In the film "Mozart", a large number of symphonies, concertos, etc. are used, covering most of Mozart's works. The film did not copy rigidly, but combined the development of the plot, selected the most suitable music, and promoted the development of the film plot through music to create an excellent vocal environment, which played a great role in the expression of the film's content.
The opening of the film uses the overture of one of Mozart’s most famous operas "Don Giovanni" as the opening music of the film, accompanied by the important character Salieri shouting guiltily: "Mozart! Mozart!" . Tell us straightforwardly that this is a story about genius. Later, as Salieri remembered, we were in the court party where he and Mozart met for the first time. As audiences, we heard Mozart's performance for the first time in a real sense. Mozart was playing around with his fiancée at the time, and what interrupted them was the second chapter of Mozart's "No. 10 Wind Serenade". The oboe played a slow introduction, which was so graceful that it could not be added. After a series of upward transition sentences on the clarinet, the band played the third movement, which is a typical Mozart characteristic, which is a melody with simple and luxurious swirling decorative sounds. The first meeting with Mozart still made Salieri jealous. After Mozart changed the welcome song composed for him by Salieri, the conflict escalated.
The film is more impressive. Mozart’s wife came to Salieri with Mozart’s original manuscript without authorization, hoping to get his recommendation to get a court position. When Larry Elli read Mozart’s music score, the music was based on the most popular scores. Wonderful music fragments sounded. First, the adagio movement of "C Major Concerto for Flute and Harp" sounded, then the first movement of Symphony No. 29, the third movement of the two piano concertos, the first movement of the fourth violin concerto, the opera soprano aria Appearing one after another, these breathtakingly beautiful melodies are original manuscripts without the slightest modification, that is to say, they flowed out of Mozart's mind and were made in one go. Salieri's eyes were moist, and he was impressed by Mozart's amazing musical talent, but he even felt that God had treated him unfairly. God only gave this gift to Mozart.
The precious thing about Mozage is that he not only has unparalleled talents in the world, but also has a passion for music without distractions, an unruly heart yearning for freedom, and because of his self-confidence, he does not want to be constrained by the arrogance of the royal family and aristocracy. This also means that Mozart will be in financial difficulties. With the arrival of his father, the prelude to "Don Juan" will begin. Father appeared in the stairwell dressed up in black, and the two heavy chords reminded people, which made people tremble, including later, every time Salieri dressed up as a man in black to urge Mozart to complete the score, there was "Tang The prelude chords of "Huang" sounded, as if to herald the tragedy of Mozart.
Salieri began to use his power to obstruct Mozart's creation and performance, inciting a group of mediocre but unwilling people like him to form an opposition force. After Mozart experienced various setbacks, he finally conquered the Austrian royal family with his own music, and then "The Marriage of Figaro" was staged. The more brilliant and creative place that Mozart felt was the seventh act of the seventh act. Including: soprano, mezzo soprano, tenor, baritone, bass. This is a famous transcript. The brilliant talent of Mozart in Salier, who understands music, is both jealous and admired. Facing Mozart's music can only make his failure more miserable.
After the success of "The Marriage of Figaro", Mozart returned home happily, only to hear the sad news of his father's death. Subsequently, the prelude to the opera "Don Juan" sounded, and the screen shifted to Mozart's conduct of the opera "Don Juan". This is the darkest of Mozart's three major operas. The duet of a baritone and two basses interweaves the tremor of the soul. This passage is the only dark light in Mozart's work. As soon as the samurai appeared on the stage, the gloomy and depressing atmosphere immediately enveloped everything, and the opera instantly changed from a comedy to a formal drama. Mozart's bohemian and cynical past was wiped out, and what was left was the palpitating tension and fear. Salieri believes that Don Juan is alluding to Mozart himself, and the undead in black represents Mozart's dead father, Leobo. He firmly believes that Mozart awakens his sleeping father through music, and blames his unscrupulous son in front of the world. The psychological oppression of this duet not only gave Salieri, but also gave Mozart an incomprehensible destructive power. Salieri began to understand how to kill Mozart, using Mozart's guilt and regret towards his father. So he disguised as the man in black that Mozart's father had once dressed up, and urged Mozart to complete "Requiem" all day long. Mozart's spirit fell into intense tension and anxiety.
