Amadeus Original soundtrack album [mp3 320 QUALITY]

Amadeus Original soundtrack album [mp3 320 QUALITY]

PLEASE IGNORE THE LAST TWO TORRENTS



(all composed by Mozart except as noted)



* Disc One



1. Symphony No. 25 in G minor, K 183, 1st movement

2. Stabat Mater: Quando Corpus Morietur and Amen (Pergolesi - performed by the Choristers of Westminster Abbey, directed by Simon Preston)

3. Early 18th Century Gypsy Music: Bubak and Hungaricus

4. Serenade for Winds, K. 361, 3rd movement

5. The Abduction from the Seraglio, Turkish Finale

6. Symphony No. 29 in A, K 201, 1st movement

7. Concerto for Two Pianos, K. 365, 3rd movement

8. Mass in C minor, K. 427, Kyrie (Mozart)

9. Symphonie Concertante, K. 364, 1st movement



* Disc Two



1. Piano Concerto in E flat, K. 482, 3rd movement

2. The Marriage of Figaro, Act III, Ecco la Marcia

3. The Marriage of Figaro, Act IV, Ah Tutti Contenti

4. Don Giovanni, Act II, Commendatore scene

5. Zaide aria, Ruhe Sanft

6. Requiem, K. 626, Intoitus (orchestra introduction)

7. Requiem: Dies Irae

8. Requiem: Rex Tremendae Majestatis

9. Requiem:Confutatis

10. Requiem: Lacrimosa

11. Piano Concerto in D minor, K. 466, 2nd movement



The original soundtrack to Amadeus reached #56 on Billboard's album charts, making it one of the most popular recordings of classical music ever. All of the tracks were composed by Mozart, save an early Hungarian folk tune and the final movement Quando Corpus Morietur et Amen by Giovanni Battista Pergolesi, from his famous Stabat Mater.



The film features some music that is not included on the original soundtrack album release. As stated above, except where specified, all tracks were performed by the Academy of St. Martin in the Fields, conducted by Sir Neville Marriner, and all were performed specifically for use in the film. According to the film commentary by Forman and Schaffer, Marriner agreed to score the film if Mozart's music was completely unchanged from Mozart's original scores. Marriner did add some notes to Salieri's music that are noticeable in the beginning of the film, as Salieri begins his confession.