Mozart: The Man and the Artist, as Revealed in His Own Words Part 1

Mozart: The Man and the Artist, as Revealed in his own Words.

by Friedrich Kerst.

BRIEF BIOGRAPHICAL SKETCH

The German composer Wolfgang Amadeus Mozart (1756-1791) was not only a musical genius, but was also one of the pre-eminent geniuses of the Western world. He defined in his music a system of musical thought and an entire state of mind that were unlike any previously experienced. A true child prodigy, he began composing at age 5 and rapidly developed his unmistakable style; by 18 he was composing works capable of altering the mind-states of entire civilizations. Indeed, he and his predecessor Bach accomplished the Olympian feat of adding to the human concepts of civility and civilization. So these two were not just musical geniuses, but geniuses of the humanities.

Mozart's music IS civilization. It encompa.s.ses all that is humane about an idealized civilization. And it probably was Mozart's main purpose to create and propagate a concept of a great civilization through his music. He wanted to show his fellow Europeans, with their garbage-polluted citystreets, their violent mono-maniacal leaders and their stifling, non-humane bureaucracies, new ideas on how to run their civilizations properly. He wanted them to hear and feel a sense of civilized movement, of the musical expressions of man moving as he would if upholding the highest values of idealized societies. One need only listen to the revolutionary opening bars of his famous Eine Kleine Nachtmusik to see this.

He was an extremely sophisticated and complex man. His letters reveal him as remarkably creative, fascinated by the arts, principled, religious and devoted to his father. He had an energetic personality that was almost completely devoid of any cynicism, pessimism or discouragement from creating music. While rumors suggest that he was a lascivious individual, there is no evidence of this at all in his letters. Quite the contrary, the evidence seems overwhelmingly to suggest the opposite, and that Mozart may not have had any relations with women except with his own wife.

He was not as shrewd as he was civilized, however. He was peculiarly lax about profiting from his history-changing music.

His promoters constantly short-changed him.

He died nearly penniless and in debt, and at his death at age 35 an apathetic public took little notice of this man who had done so much in service to civilization. He was buried in an unmarked pauper's grave with few mourners. After his death, the bones of this great paragon of self-sacrifice for the sake of improving civilization were dug up and disposed of. His grave was then re-used, and to this day no one knows where his bones lie. Perhaps they are in a catacomb somewhere, in a huge bone-pile containing thousands of anonymous cadavers.

But the sounds he heard in his head live on, stimulating millions in elevators, doctors' offices, train terminals, concert halls and myriad other places to be more civilized, a.s.suming that they pay attention to the music.

EDITOR'S NOTE

The purpose and scope of this little book will be obvious to the reader from even a cursory glance at its contents. It is, in a way, an autobiography of Mozart written without conscious purpose, and for that reason peculiarly winning, illuminating and convincing. The outward things in Mozart's life are all but ignored in it, but there is a frank and full disclosure of the great musician's artistic, intellectual and moral character, made in his own words.

The Editor has not only taken the trouble to revise the work of the German author and compiler, but, for reasons which seemed to him imperative, has also made a new translation of all the excerpts. Most of the translations of Mozart's letters which have found their way into the books betray want of familiarity with the idioms and colloquialisms employed by Mozart, as well as understanding of his careless, contradictory and sprawling epistolary style. Some of the intimacy of that style the new translation seeks to preserve, but the purpose has chiefly been to make the meaning plain.

H.E.K.

New York, June 7, 1905

THE SIGNIFICANCE OF MOZART

Mozart! What a radiance streams from the name! Bright and pure as the light of the sun, Mozart's music greets us. We p.r.o.nounce his name and behold! the youthful artist is before us,--the merry, light-hearted smile upon his features, which belongs only to true and naive genius. It is impossible to imagine an aged Mozart,--an embittered and saddened Mozart,--glowering gloomily at a wicked world which is doing its best to make his lot still more burdensome;--a Mozart whose music should reflect such painful moods.

