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Two sides of Mozart: the outgoing flair for drama epitomised by the Overture to The Magic Flute, and the inward, profound serenity of an Adagio. A perfect balance of expression and restraint. Stravinsky’s neo-classical ballet score aspires to the same ideals, embodied in Apollo, god of music. Diaghilev heard it as “music not of this world, but from somewhere above…”