AMADEUS Loe pity the — Se. ie APLAY BY PETER SHAFFERFor Robert with Love PENGUIN BOOKS Published by th Penguin Group Penguin Books Lid, 27 Weights Lane, London WS STZ, Enghand Penguin Books USA lnc, 375 Hudson Suet, New York, New Ytk 10014, USA Penguin Books Anstala Lid, Ringwood, Vision Assrala Penguin Books Canada Lid, 10 Alcor Atenue, Toronto, Ontario, Canada MAV 382 Penguin Books (NZ) Ltd 182-190 Wai Road, Auckland 10, New Zealand ‘Penguin Boks Lid, Registered Oftce: Harmondsworth, Midler, Faland Fit published in Great Brain by André Deutch 1980 ‘Reisaleition posed in Penguin Boks 1981 Reprinted with moe reviions und posta 199) BST9IOSAD Conyiht © Peter Shaler, 1960, 1981 [Allright revered Al rights whatsoever in this play are strict reser, Under no croumstaces tay Performance take place unles permission hasbeen obtained in wet Al apptiotions ‘epardng profesional performing rights inthis play sould be rade to Mare Beri, {London Management 235-241 Repeat Sued, London WIA 2IT and epuding amet ‘forming righ to Samuel French Lis, 52 Fitaoy Stet, London WIP OR Printed in England by Clays Lud, St ves ple Finset ia Monopboto Bembo ‘Except in he United State of Ameri tis ook i sod subject ‘othe condition that sal ot, by may of trade o other be et, read hired out, or otherwise crvlted without the pubes ‘or conset in any form of binding or cover othe than tain hich ts published and without sar condition inhadng this conden being imposed on the subsequent purchase AUTHOR'S NOTES THe set ‘Amadeus can and should be played in a variety of settings. What is described in this text is to a large extent based on the exquisite formulation found for the play by the designer John Bury, conjured. into being by the director, Peter Hall. Iwas of course in enthusiastic agreement with his formulation, and set it down here with their permission as a tribute to their exquisite work. ‘The set consisted basically of a handsome rectangle of patterned ‘wood, its longest sides leading away from the viewer, set into a stage of ice-blue plastic. This surface shifted beguilingly under various lights played upon it, to show gunmetal grey, or azure, or emerald green, and reflected the actors standing upon it. The entire design was, undeniably modern, yet it suggested without self-consciousness the age of the Rococo. Costumes and objects were sumptuously of the period, and should always be so wherever the play is produced. ‘The rectangle largely represented interiors: especially those of Salier’s salon; Mozart’s last apartment; assorted reception rooms, and ‘opera houses. At the back stood a grand proscenium sporting gilded cherubs blowing huge trumpets, and supporting grand curtains of sky blue, which could rise and part to reveal an enclosed space almost the width of the area downstage. Into this space superb backdrops ‘were flawn, and superb projections thrown, to show the scarlet boxes of theatres, the black shape of the guillotine, or a charming white ‘Masonic Lodge copied from a china plate. In it the audience could see an eighteenth-century street at night (cunningly enlarged from the lid of Mozart’s own curious snuff-box) or a vast wall of goldAMADEUS ‘mirrors with an immensé golden fireplace, representing the encrusted Palace of Schénbrunn. In it also appeared silhouettes of scandal- mongering citizens of Vienna, or the formal figures of the Emperor Joseph Il of Austria and his brocaded courtiers. This wonderful up- stage space, which was in effect an immense Rococo peepshow, will be referred to throughout this text as the Light Box On stage, before the lights are lowered in the theatre, four objects are to be seen by the audience. To the left, on the wooden rectangle, stands a small table, bearing an empty cake-stand and a small handbell. {In the centre, further upstage and also on the wood, stands an empty wheelchair of the cighteemth century, with its back t0 us. To the right, on the reflecting plastic, stands a beautiful fortepiano in a marquetry case. Above the stage is suspended a large chandelier showing many globes of opaque glass. All directions will be given from the viewpoint of the audience. Changes of time and place are indicated throughout by changes of light. In reading the text it must be remembered that the action is wholly continuous. Its fluidity is ensured by the use of servants played by actors in eighteenth-century livery, whose role it is to move the furniture and carry on props with ease and correctness, while the action proceeds around them. Through a pkasant paradox of theatre their constant coming and going, bearing tables, chairs or cloaks, should render them virtually invisible, and certainly unremarkable ‘This will aid the play co be acted throughcut in its proper manner: with the sprung line, graceiulness and energy for which Mozart is s0 especially celebrated, ‘The asterisks which now and then divide the page indicate changes” of scene: but there is to be no interruption. The scenes must flow into one another without pause from the beginning to the end of the play. vs Amadeus was first presented by the National Theatre in London on 2 November 1979 with the following cas: awe ‘VeNTicELEY Dermot Crowley Donald Gee Vater ro satient Philip Locke ANTONIO SALIERI Paul Scofield JOHANN KILIAN VON STRACK Basil Henson COUNT oRsINI-ROSENBERG Andrew Cruickshank naow Van swieteN Nicholas Selby constaze WEBER Felicity Kendal WoLFcANe AMADEUS MozaRT Simon Callow Majox-poMo Wiliam Sleigh JOSEPH 11, EMPEROR OF AUSTRIA John Normington servants Nik Forster, David Mores, Louis Selwyn, Steven Slater civizens oF vienna) Glyn Baker, Nigel Bellis, Leo Dove, jane Evers, Susan Gilmore, Robin McDonald, Peggy Marshall, Robin Meredizh, Ann Sedgwick, Glenn Williams Director: Peter Hall Design and Lighting: John Bury Assistant Designer: Sue Jenkinson Music by Mozart and Salieri ‘Music Direction: Harrison Birewisle Forepiano played by Christopher Kite This is a revised version of Amadeus frst produced at the Broadhurst Theater, New York City, on 17 December 1980. It starred Ian. “McKellen as Salieri, Tim Curry 2s Mozart, and Jane Seymour as. Constanze. The Director was Peter Hall. 7CHARACTERS ANTONIO SALIERT MOZART CONSTANZE WEBER Wife to Mozart JoseeH 11 Emperor of Austria COUNT JOHANN KILIAN VoN STRACK Groom of the Imperial Chamber couNT FRANZ ORSINI-ROSENBERG Director of the Imperial Opera BARON GOTTERIED VAN SWIETEN Prefect of the Imperial Library two ‘veNnticELL1" ‘Little Winds’: purveyors of information, gossip and mayor-pomo sauieri's ver (Silent part) satieni's cooK (Silent part) ‘TERESA SALIERI Wife of Salieri (silent part) KATHERINA CAVALIERI Salieri’s pupil (silent par KAPELLMEISTER BONNO (Silent part) CITIZENS OF VIENNA ‘The c1r1ZENS OF VIENNA also play the SERVANTS who move furniture and bring on props as required, and TewesA satieRt and KATHERINA CAVALIERI, neither of whom have any lines to speak. ‘The action of the play takes place in Vienna in November 1823, and, in recall, the decade 1781-1791. ACTI VIENNA, Darkness. Savage whispers fill the theatre. We can distinguish nothing at first fiom this snake-like hissing save the word Salieri! repeated here, there and everywhere around the theatre. Also, the barely distinguishable word Assasin! ‘The whispers overlap and increase in volume, slashing the air with wicked intensity. Then she light grows upstage to reveal the silhouettes of men and women dressed in the iop hats and skirts of the early nineteenth century ~ CITIZENS OF VIENNA, all crowded together in the Light Box, and uttering their scandal WHISPERERS: Salieri! ... Salieri ... Salieri! [Downstage in the wheelchair, with his back to us, sits an old man. We cam just see, as the light grows a litle brighter, the top of his hhead encased in an old cap, and perhaps the shawl wrapped around his shoulders Salieri... Salieri... Salieri! [Two middle-aged gentlemen hurry in from either side, also wearing the long cloaks and tall hats of the period. These are the TWO VENTICELLK: purveyors of fat, rumour and gossip throughout the play. They speak rapidly ~ in this rst appearance extremely rapidly = s0 that the scene has the air of a fast and dreadful Overture, ‘Sometimes they speak to each other; sometimes to us ~ but always ith the urgency of men who have ever been frst with the news.) 9venticeLto 1: I don't believe it. VENTICELLO 2: I don't believe it. veNTIGELLO 1: I don't believe it. VeNTICELLO 2: I don't believe it. ‘wurspERErs: Salieri! venricerto 1: They say. venTicetto 2: I bear. veNTICELLO 1: I hear, VENTICELLO 2: They sy. VENTICELLO I and VENTICELLO 2: I don’t believe itl wittsPERERS: Salier! veNTICeLLO 1: The whole city is talking. VENTICELLO 2: You hear it all over. VENTICELLO 1: The cafés, VENTICELLO 2: The Opera. vENTICELLO 1: The Prater. VENTICELLO 2: The gutter. VENTICELLO 1: They say even Metternich repeats it. VENTICELLO 2: They say even Beethoven, his old pupil VeNTICELLO 1: Bu: why now? VENTICELLO 2: After so long? VENTICELLO 1: Thirty-two years! VENTICELLO Land VENTICELLO 2: I don't believe’ itl wusperers: SALIERM ventrcetto 1: They say he shouts it out all day! VENTICELLO 2: I hear he cries it out all night! VENTICELLO 1: Stays in his apartments. VENTICELLO 2: Never goes out. VENTICELLO 1: Not for a year now. VENTICELLO 2: Longer. Longer. VENTICELLO 1: Must be seventy. VENTICELLO 2: Older. Older. VENTICELLO 1: Artonio Salieri — VENTICELLO 2: The famous musician ~ 10 VENTICELLO 1: Shouting it aloud! VENTICELIO 2: Crying it aloud! veNTIEELt0 1: Impossible. venticetto 2: Incredible. vEnticeLto 1: | don't believe VENTICELLO 2: I don't believe wuisperens: SALIERI vENTICELLO 1: I know who stared the tale! VENTICELLO 2: I know who started the tale! [Tivo eld men ~ one thin and dry, one very fat ~ detach themselves from the crowd atthe back, and walk downstage, oneither side: Salir'’s VALBT and PASTRY COOK. VENTICELLO r [indicating him}: The old man’s valet! VENTICELIO 2 [indicating him]: The old man’s cco veNticetro 1: The valet hears him shouting! veNTICELLO 2: The cook heats him crying! veNTIcELtO 1: What a story! VENTICELLO 2: What a scandal! [The venticeL.t move quickly upstage, one on ther side, and each collectsa silent informant. VENTICELLO 1 walk: down eagerly with the VALET; VENTICELLO 2 walks down eagerly with the COOK.) venricetro 1 [ta vatet}: What does he say, your master? VENTICELLO 2 [to CooK}: What exacly does he cry, the Kapelh VENTICELIO 1: Alone in his house ~ VENTICELLO 2: All day and all night ~ veNTicELLO 1: What sins does he shout? VENTICELLO 2: The old fellow ~ venTicetto 1: The recluse ~ VENTICELLO 2: What horrors have you heard? VENTICELLO and VENTICELLO 2: Tell us! Tell us! Tell us at once! ‘What does he cry? What does he cry? What dos he cry? [vater and COOx gesture towards SALiERL SALLER! [ir a great cry) MOZART! [Silence]AMADEUS, VENTICELLO fuking: Mosart venriceLLo 2 [whispering|: Mozart! SALTER: Perdonami, Mozart! Il tuo assassno ti chiede perdono! VENTICELLO 1 [in disbelie)} Pardon, Mozert! VENTICELLO 2 [in disbelief} Pardon your assassin! VENTICELLO I and VENTICELLO 2: God preserve us! Satieni: Piet, Mozart. Mozart, pietal VENTICELLO 1: Mercy, Mozart! VeNTIceLLo 2: Mozart, have mercy! venticetto 1; He speaks in Italian when excited! VENTICELLO 2: German when not! veNTICELLO 1: Perdonami, Mozart! VENTICELLO 2: Pardon your assassin! [The VALET and the COOK walk to either side of the stage, and stand still. Pause. The VENTICELLI cross themselves, deeply shocked.) VENTICELLO 1: There was talk once before, you know. VENTICELLO 2: Thirty-two years ago. venricetto 1: When Mezart was dying. vENTICELLO 2: He claimed he'd been posoned. VENTICELLO 1: Some said he accused a man. VENTICELLO 2: Some said that man was Salieri vENTICELLO 1: But no ore believed it. vENTICELLO 2: They knew what he died of vENTICELLO 1: Syphilis, surely. vENTICELLO 2: Like everybody else. [Pause.] venticetto + [slyly]: But what if Mozart was right? vENTICELLO 2: If he really was murdered? veNTicELLo 1: And by him, Our First Kapellmeister! VENTICELLO 2: Antonio Salieri! VENTICELLO 1: It can't possibly be true. VENTICELLO 2: It’s not actually credible. vENTICELLO 1: Because why? VENTICELLO 2: Because why? Lo rand VENTICELLO 2: Why on earth would he do it? VeNTICELLO 1: Our First Royal Kapellmeister — VeNTICELLO 2: Murder his inferior? VENTICELLO 1. And why confess now? VENTICELLO 2: After thitty-two years! waisperers: SALIERI! SALIERI: Mozart! Mozart! Perdonami perdono! [Pause. They look at him ~ then at each other.