anniversary of mozart's death - the power of beauty and truth

8/11/2019 Anniversary of Mozart's Death - The Power of Beauty and Truth

1/18

THE NEW FEDERALIST March 4, 1991 Page 8

American Almanac

On the 200th Anniversary Of Mozart's Death:

The Power of Beauty and Truth

y David !havin

Mozart "fourth from ri#ht$ in attendance at a meetin# of the %iennese

Masonic &od#e (rowned )o*e+ This unsi#ned *aintin# dates from c+ ,-.0+

&eft: a *ortrait of Mozart as a youn# man+

In cities throghot the !or"#, co$$e$orations o% the &''th anni(ersar) o%Mo*art+s #eath are eing -"anne#, or are in -rogress. In the ear") $orninghors o% Dece$er /, 1091, the /2)ear o"# co$-oser, Wo"%gang A$a#es

Mo*art, e3-ire# in his e#. A %e! hors "ater on that sa$e #a), an# on") a%e! "ocs a!a), his "ong2ti$e %rien# an# associate, 5aron (on S!ieten6the "ea#er o% the 7A$erican,7 or re-"ican, %action in ienna6!ass$$ari") #is$isse# %ro$ the go(ern$ent. 5e%ore this #a) !as o(er, the!or"# !o"# !itness the a--earance o% A"e3an#er Ha$i"ton+sReport to theCongress on the Subject of Manufactures6a $i"estone in the -rocess to!hich the nite# States !as to gro! accsto$e#: na$e"), that each


2/18

sccessi(e generation !as to e $ore c"tre#, $ore si""e#, an# $oreca-a"e o% assi$i"ating ne! techno"ogies, an# so"(ing $ore a#(ance#

-ro"e$s, than the -re(ios. Ho!e(er, the $ost interesting connectionsa$ong these three e(ents go e)on# that e(ent%" #a) o% a"$ost &'' )earsago.

The stor) o% Mo*art+s #eath is not !e"" n#erstoo# to#a), "arge") ecase thee) e"e$ents o% his "i%e to#a) are ignore#, oscre#, or $isn#erstoo#. Fore3a$-"e, his ear") co""aoration in Paris in 1008 !ith La%a)ette+s in2"a!s,the #e Noai""es, is co$-"ete") ignore#. The &&2)ear2o"# Mo*art !as to ethe organist %or the French cort, !hich ha# ;st ;oine# the A$ericanRe(o"tion against the 5ritish E$-ire. Whi"e !e can on") i$agine the

-ossi"e %rit%"ness o% Mo*art+s c"tra" in%"ence on Marie Antoinette an#Lois i(en sch o$issions, to#a) Ho"")!oo# can rega"e s !ith the %ra#"entthesis -ro-on#e# ) the $o(ie,Amadeus, that Mo*art !as $r#ere# %orreasons o% a -ersona"it) con%"ict !ith Antonio Sa"ieri. 5eetho(en, in his #a),sa! throgh this ins"ting (ersion o% Mo*art+s $r#er, an# acte# to #estro)the co(er2-.

To#a), the -o!er, grace, an# eat) o% Mo*art+s $sic sti"" %in# their !a) to

or $in#s an# hearts. Ho!e(er, or ai"it) to hear an# to s-ea his"angage has $are#") #i$inishe#, ;st as sre") as the -rocess o% theincrease in the ca-ai"ities o% sccessi(e generations6the -rocess e$o#ie#as the nite# States6has itse"% eco$e increasing") a"ien to s. As orattention is #ra!n to this &''th anni(ersar) )ear, !e stan# e%ore a ni=eo--ortnit) to attac, an# re(erse, this tragic #ea%ness. There is -erha-s no

etter -"ace to start than !ith Mo*art+s o-era, The Magic Flute.

/e*ulicans vs+ Oli#archs

In at$n 1091, the ca-ita"s o% Ero-e !ere in tr$oi" o(er the re(o"tionin France. In ienna, Mo*art+s o-eraDie Zauberflte !The Magic Flute"

-"a)e# to -ace# hoses, a#iences !hich !ere a $i3tre o% the $sic2"o(ers o% the aristocrac) an# the "arge $i##"e c"ass o% the cit).

Mo*art !ore# c"ose") !ith the "irettist, E$ane" Schiane#er, his goo#%rien# an# -o"itica" associate. The) ha# co$e to no! each other inMo*art+s ho$e to!n o% Sa"*rg in 108', !here Schiane#er+s acting tro-e


3/18

ha# co$e to -er%or$ Shaes-eare. No!, !ith the co$-osition o% TheMagic Flute, the) !ere ha(ing great goo# %n in -resenting the strategiccha""enge o% the A$erican re(o"tion to the $i3e# socia" c"asses o% ienna.

The si$-"e, n#er")ing the$e o% the -rece#ing ten )ears6o% the -erio#

since the A$ericans trne# the !or"# -si#e #o!n on the 5ritish o"igarch)at ?orto!n6can e -ose# as %o""o!s: can the co$$on $an rise ao(e thee(er)#a) concerns o% sr(i(a", an# access $ore -o!er%" ca-ai"ities in hisheart an# $in#, that !o"# e the sorce o% =a"itati(e i$-ro(e$ents o% hissociet)@ r, rather, the o--osing (ie! B-t as charita") as -ossi"eC: issociet) a ha--ier, $ore sccess%" -"ace, !hen $ost c"asses o% $anin#"earn on") a "i$ite# set o% actions, a tra#e, !hi"e a se"ecte# c"ass o% aristo2crats se"ects itse"% to e the o(erseers o% societ)@ In the %irst ca$- stoo# there-"icans, in the "atter, the o"igarchs.