Mozart was a Child of the Sun. Filled with a humor truly divine, he strolled unconstrainedly through a mult.i.tude of cares like Prince Tamino through his fantastic trials. Music was his talisman, his magic flute with which he could exorcise all the petty terrors that beset him. Has such a man and artist--one who was completely resolved in his works, and therefore still stands bodily before us with all his glorious qualities after the lapse of a century--has Mozart still something to say to us who have just stepped timidly into a new century separated by another from that of the composer? Much; very much. Many prophets have arisen since Mozart's death; two of them have moved us profoundly with their evangel. One of them knew all the mysteries, and Nature took away his hearing lest he proclaim too much. We followed him into all the depths of the world of feeling. The other shook us awake and placed us in the hurly-burly of national life and striving; pointing to his own achievements, he said: "If you wish it, you have now a German art!" The one was Beethoven,--the other Wagner. Because their music demands of us that we share with it its experiences and struggles, they are the guiding spirits of a generation which has grown up in combat and is expecting an unknown world of combat beyond the morning mist of the new century.

But we are in the case of the man in the fairy tale who could not forget the merry tune of the forest bird which he had heard as a boy. We gladly permit ourselves to be led, occasionally, out of the rude realities that surround us, into a beautiful world that knows no care but lies forever bathed in the suns.h.i.+ne of cloudless happiness,--a world in which every loveliness of which fancy has dreamed has taken life and form. It is because of this that we make pilgrimages to the masterpieces of the plastic arts, that we give heed to the speech of Schiller, listen to the music of Mozart. When wearied by the stress of life we gladly hie to Mozart that he may tell us stories of that land of beauty, and convince us that there are other and better occupations than the worries and combats of the fleeting hour. This is what Mozart has to tell us today. In spite of Wagner he has an individual mission to fulfill which will keep him immortal. "That of which Lessing convinces us only with expenditure of many words sounds clear and irresistible in 'The Magic Flute':--the longing for light and day. Therefore there is something like the glory of daybreak in the tones of Mozart's opera; it is wafted towards us like the morning breeze which dispels the shadows and invokes the sun."

Mozart remains ever young; one reason is because death laid hold of him in the middle of his career. While all the world was still gazing expectantly upon him, he vanished from the earth and left no hope deceived. His was the enviable fate of a Raphael, Schiller and Korner. As the German ('tis Schumann's utterance) thinks of Beethoven when he speaks the word symphony, so the name of Mozart in his mind is a.s.sociated with the conception of things youthful, bright and sunny. Schumann was fully conscious of a purpose when he called out, "Do not put Beethoven in the hands of young people too early; refresh and strengthen them with the fresh and l.u.s.ty Mozart." Another time he writes: "Does it not seem as if Mozart's works become fresher and fresher the oftener we hear them?"

The more we realize that Wagner places a heavy and intoxicating draught before us the more we shall appreciate the precious mountain spring which laves us in Mozart's music, and the less willing we shall be to permit any opportunity to pa.s.s unimproved which offers us the crystal cup. In the mind of Goethe genius was summed up in the name of Mozart. In a prophetic ecstasy he spoke the significant words: "What else is genius than that productive power through which deeds arise, worthy of standing in the presence of G.o.d and Nature, and which, for this reason, bear results and are lasting? All the creations of Mozart are of this cla.s.s; within them there is a generative force which is transplanted from generation to generation, and is not likely soon to be exhausted or devoured."

CHIPS FROM THE WORKSHOP

1. "If one has the talent it pushes for utterance and torments one; it will out; and then one is out with it without questioning. And, look you, there is nothing in this thing of learning out of books. Here, here and here (pointing to his ear, his head and his heart) is your school. If everything is right there, then take your pen and down with it; afterward ask the opinion of a man who knows his business."

(To a musically talented boy who asked Mozart how one might learn to compose.)

2. "I can not write poetically; I am no poet. I can not divide and subdivide my phrases so as to produce light and shade; I am no painter. I can not even give expression to my sentiments and thoughts by gestures and pantomime; I am no dancer. But I can do it with tones; I am a musician....I wish you might live till there is nothing more to be said in music."