| VENTICELLO 1: What do you think? VENTICELLO 2: What do you think? VENTICELLO 1: I don’t believe it! VENTICELLO 2: I don't believe it! VENTICELLO 1; All the same . VENTICELLO 2: Is it just possible? WeNTICELLO 1 and VENTICELLO 2 [whiperingk Did he do i after wnisetens: SALIERI! (The vewriestii go off The vater and the COOK remain, on ithe ie othe age ast sis his whee Stare ats, We see aman of seventy nano ned tango, shold He es and igi othe aude ying oe] + Il two assassino ti chiede "APARTMENTS NOVEMBER 1823. THE SMALL HOURS sanrert [calling to audience}: Vi Saluto! Ombri del Futuro! Antonio Salieri~ a vostro servizio! A clock ounide in the street strikes three.) T can almost see you in your ranks ~ waiting f for your tum to live. Ghosts of the Future! Be visible. | beg you. Be visible. Come BAMADEUS: to this dusty old room ~ this time, che smallest hours of dark November, eighteen hundred and twenty-three ~ and be my Confessors! Will you not enter this place and stay with me tll dawn? Just sll dawn ~ tll six o'clock! wisrencns: Salen! ... Salieri! [The curtains slowly descend on the c1412ENS OF VIENNA. Faint images of long windows are projected on the silk.) sautent: Can you hear them? Vienna is a City of Slander. Everyone tells tales here: even my servants. { keep only two now ~ (He indicates them] ~ they've been with me ever since Teame here ity years ago. The Keeper of the Razor: the Maker of the Cakes. One keeps me tidy, the other keeps me full. Tonight, I gave them instructions they never heard before. [To them} ‘Leave me, both cof you! Tonight I do not go to bed at all! (They react in suprise “Return here tomorrow morning at six precisely ~ to shave, to feed your capricious master!” [He smiles at them both and claps his hands in gentle dismissal) Via. Via, vi, vial Grazie! [They bow, bewidered, and eave the stage.) How surprised they were! ... They'll be even more surprised tomorrow: indeed they willl [He peers hard at the audience, tying to see it] Ob, won't you appear? I need you ~ desperately! This, is now the last hour of my life, Those about to die imglore you! What must I do to make you visible? Raise you up in the sh to be my last, last audience? ... Does it take an Invocation? That’ how it’s always done in opera! Ah yes, of course: tha’s it. An Invocation! The only way (He rise.) Let me try to conjure you now ~ Ghosts of the distant Future ~ so that I can see you. He gets out of the wheelchair and huddle over to the frtepiano. He stands atthe instrument and begins to sing ina high craked voice, interspting himself at the end ofeach sentence with figurations on the keyboard in the manner of ¢ recitativo seceo. Durig this the house lights slowly come up 0 illuminate the audience] [Singing) Ghosts of the Future! 4 actt ‘Shades of Time to come! So much more unavoidable than those of Time gone by! Appear with what sympathy Incarnation may endow you! ‘Appear You ~ The yet-to-be-born! The yer-to-hat The yet-o-kill Appear — Posterity! UThe light on the audience reaches its maximum. It stays like this during all of the following.) [Speaking again] There. It worked. [can see you! That is the result of proper taining, 1 was taught invocation by Chevalier Gluck, who was a true master at it. He had to be. In his day that is what ‘people went to the opera for: the raising of Gods, and Ghosts... Nowadays, since Rossini became the rage, they prefer to watch the escapades of hairdressers. [Pause.} ‘Scusote. Invocation is an exhausting business! I need refreshment. [He goes to tte cake-stand.| Isa lite repellent, tadmit— but actually the first sin I have to confess to you is Gluttony. Sticky gluttony at that, Infentine ~ Taian gluttony! The truth is that all my life Thave never been able to conquer a lust for the sweetmeats of northern Italy where I was born. From the ages of three to seventy- three my ertire career has been conducted to the taste of almonds sprinkled with sifted sugar. [Lusfily] Veronese biscuits! Milanese macaroons! Snew dumplings with pistachio sauce! [Pause] Do not Judge me too harshly for this. All men harbour patriotic feelings of some kird ... Of course I was born in 1750, when no man of sophistication would have dreamed of talking about Love of Country, or Native Earth. We were men of Europe, and that was enough. My parents were provincial subjects of the Austrian Empire, and perfectly happy to be so. A Lombardy merchant and his Lombardy wife. Theit notion of Place was the tiny town of Legnago ~ which I could not wait to leave. Their notion of God ‘was a supetior Hapsburg emperor inhabiting aheaven only slightly 15AMADEUS SALIERI [in a young man's voice: vigorous and confident: The place throughout is Vienna. The year ~ to begin with ~ seventeen eighty-one. The age sill that ofthe Enlightenment: thet clear time before the guillotine fell in France and cut all our lives in half 11am thirty-one. Already a prolific composer to the Hapsburg Court, I own a respectable house and a respectable wife — Teresa [Ewer venesA: a padded placid lady who seats herself uprighly in the chair upstage Ido not mock her, I assure you. I required only ont quality in 1 domestic companion — lack of fire. And in that omision Teresa ‘was conspicuous. [Ceremoniously he puts on his powdered wig.| also had a prize pupil: Katherina Cavalieri. [karnenina swirls on from the opposite side: a beatiful girl of tnventy. The music becomes vocal: faintly, we hear a soprano singing 4 concert ara, Like TERESA's, KATHERINA'S part it mute ~ bul as she enters she stands by the forepiano, and energetically mimes her rapturous singing. At the keyboard old wONNO accompanies her appreciatively| SALIERI: She was later to become the best singer of her Age. But at that time she was mainly a bubbling student with merry eyes and a sweet, eatzble mauth. I was very much in love with Katherina or atleast in lus. But because of my vow to God, | was entirely faithful to my wife. [nad never lad a inget upon the giel ~ except ‘occasionally to depress her diaphragm in the way of teaching her to sing, My ambition bummed with an unquenchable flame. It chief goal was the post of First Royal Kapellmeister, then held by Giuseppe Bonno ~ {indicating him] ~ seventy years old, and apparently immortal [All on stage, save saxzeRt, suddenly freeze. He speaks vey dectly to the audience.) You, when yeu come, will be told that we musicians of the eighteenth century were no better than servants: the willing slaves of the well-to-do. This is quite true. It is also quite false. Yes, ‘we were servants. But we were leamed servants! And we used ‘our learning to celebrate men's average lives! a acti {A grander music sounds. The en reROR,emains seated, but the other Jour men in the Light Box VON STRACK, ORSINI-ROSENBERG, ‘VAN SWIETEN and the PRIEST — coms slowly out on 10 the main stage and process imposingly down it, and around it, and up it again to retro ther places. Only the PR14st goes off as do TERESA id KATERINA om hers] [Over this] We took unremarkable men: usual bankers, run-of-the- rill press, ordinary soldiers and statesmen and wives ~and sacra ‘mentalized their mediocrity. We smoothed their noons with strings, divi! We pierced theit nights with chivarin! We gave them processions for ther strutting ~ serenadss for their rutting ~ high hhoms for their hunting, and drums for their wars! Trumpets sounded when they entered the world, and trombones groaned ‘when they left it! The savour of their days remains behind because of us, our music still remembered while their politics are long forgotten. [The emrenon hands his rolled paper lo VON STRACK and goes off In the Light Bex are left standing, like three icons, ORSINI ROSENBERG, plump and superilous, aged sixty; VON STRACK, stiffand proper, aged fifty-five; VAN SWiETEN, cultivated and serious, caged fity. The lights go down on them a litle. Tell me, before you call us servants, who served whom? And who T wonder, in your generations, will immortalize you? [The Two vENTICELLI come on quickly downstag, from either side, They are now bewigged also, and are dressed well, in the style of the lave eighteenth cenuury. Their manner is more confidential than before VENTICELLO x [to sattERi Sit venticeLto 2 [to satieni| Sit VENTICELLO I: Sit. Sit. VENTICELLO 2: Sir. Si. Sit! [sation bids them wait fora second | saLtenr: I was the most successful yourg musician in the city of ‘musicians. And now suddenly, without waming ~ [They approach hin eagerly, from either side.) om her sid 9ymericetto 1: Mozart venTIcEtLo 2: Moza VENTICELLO T and VENTICRLLO 2: Mozart has come! Sattent: These are my Venticelli, My ‘Litde Winds, as I call them, THe gives each «coin from his pcket.| The secret of succesful living in a large city is always to know to the minute what is being done behind your back. venrrceLto 1: He's kt Salzburg. VENTICELLO 2: Means to give concerts venTicento 1: Asking for subscribers. Satine: Fd known of him for years, of course. Tales of his prowess, were told all ever Europe. vanticeLLo 1: They say he wrote his fist symphony at five VENTICELLO 2:1 heat his fist concerto at four vawrrcento 1: A fall opera at fourteen, Satie [to them}: How old is he now? vanticEtio 2: Twenty-five satren [carflly: And how long is he remaining? vinticerto 1: He's not departing. VINTICELLO 2: He's here to stay. [The vewriceu glide off] ‘THE PALACE OF SCHONBRUNN [Lights come up o1 the thre stiff figures of ORSINI-ROSENPERG, VON STRACK and VAN SWIBTEN, standing upstage in the Light Box. The CHAMBERLAIN hands the paper he has recived from the Emperor to the DIRECTOR OF THE OFERA. SALIERI remains downstage.] Von STRACK [## ORSINI-ROSENBERG]: You are required to com- ‘mission a comic opera in German from Herr Mozart. acti satext [(0 audience}: Johann von Strack. Royal Chamberlain. A ‘Court officul to his collar bone. ROSENBERG [lofily]: Why in German? Italian is the only possible language for opera! satenr: Count Orsini-Rosenberg. Director of the Opera. Benevo- Jen to all chngs Italian ~ especialy myself Von sTRAck [stifiy: The idea of 1 National Opera is dear to His ‘Majesty's heart. He desires co hesr pieces in good plain German. ‘VAN swieren: Yes, but why comic? It is not the function of music to be funny. SALLERI: Barcn van Swieten. Prefect of the Imperial Library. Ardent Freemason. Yet to find anything funny. Known for his enthusiasm for old-fishioned music as ‘Lord Fugue’. VAN swiEren: I heard last week a remarkable serious opera from Mozart: Idoneneo, King of Cree nosenwenc: | heard that too. A young fellow trying to impress beyond his abilities. Too much spice. Too many notes Von smack [firmly, 10 ORSINI-ROSEN BERG]: Nevertheless, kindly convey the commission to him today. ROSENBERG [taking the paper reluctantly: I believe we are going to have trouble with this young man. fonsini-nosennenc leaves tie Light Box and strolls down the stage to saLieR1] ROSENBERG: He was a child prodigy. That always spells trouble. His father is Leopold Mozart, a bad-tempered Salzburg musician who dragged the boy endlessly round Europe making him play the keyboard blindtold, with one finger, and that sort of thing (To satent] All prodigies are kateful ~ non 2 vero, Composter? saLteni: Divengono sempre steil con gli ROSENBERG: Precsamente. Precsament VON STRACK [calling suspiciously}: What are you saying? RosENDERG [arly]: Nothing, Herr Chamberlain ....Niente, Signor Pomposo! [He strolls on out.] [VON STRACK strides off irtted. VAN SWIETEN now comes downstege] 2AMADEUS VAN swIETEN: We meet tomorrow, I believe, on your committee to devise pensions for old musicians. SALtER! [deferentially|: I's most gracious of you to attend, Baron. VAN sWIETEN: You're a worthy man, Salieri. You should join our Brotherhood of Masons. We would welcome you warmly. SaLteRt: I would be honoured, Baron! VAN swiereN: If you wished I could arrange initiation into my Lodge. SALIERI: That would be more than my due, VAN SWIETEN: Nonsense. We embrace men of tlent of all conditions. 