This !as a "i%e an# #eath isse %or the )ong A$erican re-"ic, an# %or theo"#er Ero-ean ci(i"i*ation %ro$ !hich it ca$e. In The Magic Flute, Mo*art

-resents the aristocrac) o% a se"%2se"ecte# gro- o% $en, Sarastro+s 5rother2hoo#, as a socia" instittion that histor) is -assing ). no!"e#ge can no"onger e sccess%"") -rotecte# an# trans$itte# ) these $en, !hether the)

e thoght o% as $ons, or as Masons. Sarastro chooses to -ass the $ant"eo% "ea#ershi- to a -air o% )ong "o(ers, Ta$ino an# Pa$ina. For Mo*art,no!"e#ge $st no! "i(e as the %rit o% the $arriage o% trth an# eat), o%the "o(e o% Ta$ino an# Pa$ina %or each other. The no!"e#ge necessar) to

go(ern s-rings %ro$ the sa$e sorce as tre "o(e, an# oth are accessi"e toan) $an or !o$an that is !i""ing to a--ro-riate") orient his or her concerns.

So, the !e""2s-ring o% h$an e$otion, ca""e# in the Ne! Testa$ent, agap#,$st e -ro-er") c"ti(ate# as the strategic reser(e o% the h$an race.Aristocracies, %or Mo*art, are6) their (er) natre6too steri"e to carr) otthis tas.

The tria"s that Ta$ino an# Pa$ina $st each en#re "ie at the heart o% theo-era. The) are no oscre Masonic rita". Ho!e(er, to n#erstan# the$,

Mo*art+s a#ience, an# A$ericans to#a), $st a""o! the$se"(es to thinthrogh the tass %or citi*enshi- in a re-"ic. A rie% re%erence to thehistorica" -erio# sho"# he"-.


4/18

(locwise from to* left: Mozart as a child1 at *ractice with his father

&eo*old 3ohann !eastian Bach1 whose wor was introduced to the youn#

Mozart y Baron von !wieten the counter*oint introducin# the two #uards'

chorale1 efore Pamino and Tamino's trial y fire in The Magic Flute. This

*assa#e is also *art of Mozart's reworin# of Bach's (4minorMusical

Offering.


5/18

At the ti$e o% the French Re(o"tion, it !as an eas) $atter %or an) To$,Dic, or Harr) to ;$- in %ront o% a $ass o% #isgrnt"e# citi*ens an# )e""anti2aristocrac) s"ogans. The ases in societ) !ere there %or a"" to see.ne nee# on") reca"" the "ist o% ases cite# ) or %ore%athers at the

eginning o% the Dec"aration o% In#e-en#ence, in#icting the r"ers o% >reat5ritain.

More en"ightene# sections o% the aristocrac), sch as the signers to theLeage o% Ar$e# Netra"it) #ring the Re(o"tionar) War, consi#ere# thenee# an# the #esirai"it) o% #e(e"o-ing a $i##"e c"ass. In -artic"ar, thegro- that Mo*art ;oine# in ienna in 1081, aron# 5aron (on S!ieten an#ose-h (on Sonnen%e"s, a rai+s son, re-resente# the %action in E$-erorose-h+s cort !hich atte$-te# to create an e#cate# $i##"e c"ass.

Ho!e(er, the $ore ac!ar# e"e$ents o% the aristocrac) throghot theca-ita"s o% Ero-e #ring the #eca#e a%ter the A$erican Re(o"tion ha# thegreatest interest in ensring their historica" ases !ere ne(er again to casethe$ to "ose contro" o% their -o-"ations. Throgh the se o% sch agents

-ro(ocater as Danton an# Marat, the) -"anne# to channe" the -o-"ation+snrest #o!n "in# a""e)s. Ao(e a"", the) acte# to -re(ent the co$$on $an%ro$ recogni*ing his o!n h$anit) an# ca-ai"ities.

Truth and Beauty

So !hat !as the ;o o% a re-"ican "ea#er o% the A$erican %action in

organi*ing #isgrnt"e# -o-"ations #ring sch a -erio#@ An# ho! !as anin#i(i#a" citi*en to #istingish et!een a re-"ican "ea#er an# an agent

-ro(ocater@

Mo*art+s no!"e#ge on these $atters !as enca-s"ate# a generation "ater )ohn eats Ba "ea#ing $e$er o% the Mo*art schoo" in Eng"an#C in his -oe$7#e on a >recian rn,7 !hich c"ose# !ith eats+s %a$os s$$ation o%c"assica" c"tre:

+5eat) is trth, trth eat),+ 6that is a"" )e no! on earth, an# a"" )e

nee# to no!.7

Does this $ean that a re-"ican "ea#er $st co$-ose eati%"")@ Doesthis $ean that an agent -ro(ocater can e recogni*e# ) his g"), ras-),angr) (oice@ In an i$-ortant sense, )es.


