WEBVTT

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Death itself, although it was
painful physically,

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once I left the body
it was very peaceful.

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Death is a peaceful thing.

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Programs are just extensions
of human beings, and I can hear

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some of Mozart peering through
at me smiling with that cackly laugh.

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I never once felt that I was insane
or anything like that was happening.

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I was completely lucid, completely
clear, clearer than I\'d ever been.

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I should say, this brain has ever been.

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Often people ask, with reincarnation, why
does everybody have to be somebody famous?

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Well I figure someone has to have been
those people, and I think

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everybody has probably been someone
famous in some life or another.

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My name is Steph Waller, I live
in Stillwater, Oklahoma,

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and this body now houses the soul

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that was once known as
Wolfgang Amadeus Mozart.

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I use computers to compose music,

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and another word for this, another
term for it is algorithmic composition.

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Algorithmic composition has been
around for thousands of years,

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and one implementation of algorithmic
composition prior to computers

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are wind chimes. The wind chimes
that you see around me

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are good examples of that.

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The creator of these wind
chimes-- as you hear playing

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and that I love in my wonderful
wind chime collection

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as an example of algorithmic
musical instruments--

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set certain things in concrete.

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That is, the pitches of the
chimes themselves.

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And the wind comes in and then
plays them in a most exciting way.

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Each time the wind blows in a
slightly different direction,

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you get a different orchestration
and it\'s lovely and vibrant.

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It\'s not like a CD, where you have
the same exact piece each time.

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But now we have a different piece,
and I find this very exciting.

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My name is David Cope, and I use
algorithms to compose music

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in the style of various
long-dead classical composers

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including Wolfgang Amadeus Mozart.

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We have a special,
special surprise today.

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Who do you think our guest
is going to be?

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Beethoven?

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Close, who else has a guess?

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Mozart?

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Mozart, that\'s right!

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Wolfgang Amadeus Mozart
has come a very long way

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to be with us here at
the Guthrie Public Library,

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and he will come if we give him
a warm welcome with our clapping.

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Are you ready?
Wolfgang Amadeus Mozart.

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I was born in 1756 and I was
very famous as a child star.

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And my father traveled my
sister and I all over Europe on tour

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playing music for all the crowned
heads, kings and queens everywhere.

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People sometimes ask me why,
if I believe I was Mozart--

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or the spirit or the soul of Mozart--

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why don\'t I compose
the way I used to.

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Because these hands
and this brain was not trained,

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or went through all
those years of practice.

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That is in the meat.
That\'s not in the soul.

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There\'s someone very special I brought with
me who is going to come and speak with you.

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She was a very close friend of mine and she
sang in my opera, The Marriage of Figaro.

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And I would like to introduce her to you
and have her come up and speak with you.

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My name is Lynette Erwin,
I\'m from Stillwater, Oklahoma.

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And in my last life I was Nancy Storace,
who had an intimate relationship with Mozart.

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Nancy Storace was the most
famous soprano of her day.

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She was wildly popular.

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She was considered the darling of Vienna.

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Mozart didn\'t seem to be the
kind of person who would fall

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for the ethereal beauty--
Mozart liked cute, pert women.

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He liked women who had fire and personality
and Nancy had all of those things.

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Could you please sing a song?

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I\'ll sing just a little bit
of one of the songs

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that Heir Mozart wrote
for me in \"Figaro.\"

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(singing)

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I\'ve always had acrophobia,
a fear of heights.

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And in my teens I attempted
to somehow solve that problem

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by climbing a very large tower.

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But when I got to the top,
I found myself stuck in great fear

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that I might fall to the bottom.

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But then something
extraordinary happened.

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In the blowing of the wind
through the guy-wires

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there was this beautiful singing
sounds sort of coaxed into being.

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It was first of all hardly audible,
and then it slowly came

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and the wires sang to me.

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And it was a very soothing sort of
hallucinogenic kind of quality

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to the music,
that it was just dreamy.

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Well, I realized that I could
make it to the bottom

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if only to plagiarize this piece
of music I was hearing.

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When I got down to
the bottom I ran home,

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tears in my eyes
that I was still alive.

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And the very first thing I
did was sit down on my bed

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and wrote out the best description
algorithmically as I could--

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because I couldn\'t write out
all the notes that I had heard,

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but I wrote out
the recipe for this piece.