1 may invite young Mozatt also: dependent on the impression he makes, SAtteRt [bowing|: OF course, Baron. [VAN swiereN goes out] [To audience] Honout indeed. In those days almost every man of influence in Vieuna was a Mason ~ and the Baron's Lodge by far the most fashionable. As for young Mozart, 1 canfess | was alarmed by his coming. Not by the commission of a comic opera, ‘even though I myself was then attempting one called The Chimney ‘Sweep. No, what worried me were reports about the man himself. He was praised altogether too much, [The venticettr hurry in from either side.) VENTIGELLO I: Such gaiety of spiit! VENTICEILO 2: Such ease of manner! VENTICELLO 1: Such natural charm! Sattent [to the vENTICELLI}: Really? Where does he live? venticexto 1: Peter Platz VENTICELLO 2: Number eleven, VENTICELLO 1: The lindlady is Madame Weber. VENTICELLO 2: A real bitch, VENTICELLO 1: Takes in male lodgers, and has a tribe of daughters. VENTICELLO 2: Mozart is after one of them, vENTICELLO 1: Constanze. VENTICELLO 2: Flighty little piece! VENTICELLO I: Her mother's pushing marriage. VENTICELLO 2: His father isn't venticetzo 1: Daddy is worried sick! vawticetto 2: Writes him every day from Salzburg! SALIERI [10 them]: I want to meet him. What houses does he visit? VeNticELLo T: He'll be atthe Baroness Walistideen’s tomorrow night VENTICELLO 2: Some of his music is to be played SALLERI [to bathls Restiamo in conta VENTICELLO I and VENTICELLO 3: Certamont, Signore! [They 30 of] SALIERI [to audience]: So to the Baroness Waldstidten’s I went. That night changed my lite. ‘THE LIBRARY OF THE BARONESS WALDSTADTEN [Un the Light Box, two elegantly curtained windows surrounded by handsome subdued wallgsper. Two SERVANTS bring on a large table loaded with cakes and desserts. Two more camy on a grand high-backed wing-chair, which they place ceremoniously downstage at the left.) sates {to audience: I entered the library to take first a litle refresh ‘ment. My generous hostess always put out the most delicious confectionsin that room whenever she knew Iwas coming. Sorbet! = caramelli~ and most especially a miraculots crema al mascarpone which is simply cream cheese mixed with granulated sugar and suffused with rum — which was totally iresstible! {Ue takes a tle bow of it fom the cake-stand and sis inthe wing- chair, facing out front. Thus seated, he is invisible to anyone entering from upstage.} "had just sat down ina igh-backed chair to consume this paradisal 33dish ~ unobservable as it happened to anyone who might come [Offtage, aoises are heard] Constanze [off]: Squcak! Squeak! Squeak! [Constanze runs on from upstage: a pretty grin her early twenties, ull of high spirits. At this second she is pretending to be a mouse ‘She runs ross the stage in her gay party dress, and hides under the Sortepiano. ‘Suddenly a small, pallid, large-eyed man in a showy wig and a showy set of clothes rans in after her and freezes ~ centre ~ a: a cat would Jfeeze, hunting a mouse. This is WOLFGANG AMADEUS MOZART. ‘As we get to know him through his next scenes, we dicover several things about him: he isan extremely restless man, his kands and fet in almost continuous motion; his voice is light and high; and he is possessed of an unforgettable giggle — piering and infantil.) MozaRT: Miaouw! CONSTANZE [betraying where she is]: Squeak! MozART: Mizouw! Miouw! Mizouw! [The compeser drops on all ours and, wrinkling his fae, begins spitting and stalking his prey. The mouse — giggling with excitement ~ breaks her cover aud dashes across the floor. The cat pursues. Almost at the chair wheres ALLERsis concealed, the mouse turns at bay. The cat stalks her ~ nearer and nearer — in its knee-breches and elaborate coat.) 1'm going to pounce-bounce! I'm going to scrunch-munch! I'm ‘going to chew-poo my little mouse-wouse! I'm going to tear her to bits with any pawsclaws! consTanze: No! MOZART: Paws-claws! Paws-claws! ... OHH! [Ho falle a her. She ereame) sacieRt [to audience}: Before I could rise, it had become difficult to do so. MozART: I'm going ta bite you in half with my fangs-wangs! My litle Stanzedl-wanzesl-banzerl! [She giggles delightedly, lying prone beneath him.) You're trembling! ... I think you're frightened of puss-wuss! .. cy 1 think you're scared to death! [Jntimately] I think you're going to shit yourself! [She squeals, but isnot really shocked} ‘MozART: In a moment it’s going to be on the floor! CONSTANze: Ssh! Someone'll hear you! (He imitates the noise of a fart} Stop it, Wolferl! Ssht Mozart: Here it comes now! [ can hear it coming! ... Oh what a melancholy note! Something's dropping from your boat! [Another fart noise, sower. CONSTANZE shrieks with amusement.] CONSTANZE: Stop it now! It’s stupid! Rally stupid! [sattert sits appalled] Mozart: Hey ~ Hey ~ what's Trazom! constanze: What? Mozart: T-R-A-Z-O-M, What's that mean? consTANze: How shotld I know? Mozanr: It's Mozart spelt backwards ~ shit-wit! If you ever married me, you'd be Constanze Trazom, consTANze: No, I wouldn't. Mozart: Yes, you would. Because I'd want everything backwards conce I was married. I'd want to lick my wife's arse instead of her face, CoNsTANze: You're not going to lick anything at this rate. Your father’s never going to give his consent to us [The sense of fm deserts hi instantly.) Mozart: And who cares about his consent? constanze: You do. You care very much. You wouldn't do it without it. Mozart: Wouldn't 7 CONSTANzE: No, you wouldn't, Because you're too seared of him. T know what he says about me. [Solem voice] ‘If you marry that dreadful girl, you'll end up lying on straw with beggars for children.” Mozart [impulsively]: Marry me! Constanze: Don’t be silly. 2sAMADEUS. Mozart: Marry me! CONSTANZE: Are you serious? Mozart [defiantly]: Yes! ... Answer me this minute: yes or no! Say yes, then T can go home, climb into bed ~ shit over the mattress and shout ‘I did ie” [He rolls on top ofherdelightedly, uttering his high whinnying gigae. The Majon-DoMo of the house stalks in, upstage.| MayoR-DoMo [imperviously}: Her Ladyship is ready to commence. Mozart: Ab! ... Yes!... Good! [He picks himself up, embarrassed, and helps CONSTANZE to rise. With an attempt at dignity] Come, my dear. The music waits! CONSTANZE [suppressing giggles]: Ob, by all means ~ Herr Trazom! [He takes her arm. They prance off together, followed by the disapproving MajoR-DOMO.] SALUER| [shaken: to audience}: And then, right away, the concert began. heard it through the door ~ some Serenade: at first only vaguely ~ too horrified to attend. But presently the sound insisted -a solemn Adagio in E fat, [The Adagio from the Serenade for Thirteen Wind Instruments (K.361) begins 10 sound. Quietly and quite slowly, seated in the wing-chair, SAL1ERL speaks over the music.) It started simply enough: just a pulse in the lowest registers — bassoons and basset horns ~ like a rusty squeezebox. It would have been comic except for the slowness, which gave it instead a sort of serenity. And then suddenly, high above it, sounded a single note on the oboe. [We hear it] {thung there unwavering ~ piercing me through ~ tll breath could hold it no longer, and a clarinet withdrew it out of me, and sweetened it into a phrase of such delight it had me trembling. The light flickered in the room. My eyes clouded! [With ever- increasing emotion and vigour] The squeezebox groaned louder, and over it the higher instruments wailed and warbled, throwing lines of sound around mz —long lines of pain around and through me = Ah, the pain! Pain as I had never known it. I called up to my 26 sharp old God ‘What is this? ... What?" But the squeezebox went ‘on and on, znd the pain cut deeper into my shaking head until suddenly Twas running ~ [He bolts cut of the chair and runs across the stage in a fever, to 42 comer, dewn right. Behind him in the Light Box the Library fades into a stret scene at night: small houses under a rent sky. The music continues, fainter, underneath] = dashing through the side-door, stumbling downstairs into the street, into the cold night, gasping for life. [Calling up in agony] “What?! What is this? Tell me, Signore! What is this pain? What is this need in the sound? Forever unfulfillable yet fulfilling him who hears it, utterly. Is it Your need? Can it te Yours? ...” [Pause.] Dimly the music sounded from the salon above. Dimly the stars shone on the empry street. I was suddenly frightened. It seemed to me I had heard a voice of God ~ and that it issued from a creature whese own voice I had also heard ~ and it was the voice of an obscene child! [Light change. The streetscene udes.} SALIERI'S APARTMENTS. [Ut remains dark} saint: I ran home and buried my fear in work. More pupils ~ till there were thirty and forty. More committees to help musicians! More motets and anthems to God’s glory. And at night I prayed for just one thing. [He kneels desperately. ‘Let your voice enter me! Let me conduct you! ....Let me!” [Pause. He rises.) As for Mozart, Tavoided meeting him ~ and sent out my Little Winds for what- ever scores of his could be found. [The vENTICELLE come in with manuscripts. SALLERI sits at the 7AMADEUS fortepiano, and they show him the music allemately, a SERVANTS tnobirusvely remove the Weldtidten table and wing-char.