6/18

Whi"e it !as necessar) to see the g") rea"ities, e.g., that too $an) chi"#ren!ere #)ing o% too $an) #iseases, or that too $an) a#"ts rese$"e# eastso% r#en an# nothing $ore, this t)-e o% nae# trth !as not the !ho"estor), nor !as it s%%icient. In taing his a#ience throgh the tria"s o%Ta$ino an# Pa$ina, Mo*art a##resses a s%%icient an# (ita" "e(e" o% trth. Are-"ican $st e a"e to "oo at the g") trth, as it !ere, an# s$$on -the inner eat) o% his or her so" to o(er-o!er g"iness. Anger, a"thoghso$eti$es an honest e$otion, cannot e a""o!e# to #escen# into $ere rage,

t rather $st ca"" %orth the $ore -o!er%" h$an e$otion o% agap#.

Fro$ the (er) otset o% the o-era+s "iretto, The Magic Flute gi(es a!a) theintention o% Mo*art an# Schiane#er to engage their a#ience in the critica"isses o% the #a), !ith the greatest o-ti$is$ an# h$or. Instea# o% $ere")

eing intro#ce# to the ne! characters, the a#ience is h$oros") in(ite#

into the in(estigation o% -rinces, -easants, an# h$an i#entities. The"istener is a""o!e# to "oo o(er Prince Ta$ino+s sho"#er an# =estion ho!he no!s an# ;#ges h$an characters an# i#entities. The Prince $eets a$an #resse# - in %eathers, in a strange "an#, o% !hich he #oes not no! the!a)s, an# he ass hi$ !ho he is:

$apageno% Who a$ I@6St-i# =estion@6A h$an eing "ie)orse"%6An# !hat i% I ase# )o !ho )o are@

Tamino% I a$ a -rinceG

$apageno% A-rince@

Tamino% Te"" $e, !hat #o )o "i(e %ro$@

$apageno% Fro$ %oo# an# #rin, "ie e(er)one e"se.

Tamino% An# !here #o )o get it %ro$@

$apageno% I catch ir#s %or the starr) een, an# in retrn she gi(es$e $) #ai") %oo# an# #rin.

Tamino% Te"" $e, goo# %rien#, ha(e )o e(er ha# the goo# %ortne tosee this go##ess o% the night@

$apageno% See@ See the starr) een@ See her@ 5t !h) are )o"ooing at $e so ss-icios")@

Tamino% 5ecase I+$ #ios as to !hether )o are a h$an eing.


7/18

Ta$ino %ai"s to n#erstan# the ss-icios arrange$ent o% societ) #escrie#to hi$ ) the -easant Pa-ageno, in !hich 7-easant #oes&, r"er gi(es'.(This e3-"anation is $ore sita"e %or ho! a three2)ear2o"# (ie!s the $agico% his $o$$) in the itchen. Instea#, the a#ience+s $in# is in(ite# toe3-erience the %n o% gro!ing -. The si$-"est =estions in the o-era

eco$e an o--ortnit) %or e-iste$o"ogica" in(estigations6oth h$orosan#, %or the tr"ent Ero-e o% 1091, #ea#") serios.

For e3a$-"e, !hen Sarastro -ro-oses to his 5rotherhoo#, that Ta$ino erecrite#, !e hear: 7>reat Sarastro, !i"" Ta$ino a"so !ithstan# the se(eretria"s that a!ait hi$@ Re$e$er, he is a -rinceG7 Sarastro ans!ers: 7E(en$ore, he is a h$an.7

Then there is the 7$agica"7 e"e$ent, the tre -rotagonist o% the o-era, the$agic %"te itse"%. Its $agic ser(es to carr) the characters e)on# the n2so"(a"e contra#ictions o% their #a). A g"orios =intet sings: 7hG Sch a%"te is $ore -recios than go"# or cro!ns, %or ) its -o!er !i"" h$an ;o)an# content$ent e increase#.7

What no"e senti$entsG 5t Mo*art is not $aing a %"o!er), ro$anticstate$ent. He $eans !hat he sa)s, an# is rea#) to -ro(e it. 5t !h)sho"#n+t an) a#ience !hose critica" %ac"ties !eren+t "e%t at the #oor,=estion Mo*art+s intro#ction o% sch a 7$agica"7 -o!er@ Mo*art+s ans!eris his $sic. It is the (er) -o!er #is-"a)e# ) Mo*art+s $sic throgh the

corse o% the o-era that ren#ers sch o;ections s-eech"ess. Mo*art -ts the=estion o% the co$-osing -o!ers o% his a#ience, an# o% his -o-"ation, onthe agen#a. The 7$agic %"te7 is nothing t a $o#est !a) o% re%erring tothe -o!er o% Mo*art hi$se"%, the -o!er o% c"assica" $sic, an#6)e3tension6the -o!er o% an) citi*en to access his o!n #e"ierati(e

-rocesses.

A"ong the !a), Mo*art $aes sre to ho"# - to goo#2h$ore# ri#ic"e thehaits that -eo-"e ten# to %a"" into as a sstitte %or en;o)ing thining.When the goo#2natre# Pa-ageno st$"es across the soght2a%ter heroine,

Pa$ina, he is -re-are# to a--") a"" his e$-irica" tests to $ae rea"it)con%or$ to his i$$e#iate sense2#ata. Not e"ie(ing her assertion that she is!ho she is, he co$-ares her to a -ortrait o% Pa$ina that he is carr)ing:7E)es "ac6right, "ac. Li-s re#6right, re#. 5"on# hair6"on# hair.E(er)thing is correct, e3ce-t the han#s an# %eet ecase %ro$ this -ictre,)o ha(en+t an) han#s an# %eet, %or none are -ainte# here.7


8/18

Pa$ina e3-resses si$i"ar #ots as to !ho Pa-ageno is:

$amina% 5t s--ose this is on") a tra-@ S--ose )o are t an e(i"genis o% Sarastro@

$apageno% I@ An e(i" genis@ What are )o thining o%@ I a$ nogenis at a"".

