15,860 --> 00:50:19,060
what aria he was going to write for
Josepha Weber, his sister-in-law,
714
00:50:19,060 --> 00:50:21,300
who was singing the part of
the Queen of the Night,
715
00:50:21,300 --> 00:50:22,540
and the rest of the cast.
716
00:50:22,540 --> 00:50:25,380
And really the experience of
The Magic Flute for Mozart
717
00:50:25,380 --> 00:50:27,700
was being part of an
artistic collective.
718
00:50:27,700 --> 00:50:31,140
He was simply one part of
this huge, popular, populist
719
00:50:31,140 --> 00:50:36,100
and Masonic theatrical mishmash,
glorious theatrical hybrid that is
720
00:50:36,100 --> 00:50:38,780
The Magic Flute,
and this is where it happened.
721
00:50:50,140 --> 00:50:52,820
And as if by magic here is
the Queen of the Night's
722
00:50:52,820 --> 00:50:55,060
Act II Aria, the one that goes...
723
00:50:55,060 --> 00:50:56,700
HE WHISTLES
724
00:50:56,700 --> 00:50:59,060
I can't even whistle that high!
HE WHISTLES
725
00:50:59,060 --> 00:51:02,260
MUSIC: Queen Of The Night's Aria
from The Magic Flute
726
00:51:04,260 --> 00:51:06,300
HE WHISTLES
727
00:51:09,300 --> 00:51:13,260
# Wenn nicht durch dich
728
00:51:13,260 --> 00:51:20,580
# Sarastro wird erblassen! #
729
00:51:20,580 --> 00:51:22,900
See, the thing about this is,
you know, he...
730
00:51:22,900 --> 00:51:24,820
He was writing
absolutely specifically
731
00:51:24,820 --> 00:51:26,340
for his sister-in-law here.
732
00:51:26,340 --> 00:51:29,300
Only Josepha, only the Weber girls
could get up that high,
733
00:51:29,300 --> 00:51:31,660
and, erm, well,
I can't even whistle there.
734
00:51:34,540 --> 00:51:38,100
'Salzburg also houses the delicate
instrument on which Mozart
735
00:51:38,100 --> 00:51:39,940
'composed The Magic Flute -
736
00:51:39,940 --> 00:51:42,180
'his tiny treasured clavichord.'
737
00:51:44,260 --> 00:51:47,220
Clavichords were meant for
private use.
738
00:51:47,220 --> 00:51:50,500
They do not carry,
the sound doesn't carry,
739
00:51:50,500 --> 00:51:53,900
and I'll show it to you
because it's really remarkable.
740
00:51:55,380 --> 00:51:58,940
If you open the lid
we see a small paste in,
741
00:51:58,940 --> 00:52:01,220
and Constanze Mozart tells us that...
742
00:52:01,220 --> 00:52:03,500
This is Constanze Mozart's
handwriting?
743
00:52:03,500 --> 00:52:05,540
This is Constanze's handwriting,
744
00:52:05,540 --> 00:52:09,820
and she tells us that her husband
had composed The Magic Flute,
745
00:52:09,820 --> 00:52:13,340
the Requiem and the Freemason Cantata
on this very instrument
746
00:52:13,340 --> 00:52:15,300
during the last months of
his life.
747
00:52:15,300 --> 00:52:17,180
So small was this instrument,
748
00:52:17,180 --> 00:52:19,420
it'd be quite possible to
carry it to the hut,
749
00:52:19,420 --> 00:52:20,980
the Zauberflotenhauschen,
750
00:52:20,980 --> 00:52:24,700
where he composed much of The Magic
Flute in the summer of 1791?
751
00:52:24,700 --> 00:52:28,060
Definitely.
This may weigh some 40lbs, 50lbs,
752
00:52:28,060 --> 00:52:30,620
so you can really take it with you.
753
00:52:30,620 --> 00:52:33,740
It's easy to tune so it's
a very practical instrument
754
00:52:33,740 --> 00:52:37,260
for this purpose, and if you should
carefully open the lid...
755
00:52:39,220 --> 00:52:40,940
What does it sound like, Ulrich?
756
00:52:40,940 --> 00:52:43,140
I know it's a quiet sound
but what does it sound like?
757
00:52:43,140 --> 00:52:45,140
MUSIC: Papageno's Aria
from The Magic Flute
758
00:53:03,820 --> 00:53:06,500
'And in this same room,
there's the most moving,
759
00:53:06,500 --> 00:53:08,500
'honest likeness of the composer.'