| vewricetto 1: Six fortepiano sonatas composed in Munich. vewriceio 2: Two in Mannheim. venticetto 1: A Parisian Symphony. SALTER! [lo audience}: Clever. They were all clever. And yet they ssemed to me completely empty! vexricpito 1: A Divertimento in D. venticetto 2: A Casazione in G. vewriceito 1: A Grand Litany in E Flat SAz1ER1 [lo audioue|: The same. Conventional. Even boring. The roductions of» precacious youngster ~ Leopold Mozart's swanky son ~ nothing more, That Serenade was obviously an exception in his work: the sort of accident which might vist any composer on a lucky chy! [The vewticents go off with the music] Hiad Tin face been simply taken by surprise that he filthy creature could write music at ll? ... Suddenly I ele immensely cheered! T would seek him out and welcome him myself to Vienna! ‘THE PALACE OF SCHONBRUNN {Quick ight change. The EmpeROR JOSEPH is revealed standing in bright light before the gilded mirrors and the feplace, attended by CHAMBERLAIN VON STRACK. His Majesty is a dapper, cheerful figure, aged forty, largely pleased with himself and dhe world. Downstage, from opposite sides, VAN SWIBTEN anid ORSINI-ROSENBERG hurry on.) osepu: Fétes and fireworks, gentlemen! Mozart is here! He's waiting below! [All bow.) ‘ALL: Majesty! JOSEPH: Je sus follement impatient! SALIER! (to audience}: The Emperor Joseph the Second of Austria. Son of Maria Theresa. Brother of Marie Antoinette. Adorer of ‘music ~ provided that it made no demands upon the royal brain. [To the empsnon, deferentially] Majesty, I have written a litele ‘march in Mozart's honour. May I play it as he comes in? JosEPH: By all means, Court Composer. What a delightful idea! Have you met him yer? SALIERI: Not yet, Majesty. JOSEPH: Fétes and fireworks, what fun! Strack, bring him up at once. [von sTRace goes off: The EMPEROR comes on 0 the stage prope.] ‘Mon Dieu, | wish we could have a competition! Mozart against some other virtuoso. Two keyboards in contest. Wouldn’t that bbe fun, Baron? VAN SWIETEN [stiffly Not to me, Majesty. In my view, musicians are not horses to be run against one another. {Slight pawe.} sosepm: Ah, Well ~ there it i. [VON STRACK returns.) VON stRACK: Herr Mozart, Majesty Josepn: Ah! Splendid! ... [Conspiravrially he signs to savieRt, who ‘moves quickly to the fortepiano,| Court Composer ~ allons! [To VON STRACK] Admit him, please Linstantly SALIERI sts at the instument and strikes up his March ‘om the keyboard. At the same moment MOZART struts in, wearing 4@ highly orrate surcoat, with dress-sword. The EMPEXOR stands downstage, centre, his back 10 the audience, and as MOZART approaches he signs to him to halt and listen. Bewildered, MOZART does so~ becoming aware of satteRx playing ‘his March of Welcome. It is an extremely banal piece, vaguely — but only vaguely ~ reminiscent of anther march to become very famous later on. All stand frozen in atiides of Ustening, until SALIERL comes toa jnish. Applause.)AMADEUS Josten [lo sattenil: Charming .... Comme habitae! [He curs and extends his hand tobe kissed] Mozart. [mozant approaches and kneels extravagantly.) Mozant: Majesiy! Your Majesty's humble slave! Let me kiss your royal hand a hundred thousand times! [He kiss i greedily, over and over agin, uni its owner withdraws it in embarrassment} joseess Non, mens vow plat Tse les cnthussam, I beg you. Come sir, ves-vout! [He asits mozAR® 10 rise] You will not recall it, but the last time we met you were aso on the floor! My Sister remembers i co this day. This young man ~ all of x years ld, mind you ~ slipped on the floor at Schénbrunn ~ came a nasty purler on his kite head ... Have I told you this before? nosewnenc [hati]: No, Majes Von steack [hastily]: No, Majesty! satient [hastily} No, Majesty! Josten: Well, my sster Antoinette rans forward and picks him up herself, And do you know what he docs? Jumps right into her arms ~ hoopls, just like that! ~ ksses her on both checks and says Will you marry me: yes or no?” [The countiens laugh politely, Mozant emits his highpiched siggle. The emoenon is clearly steed by it] JosePi T do not mean to embarrass you, Herr Mozart. You know everyone here, surely? Movant: Yes, ste. [Bowing elaborately 9 onsINI-ROSENBERG] Hert Director! [To van swiereN] Here Prefect. ‘van swieTBN [warmly]: Delighted to sce you again. JosEPH: But not think, our esteemed Court Composer!... A most, serious omission! No one who cares for art can afford not to know Here Salieri, He wrote that exquisite litle March of Welcome for you atten: Te was a tif, Majesty gosePn: Nevertheless... Mozant [to sALtERI} I'm overwhelmed, JosePut: Ideas simply pour out of him — don't they, Strack? 30 acti stmac: Endlesly, site. [As if tipping him] Well done, Salieri joszent: Let it be my pleasure then to introduce you! Court ‘Composer Salieri ~ Herr Mozart of Salzburg! SALIERI [sleckly, 10 MOZART]: Finulmente. Che gia. Che diletto straordnario. {He gives him a prim bow and presents the copy of his music to the ther composer, who accepts it witha flood of lalian.) MozAnt: Grazie Signore! Mille milone di benvenuti Sono commass! E um onore ecexionale incontrarlal Camposiore brillant e famosssimol (He makes an elaborate and showy bow in return.) saLtent [dryly Grazie. JosePH: Tell me, Mozart, have you received our commission for the opera? Mozant: Indeed T have, Majesty! { am so grateful 1 can hardly speak! ... I swear to you that you will have the best ~ the most perfect enterainment ever offered a monarch. P've already found, a hibretto. nosennené [sarled: Have you? I éidn't hear of this! Mozanr: Forgive me, Herr Director, lentirely omutted to tell you. nosENDERG: May [ ask why? Mozart: It didn’t seem very important, ROSENBERG: Not important? Mozant: Not really, no. ROSENBERG [iifaed}: It is important to me, Herr Mozart. Mozant [embarased|: Yes, I see that. Of course. RoseNBERG: And who, pray, is it by? mozant: Stephanie. noseNnenc: A most unpleasant man. Mozant: Buta brilliant writer. ROSENBERG: Do you think? Mozant: The tory is really amusing, Majesty. The whole plot is st in a~ [He giggles] ~ in a. sosern [eager!7|: Where? Where ist set? Mozant: It's - it's ~ rather saucy, Mayesty! sossen: Yes, yes! Where? a”AMADEUS Mozant: Wel ifs actully set in a erage. Josern: A what? MozAnT: A pashu's harem. [He gigles willy.) Roseusenc: And you imagine hat ia suitable subject tor pertor- rnance at a National Theatre? Mozart [in a pack Yes! No! Yes, 1 mean yes, yes I do. Why rot? It’s very funny, i's amusing ... on my honour ~ Majesty rMhere’s nothirg offensive init. Nothing offensive in the world. 1 fall of proper German virtues, I swear it... sattent [bland Scusate, Signore, but what are those? Being a foreigner Pm not sure joserHt: You are being cativo, Court Composer. sattent: Not at all, Majesty. Joseeut: Come then, Mozart. Name us a proper German virtue! Mozant: Love, Sie. I have yet to sce that expresed in any opera VAN SWIETEN: Well answered, Mozart Ssatrony (oniling): Scusate. 1 was under the impression one rarely ‘aw anything ele expresed in opera Mozart: mean manly love, Signore. Not male sopranos screeching. (Or stupid cotples rolling their eyes. All chat absued Italian mbbish [Pause. Tenson, ORSINI-ROSENBERG coughs] 1 mean the rea! thing. yosrpn: And do you know the real thing yourself, Herr Mozart? Mozant: Under your pardon, | think ! do, Majesty. (He gives a short saale} sosEPH: Bravo. When do you think i wil be done? Mozant: The fint acti already finished. Josra: Bor it can't be more than two weeks since you started! Mozant: Composing is not hard when you have the right audience to please, Sire van swreren: A charming reply, Majesty. josreu: Indeed, Baron. Fetes and fireworks! {sce we are going to have fétes and fireworks! Au revoir, Monsieur Mozart. Soyez bienven & la cur 2 MoZzanr [with expert rapidity: Majest! — je suis comblé d’honneur dire accepté dans Ia maison du Pore de tus les musicens! Servir un rmonarque aussi plein de discerement que votre Majesté,cest un honneur qui dépase le sommet de mes dis! [A pause. The exPenon is taken cback by this flood of French,] joszpu: Ah. Well ~ there it is. I'll leave you gentlemen to get better acquainted, sattert: Good day, Majesty Mozart: Votre Majesté. [They both bow. JOSEPH goes out] ROSENBERG: Good day to you VON STRACK: Good day. [They follow the EMPEROR] VAN swiETEN [vammly shaking his hand}: Welcome, Mozart. I shall sce much mor: of you. Depend on it! Mozart: Thank you. [He bows, The BARON goes. MOZART and SALLERI are left alone.) satteRt: Bene. MOZART: Bene. SALIERI: I too wish you success with your opera ‘Mozanr: Il have it. I's going to be superb. I must tell you T have already found the most excellent singer for the leading part. SALIERI: Oh: who is that? Mozart: Her name is Cavalieri. Katherina Cavalieri. She's really German, but she thinks it will advance her carcer if she sports an Italian name. SALLERI: She's quite right. It was my idea. She is in fact my prize pupil. Actually she’s a very innocent child. Silly in the way of young singers — but, you know, she’s only twenty. [Without emphasis MOZART freezes his movements and SALIERT takes one easy step forward to make a fluent aside.) {To audience] Thad kept my hands off Kathesina. Yes! But, I could not bear to think of anyone else's upon her ~ least of all his! MozARt [unffeezingl: You're a good fellow, Salieri! And that’s jolly litle thing. you wrote for me. aAmapeus Mozant: Let's see if I can remember it. May I? SALIERI: By all means. It's yours. MOZART: Grazie, Signore, [mozanr tosses the manuscript on to the lid of the fortepiano where ‘he cannot see it, sits at the instrument, and plays Sautent’s March of Welcome perfectly from memory ~ at fist slowly, recalling it — but om the reprise ofthe tune, very much faster} ‘The rest is just the same, isn’t it? [He finishes it with insolent speed.) SALIERI: You have a remarkable memory. MozARr [delighted with himself]: Grazie ancora, Signore! [He plays the opening seven bars again, but this time stops on the interval of the Fourth, and sounds it again with displeasure } I doesn’t really wark, that Fourth — does it! ... Let's try the ‘Third above ... [He does so ~ and smiles happily] Ah yes! .. os L appily.| Ab ye [He repeats the new interval, leading up to it smartly with the well- known military-trampet arpeggio which characterizes the celebrated ‘March from The Marriage of Figaro, ‘Non pit andra’. Then, using the interval ~ tentatively ~ delicately ~ one note at a time, in the treble ~ he seals into the famous tune itself. On and on ke plays, improvising happily what is virtually the march we know now, laughing gleefully each time he comes to the amended interval of a Third. SALTERI watches him with an aiswering smile atinted on his face. MozART’s playing grows more and more exhibitionistic ~ revealing 4 the audience the formidable virtuoso he is. The whole time he himself ‘remains totally oblivious to the offence he is giving. Finally he finishes ‘he March with a series of triumphant flourishes and chords! ‘An ominous pause.) SALLERI: Scusate. I must go. ‘mozanr: Really? [Springing up and indicating the keyboard} Wy don't you try a Variation? SALTER: Thank you, but I must attend on the Emperor. “ Mozart: Ah. SALUERI: It has been delightful to meet you. Mozart: For me too! ... And thanks for che March! [mozanr picks up the manuscript fiom the top of the fortepiano ‘and marches happily ofitage. A slight pause. SALIERI moves towards the audience. The lights go down around him SALTER! [to audience: Was it then ~ so early ~ that I began to have thoughts of murder? ... Of course not: at least not in Life. In [Ar it was a different matter. I decided I would compose a huge tragic opera: something to astonish the world! ~ and I knew my theme. I would set the Legend of Danaius, who for a monstrous crime was chained to a rock for eternity ~ his head repeatedly struck by lightning! Wickedly in my head I saw Mozart in that position. In reality the man was in no danger at all... Not yet. ‘The Abduction from the Seraglio [The light changes, and the stage instantly tums into an eighteenth= century theatre. The backdrop projection shows a line of sofly gleaming chandeliers. ‘The sexvANTs bring in chars and benches. Upon them, facing the audience and regarding it as if watching ax opera, sit the EMPEROR JOSEPH, VON STRACK, ORSINI-2OSENBERG and VAN SWIETEN. [Next 0 them: KAPELLMEISTER BONNO and TERESA SALIERL A