What impressed me most was the end of the film, which was also the climax of the film. Mozart was sent home by Sagani after he was exhausted from conducting the opera, but Salieri ignored Mozart's serious illness and continued to urge him to finish "Requiem" under the guise of the life of the man in black. Mozart dragged the sick body, briefly summarized, written by Sagueney. Mozart's genius is undoubtedly revealed again in this D minor Requiem. The call of death aroused his enthusiasm. Mozart fists weakly and vigorously on the sickbed, turning into a beat of one brass instrument and timpani one after another. The French horn's clarification sound resounded in the open field. The eager and nervous little canon seems to be the call of death. The female voice's lingering groaning around the beam seems to be the comfort of God. Sometimes the return carriage with his wife drove in the darkness of dawn, and sometimes showed the warm atmosphere of Mozart's wife hugging her son like a Virgin. In the solemn and solemn atmosphere of religion, Mozart left this unfinished masterpiece.
Of course, in addition to these, there are many combinations of music and plot in the film. Music is used to exaggerate anger, one music promotes the plot, one music lays down the foreshadowing, and one music points out the heart of the characters. For example, when Mozart was fined to play the piano at the masquerade, he spoofed the duet "Ode to Bacchus" in his own opera "Escape from the Harem" in three styles. The first is played in the style of Bach, the music is like a flowing stream. The second is to turn over to play, and the third is to play in Salieri's style. The rhythm is steady and lifeless, and once again mocks the mediocre Salieri. The beating notes are exactly in line with Mozart's cynicism. psychology.
The movie "Mozart" is over, but thinking about the relationship between music and film has just begun. The film has an ups and downs plot, the music also has a beating note, the film has sad or happy scenes, and the music also has a sad or happy melody. The classics of "Mozart" are perfectly combined with the plot and music of the movie, rendering movies with music, and expressing music with movies. Step by step, the grandeur and shock of the music make the whole movie hit people's hearts directly, and the aftertaste is moved for a long time.
Attached to the soundtrack involved in the film
1. "Don Juan" (K.527) Overture / Movie Opening
2. The 25th Symphony (K.183) The first movement / Salieri suicide was discovered
3. String Serenade ( K.525) The first movement / The third song played by Salieri for the priest
4. Allegro in F major (K.33B)/ the tune played by Mozart with clavichon first and then violin when he was young
5. The tenth serenade (major suite) (K.361) third movement/ Mozart left Constanta and ran towards Concert
6. Nocturne No. 10 (Large Suite) (K.361) Seventh Movement (Final Movement) / Mozart Concludes Conducting
Nocturne 7. Nocturne No. 10 (Large Suite) (K.361) Third Movement / Salieri Check out Mozart's score
8. Piano Variations in G major (adapted from Salieri's work-"My Dear Adoni") (K.180) / Salieri's works mentioned by Mozart
9. The aria in "The Wedding of Figaro" (K.492) "I don't know how I am" (Non piu Andrai) / When Mozart played for Joseph II, the adaptation of Salieri was written by Joseph II的小曲.
10. The aria in "Escape from the Harem" (K.384) "No matter what kind of punishment is waiting for me" (Marten aller Arten) / "Escape from the Harem", the soprano sings solo.
11. "Long Live Salem" in the finale of "Escape from the Harem" (K.384) / In the performance of "Escape from the Harem", 4 people leave by boat.
