Happy Birthday, Mozart!

Detail from Mozart family portrait by Johann Nepomuk della Croce

Today is the 257th anniversary of the birth of Wolfgang Amadeus Mozart. After I participated several times in the Schubertiade sponsored by Pianoforte Chicago, though sadly not this year, I thought what fun it would be to have a similar celebration of Mozart's work. Mozart wrote many chamber works, and he wrote much more for wind instruments than Schubert did. The Schubertiade is always heavy on pianists and singers. The word Schubertiade was coined by Franz Schubert's friends, who would get together with him to play his music in a relaxed setting in someone's home. The Mozart family also had such musical evenings, having friends over to play pieces by Mozart and other contemporary composers. I'm guessing this was probably a common entertainment among people who played instruments before television was invented.

Mozart evening, anyone?

Mozart in fiction, part 3

After learning about five different novels written about Nannerl Mozart, I was able to track them all down, mostly through the secondhand book source, alibris.com. I chose one at random recently to read: Mozart's Sister, by A.M. Bauld.

This is a very strange book. My husband described it as "like a nightmare." It has a bizarre dreamlike quality. I would say it has only the slightest connection with Nannerl Mozart's real life. The narrator is Franz Xaver Mozart, the younger son of Wolfgang, who is visiting his aged, infirm aunt Nannerl, as he actually did. This seemed at first to be a similar format as Mozart's Last Aria, however, this Franz Xaver expresses disgust with his decrepit aunt, and, in a science fiction twist, he can transform himself into a spider (shades of Kafka!) and travel back in time to observe his family before his birth. Other historical events that appear in this novel include a visit by Vincent and Mary Novello, who did in fact travel from England to visit the elderly Nannerl and interview her about her life and her famous brother. And, like both Mozart's Last Aria and Marrying Mozart, letters are very important in advancing the plot. The Mozart family is, of course, known for being prolific letter writers.

The author invents several important characters who have significant interactions with Nannerl and Leopold Mozart, including a love interest for Nannerl. Bauld does include an Author's Note clarifying which characters were invented, but these characters add to the strangeness of the mood and the depiction of the real people. Most of the characters seem to be unhappy. Example (and spoiler -- alert!): Nannerl love interest is an itinerant draper and amateur musician who is Jewish. They fall in love, but neither tells the other, and after a series of unhappy misunderstandings, he eventually leaves, possibly to perish in a shipwreck on the way to Van Dieman's Land (Tasmania). But maybe not. maybe he made it up.

I was very confused by the end of this book. I think I will go back to nonfiction for awhile.

Mozart for real

After reading two novels about Mozart (see here and here) I decided to switch to biography to see if I could find answers to my questions about what was true and what was fiction created by the authors. The book I chose was Mozart's Women by Jane Glover. I found this while searching on Amazon for books on Mozart; Jane Glover is the music director of Music of the Baroque here in Chicago, so I ordered it. I highly recommend this book. Glover's theme is Mozart's relationships with the women in his life, including opera characters, and his enlightened attitude toward women. She includes a lot of fascinating and in-depth biographical information and thoughtful discussion of Mozart's works and his process of writing music, in particular opera, as it developed over his life.

An interesting aspect of biographies is that they're not "the truth," but are actually a reflection of the time they are written in and the viewpoint of the author. When I first studied Mozart as a college music student, what I picked up about Mozart was that he was an incredible genius who was so removed from the world that he would never be touched by anything -- not by the scenery while traveling, not by the death of his children. The evidence for this was in the music he wrote. His father Leopold was a great man, though a lesser musician than his son, who gave up much to nurture this extraordinary talent. Constanze was a careless ditz, and it was a tragedy that Wolfgang had married her. Then came Amadeus, the play and the movie, and the popular view of Mozart became one of naive  potty-mouthed, immature, musical genius.