$amina% Frien#, %orgi(e $e i% I ha(e o%%en#e# )o. ?o ha(e aten#er heart.

At this, Pa$ina egins singing: 7The $an !ho %ee"s s!eet "o(e+s e$otion,JWi"" a"!a)s ha(e a in#") heart.7 An# Pa-ageno ;oins in. This %a$os #etce"erates the -o!er an# ;o) o% "o(e. The a#ience no! no!s that othPa-ageno an# Pa$ina are !orth) o% their interest, an# o% their concern,

ecase the) oth con=ere# their %ears an# ss-icions ase# -on theiro-enness to >o#+s -o!er on earth, "o(e.

5ood and 6vil

The =estion o% !hether Sarastro, the r"er o% the 5rotherhoo#, is -art o% agoo# cons-irac), or o% an e(i" one, rings - the =estion regar#ing the

-o-"ace+s ai"it) to choose "ea#ers, an# to -artici-ate in a re-"ic. Mchnonsense has een !ritten concerning the -ersona"it) o% the o$inos %igreo% Sarastro. The een o% the Night !o"# ha(e Ta$ino, an# the a#ience,

e"ie(e that he is the hea# o% a #angeros c"t that has i#na--e# her#aghter. It has e(en een sai# that the t!o #i%%erent Sarastros -resente# inthe "iretto, are e(i#ence that the "iretto !as !ritten ha-ha*ar#") )Schiane#er, !ith "itt"e attention to o(era"" coherence.

What -atent nonsenseG I% to#a)+s -r(e)ors o% c"tra" o-inions !o"#s-en# as $ch e%%ort on their Shaes-eare as Mo*art+s %rien# Schiane#er#i# in his ti$e, !e !o"# not s%%er %ro$ sch inanities. In %act, thecontra#ictions aot Sarastro, %ar %ro$ o(er"ooe# ) Schiane#er, are#e"ierate") %orce# to the a#ience+s attention, to con%ront the$ on ho! the)

$ae their ;#g$ents.

Ta$ino co$es to Sarastro+s rea"$ !ith the intention o% rescing Pa$ina, hisears %i""e# !ith (eno$os r$ors aot Sarastro. He is con%ronte# ) threete$-"es o% eati%" architectre, #e#icate# to reason, to natre, an# to!is#o$.


9/18

Ta$ino enters the Te$-"e o% Wis#o$, thining that he -rses the no"e an#"a$e"ess -r-ose o% rescing Pa$ina. 5t he is con%ronte# !ith a -riest o%the te$-"e, an# this interchange %o""o!s:

$riest% What are )o, stranger, seeing %or@

Tamino% +Tis "o(e an# (irte that I see.

$riest% These !or#s a "o%t) $in# es-ea. An# )et, ho! #o )o ho-eto earn the$@ Not "o(e nor (irte #o )o hee# !ith #eath an#(engeance )o are rning.

Tamino% ?es, (engeance %or a (i""ain+s #ee#G

$riest% M) son, )o are ensnare# in error.

-on %in#ing ot that Sarastro #oes in %act r"e e(en 7in !is#o$+s te$-"e,7Ta$ino cries ot, 7Then a"" is %a"se as %a"se can eG7

Wi"" or -rince, an# or a#ience, renonce their no"e -r-oses o%o(ertrning e(i", !hen con%ronte# !ith sch a--arent contra#ictions@ At%irst, the (er) na$e 7Sarastro7 is enogh to sen# Ta$ino -acing. Ho!e(er,the -riest #e$an#s an ans!er as to !h) he hates Sarastro so. 7He is a %oe o%$en, a t)rantG7 5t ho! #oes Ta$ino no! this, not no!ing Sarastro, norn#erstan#ing ho! Sarastro+s rea"$ co"# e a -"ace o% eat) an# !is#o$@It see$s that a s%%ering !o$an, the een o% the Night, has to"# hi$ so.

An# ho! is this #i%%erent %ro$ gossi-@ Ta$ino #oes not no!, t he is srethat he #esires the eati%" #aghter, Pa$ina, an# Sarastro stan#s in

et!een Pa$ina an# her $other.

What #oes Prince Ta$ino go throgh, that the a#iences o% ienna in the %a""o% 1091 are -ro$-te# ) Mo*art+s $sic a"so to go throgh@ Ta$ino haso-ene# hi$se"% - to the e$otions o% "o(e, an# o% %ree#o$, an# is a""o!inghis actions, his %tre, to e a"tere# in his -rsit o% these goa"s. No! he iscon%ronte# !ith a !or"# he #oes not n#erstan#. Wi"" he trn ac incon%sion, an# ass$e %or the rest o% his "i%e that sch inner e$otions are#angeros, irrationa", an# not in coherence !ith rea"it)@ r !i"" he "o(e

eat) an# trth #ee-") enogh, to a""o! the$ to he"- hi$ $aster !hate(ershortco$ings sti"" re$ain in his #e(e"o-$ent, characteri*e# ) thesesee$ing") inso"(a"e contra#ictions@ What $st Ta$ino no! to #e%eate(i"@ Ho! is he to $ster the -o!er to acco$-"ish !hat he %ee"s he $st@