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That experience on the tower--
those moments of both great fear

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and extraordinary exhilaration--
ultimately led me

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to algorithmic composition.
And when computers came along,

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to my work in writing programs
that emulated the musical style

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of classical composers.

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I don\'t know how many people often
have just fallen back on the bed

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at a very traumatic, stressful
time in their life and just said,

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\"I just don\'t wanna be here anymore.\"

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If that call is deep enough,
an out-of-body soul

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will hear that and
will start preparing them,

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and a mutual agreement is made
on the spiritual level

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that they will be able to leave
and go to a place

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where they can rest and regroup
and that other soul can come in

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and finish their work
and then get on with our own.

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The person that was before I walked in,
her name was Kay.

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Now, I don\'t feel like Kay,

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and Wolfgang was just an
Earthly name, you know,

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so I chose instead
to use the name Steph.

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For one thing, I\'m more of a
male entity and she was not,

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and Kay was very self-destructive.

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Before the walk-in
experience happened,

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she was afraid that maybe she was
going to have a nervous breakdown.

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And this music was just going
in her head over and over,

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almost like obsessive compulsion,
it just-- music wouldn\'t leave.

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\'Course she was a musician,
and that happens to musicians,

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but it was bigger music
than what she\'d ever heard before.

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It was orchestral music.

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She sat at the piano on
Christmas Eve of \'84,

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and had some manuscript
in front of her and was going to

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try her hand at writing some notes.

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The manuscript was on the piano,
and she sat down to compose--

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to try to write this music down.

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That was when the
transition took place.

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I was standing behind her,
there was a kind of a blackout,

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and it was very smooth.

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And I stepped in,
and she stepped out.

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When she woke up--
or I woke up--

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there were like 10 pages
of fully completed score.

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Score order was perfect.

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The system-- everything was perfect.

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I\'m not saying the composition
was perfect, but the setup--

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She\'d never had to experience, no way
she would have learned this anywhere.

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Nowhere.

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Then later a friend of mine came over,
and so I brought out the score

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and I showed it to him
and he looked it over--

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he had it on the floor, he was
sitting cross-legged on the floor--

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and he was reading this
and he looked up and he says,

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\"Have you seen Amadeus?\"

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And the movie came on
and I thought, sounds familiar.

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Well then when the scene comes up
where Mozart\'s in bed

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and Salieri is transcribing,
I went, \"Oh my god.\"

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I was horrified, I was terrified,
and I believe I started to faint.

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And Andrew looked at me, he says,
\"I knew you had to see this.\"

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And I said, \"Why is that music
like the music that\'s at home?\"

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The rhythm was a little off,
melody was a tiny bit off in one place,

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but it was still the same piece.

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That\'s me, I was 2 years old--
well, maybe 2 and a half.

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That was about the age I was
when I started looking for Mozart.

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I was sitting in front of the stereo
listening to--

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evidently I was listening
to a Mozart concerto,

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that\'s what my mother told me
I was listening to.

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And I was sitting and I was listening,
and I pointed to the stereo

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and I started to cry and my mother
asked me why I was crying,

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and I said, \"I have to find him.\"

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And she said, \"Find who?\"

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And I said, \"I have to find him.\"

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And she said, \"Mozart?\"

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I said, \"Yeah, I have to find
that Mozart man.\"

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She found me on the internet, you know,
and she didn\'t know anything

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about reincarnation at the time
and she didn\'t know anything about--

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She was corresponding with Mozart
through my Mozart side.

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I recall just the joy of finding--
of finding him.

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At that time I was-- I was married
to a Southern Baptist minister.

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And I found out that Mozart
not only was a woman,

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but Mozart was in a
relationship with another woman.

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And so that took me back a little bit.

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I thought that there would
be no hope for me

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to have a relationship with this person
because they were homosexual.

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And in my way of being raised I was
taught that that was sinful.

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But then deep down inside of me,
I thought, that\'s not right.

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This is not right.

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This is the same person that I have grown
to know and love from the very beginning.

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They haven\'t changed,
their gender\'s changed.

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I would like to have everybody
pick up their glasses

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and raise a little toast to Steph
and Lynette going back to Vienna

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where it all started.

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When we left each other in Vienna,
in 1787, it was very painful.

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And so we\'ve always said we were
going to go to Vienna again, together.

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Let\'s go to Vienna.

