was shocked.
Shocked to my foundation
when I saw her.
I couldn't believe my eyes,
poor little thing.
You monster!
No one exists but you, do they?
You and your music. I warned her.
" Choose a man, not a baby, " I said.
"You marry him, you won't have a pot
to piss in. " You selfish thing!
Selfish, that's what you are.
Simply selfish! Do you hear me?
Pick him up.
Pick him up!
Be careful. Come with me.
You, follow me.
-ls it over?
-Yes, it's over. It's over.
Go!
Go, go. go.
Go! Go!
Where is your wife?
Where is your wife?
She's not well either.
She went to the spa.
You are so good to me.
Truly. Thank you.
Please!
No, I mean to come to my opera.
You. You are the only colleague
of mine who came.
Mozart.
I would never miss anything
you had written.
-It's just a vaudeville.
-No, no!
It's a sublime piece.
The grandest operone!
I tell you...
...you are the greatest composer
known to me.
Do you mean it?
-It's him!
-Who?
The man.
He's here.
T ell him to go away.
T ell him I'm still working on it.
Don't let him in.
No, no. Wait!
Ask him if he would
give me some money now.
Tell him if he would,
it will help me to finish it.
-Salieri?
-Yes.
-Can we come in?
-Better not. He's sleeping.
-He's all right, though?
-Yes, he's just exhausted.
He became dizzy, that's all.
-Well, tell him we came by, won't you?
-Of course.
Give him this. That's his share.
-That should cheer him up.
-lndeed!
And now, good night to you all.
It was...
...perfection, truly.
Thank you.
What happened?
He said to give you this.
And if you finish by tomorrow night...
...he will pay you
another hundred ducats.
Another...?
That's too soon. T omorrow night....
It's impossible.
-Did he say a hundred?
-Yes.
It's too soon.
Can l...?
Could I help you?
Would you?
Actually, you could.
-I want to go.
-Where?
-I want to go back to Vienna.
-Now?
-Yes.
-Why?
I feel wrong.
I feel wrong being here.
-Where did I stop?
-The end of the Recordare.
So now Confutatis....
How would you translate that?
" Consigned to flames of woe. "
-Do you believe in it?
-What?
A fire which never dies,
burning you forever.
Oh, yes.
Possible.
-Come, let's begin.
-We ended in F major.
-Yes.
-So, now, A minor.
-A minor.
-Yes.
Confutatis. A minor.
Start with the voices.
-Basses first. Second beat of the--
-Time?
Common time.
Second beat of the first measure.
On A.
Second measure, second beat.
You see?
-Yes. G-sharp?
-Of course.
Second beat
of the third measure, on E.
Do you have me? Show me.
Good. Good.
Now the tenors.
Fourth beat
of the first measure, on C.
Second measure, fourth beat. D.
-All right?
-Yes, continue.
Second beat
of the fourth measure, on F.
Now the orchestra. Second bassoon,
bass trombones, basses.
Identical notes and rhythm.
First bassoon, tenor trombones,
with the tenors.
-You go too fast.
-Do you have it?
-Bassoon to trombone what?
-With the tenors.
-ldentical?
-The instruments doubling the voices.
T rumpets and timpani.
T rumpets in D. Listen.
-I don't understand!
-Listen!
T rumpets in D, tonic and dominant,
first and third beats.
It goes with the harmony!
Yes. Yes, yes!
I understand. And that's all?
No, now for the real fire.
Strings in unison.
Ostinato, on A. Like this:
Next measure is rising.
Do you have it? Show me.
-It's wonderful!
-Yes, yes. Go on.
-Write that down!
-Yes, yes.
"Call me among the blessed. "
C major.
Sopranos and altos in thirds.
Altos on C, sopranos above.
Sopranos up to F on the second voca?
And on dictus. And underneath,
just violins. Arpeggios.
Scale in eighth notes,
then back to ostinato.
-Do you have it?
-You go too fast.
-Do you have it?
-One moment, please!
Good. Show me the whole thing
from the beginning.
Do you want to rest a bit?
No, l' m not tired at all.
We'll stop for a moment.
-Then we'll finish the Lacrimosa.
-I can keep going. I assure you.
Will you stay with me
while I sleep a