10/18

The Trials

Dring the corse o% the tria"s that Ta$ino an# Pa$ina $st n#ergo, the)are %orce# to -"$ the #e-ths o% their as2)et2nteste# e$otion ca""e# "o(e,in or#er to reso"(e their -re#ica$ents. An# it is Pa$ina, not Ta$ino, !ho

"ea#s the !a).

st as the o$inos Sarastro is aot to $ae his %irst a--earance, Pa-agenos-eas on eha"% o% the a#ience+s %ears as he scrries aot, #es-erate %orso$ething to sa). It is Pa$ina, !ho sei*es the $o$ent, an# sings ot, s-ea7The trthG7 In the %ace o% i$agine# an# ni$agine# horrors, !ith no

-re#eter$ine# !a) ot, one cannot a""o! one+s $in# to s-in aron# in%antasies. The trth is the natra" %oo# o% the $in#. Withot it, the $in#star(es an# reas #o!n. I$-ortant"), it is 75eat),7 in the %or$ o% Pa$ina,!hich asserts 7The TrthG7

Dring Ta$ino+s tria"s, he !i"" co$e to #isci-"ine his $in# against gossi-,-re%erring to see -roo%. Wea $in#s $a) re-eat gossi- as !o$en #o, hesings, t h)-ocrites in(ent sch nonsense to ee- $in#s !ea.

Those !ho re-eat the nonsense that Mo*art so$eho! "a$es !o$en %or a""the -ro"e$s o% the !or"#, o(ios") ha(e ne(er chosen to con%ront the gt2!renching tria"s that Pa$ina is -t throgh. The a#ience !atches as she isthreatene# !ith ase an# "ac$ai" ) the Moor. Then, the) !atch as her$other threatens to renonce her n"ess she ;oins !ith her $other+s #es-era2

tion an# rage against Sarastro, an# ses her #agger to i"" hi$. This is thehorror o% the %a$os een o% the Night aria:

I% ) )or han# Sarastro #oes not -erishThen as $) chi"# I no! )o ne(er$ore.Aan#one# e %ore(er,Forsaen e %ore(er,An# shattere# e %ore(er,A"" the %orce o% natre+s tieGHarG >o# o% (engeance,Hear a $other+s cr)G

Pa$ina is a"" a"one in the !or"#, !hen the a#ience !itnesses her renion!ith Ta$ino. 5t, s!orn to si"ence #ring the corse o% their tria"s, hecannot s-ea to te"" her o% his "o(e. She has gi(en her a"" %or "o(e, an# itsee$s she has nothing in retrn. The -ain is neara"e. Listen to Mo*art+s$sic %or Pa$ina, an# one rea"i*es that Mo*art oth ne! this "e(e" o% "o(e,


11/18

an# chose to ring his a#ience to this #e-th o% con%rontation !ith theirinner$ost thoghts an# %ee"ings.

Mo*art ne! the in%inite ca-acit) %or "o(e an# re#e$-tion !ithin the h$anheart. He ha# e3-"ore# this the$e rigoros"), an# -assionate"), an# he te""s

the !or"# ho! he no!s !hat he no!s, in a %re=ent") o(er"ooe# -assage

Continued on page ) !not a*ailable"


12/18

A**endi7: The Ma#ic 8lute and the Death of Mozart

+&ecuti*e ntelligence Re*ie-, Dece$er 4, 199&Another Atte$-t To Ko(er - Mo*art+s Assassination Fai"s

) Da(i# M. Sha(in

The Moart M'ths% A Critical Reassessment

) Wi""ia$ Sta%%or#Stan%or# ni(ersit) Press, Stan%or#, Ka"i%., 1991&8/ -ages, har#on#, &4.9/

Daumer and the 8reemasons

It is no!n that in the "ast three $onths o% Mo*art+s "i%e, his o(er!he"$ing")sccess%" o-era,Die ZauberflteBThe Magic FluteC, roght e%ore theciti*ens o% ienna crcia" isses o% the connection et!een "o(e an# no!2"e#ge, an# o% the necessit) %or a -o-"ation in a re-"ic to $ae no!"e#getheir -ersona" ac=isition. Mo*art+s %ight to n#er$ine an# #estro) thesecreti(e, cons-iratoria" !ea-ons se# ) the o"igarch) against the A$ericanRe(o"tion a$ong >er$an2s-eaing -eo-"e !as not "ost -on >oethe,Schi""er, 5eetho(en, an# other re-"ican circ"es o% the ti$e.

In 181, a contro(ersia" artic"e, 7t o% the Attic,7 ) >.F. Da$er, a--eare#

in Main*, >er$an), a""eging that Mo*art !as -oisone# ) a c"tish assort2$ent o% Free$asons, I""$inati, acoins, an# Karonari. This e(i" co""ec2tion !as asserte# to ha(e e3iste# o(er the centries, to ha(e se# $an) %rontgro-s, an# to e #e(ote# to -o!er, to %ree "o(e, an# to natre2!orshi-.Da$er na$e# se(era" "ea#ing $e$ers o% this cons-irac), inc"#ing Da(i#H$e, o"taire, Marie ean Antoine Kon#orcet Ba e) %igre in the FrenchRe(o"tionC, an# anarchist Pierre ose-h Pro#hon. He e(en sggeste# thata scri"er in the 5ritish Mse$ in Lon#on, na$e# ar" Mar3, !as one o%their assets.