Glover agrees with other current biographers and paints Leopold as overbearing and unwilling to let go as Wolfgang grew up. Constanze was playful and a good partner to Wolfgang, and she turned out to be a smart manager, though she took over the finances too late to make a difference to her husband. Glover is clearly outraged by the unfair treatment Wolfgang's sister Nannerl received. A very talented musician, she toured with her brother until she was 19. At that time her father kept her home while Wolfgang continued his extraordinary career. This was in spite of the fact that a number of talented women at the time had successful musical careers as singers, pianists, and teachers.

Wolfgang Mozart himself is depicted as a serious musician, as well as an extraordinary one. He was extremely social and had a wide circle of friends all over Europe. An aspect of his musicianship and personality that surprised me was that he was known for his kindness and patience in working with the singers in his opera productions, including older singers who struggled with the parts he had written.

I was fascinated by the discussions about the writing of the operas and subsequent productions. Mozart was very involved in the libretto, working in partnership with his librettists, and expressed strong opinions about the themes and drama of the stories. The operas that he wrote with Lorenzo Da Ponte -- The Marriage of Figaro, Don Giovanni, and Cosi fan tutte -- were real partnerships that changed opera forever. Both the themes and the music were unlike other operas of the time, which seemed to have fallen into patterns that everyone expected. For example, composers wrote in a way that encouraged applause at the end of the overture and arias. In Abduction from the Seraglio, Mozart blends the end of the overture into the beginning of act one, removing the opportunity for applause. Likewise, the arias are woven into the dramatic action, focusing the audience's attention on the drama and reducing the chances of applause.

In music school, students study works of the past as fixed entities. While there are new, radical productions of operas and sometimes older works are adapted into new pieces, I always thought of the composer's original work as existing in an original fixed form. As musicians, we often think about honoring the composer's intentions by following what's in the score and learning about convention of the time. It was eye-opening for me, then, to read that Mozart regularly rewrote parts based on his singers' abilities. In some cases he had to make parts easier, for older or less talented singers. In other cases he added new arias to please a singer who wanted a bigger role. So this means that there are multiple versions of how some of his operas can be performed? I'm not that knowledgeable about opera, so I wonder what directors do with these choices today? Is there now a standardized version of each opera?

It appears that Mozart's Women contains so much interesting information and is such fun to read that I forgot my original intention of sorting truth from fiction. I did pick up some ideas that the Weber family was somewhat different that they were portrayed in Marrying Mozart. Mozart's Women paints a happier picture overall of the family than the novel does.

There is more to read -- fiction and nonfiction. That Mozart fascinates us is clear from the amount of other works generated by him and his life.

Mozart in fiction, part 2

After finishing Mozart's Last Aria, I moved backwards in time and read Marrying Mozart by Stephanie Cowell. This novel takes place beginning when Mozart was 21 years old in 1777 until he married Constanze in 1782. The Weber family and especially the four Weber daughters are the core of the story. However, the novel begins in 1842 when an Englishman, Vincent Novello, comes to visit the youngest Weber girl, Sophie, in hopes of learning more about Wolfgang Mozart. Sophie is by this time an old woman. This is similar in structure to Mozart's Last Aria, wherein Mozart's son comes to see his Aunt Nannerl and is given her journal to read. Sophie both talks with Novello and gives him some letters to read. This helps explain how we can see the story from viewpoints of each of the Weber daughters and sometimes Wolfgang. Short conversations between Sophia and Novello set off the sections of the book.

This is a lively story that includes quite a bit of historical fact. Mozart did woo Aloysia Weber, who became a well-known opera singer. She jilted him and he eventually married the next youngest, Constanze. The oldest sister, Josefa, was also a successful opera singer. Mozart wrote the Queen of the Night part in The Magic Flute for her.

Besides the Weber family, including father Fridolin and mother Maria Caecilia, Mozart's friend Joseph Leutgeb is included as an important secondary character. Leutgeb was an outstanding horn player for whom Mozart wrote his four horn concertos. Wolfgang's parents and sister are also characters in the story, both in person and through letters (They were a great letter-writing family.) Other real-life characters include Padre Martini, who Mozart had met in Italy as a boy; Joseph Haydn, and Prince-Archbishop Hieronymus Colloredo, who employed both Wolfgang and Leopold Mozart in Salzburg and with whom Wolfgang had repeated run-ins.