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Let\'s go, finally!

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I\'m sorry, but...

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...I wanna make love in Vienna.

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Cut!

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We have prepared for you special guest
who come to us today.

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He wanted this room, Number Three.

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I invite you in this room.

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This is his room.
This is Mozartkugel.

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We go with you together to bathroom.

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And here is special toilet--
music toilet.

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Please.

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I initially begin by bringing
up the program,

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Experiments in Musical Intelligence,
and you\'ll see on the screen here

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the program booting up, as we
call it in programming lingo.

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And then I load the music that
I wish to use as a database.

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In this case I\'m going
to choose Mozart,

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and you\'ll see a little sign
come up that indicates--

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or little window that is
loading Mozart at this time.

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And then we can in fact
compose an example of Mozart.

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Let\'s hear an example of
with that kind of a load

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right now.

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More recently I did 5,000 Bach chorales
in about an hour and 15 minutes or so.

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And that\'ll give you an idea of
how many would be created

00:22:50.699 --> 00:22:52.499
after a day, or two days, or three days.

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The number actually becomes so
astronomical that there\'s

00:22:55.001 --> 00:22:58.699
no words in our language to
describe how many there would be.

00:23:00.285 --> 00:23:04.079
You\'re listening to CBC Radio One.

00:23:04.080 --> 00:23:08.699
Why would your knockoff of Mozart

00:23:08.699 --> 00:23:12.999
deserve to survive
in parallel with Mozart?

00:23:12.999 --> 00:23:19.999
You might discover that Mozart
was writing knockoffs of Haydn.

00:23:19.999 --> 00:23:22.999
He was influenced by Haydn,
he wasn\'t doing a knockoff.

00:23:22.999 --> 00:23:24.999
My program is influenced
by its database.

00:23:24.999 --> 00:23:28.559
You\'re using the word influence as
long as it has to do with human beings.

00:23:28.560 --> 00:23:31.001
And as long as it has to do
with computers, it\'s a knockoff.

00:23:31.001 --> 00:23:32.999
Yeah, I am.

00:23:32.999 --> 00:23:35.245
Okay, then that shows
a bias on your part,

00:23:35.490 --> 00:23:39.839
and I\'m willing to accept that bias
and not exhibit it myself.

00:23:39.840 --> 00:23:41.489
Music is music,
as far as I\'m concerned.

00:23:41.490 --> 00:23:42.999
I don\'t care where it came from.

00:23:53.700 --> 00:23:56.620
It\'s like a bizarre,
I can\'t believe we\'re here.

00:23:56.620 --> 00:23:57.395
Uh-oh.

00:23:57.395 --> 00:23:58.395
Oh, look.

00:23:58.395 --> 00:23:59.395
Uh-oh.

00:24:00.007 --> 00:24:02.001
Look at all of that.

00:24:03.599 --> 00:24:06.999
Oh my god, no, c\'mon let\'s go.

00:24:06.999 --> 00:24:09.009
I\'d rather have a beer. (laughing)

00:24:48.320 --> 00:24:51.089
This is the Vienna I remember.

00:24:51.090 --> 00:24:53.001
I remember all this craziness.

00:24:55.250 --> 00:24:59.999
What I like about being here is,
we can hold hands.

00:24:59.999 --> 00:25:01.799
Can\'t do that at home, I mean--

00:25:01.799 --> 00:25:03.999
Nobody gives a crap.

00:25:11.060 --> 00:25:17.024
Now this-- this is what I remember.

00:25:17.025 --> 00:25:20.001
This is the altar where Constanze
and I were married.

00:25:21.999 --> 00:25:23.001
Big mistake.

00:27:28.430 --> 00:27:32.879
I\'ve been working many hours--
many days, as a matter of fact--

00:27:32.880 --> 00:27:37.034
entering and downloading works and double
checking them for accuracy and so forth,

00:27:37.035 --> 00:27:40.109
because Mozart never wrote a
piece for cello and orchestra.

00:27:40.110 --> 00:27:42.959
And so I had to find
works that seem suitable

00:27:42.960 --> 00:27:45.924
for that kind of sort
of re-orchestration.

00:27:45.925 --> 00:27:47.599
And I spent a lot of time doing it,

00:27:47.600 --> 00:27:50.314
and now we\'re to that magical
point where we\'re going to have

00:27:50.315 --> 00:27:56.314
a world premiere of the
MIDI version of this work.