Da$er correct") "ocates the e3-"osi(e ro"e o% the Ltheran chora"e sng )the t!o ar$e# $en in The Magic Flute, in angering those a$ong theFree$asons !ho harore# nKhristian $oti(ations. BIn %act, this chora"e!as set to Mo*art+s e"o(e# K2$inor series $ateria", an n$istaea"ere%erence on Mo*art+ s -art to his o!n sccess%" %ight %or no!"e#ge.CDa$er sitates Mo*art+s -oisoning in the conte3t o% si$i"ar -oisonings o%


13/18

the E$-eror Leo-o"# II, an#, ear"ier, o% >ottho"# Lessing. Da$er a"sotaes care to #istingish the e(i" inner core o% Free$asons %ro$ $ost o% the$en Mo*art !ore# !ith.

Fidelio, Winter 199&Mo*art an# the A$erican Re(o"tionar) -srge

) Da(i# Sha(in

As each act o% The Abductionha# een co$-"ete#, Mo*art ha# -er%or$e#the$ %or the Kontess Maria Wi"he"$ine Thn, !hose sa"on !as re-orte#")e3tre$e") sti$"ating. I% 5aron (an S!ieten+s se$inars !ere the center o%the 75ach7 -ro;ect %or re-"ican "ea#ershi-, Kontess Thn+s sa"on !asc"ear") the center o% the ongoing -o"itica" an# c"tra" $eetings an#

#iscssions. . . .

The Kontess Thn -ro(e# instr$enta" in arranging %or the )ong ta"ent,L#!ig (an 5eetho(en, to co$e to ienna in 1080 an# $eet !ith Mo*art.T!o o% her sons2in2"a!, Prince Lichno!s) Bthe one %ro$ the Sn#a)se$inar seriesC, an# Kont Ra*$o(s), "ater eca$e $a;or s--orters o%the a#"t 5eetho(en.

9#naz von Born's (ons*iracy

Perha-s one o% the $ost contro(ersia" o% the gests at Kontess Thn+s !asIgna* (on 5orn, thoght to e the $o#e" %or Sarastro in Mo*art+s The Magic

Flute. ?ears ear"ier in Prage, 5orn ha# esta"ishe# a 7Societ) %or the St#)o% Mathe$atics, Nationa" Histor), an# Natra" Histor).7 He hea#e# a ni=eMasonic gro- ca""e#Zur -ahren +intrachtBThe Tre Har$on)C,esta"ishe# in 1081 to organi*e other Masonic gro-s a!a) %ro$ $)sticis$,Rosicrcianis$, a"che$), an# the "ie. (er the ne3t %e! )ears, se(era"hn#re# o% the est scientists, artists, an# !riters o% ienna ;oine# hisorgani*ation. The) !ore# to #isse$inate a re-"ican ot"oo, !ith a

(igoros -ro$otion o% science, ) sen#ing ot oth a ;orna" ai$e# atMasonic gro-s, in a##ition to the scienti%ic $aga*ine. It is sai# that ose-h(on Sonnen%e"s %on#e# the/ournal f0r Fre'maurerBFreemasons1 /ournalC.Igna* (on 5orn !as the e#itor o% the scienti%ic ;orna", !hose -ages !ereo-en to scientists o% $an) #i%%erent s-ecia"ties.


14/18

A"thogh >eorg Forster at the ti$e ha# een right") c)nica" to!ar# Free2$asonr), he !as -"easant") sr-rise# ) 5orn+s "o#ge: 7It -"ishes aFree$ason+s ;orna" in !hich e(er)thing6%aith, the oath an# cere$onies,an# e(en %anaticis$6is $ore o-en") #iscsse# than at ho$e in Sa3on).The est scho"ars an# -oets are $e$ers o% this "o#ge. The) $ae "ight o%the !ho"e i#ea o% secrec) an# ha(e trans%or$e# the entire thing into asociet) o% rationa", n-re;#ice# $en #e#icate# to en"ighten$ent.7

The $e$ers o% 5orn+sZur -ahren +intracht"o#ge are sai# to ha(einc"#e#: Kont Lichno!s) Schi""er+s ac=aintance ar" Leonhar#Reinho"# Mo*art+s -"isher Pas=a"e Artaria the cort -h)sician to MariaTheresa, Fer#inan# ose-h Leer the -h)sician o% ose-h II, ose-h 5arththe i$-eria" srgeon Ban# %or a ti$e the -h)sician o% Mo*art an# 5eet2ho(enC, ohann Ne-o$ Hnc*o!s) the Kort Konci""or Fran* (on

>reiner, !hose sa"on s-onsore# $an) concerts !here Mo*art -er %or$e#an# a scientist, ose-h Marter, !ho !o"# s-en# 1084 an# 108/ in A$erica.ose-h Ha)#n ;oine# this "o#ge in 108/, at the sa$e that that Mo*art an# his%ather !ere (er) acti(e in the a%%airs o% 5orn+s "o#ge. The $eetings o%5orn+s "o#ge too -"ace at the ho$e o% ose-h Pa" (on Weinrenner, aienna in#stria"ist !ho ha# o-ene# Astria+s %irst teacher training schoo" in1001.