All of the settings -- Vienna, Salzburg, Mannheim -- felt authentic. The musical evenings at the Webers also rang very true. It is known that the Mozart family hosted friends for evenings of music making; probably this was common at the time among both professional and amateur musicians. (Those evenings sound like so much fun that I wish we could revive the idea.) Some parts of the plot did not feel true to me, though I won't disclose them and spoil the story. The author has created clear personalities for each of the characters; some, like Maria Caecilia Weber and the horn player Leutgeb, I felt were probably close to what they had been like in life, based on what I already knew about them. Others I believe are more the authors' creation. In both novels -- Marrying Mozart and Mozart's Last Aria -- Wolfgang Mozart comes across as a serious, thoughtful young man. As I read the book I wished that the author had either identified the pieces she referred to more clearly or included a list of all the pieces with Köchel numbers.

I was not familiar with Stephanie Cowell before coming across this novel, but I learned from her website that she has written a number of historical novels. She was an opera singer for a time and did considerable research on Mozart. She has written quite a few post for Wonders and Marvels, including this one, on Mozart, Salieri, and the movie Amadeus. Marrying Mozart has recently been adapted into an opera and performed in New York.

Mozart in fiction, part 1

Back in January I wrote a post about the Mozart family. Part of the post was about the novels (and one movie) that the various Mozarts inspired, including several titled Mozart's Sister. Wolfgang Mozart and his family seem to attract novelists, more than any other classical musician. Following that post, I decided to look for and read these Mozart novels. In writing about them here I won't be revealing any spoilers. I want to look at how the characters, especially the Mozart family members, are portrayed; who the other historical characters are and their relationship to Wolfgang, and how much of the novel is historical fact.

The first novel that I read was Mozart's Last Aria by Matt Rees. Rees is known as a crime novelist and has used his expertise to write a suspenseful story. The novel takes place after Wolfgang's death and he appears only in his music and others' recollections. His sister Nannerl is the main character. The story is presented as a flashback, with Mozart's younger son Franz Xaver, also known as Wolfgang Amadeus the son, visiting his aged aunt Nannerl. She gives him a mysterious book, which turns out to be a diary of a few weeks in her life right after Wolfgang died. The rest of the novel is the story Nannerl tells of those weeks, with a final scene back in her home with Franz Xaver.

At the time of his death, Wolfgang and Nannerl had been estranged for a number of years. Wolfgang had left Salzburg and his family to live and work in Vienna, where he married Constanze. Nannerl had stayed to care for their father Leopold and eventually married an older man and moved to St. Gilgen, a small, remote town. Their break had to do with the reception Leopold and Nannerl gave Wolfgang's wife and the fact that Leopold left everything to Nanerl in his will. All of this is fact.

In Mozart's Last Aria, Nannerl receives a letter from Constanze informing her of Wolfgang's death and also that he thought he was poisoned. Telling her husband that she needs to pay her last respects to her brother, Nannerl travels to Vienna to try to determine what really happened.

A number of historical people figure into the plot. Wolfgang's widow Constanze Weber Mozart is naturally an important character. Baron van Swieten, who was one of Wolfgang's strongest supporters, plays an integral role. Since The Magic Flute was one of Mozart's last works, the people associated with that production appear regularly. These include the impresario Emanuel Schikaneder who wrote the libretto for The Magic Flute, and the actor and writer Karl Gieseke. Gieseke (or Giesecke) was a cast member in the premiere of The Magic Flute. He also translated several of Mozart's operas into German from Italian. He later left music and Austria to become a minerologist in Greenland and then a professor in Ireland. Other musicians in the story include Anton Stadler, for whom Mozart wrote his clarinet concerto and clarinet quintet, and Maria Theresia von Paradies, a blind concert pianist and singer.

