Igor Stravinsky : Coco Chanel and Igor Stravinsky (2010) Yet interspersed through all the silliness Peter Shaffer reveals, through the mouth of Salieri, genuine insights into the brilliance of Mozart’s music as he unfolds the glories of such works as the Wind Serenade: ‘On the page, just a pulse, like a rusty squeeze box, and then suddenly, high above it, an oboe – a single note hanging there, unwavering, until a clarinet took it over, sweetening into a phrase of such delight, filled with such unfulfillable longing, it seemed I was hearing the voice of God.’Ģ. We learn about his guilty enmity towards Mozart through his confession to a priest: he holds himself responsible for the collapse of Mozart’s health and premature death, and is still eaten up with the realisation that, for all his own devotion to God and the Art of Music, he will never match the genius of the giggling and annoying Mozart (Tom Hulce). Composer Salieri (F Murray Abraham) is a physical and psychological wreck. We’ll begin with the most famous composer biopic of them all – not the first, but perhaps one of the glossiest and most thought-provoking.
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