Wolfgang Amadeus Mozart is a genius, the most brilliant musician the world will ever see. But the court of eighteenth-century Vienna doesn t recognize his talents - only Antonio Salieri, the Court Composer, does, and he is tortured by what he hears. Seething with rage at the genius of this flippant buffoon and suddenly aware of his own mediocrity, Salieri declares war and sets out to destroy the man he sees as God s instrument on earth. Peter Shaffer s award-winning play is a rich, exuberant portrayal of a God-like man among mortals, and lives destroyed by envy."

The Story of Amadeus: And The Beat Goes On takes the reader through the journey of the making of Multi-Platinum BadBoy/ Hitmen Producer. MD/Drummer for Trey Songz. He discovered drums in the fourth grade and the rest was history. His love for music was nurtured and he went on to later produce for Sean "Puff Daddy" Combs label BadBoy, Jennifer Lopez, Chris Brown, Agnez Mo, 50 Cent and more. His story is captured in breathtaking pictures and descriptive words that keeps the reader engaged. After picking up drumsticks for the first time, he realized two things: that he loved hip-hop and that music was going to be his future.

Describes the life of the eighteenth-century Austrian composer, a musical prodigy who learned to write music before he could write letters and grew up to become Imperial Court Composer to Emperor Joseph.

(Amadeus). Mozart: An Introduction to the Music, the Man, and the Myths explores in detail 20 of the composer's major works in the context of his tragically brief life and the turbulent times in which he lived. Addressed to non-musicians seeking to deepen their technical appreciation for his music while learning more about Mozart the man than the caricature portrayed in the 1986 movie Amadeus , this book offers extensive biographical and historical background debunking many well-established Mozart myths along with guided study of compositions representing every genre of 18th-century music: opera, concerto, symphony, church music, divertimento and serenade, sonata, and string quartet. Author Roye E. Wates, a Mozart specialist, has taught music history to thousands of non-musicians, both undergraduates and adults, as a Professor of Music at Boston University and from 2002-2004 as director of Boston University's Adult Music Seminar at Tanglewood, summer residence of the Boston Symphony Orchestra. Mozart: An Introduction to the Music, the Man, and the Myths provides a unique combination of biographical detail, up-to-date research, detailed musical analyses, and clear definitions of terms. Amateurs as well as more advanced musicians will gain a greater understanding of Mozart's encyclopedic mastery.

(Limelight). Milos Forman's film Amadeus was a big hit with critics and audiences alike, an unlikely feat for a film about the clash of two rival composers Antonio Salieri and Wolfgang Amadeus Mozart. In this first book ever written about the making of the classic movie, Ray Morton traces the story of Amadeus from its origins as an acclaimed Peter Shaffer play through its transformation into a dazzling cinematic experience.

Shortlisted for the 2020 Goldsmiths Prize Based on the German composer's own correspondence, this inventive, counterfactual work of historical fiction imagines Beethoven traveling to America to write an oratorio based on the Book of Job. It is a matter of historical record that in 1823 the Handel and Haydn Society of Boston (active to this day) sought to commission Beethoven to write an oratorio. The premise of Paul Griffiths’s ingenious novel is that Beethoven accepted the commission and traveled to the United States to oversee its first performance. Griffiths grants the composer a few extra years of life and, starting with his voyage across the Atlantic and entry into Boston Harbor, chronicles his adventures and misadventures in a new world in which, great man though he is, he finds himself a new man. Relying entirely on historically attested possibilities to develop the plot, Griffiths shows Beethoven learning a form of sign language, struggling to rein in the uncertain inspiration of Reverend Ballou (his designated librettist), and finding a kindred spirit in the widowed Mrs. Hill, all the while keeping his hosts guessing as to whether he will come through with his promised composition. (And just what, the reader also wonders, will this new piece by Beethoven turn out to be?) The book that emerges is an improvisation, as virtuosic as it is delicate, on a historical theme.

From the acclaimed composer and biographer Jan Swafford comes the definitive biography of one of the most lauded musical geniuses in history, Wolfgang Amadeus Mozart. At the earliest ages it was apparent that Wolfgang Mozart’s singular imagination was at work in every direction. He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode or not, Mozart was always hilarious. He went at every piece of his life, and perhaps most notably his social life, with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun. Mozart was known to be an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to a leap over the furniture. He was forever drumming on things, tapping his feet, jabbering away, but who could grasp your hand and look at you with a profound, searching, and melancholy look in his blue eyes. Even in company there was often an air about Mozart of being not quite there. It was as if he lived onstage and off simultaneously, a character in life’s tragicomedy but also outside of it watching, studying, gathering material for the fabric of his art. Like Jan Swafford’s biographies Beethoven and Johannes Brahms, Mozart is the complete exhumation of a genius in his life and ours: a man who would enrich the world with his talent for centuries to come and who would immeasurably shape classical music. As Swafford reveals, it’s nearly impossible to understand classical music’s origins and indeed its evolutions, as well as the Baroque period, without studying the man himself.