Mo*art co$-ose# a cantata,Die MaurerfreudeB. 401C, to ce"erate the-"ic co$$e$oration in 108/ ) E$-eror ose-h o% the scienti%icachie(e$ents o% Igna* (on 5orn. The E$-eror he"# - %or -"ic honor the$eta""rgica" reathroghs !hich 5orn #e(e"o-e# that !ere se# toi$-ro(e the $ining o-erations o% Astria. It is thoght that 5en;a$inFran"in ha# !ritten to ose-h, -raising the (a"e o% 5orn+s $eta""rgica"

-rocesses. 5) sing"ing ot 5orn+s acco$-"ish$ents, ose-h sho!e# !hat heconsi#ere# hea"th) inte""ecta" !or.

5orn stoo# in contrast to a"" the anti2scienti%ic irrationa"is$ that %"oate#aron# a"" the other Masonic gro-s. An e3a$-"e o% this -ro"e$ !as Kont

Thn, a $e$er o% 5orn+s "o#ge !hose -reocc-ation !ith Mes$eris$,a"che$), an# $)sticis$ !as %ro!ne# on ) the rest o% the "o#ge. Mo*art"i$ite# hi$se"% to !riting that Kont Fran* ose-h Thn !as 7-ec"iar, t!e""2$eaning.7 . . .

Mo*art+s ne3t, an# "ast, >er$an o-era,Die Zauberflte BThe Magic FluteC,!as -ro#ce# . . . in#e-en#ent") o% an) go(ern$ent oar#. His 7-atriot7


15/18

!as E$ane" Schiane#er, his o-era hose !as not $ch #i%%erent %ro$ ar"es=e hose, an# his sccess !as n-rece#ente#.

Dring the increasing -ressre an# attacs against the Free$asons in ienna%ro$ 1084 nti" 1091, !hen it !as no "onger %ashiona"e to e a Mason,on") t!o Masons re$aine# %aith%" the !ho"e se(en )ears: Wo"%gangA$a#es Mo*art !as one o% those t!o. Kontrast that to Leo-o"# A"o)sHo%%$an, the Mason2c$2-o"ice s-) !ho ha# trie# to e3c"#e Mo*art %ro$the Masons in 1084. Ho%%$an eca$e a -ro%essiona" !itness in the tria"sn#er E$-eror Fran* in 1094 an# 109/ against Mo*art+s erst!hi"e asso2ciates, !ho recei(e# sentences ranging %ro$ si3t) )ears+ i$-rison$ent to the#eath -ena"t).

Ha# the Scottish Rite taen its re(enge against those !ho trie# to i$-ose

reason an# a Khristian conce-t o% "o(e -on the Free$asons@ A co$-etentin(estigation into Mo*art+s -re$atre #e$ise in 1091, cannot e(en einitiate# !ithot sorting ot !hat Mo*art+s strategic ro"e !as throghot that#eca#e, -artic"ar") in his "ast )ear. An# !hat o% the ne! rita" $r#er o%Mo*art+s s-irit, eing carrie# ot to#a) ) the $o(ie -ro#cers o%Amadeusan# others, !ho -ortra) this great $ora" artist as a %o"2$othe#, rain"ess%o-, e%%ort"ess") chrning ot #i(ine co$-ositions@ Has this -erha-s eenco$$itte# at the ehest o% the heirs o% Mo*art+s ene$ies@ For ho! #oes thec"tra" $a%ia+s sa#istic treat$ent o% s in their crrent re-resentations o%Mo*art, #i%%er %ro$ the treat$ent De ar" Egen esto!e# -on the

-oetJ-atriot Schart, or %ro$ that !hich the E$-eror Fran* esto!e# -onthe o#) o% Mo*art+s goo# %rien#, Ange"o So"i$an@

+&ecuti*e ntelligence Re*ie-, anar) &8, &''' OThe Phi"oso-hers Stone: Mo*arts Ne!") Disco(ere# -era

) Da(i# M. Sha(in

The $hilosopher2s Stone, or The +nchanted sle) Wo"%gang A$a#es Mo*art, ohann 5a-tist Henneerg, 5ene#it Schac,Fran* er" an# E$ane" Schiane#erA %air)2ta"e o-era %ro$ 109', re#isco(ere# ) Da(i# . 5ch5oston 5aro=e, Martin Pear"$an, Te"arc KD


16/18

8all ,-.,: A Turnin# Point for the America; Pro


17/18

gaine# a ni=e insight into the "o(e his Kreator ore hi$, an# a"" $en. The-o!er o% "o(e, an# o% $in#, !ere %n#a$enta"") the sa$e.

When the $agic %"te arri(es onstage, an# is -resente# to Ta$ino, it is not$agica", t $ch $ore. Mo*art re(ea"s the "o(e an# -o!er o% his heart an#

$in# in the signatre trio, sng ) Ta$ino an# t!o gar#s BDer, !e"cher!an#e"t #iese Strasse, He !ho tra(e"s this roteC, co$ing in on to- o% then$istaa"e K2$inor A#agio. This section -o!er%"") re%ers to Mo*artsscienti%ic re2!oring o% 5ach, !hen he entere# the ca(e o% his o!n natra"creati(e -rocesses. Pa$ina, ha(ing con=ere# her o!n #e$ons, renites!ith Ta$ino at this -oint, an# -resents hi$ !ith the $agic %"te. Ar$e#!ith this ne!") #isco(ere# -o!er, the co-"e ra(e") -rocee#s into the ca(e%or their $orta" tria". 5eat), an# the sensa" !or"# can ensnare, t,%o""o!e# !ith a"" or heart an# $in#, it a%%or#s $anin# the -o!er o%

creation. Mo*art ne! this, ecase he !ore# to #isco(er sch in the"aorator) his Kreator ha# -ro(i#e# hi$.