(Mannheim, November 8, 1777, in a letter of congratulation to his father who was born on November 14, 1719. Despite his a.s.sertion Mozart was an admirable dancer and pa.s.sionately devoted to the sport. [So says Herr Kerst obviously misconceiving Mozart's words. It is plain to me that the composer had the cla.s.sic definition of the dance in mind when he said that he was no dancer. The dance of which he was thinking was that described by Charles Kingsley. "A dance in which every motion was a word, and rest as eloquent as motion; in which every att.i.tude was a fresh motive for a sculptor of the purest school, and the highest physical activity was manifested, not as in coa.r.s.e pantomime, in fantastic bounds and unnatural distortions, but in perpetual delicate modulations of a stately and self-sustained grace."

H.E.K.])

3. "The poets almost remind me of the trumpeters with their tricks of handicraft. If we musicians were to stick as faithfully to our rules (which were very good as long as we had no better) we should make as worthless music as they make worthless books."

(Vienna, October 13, 1781, to his father. He is writing about the libretto of "Die Entfuhrung aus dem Serail," by Stephanie. The trumpeters at the time still made use of certain flourishes which had been traditionally preserved in their guild.)

4. "I have spared neither care nor labor to produce something excellent for Prague. Moreover it is a mistake to think that the practice of my art has become easy to me. I a.s.sure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied."

(A remark to Conductor Kucharz in Prague, who led the rehearsals for "Don Giovanni" in 1787.)

5. "They are, indeed, the fruit of long and painstaking labor; but the hope which some of my friends aroused in me, that my work would be rewarded at least in part, has given me courage and the flattering belief that these, my offspring, will some day bring me comfort."

(From the dedication of the Six Quartets to Haydn in 1785. The quartets were sent back to the publisher, Artaria, from Italy, because "they contained so many misprints." The unfamiliar chords and dissonances were looked upon as printers' errors.

Gra.s.salkowitsch, a Hungarian prince, thought his musicians were playing faultily in some of these pa.s.sages, and when he learned differently he tore the music in pieces.)

6. "I can not deny, but must confess that I shall be glad when I receive my release from this place. Giving lessons here is no fun; you must work yourself pretty tired, and if you don't give a good many lessons you will make but little money. You must not think that it is laziness;--no!--but it goes counter to my genius, counter to my mode of life. You know that, so to speak, I am wrapped up in music,--that I practice it all day long,--that I like to speculate, study, consider. All this is prevented by my mode of life here. I shall, of course, have some free hours, but they will be so few that they will be necessary more for recuperation than work."

(Paris, July 31, 1778, to his father.)

7. "M. Le Gros bought the 'Sinfonie concertante' of me. He thinks that he is the only one who has it; but that isn't so. It is still fresh in my head, and as soon as I get home I'll write it down again."

(Paris, October 3, 1778, to his father. An evidence of the retentiveness of Mozart's memory. In this instance, however, he did not carry out his expressed intention. Le Gros was director of the Concerts spirituels.)

8. "Melody is the essence of music. I compare a good melodist to a fine racer, and counterpointists to hack post-horses; therefore be advised, let well alone and remember the old Italian proverb: Chi sa piu, meno sa--'Who knows most, knows least.'"

(To the English tenor Michael Kelly, about 1786, in answer to Kelly's question whether or not he should take up the study of counterpoint.)

9. "One of the priests gave me a theme. I took it on a promenade and in the middle (the fugue was in G minor) I began in the major, with something jocose but in the same tempo; finally the theme again, but backwards. Finally I wondered if I might not use the playful melody as a theme for a fugue. I did not question long, but made it at once, and it went as accurately as if Daser had measured it for the purpose. The dean was beside himself."

(Augsburg, October 23, 1777, to his father. Daser was a tailor in Salzburg.)

10. "Above us is a violinist, below us another, next door a singing teacher who gives lessons, and in the last room opposite ours, a hautboyist. Merry conditions for composing! You get so many ideas!"