760
00:53:11,380 --> 00:53:16,460
This is as close as we have
to a real-life picture of Mozart.
761
00:53:16,460 --> 00:53:19,460
This is really as close
as we're going to get to what
762
00:53:19,460 --> 00:53:20,940
he actually looked like.
763
00:53:26,100 --> 00:53:28,940
It was painted from life around 1789
764
00:53:28,940 --> 00:53:32,500
by Mozart's brother-in-law,
Joseph Lange.
765
00:53:32,500 --> 00:53:36,540
It's an encounter with a real,
as opposed to airbrushed,
766
00:53:36,540 --> 00:53:38,380
idea and image of Mozart.
767
00:53:38,380 --> 00:53:41,220
His hair is loose,
there's no wig here.
768
00:53:41,220 --> 00:53:45,300
You can't see pockmarks on his skin
but there's grey in the hair.
769
00:53:45,300 --> 00:53:48,900
This is a really tender picture of
who this musician,
770
00:53:48,900 --> 00:53:50,220
who this composer was.
771
00:53:54,220 --> 00:53:56,340
This picture's usually called
unfinished
772
00:53:56,340 --> 00:53:58,860
but in fact you can see
very close up that the head
773
00:53:58,860 --> 00:54:02,580
and shoulders are really a complete
little portrait of Mozart.
774
00:54:12,900 --> 00:54:17,260
'Violinist Paul Robertson has a
relationship with Mozart's music
775
00:54:17,260 --> 00:54:19,180
'that most of us will never have,
776
00:54:19,180 --> 00:54:20,500
'hopefully,'
777
00:54:20,500 --> 00:54:22,540
'an appreciation that can come
778
00:54:22,540 --> 00:54:25,260
'only from the outer limits of
life itself.'
779
00:54:27,940 --> 00:54:29,540
I used to, as it were,
780
00:54:29,540 --> 00:54:32,260
preach the idea that music should be
781
00:54:32,260 --> 00:54:34,220
played to people in coma,
782
00:54:34,220 --> 00:54:38,620
and, er, I remember a lovely lady
whose husband fell into a coma
783
00:54:38,620 --> 00:54:40,100
played his favourite piece,
784
00:54:40,100 --> 00:54:42,700
which was the slow movement of
the Mozart Clarinet Quintet.
785
00:54:42,700 --> 00:54:46,180
She very kindly used our recording,
as it happened. And he recovered,
786
00:54:46,180 --> 00:54:50,860
he came round into consciousness
during the course of that movement.
787
00:54:50,860 --> 00:54:55,300
And my family, when I was in coma,
erm, were playing the same piece.
788
00:54:55,300 --> 00:55:00,340
It was a drug-induced coma that then
became an out-of-reach coma,
789
00:55:00,340 --> 00:55:03,660
so I was not actually,
strictly speaking, alive.
790
00:55:03,660 --> 00:55:07,180
So they played me Mozart
and I was responding.
791
00:55:07,180 --> 00:55:11,180
So I didn't actually have the
registration of listening to Mozart.
792
00:55:11,180 --> 00:55:14,100
I mean, to be honest, what I was...
793
00:55:14,100 --> 00:55:17,420
well, what I was hearing was
an Indian,
794
00:55:17,420 --> 00:55:21,700
beautiful Indian female voice singing
ragas with exquisite microtones.
795
00:55:21,700 --> 00:55:22,980
Would you remember?
796
00:55:22,980 --> 00:55:25,700
Oh, I remember that most distinctly,
it was so beautiful.
797
00:55:25,700 --> 00:55:27,980
And do you remember it
as if it were a performance
798
00:55:27,980 --> 00:55:29,580
or as if it was happening or...?
799
00:55:29,580 --> 00:55:31,500
Oh, it was almost
more real than life.
800
00:55:36,180 --> 00:55:40,260
Paul, I've spent a lot of this film
thinking about Mozart's humanity,
801
00:55:40,260 --> 00:55:44,860
and how that's expressed
in the music, how grounded it is,
802
00:55:44,860 --> 00:55:46,500
and how grounded he is,
803
00:55:46,500 --> 00:55:50,740
but can we talk also about a
transcendence in Mozart's music,
804
00:55:50,740 --> 00:55:52,620
and if so, what might it be?
