0:26 The rest is just the same. Isn't it? 0:33 That doesn't really work. Does it? 0:39 Did you try....? Should be a bit more? Or this? This! Yes. 0:54 Better? What do you think? 1:08 Haha 1:42 Ahahahahahaha
“In his last surviving letter from 14 October 1791, Mozart told his wife that he had picked up Salieri and Caterina Cavalieri in his carriage and driven them both to the opera; about Salieri's attendance at his opera The Magic Flute, speaking enthusiastically: "He heard and saw with all his attention, and from the overture, to the last choir there was not a piece that didn't elicit a 'Bravo!' or 'Bello!' out of him.” -Mozart, a Life
Something I learned from my piano teacher is that the little motif mozart plays at 0:39 is one of several ways to check if the piano is in tune, so it's kinda like mozart was thinking maybe it was just the piano making it sound wrong and then it wasn't that so he changed it XD
I think Mozart had perfect pitch so he could tell from the other room which key was not in tune. Maybe you can offer your teacher another view. The march is in C Major. As Salieri explains, Mozart starts his composition by something almost childish, that's the C scale. As you can tell the "childish" C major scales stays on top but gets answers from left hand then it merges with power and new ornaments are added. It finally becomes a complete composition in Mozart style. Another view would be Mozart is letting the full chord breath because Salieri lost it. As you would by inhaling a good whisky before tasting it.
Hmm, I would check for pitch a million other ways, never heard of a c major being played above middle c as a way to check. Most of the time is the strings on an individual note being out of tune with each other before anything gets relatively out of tune and that’s easily just done by ear. But my easiest test is just to play some octaves and see where things start to drift. Then a few fifths (should be mostly in tune regardless of temperament) and then whatever the piece I’m playing calls for. A fun one is G# + G an octave up. Something about those two in equal temperament causes a unique buzz that’s unmistakable.
Salieri's pride was flattened. The next scene: in his room, eyes upward to the cross on the wall, grumbling bitterly, "Grazie, Signore!".... the most impressive scene in the movie. Actually the motif is beautiful. Comparison makes one miserable. Grazie, Marco!
Amadeus' impact in the pop culture was colossal. It turned Mozart - a beloved classical composer - into a mega-star. This movie alone introduced Mozart's sublime music to millions of people. I was one of them and since then I worship his music as Tchaikovsky once described as "the culminating point of beauty".
@@PortugalZeroworldcup He was a VERY great composer. Master of Beethoven and was revered by every composer in the era and, although I am not sure about this, he was more in demand than Mozart in that era.
The producer or the writer asked someone to write something simple about a Mozar melody, exactly "Non piu andrai" from "La nozze de figaro". In that way, Mozart's theoretical improvisation is actually something he wrote himself. Actually, Salieri's trifle never existed in the past and was only written for the AMADEUS production.
I like to imagine the film version of Salieri wishing so hard for talent like Mozart's that, in his old age, he convinced himself he actually wrote this. Of course, being just as equally convinced he was a mediocre artist, it came out in his mind as being a dull and plodding piece without Mozart's genius.
0:34 "That doesn't really work does it?" 0:45 "Did you try..." 0:50 "Shouldn't it be a bit more..." 0:53 "Or this...this! 0:59 "Yes!" 1:05 "Better? What do you think?
I'll stick my neck out just once (I don't like to criticise composers) and say the problem at 0:34 is that this piece of pseudo-Salieri says the same thing in the same way twice in a row: V4/2 - I - vi, all in same register and voicing. The pauses don't vary it enough. Perhaps I'd try I - III - vi the second time around, perhaps making the metre seem like triple time over duple (a kind of back-to-front hemiola) and at least say hello to the relative minor before going on. But, anyway, it always bothered me that this scene was so unkind to Salieri; the music of his that I have heard sounds beautiful and well written to me, and he did not deserve to be misrepresented. I still love the film though and love to listen to Mozart.
This song describes Mozart beautifully. He takes a simple melody, that needs some work, and turns it into the perfect March. I always say this about Mozart’s pieces, no matter what you do to them, you can change the piece, but you can never EVER make the piece better or improve it. That’s simply Mozart’s perfection
It heartens me greatly that a 36 year old drama about opera and classical music generates the kind of comments as seen below. Oh, and just FYI: Amadeus - Director's Cut - is available to be purchased on RU-vid. Disclaimer: this is not a sponsored message, just telling all fellow Amadus fans where to get it. ;)
The silly march was created for the movie, not by real Salieri. It was made simple on purpose not because Salieri would be so naïve as to compose such a childish music, but because it would be playable by the Emperor, who is portrayed as a mediocre musician, of course. Salieri as a character is intended to represent mediocrity, not retardation ... The play is about conflict between respectable mediocrity and outsider geniality, so apart from Mozart every other character in the film is mediocre.
Salieri is unfortunately horribly represented in the movie and he was more of a story telling vessel rather than a historical figure in it. Salieri and Mozart were actually friends and had great admiration for each other.
Yepp. Salieri is (in the movies) an interesting character and its easy to feel sympathies for him. But in fact Salieri had a better position than Mozart and he was fairly talented as well.
Now please this Salieri-piece played by the Emperor. Should take some more brake-signs :-) Thank you for this here. In my head I can still hear Mozart's comments within. Great motionpicture.
Am I the only who realized that Salieri’s March turned into “Non piu adrai” from “The Marrige of Figaro” Salieri’s March / 0:05 to “Non piu adrai” from The Marrige of Figaro / 0:46
Has anyone ever heard mzarts sonata called Larghetto and Allegretto in E minor? Its my favorite, along with 448 but 448 is very famous. The e minor L&A sonata is barely even known! Its crazy! I only stumbled onto it by luck wben i downloaded mozarts piano sonata duets; its the very last one. Check it out if you arent familiar..its absolutely lovely...I love all of yall by the way...i love anyone that loves mozart...he was the greatest
This is NOT by Salieri himself. This is a amateur work for the movie Amadeus based on an Aria from Act one of Mozart's signature operatic work The Marriage of Figaro.
Like many others, I enjoyed the movie - but am uncomfortable with misrepresentation of the historical Salieri and the notion that the 'genius' Mozart parachuted into Vienna from nowhere. He worked with the conventions he inherited and certainly wasn't the only show in town (as is becoming increasingly evident as our knowledge of the period increases).
I agree. It's much like how Bach outshone Telemann. By some accounts, when competing for the post of Cantor of the Thomaskirche in Leipzig, Telemann snuck in one night to hear Bach rehearse for the competition. Upon hearing the Master play, Telemann reportedly left town, declaring he couldn't possibly compete against such genius. I think I remember reading that in D. Hofstadter's "Godel, Escher, Bach: an Eternal Golden Braid".
@@turpialito Bit confused. This seems to do for Bach what I would counsel against doing for Mozart, ie conferring the status of 'genius' (whatever that means) at the expense of other differently gifted writers. Telemann was extraordinarily creative and a celebrated polymath.
@@PeterDobbing Indeed Telemann was. A bit outshined by Bach, if you ask me. What I meant was Bach's name is as universal as Mozart's, whereas Salieri and Telemann are kind of obscured by the aforementioned.
@@turpialito I wonder what the source is for this anecdote? I've always understood that Telemann was first choice for Thomaskantor and was offered the post, but he declined it because the pay was not good enough. After Graupner also declined, J.S. Bach was grudgingly appointed as Leipzig's third choice.
I agree! I admit that Mozart's compositions are great masterpieces, but personally I like Salieri's operas much more because I find his melodies more fun and less complicated.
