The story begins with the composer's father Leopold with whom Mozart conducted a passionate and tortured correspondence. It is Leopold who knows Mozart's secrets. And there is another voice... See full summary »
J.S. Bach, orphaned at 10, widowed at 35, 20 children, regarded as the world's greatest composer, challenged the conventions of church, state and society by expressing personal tragedy and hardship with passion, joy and conviction.
Frederick II the Great of Prussia had a court that glittered with great minds, yet life with this King was anything but idyllic. He seems to have behaved imperiously with everyone, even his sister Amalie (at one point he slams the piano lid down on her hand, a rather brutal way of making his wishes known). All the fun of this film comes from the stratagems worked out by Bach to avoid falling under the control of Frederick. The King leads Bach to his new pianoforte: Bach pronounces the instrument unsuited for his music, and not even in tune. Score one for the Leipzig master composer!... The royal theme, to be treated as a fugue with six voices, is played lovingly many times, as well as Friedemann's passionate yet empty-sounding piano works.
Vadim Glowna is very sly and moving as Bach, and Juergen Vogel does a terrific job as Frederick, the ruler with a lot of emotional issues. Anatole Taubman plays the lusty and dishonest Friedemann very well.
4 of 4 people found this review helpful.
Was this review helpful to you?