00:27:56.315 --> 00:27:59.779
We have to be very careful with
these MIDI version outputs because

00:27:59.780 --> 00:28:03.799
most MIDI versions of things sound
pretty awful even when they\'re good,

00:28:03.800 --> 00:28:06.169
so we have to do what I
call an \"ear squint.\"

00:28:06.170 --> 00:28:10.219
That is, actually listen with
the ears as if we were hearing

00:28:10.220 --> 00:28:12.589
living, breathing performers
playing the music

00:28:12.590 --> 00:28:15.169
and playing them on real
musical instruments.

00:28:15.170 --> 00:28:17.199
So let\'s give a hear to this piece.

00:28:35.720 --> 00:28:39.999
I think an effective sort of
opening theme.

00:28:39.999 --> 00:28:42.999
And a nice cello rejoinder there.

00:28:48.001 --> 00:28:51.020
I can\'t honestly say
it is good music.

00:28:51.630 --> 00:28:55.999
I\'d say its weak points is the fact
it keeps repeating itself, endlessly,

00:28:55.999 --> 00:28:58.769
without any real variation,

00:28:58.770 --> 00:29:01.999
and the themes are
kind of clumsily shaped

00:29:01.999 --> 00:29:03.999
and the harmonies don\'t really work.

00:29:03.999 --> 00:29:11.039
And the music doesn\'t really
suit the instruments its written for.

00:29:11.040 --> 00:29:14.279
And there\'s no basic shape
or journey to the piece.

00:29:14.280 --> 00:29:18.329
But having said that, which I suppose
isn\'t particularly complimentary,

00:29:18.330 --> 00:29:21.970
I\'ve kind of got fond of it.

00:29:22.010 --> 00:29:26.609
One can try and at least bring
out the charms that there are.

00:29:26.610 --> 00:29:32.334
And it\'s enough based on Mozart
data that there is some charm there.

00:29:33.799 --> 00:29:34.799
You must be Steven.

00:29:35.699 --> 00:29:38.499
I\'m David--
just Dave, glad to meet you.

00:29:38.499 --> 00:29:42.269
The whole idea of the program
is to learn enough about the style

00:29:42.270 --> 00:29:44.199
to be able to produce a new piece

00:29:44.199 --> 00:29:46.999
in one of the forms
of the pieces in the database

00:29:46.999 --> 00:29:50.299
without it being one of the pieces
in the database.

00:29:50.299 --> 00:29:51.999
But you don\'t then change it?

00:29:51.999 --> 00:29:55.499
I try not to.
If I start to fool with it,

00:29:55.499 --> 00:29:59.799
then the output is a combination of
my own aesthetic and computer output.

00:29:59.799 --> 00:30:01.680
It\'s going to be a much better piece.

00:30:01.680 --> 00:30:04.619
It may be that, but I\'m trying
to make it the best piece I can

00:30:04.620 --> 00:30:07.001
by being the best programmer I can.

00:30:07.001 --> 00:30:11.279
I can\'t honestly say that the piece
you give me is going to be

00:30:11.280 --> 00:30:12.999
the long-lost Mozart concerto,
but it\'s very interesting

00:30:12.999 --> 00:30:15.345
from a computer
point of view, I think.

00:30:15.345 --> 00:30:16.999
That the computer can
produce this is amazing.

00:30:18.001 --> 00:30:21.999
Thank you for doing this whole thing,
you have my undying thanks.

00:30:21.999 --> 00:30:22.899
Thank you.

00:30:22.899 --> 00:30:25.001
Well, I hope you still do
when you hear me play it.

00:33:27.620 --> 00:33:30.399
Here we are in the very first
stages of the production

00:33:30.399 --> 00:33:32.899
of the Echte Salzburger
Mozartkugel from Mirabell,

00:33:32.900 --> 00:33:37.899
where the marzipan is prepared
with a very special recipe

00:33:37.899 --> 00:33:41.349
with pistachios inside,
and this marzipan is in the core

00:33:41.350 --> 00:33:43.099
of the Echte Salzburger Mozartkugel.

00:33:46.820 --> 00:33:50.999
I\'m sorry, you can\'t show this part
of the production line

00:33:50.999 --> 00:33:53.001
because it\'s a secret area
where the inside part

00:33:53.001 --> 00:33:55.999
of the Echte Salzburger
Mozartkugel is made.