little behind them: CONSTANZE. Behind her: CITIZENS OF vienna] satieRt: The first performance of The Abduction from the Seraglio ‘The creature's expression of manly love. 35AMADEUS [MozARr comes om briskly, wearing a gaudy new coat and a new ‘powdered wig. He strats quickly to the fertepiano, sts a it and mime: conducting. SALIERI sits nearby, nex! to his wife, and watches MOZART intently] He himself contrived to wear for the occasion an even more vulgar coat than usual. As for the music, it matched the coat completely. For my dear pupil Katherina Cavalieri he had written quite simply the showiest aia T'd ever heard (Feaintly we hear he whizzing scale passages for SOPRANO which nd the aria ‘Marten Aller Aten.) Ten minutes of scales and omaments, amounting in sum toa ‘vast emptines. So ridiailous was the piece in fact ~ s0 much ‘what might be demanded by a foolish young soprano ~ that I knew precisely what Mozart must have demanded in return for it (The final orchestral chord ofthe aria. Silence. No one moves} Although engaged to be married, he'd had her! Lknew that beyond any doubt. [Bluntly] The creature had hid my darling gir, ULoudly we hear the brilliant Turkish Finale of Seraglio. Great applause from those watching. MOZART jumps to his feet and acknowledges it. The EMPEROR rises ~ ai do all ~ and gestures sraciously fo the stage’ ininvitaion. KATHERINA CAVALIERI tans on in her costume, all plumes and flounces, to renewed cheering and lapping. She cutsies to the EMPEROR ~ is kissed by SALiER1 ~ resented to is wife ~ cuties again to MOZART and, flushed with triumph, moves to one sie Inthe ensuing brief silence CONST ANZ» ashes down from the back, wildly excited. She flings herself on MOZART, net even noticing the EMPEROR] Constanze: Oh, well done, lovey! ... Well done, pussy-wussy! [ozant indicates the proximity of His Majesty Ob! ... ‘Scuse me! [She ass in embarrassment. MozAnr: Majesty, may I present my fiancée, Fraulein Weber. JOSEPH: Enchanié, Fraulein CONSTANzE: Your Majesty! 36 Mozant: Constanze is singer heel soserm hndesd? / Constanze [embaraved: I'm not at al, Maety. Don't be silly, *Waligane! 10sEPH So, Morar ~ a good effort. Decidedly that. A good effor. ozanT: Bid you wally Uke it, Se? Journ: [thought was mow interesting, Ye, inded A trie how thal one ny? [To oustsi-nosenenc] How shall one sy. Director? aosanaunc [abervcny); Too many notes, Your Majesty? osu: Very wal put. Foo many notes, wozanT: {don't understand. Josern: My dea fellow, dont tke it oo hard. There ate infact ony 4 many note the ea can hearin the coure ofan evening. Tak Fm righ in eying tat, arn't 1, Court Compose? SaLitnt [amonfoahly]: Well ys, I would say yes, om the whole, es, Majer sovnrit: There you ar. I's lever, I's German, K's qualiy work. ‘And there ate amply too many notes. Do yous? ozaer. Thee ae jut many note, Mapaty, eather more nor eas ae requved (Paw Josep Af... Well thee i [Fe ot of ably, followed by Sane leo beng Snurants Nota a. He reps you for your view Mozant [neraulyl | hope so». What di you tink youre, Wie Did you cae for the pice a al? SaLibnt: Yer ofcourse, Mozart a its best itis tly harming MOzAnT: And at other times? acinar [moth Well, jst ocasionlly at otter times ~ in Kathein’saria, for example ~ ik wat a lie excesive mozant: Katherha iran exccnive gil. In at she's imaible Satiants All heme, a ny revered texcher the Chevabier Gluck toed to say tome one mut avoid mute that smell of noi a7AMADEUS MozAaRt: What does that mean? SALtERI: Music which makes one aware too much of the virtuosity of the composer. Mozant: Gluck is absurd satteRt: What do you say? ‘Moz ART: He's talkedall his life about modernizing opera, but creates people so lofty they sound as though they shit marble. [Constanze gives a litle cream of shock.) cONSTANZE: Oh, “scuse mi mozart [breaking out: No, but it’s too much! Gluck says! Gluck says! Chevalicr Gluck! .... What's Chevalier? I'm a Chevalier. The Pope made me a Chevalier when I was still wetting my bed. constanze: Wolteal! NozarT: Anyway it’s ridiculous. Only stupid farts sport titles. saient [blandly]: Such as Court Composer? Mozart: What? ... [Realizing] Ah. Oh. Ha, Ha, Well! ... My father’s right again. He always tells me I should padlock my mouth . Actually, T shouldn’t speak at all! sazent [soothingly]: Nonsense, I'm just being what the Emperor would call cative. Won't you introduce me to your charming fiancée? Mozant: Oh, of course! Constanze, this is Herr Salieri, the Court ‘Composer. Fraulein Weber, SatreRt [bowing]: Delighted, cara Fraulein CONSTANZE [bebbing}: How do you do, Excellency? SALIERI: May I ask when you marry? MozaRT [nervously]: We have to secure my father's consent. He's an excellent man ~ a wonderful man ~ but in some ways a litle stubborn, sattert: Excuse me, but how old are you? Mozant: Twenty-six. SALIERI: Then your father’s consent is scarcely indispensable, Constanze [fo Mozart]: You sce? MozARt [uncomforably}: Well no, not! ... 's not indispensable ~ of course 38 SALTERI: My advice to you is to marry and be happy. You have found ~ it’s quite obvious — un tesro raro! consranze: Ta very much. [satient kisses ConsTANze’s hand. She is delighted.) SALIERI: Good night to you both, consranze: Good night, Excellency! Mozart: Good night, sir. And thank you ... Come, Stanzerl. [They depart delighiedly. He watches them go.) Saxteat [to audence}: As I watched her walk away on the arm of the Creature, | felt the lightning thought strike ~ ‘Have her! Her for Katherina!” ... Abomination! ... Never in my life had ‘entertained a notion so sinful! [Light change: the eighteenth century fades.) [The vewricett1 come on merrily, as if from some celebration. ‘One holds a bottle; the other a elas.) VENTICELLO 1: They're married, : SALIERI [to them: What? VENTICELLO 2: Mozart and Weber ~ married! sattert: Really? VENTICELLO 1: His father will be furious! VENTICELLO 2: They didn’t even wait for his consent! SALIERI: Have they set up house? VENTICELLO 1: Wipplingerstrasse. VENTICELLO 2: Number twelve. VENTICELLO 1: Not bad, VENTICELLO 2: Considering they've no money. sattert: Is that really true? VENTICELLO 1: He's wildly extravagant, VENTICELLO 2: Lives way beyond his means. satteri: But he has pupils. venticetto 1: Only three. SALIERI [00 then]: Why so few? VENTICELLO 1: He's embarrassing, VENTICELLO 2: Makes scenes. 39AMADEUS VENTICELLO 1: Makes enemies. VENTICELLO 2: Even Strack, whom he cultivates. SALIERI: Chamberlain Strack: VENTICELLO 1: Only last night, VENTICELLO 2: At Kapellmeister Bonno’s. BONNO’s House instant light change. MOZART comes in with VON STRACK, He is high (on wine, and helding a glass. The VENTICELLI join the scene, but still tale out of it to Salieri. One of them fills woz ants glass.) Mozant: Seven months in this city and not one job! 'm not to be tried agai, is tha i? VON STRACK: Of couse not. Mozart: I know what gocs on — and so do you, Germany is completely in the hands of foreigners. Worthless wops like Kapellmeister Boro Von STRACK: Please! You're in the man’s house! Mozant: Court Composer Salieri VON stRacK: Hush! Mozanr: Did you see his last opera? ~ The Chimney Sweep? ... Did you? Von stack: Of course I did. Mozart: Dogshit. Dried dogshit. VON stRAcK [outraged I beg your pardon! MozART [singixgl: Pom-pom, pom-pom, pom-pom, pom-pom! Tonicand dominant, tonic and dominant from here to rewrrection! Not one interesting modulation all night. Salieri is a musical idiot! VON STRACK: Please! VENTICELLO 1 [10 saLteni|: He'd had too much to drink. YENTICELLO 2: He often has. ” Mozart: Why are Italians so terrified by the slightest complexity in music? Show them one chromatic passage and they faint! .. “Oh how sick!” ‘How morbid!” (Falsetto] Morboso! .... Nervoso! Ohimel .... No wonder the music a this court is so dreary. Von sTrack: Lower your voice. ‘mozaRT: Lower your breeches! ... That’ just a joke — just a joke! [Unobserved by him COUNT ORSINI-ROSENBERG has entered upstage and is suddenly standing betueen the VENTLCELLI, listening. He wears 4 waistcoat of bright green silk, and an expression of superciions interest. MOZART sees him. A pause] [Pleasantly, to aRSINI-ROSENBERS] You look like a toad ... 1 ‘mean you're goggling like a toad. [He giggles nosennene [blandly]: You would do best to retire tonight, for your own sake. mozart: Salieri has fifty pupils. I have three. How am [ to live? ’m a married man now! ... OF course I realize you don’t concern yourselves with money in these exalted circles. All the same, did ‘you know behind his back His Mzjesty is known as Kaiser Keep Ie [He giggles wildly.) Von stRack: Mozart! (He stops.) Mozant: I shouldn't have said that, should I? ... Forgive me. It was just a joke. Another joke! ... I can’t help myself! ... We're all friends here, aren't we? [VON STRACK and ORSINI-ROSENBERG glare at him. Then VON STRACK leaves abruptly, much offended.) Mozart: What's wrong with him? ROSENBERG: Good night. [He urns to g0.] Mozart: No, no, no ~ please! [He gras the DiEcTOR’s arm.] Your hand please, first! [Unwillingly onsiwt-RosENDERG gives him his hand. MOZART kisses it.) [Humbty] Give me a Post, sit. ROSENBERG: That is not in my power, Mozart. aAMADEUS acti Mozart: The Frincess Bizabeth is looking for an Instructor. One same concealing chair in the Baroness’s Rbrary ~ [taking @ cup word from yeu could secure it for me Jiom the litle table|~ and consuming the same delicious desert. nosensenc: I regret that is solely in the recommendation of ‘yinriceito 1. You lost ~ now thete’s the penalty Court Composer Salieri. He disengages himself] SAttent [to audience: A parcy celebrating the New Year's Eve. 1 Mozart: Do you know I'am better than any musician in Vienna? ‘was on my own — my dear spouse Teresa visiting her parents in Do you? Tuy [nosennenc leaves. mozart cals afer him.) constanze: Well, what? .... What si? Foppy-wops ~ I'm sick of them! ... [Suddenly he gigas to himself, [vewTicetto 1 snatches up an old-fashioned round ruler from the like « child.| Foppy-wops! Foppy ~ poppy ~ snoppy ~ toppy font piano.) — hoppy hoppy-wops! — wops! yeNTiceLto 1: I want to measure your calves. [And hops ofitage.] CONsTANzE: Oooo! SALIERI [watching him go): Barely one month later, that thought of VENTICELLO 1: Well? revenge became more than thought. constanze: Definitely not. You checky bugger! venticetto 1: Now come on! VENTICELLO 2: You've got to let hin, Stanzerl, Al's fair in love and forties. consTaNzE: No it isn't ~s0 you can both buzz off! VenTicetto 1: If you don’t let me, you won't be allowed to play again. consTANzE: Well choose something else. veNticeLto 1: Pe chosen that. Now get up on the table. Quick, quick! Allez-2op! [Glefully he sis the plates of sweetmeats from the table] CONSTANZE: Quick, then! ... Before anyone ses! [The two masked men lift the shrieking masked girl up on to the table venticetto 1: Hold her, Friedrich, cowstawze: I dan't have to be held, thank you! vawricetio 2: Yes, you do: that’s part of the penalty [He holds her ankles firmly, while VENT1cELLO 1 thrusts the ruler tinder her shirts and measures her legs. Exctedly SALERI reverses, his position so that he can kneel in the wing-char, and watch, CONSTANZE gipolesdelightedly, then becomes outraged ~ or pretends be] CONSTANZE: Stop itl... ‘THE WALDSTADTEN LIDRARY {Two simultaneous shomts bring up the lights. Against the handsome wallpaper stand thee masked figures: CONSTANZE, flanked on either side by the venicectr, All three are quests at a party, and are playing 4 game of forfeits. Teo SERVANTS stand frozen, holding the large wing-chair betveen them Tuo more SERVANTS hold the big table of sweetmeats.] veNTicELto 1: Forfeit! ... Forfeit VENTICELLO 2: Forfeit, Stanzerl! You've got to forfeit CoNsTANzE: I won't van icen.e 1: You bave to VENTICELLO 2: It's the game. [The servants unficeze and set down the furniture. SALLERI moves fo the wing-chair and sits] SALIERI [fo audience}: Once again ~ believe it or not — I was in the Stop that! That's quite enough of that! e “aAMADEUS (She bends down and tres to slap him.) VENTICELLO 1: Seventeen inches ~ knee to ankle! VENTICELLO 2: Let me do it! You hold het! CONSTANZE: That's not fair! VENTICELLO 2: Yes, it is. You lost to me too. CONSTANZE: It's been done now! Let me down! VENTICELLO 2: Hold her, Karl. consranze: No! . [venricetto 1 holds her ankles. VENTICELLO 2 thrusts his head entirely under her skirts. She squeals.