+&ecuti*e ntelligence Re*ie-, No(e$er 1/, &'1Where Trage#) Meets -ti$is$: Mo*arts S"i$e ORe=ie$ Q Theenne#) Assassination

) Da(i# Sha(in

Mozart;s Political Offensive: Beauty &eads to TruthWhat sho"# ha(e ha--ene# in France, t #i#nt, Mo*art atte$-te# inienna. He too the %ight to the -o-"ation. TheMagic Flute, his %irst>er$an "angage o-era since the 108&Abduction, e3-"o#e# onto the -"icscene "ate in Se-te$er 1091, an# cha""enge# his a#iences !ith a o"#,re-"ican -ro-osition: -t si$-"), i% the) !ere ca-a"e o% %a""ing in "o(e,the) !ere ca-a"e o% go(erning. Fe! co$$entators ha(e sto--e# to as!h) arastro,1the r"er, #eci#es that it !i"" no "onger %nction to ha(e his!e""2intentione# rotherhoo#, n#er his "ea#ershi-, r"e the "an#. Perha-s,

- nti" then, ci(i"i*ation ha# st$"e# a"ong !ith an inner e"itego(erning, t arastro is %ir$ that this cannot e the $o#e" %or the %tre.Rather, "ea#ershi- $st e e3erte# ) a $an an# a !o$an, con;oint"). 5t

1 arastro !as $o#e"e# -on Igna* (on 5orn, the 5en;a$in Fran"in o% ienna. Hehea#e# - the "o#ge that Mo*art -re%erre# to !or !ith. Mo*art co$-ose# a !orco$$e$orating the -"ic honor esto!e# -on 5orn ) ose-h II, in 108/, %or his!or in $eta""rg).


18/18

this !as not $ere") a -o"e$ic on eha"% o% e=a"it) %or !o$en. Rather, theintense an# $ta" aesthetic e#cation, in co$ing to ter$s !ith, an# $aster2ing, the #ee-est -h)sica" an# s-irita" -assions, ho"#s the -ro$ise o% a"ea#ershi- in !hich the n#er")ing re"ationshi- o% eat) an# trth -re(ai"s.

In theMagic Flute, the critica" isse %or the re-"ican $o(e$ent, that o% theaesthetica" an# e-iste$o"ogica" e#cation o% $an, is ca-tre# in the#)na$ics o% the inter-"a) et!een eat) an# trth. E(er) h$an is gi(enthe ca-acit), throgh his instinct %or "o(e, an# his )earning %or eat), tosearch %or trth. I$-ortant"), Mo*art no!s this is tre %ro$ his -ersona"strgg"e to co$e to n#erstan# his o!n )oth%" genis, throgh !oringot his %ascination !ith the $in# o% 5ach.& Mo*art e3-"icit") re%erences ho-he no!s that the $agic o% the %"te, the -o!er o% K"assica" $sic, !ors:

;st e%ore their "ti$ate tria", !here Ta$ino an# Pa$ina %ina"") are a"e to

;oin %orces, the singing o% the t!o gar#s e%ore the %ier) He"" is set to a$ar(e"os, an# se"%2re(ea"ing, K2$inor %ge #eri(e# %ro$ his 5ach st#ies.

That ctoer, the -o-"ation o% ienna !as entrance# ) theMagic Flute.There !ere $ore than %or -er%or$ances -er !ee, a"" $onth "ong, a""

e%ore -ace# hoses. 5eati%", gri--ing $sic, r"es=e h$or, great-oignant $o$ents, an# corageos o-ti$is$ !ere a"" a -art6t the-o-"ation hear# so$ething aot the$se"(es the) ha# not rea"i*e# e%ore.The o"igarchica" reaction !as s!i%t an# (icios. Within #a)s, #ecisions !ere$a#e to -re-are %or an e$-ire !ithot the E$-eror Leo-o"#, an# !ithotMo*arts re-"ican $aster!ors. In $i#2ctoer6aot the sa$e ti$ethat a #ecision !o"# ha(e een $a#e to -oison Mo*art6the ttor %orKro!n Prince Fran* !as #is$isse#. That ttor, ohann 5a-tist (on Sch"oiss2nig, "ie Mo*art, a -rotg o% 5aron >ott%rie# (an S!ieten, !as accse# o%teaching acoin re(o"tionar) i#eas, an# o% s--orting the in(asion o%Astria ) the French acoins. S!ieten hi$se"% !as #is$isse# %ro$ his$inisteria" -ost on the (er) #a) o% Mo*arts #eath, Dec. /, 1091. E$-erorLeo-o"#, other!ise in goo# hea"th, #ie# e%ore that !inter en#e#. An# !ithLeo-o"# #ea#, Kont (on Pergen !as %or$a"") roght ac into the

go(ern$ent.

2 Mo*arts 5ach -ro;ect ste$$e# %ro$ his ear") )ears in ienna, at reg"ar Sn#a)$eetings o% the E#cation Minister, 5aron (an S!ieten.

3 5) No(. , the &4th -er%or$ance o% theMagic Flute, the aristocratic, an#consistent") ana" #iarist, in*en#or% note#: The $sic an# #esigns are -rett). Therest an incre#i"e %arce. Hge a#ience. B5t, %or sch ;a#e# characters, theA$erican Re(o"tion !as an incre#i"e %arce !ith a hge a#ience.C

anniversary of mozart's death - the power of beauty and truth

Documents