00:33:55.999 --> 00:34:03.999
But here you can see how perfect the
orb is and how it melts in your mouth.

00:34:03.999 --> 00:34:07.739
And this is the point where the Echte
Salzburger Mozartkugel from Mirabell

00:34:07.740 --> 00:34:10.429
meets the Mozart image.

00:34:10.430 --> 00:34:15.999
Every Mozartkugel is wrapped
individually in a golden foil.

00:34:22.850 --> 00:34:25.999
And this is where these ladies pack the
Echte Salzburger Mozartkugel

00:34:25.999 --> 00:34:28.999
into the gift packs by hand.

00:34:29.000 --> 00:34:31.699
Because when people open the gift pack,

00:34:31.699 --> 00:34:35.001
they want to look
into the eyes of Mozart.

00:35:01.000 --> 00:35:04.930
(singing \"Serenade No. 13
for strings in G major\")

00:36:19.540 --> 00:36:24.999
This is the courtyard of the house
that all my hard work paid for.

00:36:54.440 --> 00:36:57.480
It\'s like being home.

00:36:57.480 --> 00:37:01.799
It\'s just like-- besides the house,
it\'s like being with my family again.

00:37:04.340 --> 00:37:09.001
Well that\'s my sister, Nannerl,
with me of course,

00:37:09.001 --> 00:37:11.894
and our father, and a
portrait of our mother,

00:37:11.895 --> 00:37:16.169
because she had died
not too soon before this.

00:37:16.170 --> 00:37:17.999
And we\'re playing four-handed
at the clavier,

00:37:17.999 --> 00:37:20.000
like we used to do
when we were younger.

00:37:21.699 --> 00:37:26.899
It\'s like a reunion...
it\'s like a reunion.

00:37:56.060 --> 00:37:58.360
(quiet sobbing)

00:38:07.160 --> 00:38:11.384
I didn\'t think I\'d have any kind
of reaction to this whatsoever.

00:38:11.385 --> 00:38:15.940
I don\'t believe in death so I didn\'t
think I was going to have any kind of...

00:38:16.280 --> 00:38:18.699
But it\'s not about death
and coming back,

00:38:18.699 --> 00:38:22.399
it\'s about making peace with the past,
I think...I think.

00:38:28.799 --> 00:38:30.999
207, please, 207?

00:38:32.799 --> 00:38:36.999
Light, light.
C-sharp, two, three, four--

00:38:52.520 --> 00:38:54.001
Not my favorite part.

00:39:07.799 --> 00:39:08.999
Don\'t rush.

00:39:38.960 --> 00:39:41.084
Mozart--

00:39:41.085 --> 00:39:43.199
I mean, he would have preferred
being poisoned by Salieri.

00:39:43.199 --> 00:39:45.440
(all laughing)

00:39:45.440 --> 00:39:47.001
Now, now.

00:39:47.999 --> 00:39:49.999
You don\'t want to put an F-sharp
on the second beat?

00:39:49.999 --> 00:39:52.499
It won\'t work because the F-sharps
have got to go to a G

00:39:52.499 --> 00:39:55.201
if you\'re gonna change the F-sharps,
and they don\'t resolve correctly.

00:39:55.201 --> 00:39:56.999
So I think it would sound funny.

00:39:56.999 --> 00:39:59.999
Are you sure you can stand that?
We\'re firmly in F-major,

00:39:59.999 --> 00:40:01.399
and then suddenly we\'re back in C.

00:40:01.399 --> 00:40:05.639
I\'d have to change three or four bars,
with alot alot of notes.

00:40:05.640 --> 00:40:07.001
I just don\'t know how to play it.

00:40:07.001 --> 00:40:10.319
Ah, it\'s going wonderfully, yeah.
Steven is a brilliant cellist,

00:40:10.320 --> 00:40:13.999
and he\'s got a real musical sense
that\'s comes from--

00:40:13.999 --> 00:40:17.299
beautifully from the heart and soul.

00:40:17.299 --> 00:40:21.794
I hate to use that word sometimes,
but sometimes it\'s apropos to use it.

00:40:21.795 --> 00:40:22.999
The orchestra is obviously
extremely well skilled,

00:40:22.999 --> 00:40:24.999
so we\'re really picking
at very small points.