| No ~ stop it! ... No! Un the midile ofthis undignified scene Mozant comes rushing on = also masked.) Mozart [outraged]: Constanze! [They freeze. satten1 ducks back down and sts hidéen in the chair.| Gentlemen, if you please, CONSTANZE: It's only a game, Wolferl!... VENTICELLO 1: We meant no harm, "pon my wore, Mozarr [stiffly Come down off that table please. [They hand her down.) Thank you. We'll see you later. VENTICELLO 2: Naw look, Mozart, don’t be pompous Mozant: Please excuse us now. [They go. The litle man is very angry. He tears off his mask.) [To constanzs] Do you realize what you've donc? CONSTANZE: No, what? ... [Flustered, she buses herself restoring the lates of sweetmeats to the table.) ozant: Just lost your reputation, that’s all! You're now a loose irl. CONSTANZE: Don’t be so stupid. [She too removes her mask.] mozart: You are a married woman, for God’s sake! CONSTANZE: And what of it? Mozart: A young wife does not allow her legs to be handled in public. Couldn't you at least have measured your own ugly legs? CONSTANZE: What? “ actt Mozant [raising his voie|: Do you know what you've done?! ... You've shamed me ~ that’s alll Shamed me! CONSTANZ»: Oh, don’t be s0 ridiculous! Mozart: Shamed me ~ in front of therm! ‘Constanze [suddenly fvious|: You? Shamed you? ... That's a laugh! If there’s any shame around, lovey, it’s mine! Mozart: What do you mean? constANzs: You've only had every pupil who ever came to you. sozant: That's not true. ConstANze: Every single female pupil! Mozart: Name them! Name them! Constanze: The Aurnhammer girll The Rumbeck gitl! Kath- ‘rina Cavalieri ~ tha: sly little whore! She wasn’t even your pupil ~ she was Salier’s. Which actually, my dear, may be why he has hundreds and you have none! He doesn’t drag them into bed! Mozant: OF course he doesn’t! He can’t get it up, that’s why! ... Have you heard his music? That's the sound of someone who ‘can't get it up! At least I ean do that! Constanze: I'm sick of you! MozART [shouting]: No one ever said | couldn’ do that! CONSTANZE [bursting int tears}: I don’t give a fart! I hate you! Thate you for ever and ever ~ I hate you! [4 tiny pause. She weeps. Mozant [helplesly]: Oh Stanzerl, don’t ery. Please don’t ery . I can’t bear it when you cry. I just didn’t want you to look cheap in people's eyes, that’ all. Here! (He snatches up the ruler.] Beat me... Beat me... 'myourslave. Stanzi marini, Stanzi marini bini gini. Tl just stand here like a little lamb and bear your strokes. Here, Do it... Batt constanze: No. Mozant: Batt, batti. Mio tesoro! constANzé: No! Mozant: Stanzerly warzerly piggly poo! CONSTANZE: Stop it. 45AMADEUS ozant: Stanzy wanzy had aft! Shit her stays and made them split {She giggles despite herself CONSTANZE: Stop it! Mozant: When they took away her skitt, Stanzy wanzy ate the dirt! ” ” ™ CONsTANze: Stop it now! [Ske snatches the ruler and gives him a whack with it, He yours playfully} §MozART: Oooo! Oooo! Oooo! Do it again! Da it again! east myself at your stinking feet, Madonna! * ” (He does so. She whacks him some more as he crouches, but always Tightly, scarcely looking at him, divided between tears and laughter Mozant drums his feet with pleasure Mozanr: Ow! Ow! Ow! (And then suddenly sien, unable to bear another second, cries out involuntarily sauieri: Ahtt! {Th young ope ce, sabi ~ dived — hay convo is noise of disgust into a yawn, and stretches as if waking up from 4 nap. He peers out of the wing char SALIERI: Good evening ConsTANze (embarrased): Excelency Mozaxt: How long have you been there? SALIERI: I was asleep until a second ago. Are you two quarrlling? Mozart: No, of course not pone geass Constanze: Yes, we are. He's being very irritating. SatieRt [rising Caro Herr, tonight is the time for New Year resolutions. Iritating lovely ladies cannot surely be one of yours. May I suggest you bring us each a sorbto from the dining- Mozart: But why don't we all go to the table? ConsTANze: Herr Salieri is quite right. Bring them here ~ it'll be ‘your punishment Mozart: Stanzil SattERI: Come now, I can keep your wife company. There cannot bbe a better peace offering than a sorbet of aniseed. ‘CONSTANzE: I prefer tangerine. SALIERI: Very well, tangerine [Greedily] But if you could possibly reanage anisced for me, I'd be deeply obliged ... So the New ‘Year can begin coolly for all three of us. {A pause. 602.47 hesitates — and then bows.] Mozart: I'm honoured, Signore, of course. And then I'll play you at billiards. What do you say? sattert: I'm afraid I don’t play. MOZART [with surprisel: You don’t? NSTANZE: Wolfer! would rather play at billiards than anything, He's very good at it. Mozart: I'm the best! | may nod occasionally at composing, but at billiards ~ never! SALIERI: A virtuoso of the cue. Mozart: Exactly! [e's a virtucso’s game! ... [He snatches up the ruler and teats it as if it were a cue,} think I shall write a Grand Fantasia for Billiard Balls! Trillos! Acciaccaturas! Whole arpeggios in ivory! ‘Then I'll play it myself in public! ... Ie'll have to be me because none of those Italian charlatans like Clementi will be able to get his fingers round the cue! Suusate, Signore! [He gives a swanky flourish of the hand and struts off} consTANzE: He's a love, really. satiert: And lucky, too, in you. You are, if I may say so, an autonishing creature, Constanze: Mc? ... Ta very much, SatipRt: On the other hand, your husband does not appear to be so thriving. Constanze [seizing her opportunity]: We're desperate, si sautert: What? CONSTANZE: We've no moncy and no prospects of any. That's the I don’t understand. He gives many public concer ”AMADEUS ConsTANzE: They don’t pay enough. What he needs is pupils Ulustrious pupils. His father calls us spendthrifs, but that’s unfair. I manage as well a5 anyone could. There's simply not enough. Don't tell him I talked to you, please SALUERI [intimstely]: This is solely beeween us. How can I help? CoNSTANzE: My husband needs security, sir. If only he could find regular employment, everything would be all right. Is there nothing at Coure? satert: Not at the moment cowsrawze iarder|: The Princess Elizabeth needs a tutor SALIERE: Really? I hadn’t heard CONSTANZE: One word from you and the post would be his. Other Pupils would follow at once ... SALTER: [looking off: He's coming back, Constanze: Please... please, Excellency. You can't imagine what a difference it would make. SALIERI: We can’t speak of it now. CoNsTANzE: When then? Oh, please! SALIERI: Can you come and see me tomorrow? Alone? ‘CONSTANZE: I can't do that. sarees: 'm a married man, cowstanze: All the same, SALiERI: Wher does he work? CONSTANZE: Afternoons. satieni: Then come at three. CONsTANzE: Iean't possibly! SALIERI: Yes or no? In his interests? (A pause. She hesitates ~ opens her mouth ~ then smiles and abruptly runs off] ‘saLteRt [to audience} So 'd done it! Spoken aloud. Invited her! What of that vow made in church? Fidelity ~ virtue ~ all of that? I couldn't think of that now! [smvanrs remove the Waldstdten furniture. Others replace it with ‘wo small gilded chairs, centre, quile close together, Others gain a surreptitiously bringin the old dressing-gown and shawl which Salieri discarded before Scene Three, placing them on the fortepiano.] SALIERI’S SALON [On the curtains are thrown again projections of long windows.) satreri: Next afternoon I waited in a fever! Would she come? I hhad no idea, And if she did, how would I behave? T had na idea of that either. Was I actually going tc seduce a young wife of two months’ standing? ... Part of me~ much of me ~ wanted it, badly. Badly. Yes, badly was the word! [The clock strikes three. On the first stroke excitedly] ‘There she was! On the stroke! She'd come ... She'd come! [Enter from the right the COOK, stil a ft, but forty years younger. He proudly carries « plate piled with brandied chestnuts. SALIERE takes them from him nervously, nodding with approval, and sets them on the tabie,] [To the coox] Grazie. Grazie tanti ... Via, via, vial [The Coox bows as sALtERI dismisses him, and goes out the same way, smirking suggestively. The VALET comes in from the left — he is also forty years younger — and behind him CONSTANZE, wearing 4 pretty hat and carrying a portfolio.) SALTERI: Signora! CONSTANzE [curteeying|: Excellency. sattent: Benvenuta, [T> VALET in dismissal] Grazie. [The vaLeT goes] Well. You have come. CONsTANz=: I should not have done. My husband would be frant if he knew. He's a very jealous man, 1 bell sounds. He rises 9AMADEUS sattert: Are you a jealous woman? consranzn: Why do you ak? SALIERK: It's not a passion I understand ..., You're looking even prettier than you were lastnight, if I may say 50. Constanze: Ta very much! ... I brought you some manuscripts ‘by Wolfgang. When you see them you'll understand how right he is for a royal appointment. Will you look at them, please, while wait? saLtert: You mean now? Constanze: Yes, I have to take them back with me, He'l miss them otherwise. He doesn’t make copies. These are all he originals. sattart: Sit down. Let me offer you something special CONSTANz& [sitting]: What's that? satient [producing the box]: Capezzoli di Venere. Nipples of Venus. Roman chestnuts in brandied sugar. consranzt: No, thank you, saLtent: Do try. My cook made chem expecially for you, CONstaNzE: Me? sautent: Yes. They're quite rare. ‘Constanze: Well then, I'd better, hadn’t I? Just one ... Ta very much, [She takes one and puts it in her mouth. ‘The taste amazes her] Oh! ... Oh! ... Ohl... They're delist saxteRt [lusfully watching her eat: Aren't they? Constanze: Mmmmm! Satie: Have another. CONSTANZE [taking two more]: I couldn't possibly. [Carflly he mowes round behind her, ad seats himelf om the chair next t0 her] satent: I think you're the most generous giel in the world. CONsTANZE: Generous? SALIERI: I’s my word for you. I thought last night that Constanze is altogether too stiff a name for that gil. I shall rechrsten her ‘Generosa’. La Generosa. Then Il write a glorious song for her tunder that tile and she'll sing it, just for me. so cONsTANzE [omiling]: Iam much out of practice, si. sauieit: La Generona. (He lums « tle toward her.) Don't tell me it's going to prove inaccurate, my name for you ‘cons awze [coolly]: What name do you give your wife, Excellency? sautent [equally coolly: Fm not an Excellency, and I call my wife Signora Salieri. If I named her anything else would be La Statua She's a very upright lady. ConsTANzE: Is she here now? I'd ike to meet her. sAttext: Alas, no. At the moment she's visting her mother in Verona. [She starts very her) ‘Constanze: tomorrow evening I dine with the Emperor. One word from me recommending your husband as Tutor to the Princess Elizabeth, and that invaluatle post is his. Believe me, when I speak to His Majesty in matters musical, no one contradicts me. constanze: I believe you. SALLERI: Bene. [Still sting, he takes his mouchoir and delicately wipes her mouth with it] Surely service of that sort deserves a little recompense in return? ‘coNsTANze: How little? {Slight pawse.] SALtERI: The size of a kiss. [Slight pause] CONSTANZE: Just one? {Slight pause.] sautent: If one seems fair to you. [She looks at him — then kises him lightly on the mow. Longer pause.] Does it? [She gives him a longer ks. He makes to touch her with his hand. She breaks off} ‘CONSTANzE: I fancy that's irness enough. [Peuse.