12. Mass in c minor (K.427), Kyrie / At Mozart’s wedding
13. Flute and Harp Concerto (K.299) Second Movement / When Salieri reads Mozart's manuscript brought by Konstantza
14. Symphony No. 29 (K.201) First Movement/ When Salieri reads the Mozart manuscript brought by Konstantza
15. Concerto for two pianos (No. 10 Piano Concerto) (K.365) third movement / Salieri reads Konstantza tape The Mozart manuscript that came when
16. The first movement of the concerto (K.364) for violin and viola (K.364) / when Salieri read the Mozart manuscript brought by Konstantza
17. Mass in c minor (K.427), when Kyrie / Salieri read Mozart's manuscript brought by Konstantza
18. The third movement of Piano Concerto No. 15 (K.450) / Mozart on his way home
19. The chord at the beginning of "Don Juan" (K.527) / Mozart saw his father after entering the house
20. The Chorus of the Guards in "Harem Abduction" (K.384) / Mozart's family put on masks
21. German Army Song (K.539) / Background music at the masquerade
22. Duo "Vivat Bachus" (Vivat Bachus) in "Harem Abduction" (K.384) / Mozart was "punished" playing the piano at the masquerade
23. Duo "Vivat Bachus" (Vivat Bachus) in
"Harem Escape" (K.384) / Mozart played in the style of "Bach" 24. Duet "Bacchus" in "Harem Escape" (K.384) "(Vivat Bachus)/ Mozart is turned over to play
25. The duet "Vivat Bachus" (Vivat Bachus) in "Harem Abduction" (K.384) / Mozart plays in the style of "Salieri"
26. " The finale "Ah tutti contenti" in The Marriage of Figaro (K.492) / Mozart plays billiards while writing
27. The third movement of the 22nd Piano Concerto (K.492) / Mozart in an open-air concert for the Emperor Top
28. Finale "Ah tutti contenti" in "The Wedding of Figaro" (K.492) / Salieri sneaks into Mozart's room
29. Fei in "The Wedding of Figaro" (K.492) Duet "Cinque..." by Garro and Susanna / Mozart directed the rehearsal of
"The Wedding of Figaro" 30. Ballet music "Ecco la Marcia" in "The Wedding of Figaro" (K.492)/ The director of the opera house tore off the sheet music
31. Same as above / Mozart
replayed with music with permission from Joseph II 32. Finale "Ah tutti contenti" in "The Marriage of Figaro" (K.492) / When Joseph II yawned
33. "Don "Juan" (K.527) Act Two Finale / Mozart learns of his father's death
34. Same as above / Mozart
conducts "Don Juan" 35. First Movement of the 20th Piano Concerto (K.466) / Weared by Salieri The death mask came to Mozart’s residence
36. "Don Juan" (K.527) opening chords / when Mozart opened the door
37. "Requiem" (K.626), Introitus / Konztanca asked Mozart
38. Same as above / Salieri plans to kill Mozart
39. Comedy music adapted from music in "Harem Escape" (K.384), "The Wedding of Figaro" (K.492) and "Don Juan" (K.527) / Mozart's family watched the performance
40. "Requiem" (K.626), Dies Irae / Mozart heard a knock on the door while writing late at night
41. "The Magic Flute" (K.620) Overture / Mozart was in the house like crazy Dancing
42. "Don Juan" (K.527) opening chords / Mozart opened the door and saw a man with a death mask
43. "Requiem" (K.626), Rex Tremendae / Mozart worked out the room
44. "Magic The aria "Das Klingen..." in
"The Flute" (K.620) Drunk Mozart plays the piano in the tavern 45. The aria "Ein Madchen..." in "The Magic Flute" (K.620) Drunk Mozart in the tavern Sing
46. "The Magic Flute" (K.620) Overture Drunk Mozart in a tavern with some drunk women
47. "Requiem" (K.626), Rex Tremendae Mozart drunk walking down the street
48. The aria "der Holle Rache" in
"The Magic Flute" Mozart's mother-in-law reprimanded Mozart 49. "The Magic Flute" (K .620) in the aria "Ein Madchen" / Mozart accompanies the performance of "The Magic Flute"
50. The aria "Pa pa pa" in "The Magic Flute" (K.620) / Mozart is carried on the carriage by Salieri
51 . German dance music (K.509) / Constanta at the ball
52. "Requiem" (K. 626), Confutatis / Salieri assisted Mozart to write Requiem
53. "Requiem" ( K. 626) 626), Lacramosa / Mozart's death and funeral
54. Piano Concerto No. 20 (K.466) Second Movement / Salieri is pushed out of the room, Mozart's laughter is heard, and the film ends
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