00:41:25.130 --> 00:41:30.001
This is-- this was the apartment I
lived in at the time of my death.

00:41:32.390 --> 00:41:35.759
Of course it\'s nothing as I remember it.

00:41:35.760 --> 00:41:37.001
It would be over here.

00:41:38.759 --> 00:41:41.999
I\'m looking for where I was
last time when I left my body,

00:41:41.999 --> 00:41:43.001
where it was.

00:41:44.265 --> 00:41:48.299
I only know it by where the
windows are set up and I don\'t--

00:42:02.840 --> 00:42:05.099
This was-- this was my
music room right here.

00:42:05.099 --> 00:42:06.399
This was my music room.

00:42:08.699 --> 00:42:11.299
Directly there was my bedroom.

00:42:11.299 --> 00:42:14.585
Right about here was--
now we\'re in the bedroom.

00:42:14.585 --> 00:42:16.999
Now we\'re in the bedroom.

00:42:16.999 --> 00:42:21.199
The bed was here-- the bed was here.

00:42:21.999 --> 00:42:23.799
The memories of my death
are really painful,

00:42:23.799 --> 00:42:25.999
they\'ve always been terribly painful.

00:42:25.999 --> 00:42:29.001
To this day I still can\'t listen to the
\"Requiem\" without going a little nuts.

00:42:31.010 --> 00:42:33.509
So I feel like I\'m making
peace with that, it feels--

00:42:33.510 --> 00:42:35.199
In fact, I\'m kind of feeling--
is the floor moving?

00:42:35.199 --> 00:42:37.009
We\'re not doing this?

00:42:38.799 --> 00:42:41.100
This feels almost like
an earthquake, it feels like--

00:42:41.100 --> 00:42:45.699
like a false floor is going like this,
like when you\'re on an elevator.

00:42:45.699 --> 00:42:47.001
We\'re not moving?

00:42:48.699 --> 00:42:51.001
Of course we\'re not moving,
what am I thinking?

00:42:53.999 --> 00:42:57.699
This is good, I\'ve been
not wanting to come here

00:42:57.699 --> 00:42:59.700
because I knew it was a
department store,

00:42:59.700 --> 00:43:01.001
and I thought, what the heck.

00:43:01.899 --> 00:43:02.999
It was right here.

00:43:20.735 --> 00:43:26.179
So I show you some tombstones,
wonderful old headstones.

00:43:26.180 --> 00:43:29.779
That\'s my family name, Fisher--
in my father\'s family.

00:43:29.780 --> 00:43:35.001
I saw on TV the \"Six Feet Under,\"
it was also family Fisher.

00:43:36.699 --> 00:43:39.001
This is the grave of Mozart--

00:43:39.001 --> 00:43:43.599
an angel, and a symbol
for a very short life,

00:43:43.599 --> 00:43:48.001
and flowers, and I see a letter--
a letter to Mozart.

00:43:48.001 --> 00:43:50.399
Now what happens to the letters?

00:43:50.399 --> 00:43:51.699
Well, can we look?

00:43:51.699 --> 00:43:52.999
Sure!

00:43:54.460 --> 00:43:57.930
I hope Mozart is not--
when we open his...

00:43:58.820 --> 00:44:00.609
He wasn\'t personal about his letters.

00:44:01.999 --> 00:44:02.999
Look here.

00:44:02.999 --> 00:44:06.989
Oh, it\'s in English--
\"To Wolfgang Amadeus Mozart.

00:44:06.990 --> 00:44:09.854
\"Thank you for all
that you have given me.

00:44:09.855 --> 00:44:12.419
\"You have inspired me in times of joy

00:44:12.420 --> 00:44:15.584
\"and given me strength in times
of personal tragedy and loss.

00:44:15.585 --> 00:44:18.329
\"Your music has always
been there for me.

00:44:18.330 --> 00:44:20.939
\"You lived for only half
the years that I have,

00:44:20.940 --> 00:44:22.699
\"but you gave the world
so much in that time.

00:44:22.699 --> 00:44:23.999
\"Thank you, Christina.\"

00:44:23.999 --> 00:44:25.399
It is wonderful.

00:44:25.399 --> 00:44:26.399
He\'s not dead.

00:44:26.399 --> 00:44:27.399
No, he\'s not.

00:44:27.399 --> 00:44:31.499
His music and his ghost is still on.
It is wonderful.