| ightly out of her chair. SALtERx gently restrains stAMADEUS satent [carefully]: A pity ... It’s somewhat small pay, to secure a post every musician in Vienna is hoping for. consTaNze: What do you mean? SALtERE: Is it not cleat? CONSTANZE: No. Not at all. SALteRt: Another pi:y ... A thousand pities, [Pase.] CONSTANZE: I don't believe it ... I just don't believe itt sattert: What? CONSTANZE: What you've just said, Sattent [hastily|: I said nothing. What did I say? [constanze gets up and SALLERI rises in panic.) CONSTANze: Oh, I'm going! ... I'm getting out of this! SALtERI: Constanze ... CONSTANze: Let me pass, please, SALtERI: Constanze, listen to me! I'm a clumsy man, You think ‘me sophisticated ~ I'm not at all. Take a true look. I've no cunning. live on ink and sweetmeats. I never see women at all ... When I met you last night, I envied Mozart from the depths of my soul. Out of that envy came stupid thoughts. For one silly second | dared imagine that ~ our of the vast store you obviously possess ~ you might spare me one coin of tenderness your rich husband does not need ~ and inspire me also. [Pause. She laughs.] T amuse CONSTANZE: Mozart was right. You're wicked. satteri: He said that? CONSTANzE: ‘All wops are performers,’ he said. ‘Be very careful with that one.’ Meaning you. He was being comic of course. SALtERI: Yee. [Abmuptly he turns hi back on her.) CONSTANZE: But not that comic, actually. I mean you're acting a pretty obvious role, aren't you, dear? A small town boy, and all the time as clever as cutlets! ... [Mock tender] Ah! — are you sulking? Are you? ... When Mozatt sulks I smack his botty. He 32 acti rather likes it, Do you want me to scold you a bit and smack your botty too? [She hits him lightly with the porflio. He turns ina fury.) SaLtEat: How dare yout! ... You silly, common gil! [A dreadful silence [Uy] Forgive me. Let us confine our talk to your husband. He is a brilliant keyboard player, no question. However, the Princess Elizabeth also requires a tutor in vocal music. 1 am not convinced he is the man for that. 1 would like to look at the pieces you've brought, and decide if he is mature enough. 1 will study them overnight - and you will study my proposal. Not to be vague: that is the price. [He extends his hand for the porfolio, and she surrenders it-] Good afternoon, [He tums from her and places it on a chair. She lingers — tries to speak — cannot ~ and goes out quickly.) THE SAME [sacient turns in a ferment to the audience] SALIERI: Fiasco! ... Fiatco! ... The sordidness of itl The sheer sweating sordidness! .. Worse than if 'd actually done itt. ‘To be that much in sin and feel so ridiculous as well... 1 didn’t deserve any pity from the Old Bargainer above! There was no excuse. IF now my music was rejected by Him forever, it was ry fault, mine alone. Would she return tomorrow? Never. And if she did, what then? What would I do? [Brually] What would I actually do? ... Apologize profoundly ~ or try again? ... [Crying out] Nobile, noble Safer! ... What had he done to me ~ this Mozart! Before he came did I behave like tis? Did I? Toy with adultery? Blackmail women? It was all going ~ slipping — growing, rotten ~ because of hin! (He moves upstage in a fever ~ reaches out to take ihe portfolio on 33AMADEUS the chair ~ but as if fearful of what he might find inside it he withdraws his hand and sits instead. A. pause. He contemplates the snusic lying there asif it were a great confection he is dying to eat, tout dare not. Then suddenly he snatches at it ~ tears the ribbon ~ opens the case and stares greedily atthe manuscripts within Music sounds intantly, finly, in the theatre, as his eye falls on the frst page. It isthe opening of the Twenty-ninh Symphony, in A Major {Over the music, reading it] She had said that these were bis original scores. First and only drafs of the music. Yet they looked like air copies. They showed no corrections of any kind. UB Tok wp fom te manip at heen: te mac bly stops. 1 was puzzling ~ then suddenly alarming. What was evident was that Mozart was simply transcribing music ~ [He resumes looking at the music. Immediately the Sinfonia Concertante for Violin and Viola sounds faintly.) = completely finished in his head. And finished as most music is never finished. [He looks up again: the music breaks off) Displace one note and there would be diminishment. Dsplace ome phrase and the structure would fll (He resumes reading, and the music also resumes: a ravishing phrase fiom the slow movement of the Concerto for Flute and Harp | Here again ~ only now in abundance — were the same sounds 1'd heard in the library. The same crushed harmonies ~ glancing collisions ~ agonizing delights. And he looks up: again the music stops} ‘The truth was clear, That Serenade had been no accident [Very low, inthe tear, «faint thundery sound is heard accumulating, like a distant se. ‘Mitten " 1 was staring through the cage of those meticulous ink strokes at an Absolute Beauty! [And out of the thundery roar writhes and rise the clear sound of 4 soprano, singing the Kyrie from the C Minor Mass. The action 54 of noise around her voice falls away ~ it is suddenty clear and bright = then clearer and brighter. The light also grows bright: too bright: burning whie, then scalding white! SALIERI ries in the downpour of the musi: which is growing ever louder ~ filing the theatre ~ as the soprano yields to the full chorus, fortissimo, singing its massive counterpoint. This is by far the loudest sound the audience has yet heard. SALLERI staggers towards us, holding the manuscripts in his hand, like a man ‘caught in a tumbling ond violent sea Finally the drams crash in below: SALieRt drops the portfolio of ‘manuscripts — and falls senseless to the ground. At the same second the music explades into a long, echoing, distorted boom, signifying some dreadful annihilation. ‘The sound remasins suspended over the prone fgure in a menacing continuum ~ no longer music at all. Then it dies away, and there is only silence. The light fades again. A long pause. SALIERI gute stil, his head by the pile of manuscripts. Finally the clock sounds: nine times. SAL1ERI srs as it does. Slowly he raises his head and looks up. And now ~ quietly at first ~ he addresses his God.] sattert: Capiso! I know my fate. Now for the first time 1 feel my emptines as Adam felt his nakedness ... (Slowly he rises to his feet.) Tonight at an inn somewhere in this city stands a giggling child who can put on paper. without actually setting down his billiard cue, casual notes which turn my most considered ones into lifeless scratches. Grazie, Signore! You gave me the desire to serve ‘you —_which most men do not have ~ then saw to it the service was shameful in the ears of the server. Grazie! You gave me the desire to praise you - which most do not feel — then made me mute. Grazie tante! You put into me perception of the Incomparable = which most men never know! ~ then ensured that I would know myself forever mediocre. [His voice gains power.) Why? ... What is my fault? ... Until this day I have pursued virtue with rigour. ssAMADEUS Thave laboured long hoursto relieve my fellow men. Ihave worked and worked the talent you allowed me. [Calling up] You know how hard I've worked! ~ solely that in the end, in the practice of the art which alone makes the world comprehensible to me, 1 might hear Your Voice! And now I do hear it— and it says only fone name: Mozart! ... Spiteful, sniggering, conceited, infantine Morart! — who has never worked one minute to help another ‘man! ~ shit-taking Mozart with his betty-smacking wife! ~ him you have chosen to be your sole conduct! And my only reward ~ my sublime privilege ~ is to be the sole man alive in this time who shall clearly recognize your Ineamation! [Savagely] Grazie € grazie ancora [Pause] So be it! From this time we are enemies, You and I! Tl not accept it from You~ Do you hear? ... They say God is not mocked. I tell you; Man is not mocked! 1 am not mocked! ... They say the spirit bloweth where it listeth: I ell you NO! It must list to virtue o not blow at alll [Yelling] Dio Ingiust! - You are the Enemy! I name Thee now ~ Nemico Etemo! And this I swear. To my last breath I shall block you on earth, as far as Iam able! [He glares up at God. To sudience) What use, aftr all, is Man, if not to teach God His lessons? [Pause. Suddenly he speaks again tous in the voice of an old ‘man. And now ~ [He slips off his powdered wig, croses to the fotepiano and takes rom its lid the old dressing-gowm and shawl which he discarded when ‘he conducted us back to the eighteenth century. These he slips on over his court coat. It is again 1823.] before I tell you what happened next ~ God's answer to mie —" and indeed Constanze’s ~ and all the horrors that followed — let me stop. The bladder, being a human appendage, is not something you need concern yourselves with yet. I being alive, though barely, 4am at its constant call. It is now one hour before dawn ~ when I must dismiss us both. When I return I'l tell you about the war | fought with God through hus preferred Creature— Mozart, named Amadeus. In the waging of which, of course, the Creature had to be destroyed. 56 [He bows 1 the audience with malignant slymess~ snatches a pastry from the stand ~ and leaves the stage, chewing at it voraciously. The ‘manuscripts lie where he spilled them in his fall. ‘The lights in the theatre come up as he goes.) END OF ACT 7ACT2 Saugi’s SALON (The lights go down in the thee as saLteR returns] Sate: Ihave been litenitgto dhe eatin the courtyard. They are all singing Rosin I's chrous that cats have decined ss bay s composers. Domenio Salat owned one which would actualy sell eon the keyboard zd pick out passable subjects for fugue. Bar tat was a Span cof the Enlightenment. It appreciated snterpoint. Nowadays cas appreciate are High Cs. Like tl rest of the public. S appreciate are High Cs Like she He comes downstage and sidreses the audi ses the audience diet; This is now the very list lour of my life. You ‘must 1 erstand ime. Not forgive. I do notscek forgiveness. I was a good man, % the world calls good. Wha use was it to me? Goodness could not ce me a good. vodness ood composer. Was Mozart good? Goodness is nothing in the furnace of mt, Morar good? Good olratel Mn that dreadful Nigh of the Manuscri lanuscripts my life acquired 2 terrible and thrilling purpoe. The Blocking of God ia ove of his purest manifestations. !hadthe power. God needed Mozart to let himself ino the world. AnéMozare needed me to get him worldly advancement. So it would be a bat end — anc was the battleground, eco the end st Mozart oltael ¢ thing I knew of Him, pe it le was a cunning Enemy. Witness the fat that in Blocking Hin in the world I was alo given the satisfaction of obstructirg adiiked human rival. I wender which of you will refuse that chatce if itis offered. 