Riddle of Mozart

Mozart 

by Wolfgang Hildesheimer

"The riddle of Mozart is precisely that 'the man' refuses to be a key for solving it. In death, as in life, he conceals himself behind his work."  - Wolfgang Hildesheimer






The 1977 biography of Wolfgang Hildesheimer, "Mozart," is a noteworthy and frequently contentious addition to our knowledge of the renowned composer. A complex, difficult, and profoundly human portrait of Wolfgang Amadeus Mozart is presented by Hildesheimer, who avoids an unduly romanticized or hagiographic approach. Decades after its publication, this portrait still sparks debate and reexamination.

Hildesheimer's work is fundamentally a demythologization. He removes the façade of the carefree genius who creates masterpieces with ease, the porcelain prodigy. Rather, he explores Mozart's imperfections, fears, and eccentricities by using a psychoanalytical lens to delve into the composer's mind. As demonstrated by the biography's candid discussion of Mozart's notorious scatological humor in his letters, this "Mozart" is not always a comfortable character; at times, he can come across as perplexing, aloof, and even uncivilized.

One of the most unique aspects of the book is that it is a "meta-biography." Hildesheimer is not satisfied with merely narrating Mozart's life story. He actively participates in and critiques the biographical writing process itself, especially the customs that have molded Mozart's reputation over the ages. He criticizes earlier biographers for projecting their own ideals onto their subject, being sentimental, and having wishful thinking. This critical attitude includes challenging long-held beliefs and conducting a thorough analysis of sources.

It is a theme-based biographical analysis of Mozart's life. Using excerpts from Mozart's letters, the author creates an engaging, though never hagiographic, account of his life and music. Mozart fans will enjoy this entertaining and well-written biography.

Schubert on Mozart

 

On June 13, 1816 the 19-year-old Franz Schubert wrote in his diary,

    This day will haunt me for the rest of my life as a bright, clear, and lovely one. Gently, and as from a distance, the magic tones of Mozart’s music sound in my ears. With what alternate force and tenderness, with what masterly power did Schlesinger’s playing of that music impress it deep, deep in my heart! Thus do these sweet impressions, passing into our souls, work beneficently on our inmost being, and no time, do change of circumstances, can obliterate them. In the darkness of this life, they show a light, a clear, beautiful distance, from which we gather confidence and hope. Mozart! immortal Mozart! how many and what countless images of a brighter, better world hast thou stamped on our souls!

The String Serenade

From Mozart to Tchaikovsky and Beyond

In October of 1880 as Tchaikovsky was in the process of composing what would become his most famous overture, the 1812 Overture, op.49, he was also en-rapt in the creative process that would produce a very different composition;  the Serenade for Strings, op. 48.  A composer who battled continually with self-doubt, Tchaikavsky was unusually proud of the serenade for he wrote to his benefactor Nadia von Meck describing it  as "a heartfelt piece and so . . . not lacking in real qualities."  It is a lovely four movement composition with classical style and one of Tchaikovsky's most delightful waltzes as the second of those movements. 

Almost a century earlier in August, 1787, Wolfgang Amadeus Mozart entered in his catalogue of compositions a short notturno or serenade as "Eine Kleine Nachtmusik" (a little night music).  These pieces, both favorites of mine and many other music lovers, are definitive examples of the string serenade, a genre that would extend well into the twentieth century with prominent popular compositions by Elgar, Dvorak, Vaughan Williams and Suk among others. The Serenade by the Swedish composer Dag Wirén is also one of my favorites with sparkling modern melodies seasoned with just a bit of dissonance and delightful rhythms.

The string Serenade is typically a lighter work, often including folk themes or dance-based movements like the waltz mentioned above.  While often in four movements like a symphony it may have more or less.  Serenade is from the French French sérénade, from Italian serenata, from sereno, calm, clear, the open air, from Latin serēnus. (the same root for serene).
As the name serenade implies it is a composition that achieves serene song-like character through the use of the variety of sounds of the string ensemble.
In addition to the famous waltz Tchaikovsky uses a lively Russian folk song as the basis for the final movement of his Serenade for Strings.  This practice was continued by Vaughan Williams in pieces like both his Fantasias on "Greensleeves" and on "a theme by Thomas Tallis".  My favorite, Dvorak's Serenade for Strings in E, Op. 22, which unlike a typical symphony of the day has a first movement (Moderato) that is the briefest of the lot. Its primary theme is a guileless melody that is made the subject of playful imitation; delicately pointed dotted rhythms fill the central, G major section. More than once, the C sharp minor Tempo di Valse second movement shows a better-than-passing resemblance to Chopin's C sharp minor Waltz, Op. 64/2, though Dvorák never veers far from his own Bohemian roots; certainly a five-measure waltz-phrase like Dvorák's main idea is something Chopin might have reconsidered. The third movement, Scherzo, is a Vivace zinger; the Larghetto's main tune is a beautifully resigned. The rhythm and shape of the introductory measures of the finale to Beethoven's Ninth Symphony sneak into the start of the Serenade's finale (Allegro vivace). The themes of first the Larghetto and then the Moderato first movement make encore appearances as the finale unfolds.
The serenade for strings is a melodic space in the universe of classical music and one that includes many stellar examples such as those discussed above.

Mozart 

by Peter Gay

"The life of Mozart is the triumph of genius over precociousness. . . In the course of a sadly truncated life--he died on December 5, 1791, at the age of thirty-five--Mozart claimed a place at the thinly occupied pantheon of the greatest composers."(p 1)

Peter Gay has written the perfect short biography of Wolfgang Amadeus Mozart. In doing so he provides a glimpse into the personal life of the famous composer while commenting on the world around him and his music. For Peter Gay, Mozart is a "Genius" just as he was for Goethe and many since then. Some of the aspects of Mozart's life that are highlighted include his relationship with his overbearing and controlling father whom he would separate from yet continue to reference in his music; but also the lack of appreciation from the nobility and his profligate spending which, more than anything else, led to his increasing requests for pecuniary support from his friends.  The author devotes a chapter to Mozart's mature operas with superlative and succinct discussions of each.  Clearly Gay loves opera as much as Mozart.  And I would be negligent if I did not mention the bibliography, my favorite section in works of serious non-fiction, which is excellent.  Gay relies primarily on secondary sources and his discussion of some of the biographies of Mozart provides direction for the reader who is interested in going further and deeper into the Wolfgang's life.
The saving grace for Mozart was the genius of his music. Gay argues that Mozart continued to improve throughout his career which led Haydn to refer to him as "priceless". Priceless, genius, heavenly, whichever words used to describe Mozart's musical art his legacy is with us today in homes and concert halls and Peter Gay provides the essential reasons why.

View all my reviews