00:44:31.499 --> 00:44:32.599
I believe that.

00:48:51.200 --> 00:48:56.279
This place is so special because
this is place where Wolfgang and I

00:48:56.280 --> 00:49:00.699
came and declared our
love for one another.

00:49:00.699 --> 00:49:01.699
We confessed.

00:49:01.700 --> 00:49:06.735
I confessed,
and I felt tremendous guilt.

00:49:06.735 --> 00:49:11.774
I denied and denied and denied,
and I ran away from my feelings for you.

00:49:11.775 --> 00:49:18.554
We tried to stop it several times,
and we kept it such a secret,

00:49:18.555 --> 00:49:22.199
and I knew when we parted that that
was the last time I would ever see you.

00:49:22.200 --> 00:49:25.101
And I really, really,
really regretted that.

00:49:26.888 --> 00:49:29.101
I hope we can find it
before we say goodbye.

00:49:30.975 --> 00:49:33.584
All I have are these impressions.

00:49:33.585 --> 00:49:38.001
And everything that I can remember
is what it looked like then.

00:49:39.999 --> 00:49:41.899
So many things have changed.

00:49:43.001 --> 00:49:44.999
There\'s the wall, see?

00:49:45.260 --> 00:49:46.399
That\'s it!

00:49:46.399 --> 00:49:47.999
Oh my god.

00:49:51.350 --> 00:49:53.710
This is it.

00:49:55.599 --> 00:49:57.999
This is where I told him goodbye.

00:50:05.630 --> 00:50:09.370
This is where I told him goodbye.

00:50:13.580 --> 00:50:17.599
I never saw him again--
I never saw him alive again.

00:50:20.001 --> 00:50:23.101
I didn\'t want to go,
I didn\'t want to leave.

00:50:26.299 --> 00:50:28.999
Forgive me, forgive me.

00:51:12.860 --> 00:51:17.849
We were separated from one
another for over 200 years.

00:51:17.850 --> 00:51:21.259
And when we finally found one another--
we want go be together.

00:51:21.259 --> 00:51:23.599
We have been looking for one another.

00:51:23.599 --> 00:51:29.189
I have been looking for Steph--
or, for Wolfgang--

00:51:29.190 --> 00:51:30.999
since I was three years old.

00:51:40.520 --> 00:51:43.739
The passion of my life has been music.

00:51:43.740 --> 00:51:46.529
And the first time I heard
a piece by Mozart, for example,

00:51:46.530 --> 00:51:50.279
it was a monumental
occasion for me.

00:51:50.280 --> 00:51:55.979
I wept, I couldn\'t believe that
something could do this to me--

00:51:55.980 --> 00:51:59.069
make me feel noble in
a way as a human being,

00:51:59.070 --> 00:52:01.299
part of the human race in a
way that nothing else could.

00:52:06.320 --> 00:52:10.484
My whole life has all been about
producing beauty of some sort.

00:52:10.485 --> 00:52:12.999
Now the beauty that my program produces
may not be beauty to everyone,

00:52:12.999 --> 00:52:14.001
but it\'s beauty to me.

00:52:44.300 --> 00:52:47.001
I\'m finding that the longer I\'m here,

00:52:47.001 --> 00:52:50.001
the more the memories
of the person who was K

00:52:50.001 --> 00:52:53.115
are diminishing into the background.

00:52:53.115 --> 00:52:56.489
And I think that\'s good.

00:52:56.490 --> 00:52:59.999
If I was not Wolfgang in a past life,
then I want to know that.

00:52:59.999 --> 00:53:01.399
This has always been my quest.

00:53:01.399 --> 00:53:04.919
Tell me, let me know,
let me find out somehow,

00:53:04.920 --> 00:53:07.949
because I don\'t want
to carry this bad karma around.

00:53:07.950 --> 00:53:10.424
And I have to tell
the truth as I know it

00:53:10.425 --> 00:53:12.299
so I can have the clarity
to move into my next life,

00:53:12.299 --> 00:53:15.001
which I hope to accomplish much
greater things in that life.

00:53:38.301 --> 00:53:39.449
Bravo!

00:53:40.670 --> 00:53:42.629
Let\'s do it again immediately, I think.

00:53:44.355 --> 00:53:45.999
1,2,3...

00:53:47.799 --> 00:53:53.001
(orchestral music)