Actually, the line about the "magic flute at the lips of God" does mean
something to me, although what it means to the author may be something
different.  Its meaning is that Mozart was destined to be God's musical
instrument, the composer who would write the music that God wanted humans
to hear.  I want to emphasize that I don't personally believe in this
intervention from God, but there have been times when I start thinking that
a particular piece of music is so good that it couldn't have been created
solely by humans.  That's when I feel that the music is magical.

"Amadeus" has certainly struck a chord, pro and con, among a few list
members.  When I go to a movie, I try my best to break away from any
pre-conceived notions based on the book, play, or any other factors.
I like to go to a movie with my brain on empty(easy to do); the movie
is there to fill up the tank.

The way I see it, it's the movie's job to convince me that its emotional
themes and plots make sense within the movie's context.  Amadeus easily
convinced me.  Still, I can never succeed in accepting music from the
wrong era or on the wrong instruments from a movie.  Amadeus uses the
wrong instruments; another more recent historical movie about Queen
Elizabeth uses music from the wrong time periods: Mozart and
Elgar(assuming correct memory on my part).

Personally, I'd like to come across a top-rate movie about Bach.
Unfortunately, his personality and life are not juicy enough for the movie
moguls.  If we all of a sudden found out that Bach beat his wife to a pulp,
disfigured his kids' faces with boiling water and knives, and engaged in
sex acts with small children and assorted animals, the movie folks would
be tripping over themselves to make an R rated film which they would start
advertising more than six months before the premiere.  It could be titled
"Perversions in Liepzig".

Don Satz