805
00:55:53,620 --> 00:55:57,980
Erm, he, despite all the mythology,
806
00:55:57,980 --> 00:56:01,980
he strikes me as being what
we might call "supra-normal".
807
00:56:01,980 --> 00:56:05,820
You know, he wasn't just normal,
he was what normal ought to be.
808
00:56:05,820 --> 00:56:09,700
You know, anyone who could be
playing billiards, drinking coffee,
809
00:56:09,700 --> 00:56:13,820
writing a great symphony at the
same time, caring about his family
810
00:56:13,820 --> 00:56:19,180
and their aspirations,
also longing for independence.
811
00:56:19,180 --> 00:56:22,300
Er, this is a very
high-functioning man indeed
812
00:56:22,300 --> 00:56:25,860
caught in a particular web of
history, as we all are.
813
00:56:25,860 --> 00:56:28,380
So the transcendence
is more than just musical,
814
00:56:28,380 --> 00:56:32,420
I think it actually runs
throughout and across his life.
815
00:56:32,420 --> 00:56:36,300
There are these beautiful
individuals, sometimes weird
816
00:56:36,300 --> 00:56:43,220
and wacky individuals, who just have
a whole range of abilities, skills,
817
00:56:43,220 --> 00:56:48,220
insights, cognitive function,
that are always going to be
818
00:56:48,220 --> 00:56:53,100
something we just get a crick in the
neck looking cos it's so elevated.
819
00:56:53,100 --> 00:56:55,780
He began to prove that a
composer could actually live
820
00:56:55,780 --> 00:56:58,860
an independent creative life.
821
00:56:58,860 --> 00:57:01,100
Now that takes a
different kind of genius
822
00:57:01,100 --> 00:57:06,140
because that's imaginative in terms
of conceiving of a state of life
823
00:57:06,140 --> 00:57:09,220
that is beyond the one
that you currently know.
824
00:57:09,220 --> 00:57:12,940
What would he be doing now?
You know, Mozart now?
825
00:57:12,940 --> 00:57:18,700
My own belief is he'd probably be
writing for, erm, computer games,
826
00:57:18,700 --> 00:57:24,260
because I suspect that he would be
drawn to the most creative area,
827
00:57:24,260 --> 00:57:28,940
probably the most lucrative area,
and the place where he really needed
828
00:57:28,940 --> 00:57:32,260
to exercise all his skill
to the very extreme.
829
00:57:38,020 --> 00:57:40,020
'After his death -
830
00:57:40,020 --> 00:57:43,540
'researchers have put forward
over 100 potential causes -
831
00:57:43,540 --> 00:57:45,980
'Mozart's body was interred in
a mass grave,
832
00:57:45,980 --> 00:57:48,020
'unmarked and unremarkable.
833
00:57:49,180 --> 00:57:52,500
'This wasn't the romantic fate of
an artist misunderstood or
834
00:57:52,500 --> 00:57:56,780
'undervalued, but common practice in
Joseph II's Vienna, the result of
835
00:57:56,780 --> 00:58:00,540
'liberal reforms to show that
in death all men are equal.
836
00:58:03,340 --> 00:58:07,540
'Vienna put up this statue to Mozart
here in St Mark's Cemetery,
837
00:58:07,540 --> 00:58:12,740
'where he was buried somewhere
on 7th December 1791.
838
00:58:12,740 --> 00:58:14,820
'But it can only ever be
a best guess
839
00:58:14,820 --> 00:58:16,860
'as to where his bones
actually are.'
840
00:58:20,900 --> 00:58:24,420
I like the fact that Mozart's
grave can never become
841
00:58:24,420 --> 00:58:26,780
a fetish for memorial
in the way that
842
00:58:26,780 --> 00:58:31,220
Oscar Wilde's, Jim Morrison's or
Ludwig van Beethoven's are.
843
00:58:31,220 --> 00:58:34,980
We may not know where his body
finally came to rest
844
00:58:34,980 --> 00:58:37,060
but we do know where his music is
845
00:58:37,060 --> 00:58:41,380
thanks to its virtuosity of empathy,
of compassion, of humanity.
846
00:58:41,380 --> 00:58:44,460
Mozart's music rightly belongs
in the bodies,
847
00:58:44,460 --> 00:58:48,500
the minds and the imaginations of
anyone who loves it.
74449
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