8 act [He regards the audience maliciously, taking of his dressing gown and shawl} I felt the danger at once, as soon as I'd uttered my challenge. How ‘would He answer? Would He strike me dead for my impiety? Don’t laugh. I was not x sophisticate ofthe salons. I was a small- town Catholic, full of dread! {He puts om his powdered wig, and speaks again in his unger voice, ‘We are back inthe eighteenth century] ‘The firs thing that happened — barely one hour later ~ [The doorbell sounds. CONSTANZE comes in followed by a helpless vater] Suddenly Constanze was back. At ten o'clock at night! [In surprise] Signora! CONSTANzE [stiffly]: My husband is at.a soirée of Baron van Swieten. A concert of Sebastian Bach. He didn’t think 1 would enjoy it. sattent: I see, [Curtly, o the goggling VALET] I'l ring if we require anything. Thank you, [The varer goes out. Slight pause] Constanze [flatly]: Where do we go, then? sattert: What? Constanze: Do we do it in here? ... Why not? [She sits, sll wearing her hat, in one of the litle gilded upright chairs. Deliberately she looses the strings of her bodice, so that one can just see the tops of her breasts, hitches up her silk skint above the knees, 40 that one can also jut see the flesh above the tops ofthe stockings, spreads her legs and regards him with an open stare.) [Speaking soily] Well? .. Le’s get on with it. [For a second saxeRt returns the stare, then suddenty looks away.) saxtert [stiffly]: Your manuscripts are there. Please take them and go. Now. At once. (Pause) constanze: You shit. [She jumps up and snatches the porfolio.| 9AMapeus sattent: Vial Don’t reusnt coNsTanze: You rotten shi [Suddenly she runs at him ~ trying furiously to hit at his face. He grabs her arms, shakes her violently, and hurls her on the flor.) SALieRt: Vial [She freezes, staring ap at him in hate.) [Calling to the audiewce} You see how it was! 1 would have liked her ~ oh yes, just then more than ever! But now I wanted nothing petty! ... My quarrel wasn't with Mozart ~ it was through him! ‘Through him to God who loved him so. [Scornfully] Amadeus! Amadeus! [cONsTANZe pics herself up and runs from the oom, Pause. He calms himself, going tothe table and selecting a ‘Nipple of Venus’ to eat.) ‘The next day, when Katherina Cavalieri came for her lesson, 1 made the same halting speech about ‘coins of tenderness’ ~ and dubbed the gil Le Generosa, I regret that my inversion in love, 28 in art, has always been limited. Fortunately Katherina found it sufficient. She consumed twenty ‘Nipples of Venus’ ~ kissed me with brandied breath ~ and slipped easily into my bed [wATHERINA comes i languidly, half-undressed, a if fom his bed- room. He embraces her, and helps slyly 0 adjust her peignoir. She remained there s my mistress for many years behind my good wife's back ~ and I soon erased in sweat the sense of hi litle body, the Creature’s, preceding me. (ATHERINA gives him a radiant smile, and ambles of] So much for my vow of sexual virtue. [Slight pause] The same ‘evening I went to the Palace and resigned from all my committees to help the lot of poor musicians. So much for my vow of social virtue. (Light change.) ‘Then I went to the Emperor and recommended a man of no talent ‘whatever to instruct the Princess Elizabeth. 6 ‘THE PALACE OF SCHONBRUNW [The emernon stands before the vas fireplace, between the golden mirrors] JoserH: Herr Sommer. A dull man, surely? What of Mozart? SALIERE Majesty, I cannot with a clear conscience recommend ‘Mozart to teach Royalty. One hears too many stories JoserH: They may be just gossip. : SALrERI: One of them I regret relates to a protégé of my own. ‘A very young singer. Joseru: Charmant! SALieRt: Not pleasant, Majesty, but true. JOSEPH: Isee ... Let it be Herr Sommer, then. [He walks down on to the main stage.| 1 daresay he can't do much harm. To be frank, rno one can do much harm musically to the Princess Elizabeth. [He strolls away} [sALIERI goes. MOZART enters from the othr side, downstage. He ‘wears a more natural-looking wig from now on: one indeed intended to represent his own hair of light chestnut, full and gathered at the back with ribbon.] SALtERI [lo audience}: Mozart certainly did noe suspect me. The ‘Emperor announced the appointment in hs usual way ~ JoseeH [pausing]: Well, there it is, [osten goes off] SALTERI: ~ and 1 commiserated with the foscr. (mozanr tans and stares Bleakly out font, saLteni shakes his hand) mozart [bitterly|: It's my own fault. My father always writes I should be more obedient. Know my place! ... He'll send me sixteen lectures when he hears of this! [mozart goes slowly up to the fortepiano. Lights lower.] saxreRt {to audience, watching him}: It was a most serious loss as far as Mozart was concerned. 6AMADEUS VIENWA, AND GLIMPSES OF OPERA HOUSES [The ven ricer glide on] VENTICELLO 1: His list of pupil hardly moves. VENTICELLO 2: Six at most. VENTICELLO 1: And now a child to keep! VENTICELLO 2: A boy. SALrERE: Poor fellow. [To audiene] I, by contrast, prospered. This is the extraordinary truth. If Thad expected anger from God ~ ‘none came. None! ... Instead ~ incredibly ~ in eighty-four and eighty-five I came to be regarded 28 infinitely the superior com- poser. And this despite the fact that these were the two years in which Mozart wrote his best keyboard concerti and his string quartets [The venticenct stand on cither side of SALIERI. MOZART sits atthe fortepiane.| VeNTICELLO 1: Haydn calls the quartets unsurpassed. SALIERI: They were ~ but no ore heard them. VENTICELLO 2: Van Swieten calls the concerti sublime. SatieRt: They were, but no one noticed. [mozant plays and conducts from the keyboard. Faintly we hear the Rondo from the Piano Concerto in A Major, K.488.] {Over this} The Viennese greeted each concerto with the squeals of pleasure they usually reserved for a new style of bonnet. Each was played once ~ then totally forgotten! I alone was em- powered to recognize them for what they were: the finest things made by man in the whole of the eighteenth century ... By contrast, my operas were played everywhere and saluted by every fone! I composed my Semiramide for Munich, venTicetto 1: Rapturously received! vENTICELLO 2: People faint with pleasure! Un the Light Box is seen the interior of a brilintly coloured Opera House, and an audience sanding up applauding vigorously. SALIERI, @ act flanked by the VENTICELLE, tums upstage and bows to it. The concerto ‘an scarcely be heard through the din.] savieRi: I wrote a comic opera for Vienna. La Grotta «di Trofonio. VenTIcELLo 1: The talk of the city! VENTICELLO 2: The cafés are buzzing! [Another Opera House iuerior is lit up. Another audience claps vigorously. Again SALtERI bows to it] sattent [0 audience}: 1 finally finished my tragic opera Danaius, and produced it in Paris. VENTICELLO 1: Stupendous reception! VENTICELLO 2: The plaudits shake the roof! VENTICELLO I: Your name sounds throughout the Empire! VENTICELLO 2: Throughout all Europe! [Yet another Opera House end another excited audience. saL1ERt bows 4 third time. Even the VENTICELLI now applaud him. The concerto stops. MOZART rises fiom the keyboard and, while SALLER speaks, crosses directly through the scene and leaves the stage.) sattent [to audience}: It was incomprehensible, Almost as if | were being pushed deliberately from triumph to triumph! ... 1 filled my head with golden opinions ~ yes, and this house with golden furniture! SALIERI'S SALON (The stage tus gold SERVANTS come on carrying golden chifs upholstered in golden brocade, Tucy place these all over the wooden floor. Tie VALET appeers, a litle older, dvests SaLaER1 of his sky-blue Coat and clothes him instead ina frock-oat of gold satin. The COOK ~ also of course a litle older ~ brings in a golden cake-stand piled with more elaborate cakes] 6AMADEUS saLtERt: My own taste was for plain things ~ but I denied it! ... 1 ‘grew confident. I grew resplendent. I gave salons and soitées, and ‘worshipped the season round at the altar of Success! [He sits at eae in his salon. The VENTICELLI st with hin, ome on either side] VENTICELLO 1: Mozart heard your comedy last night. VENTICELLO 2: He spoke of it to the Princess Lichnowsky. VENTICELLO 1: He said you should be made to clean up your own SALiEK: [taking sruff: Really? What charmers these Salzburgers ac! VENTICELLO 2: People are outraged by him. VENTICEILO 1: He empties drawing-rooms. Now Van Swieten is angry with him. SALiERI: Lord Fugue? I thought he was the Baron’s litte pet. VENTICELLO 2: Mozart has asked leave to write an Italian opera saLiert [briskly aside to audience]: Italian opera! Threat! My kingdom! VENTICELLO 1: And the Baron is scandalized. saLieni: But why? What's the theme of it? [vA swiereN comes on quickly from upstage.) VAN SWIETEN: Figaro! ... The Marriage of Figaro! That disgraceful play of Beaumarchais! [Ata discreet sign of dismissal from savtens, the VENTICELLI slip away. VAN SWIETEN joins SALIERI, and sits on one of the gold chairs} [To sautens] Thae’s all he can find to waste his talent on: vulgar farce! Noblemen lusting after chambermaids! Their wives dressing up in stupid disguises anyone could penetrate in a second! .... When 1 reproved him, he said I reminded him of his father! ...1 simply cannot imagine why Mozart should want to set that rubbish! [mozart enters. quickly from upstage, accompanied by VON STRACK. They join SALIERI and VAN SWISTEN.] Mozart: Becawse | want to do a piece about real people, Baron! ‘And I want to set it in a real place! A boudoir! — because that to ‘me is the most exciting place on earth! Underclothes on the floor! 6 Sheets sill warm from a woman's body! Even a pisspot brimming under the bed! VAN sWIETEN [outraged]: Mozart! Mozant: [ want life, Baron. Not boring legends! Von STRACK: Herr Saler’s recent Daas was alegend and that did not bore the French MOZART: Its impossible to bore the French ~ except with real life VAN swreTeN: [had assumed, now that you had joined our Brother- hood of Masons, you would choose more elevated themes Mozaxr [impanently|: Oh elevated! Elevated! ... The only thing a ‘man should elevate is his doodle. VAN swreTEN: You are provoking, with you? MOZART [desperae: Excuse language, Baron, butreally!... How ean ‘we go on forever with these gods and heroes? ‘VAN SWIETEN [passionately]: Because they go on forever ~that's why! ‘They represent the eternal in us. Operaishereto ennoble us, Mozart = you and me jast as well as the Emperor. tis an aggrandizing art! It celebrates the eternal in Maa and ignores the ephemeral ‘The goddess in Woman and not the laundress von stRack: Well sad, sir. Exactly! MozaRr [imitating his drawl]: Oh well said, yes, well sid! Exactly! {To all of then] I don't understand you! You're all up on perches, bbutit doesn't hide your arscholes! You don't give a shit about gods and heroes! If you are honest — eaci one of you — which of you {n't more at home with his hairdresser than Hercules? Or Horatis? [To saxteRi] Or your stupid Dancius, come to that! Or mine ~ ‘mine! ~ Idomenco, King of Crete! All those anguished antiques! ‘They're all bores! Bores, boges, bors! [Suddenly he springs up and Jumps on to a char, like an erator. Declaring i All serious operas ‘written this century are boring! [They tun and lok at him in shocked emazement. A pause. He gives his litle giggle, and then jumps down again.) Look at us! Four gaping mouths. What a perfect quartet! I'd love to write it — just this second of time, this sow, as you are! Herr as everything to be a joke 6