When I entered the music program in my first year of university, it seemed impossible to avoid conversations about “Amadeus.” It helped that the Miloš Forman movie was relatively recent and happened to be good. But something else set it apart from films about classical composers. It managed to take you inside the heads of Mozart and Salieri—the former a musical genius, and the latter, as Roger Ebert put it, with “the talent of a third-rate composer but the ear of a first-rate music lover.” In a scene midway through the film, Mozart’s wife Constanze meets court composer Salieri on the quiet, hoping to convince him to give her husband more work. She shows Salieri some of Mozart’s original compositions. As he … Read entire story.
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