Matt Rees gives background in his Author's Note about which events are historically true and what he changed for the plot. (He also includes a listing of the pieces that are referred to in the novel.) One of these altered facts is that Nannerl never visited Vienna after her brother's death. In order not to reveal too much of the plot, I refer you to the novel and the Author's Note for the rest.

Another afterword discusses how Rees came to write this novel. The plot is structured on Mozart's Piano Sonata in A Minor, K. 310, which he wrote shortly after his mother died.  As I read the book, the beginning drew me into the story, showing Nannerl's quiet life in the country filled with disappointment and unfulfilled hopes. She learns of her brother's death from Constanze's disturbing note and sits down to play the first movement, which mirrors her unease. The second part of the novel, set in Vienna, became confusing for me as Nannerl learned more and more about her brother's life, work, and associates. Many mysterious events and conversations occurred and I felt is was quite dark. For Rees, this is the Andante Cantabile second movement; this movement begins and ends calmly but has a darker, tumultuous section in the middle. When I reached the final part of the novel, the disparate threads began to come together and make sense as many of Nannerl's questions were answered. The third movement of the piano sonata is a Presto that comes to a rousing and satisfying conclusion while staying in the minor key.

I enjoyed this book. I recommend it especially if you like mysteries, classical music and Mozart, historical fiction, and Vienna.

Beyond Applause: the Controversy Continues

Applause and audience expression through cheering, laughing and shouting is a hot topic. The latest that I saw was an article in the New York Times, "A Loud Call for Cheering at Classical Concert Halls" which reports on an article in the Huffington Post by the chief executive and managing director of the Brooklyn Philharmonic, Richard Dare, titled "The Awfulness of Classical Music Explained." The title made me wonder why he is managing a symphony orchestra, but reading the article it is clear that he does love music.

There are two sides to the applause issue, the audience perspective and the performers' view. Mr. Dare writes from the audience perspective, particularly the new audience member. He argues that the experience of going to a live concert is difficult to figure out. I know from talking with friends who attended their first classical concert that this can be true. One friend asked me how I knew who was conducting and what they were playing -- she didn't know how to find the actual program in her program book which included articles, ads, and lists of donors. I've had strangers ask me where in the program we are. On the other hand, as a person who rarely goes to professional sporting events, I always find that experience baffling -- how do you find your section? where are the bathrooms? why can't you bring an umbrella in if it's raining? No one seems to consider these to be "obtuse and unfriendly" barriers to attending games. There is a learning curve in any new experience.

Mr. Dare also discusses how concerts were different in the past, that audiences did clap between movements and shout. According to primary sources, this is all true. At some concerts audiences demanded an encore of a movement in the middle of a piece. Sometimes audiences shouted requests for other pieces by the same composer. For composers of Mozart's time, audiences may have talked through out the performance. If it's your royal patron, what can you do? For quite some time now, though, composers have written as if they expect audiences to listen to their multi-movements works as a complete entity. Mahler symphonies, for example, are a journey from the beginning of the first movement to the last notes of the final movement.

From the other side, performers and many audience members  want to be able to listen in silence without the distraction of noises from other people. Most of the many comments in response to  Mr. Dare's article made that point. This blog post, "The Truth Behind the Concert Hall,"  by a violinist, is a passionate defense of quiet during performances and also of the ways that music lovers express their feelings without making a lot of noise.

The whole issue comes down to declining and aging audiences for classical concerts. This is not a new issue and orchestras, opera companies, and other classical music groups have been trying different ideas to try to attract more and younger concert-goers. Free concerts, concerts with pre-concert talks, early concerts, shorter concerts, flash mobs.... there are a lot of ideas being tried. The feeling seems to be that attending and supporting classical music was an activity of the elite and now that group has diminished. However, other place don't have this problem. In Vienna there is a waiting list years long for subscription tickets to the Vienna Phil. When we attended Tannhauser at the opera there, someone near us was talking when the orchestra prologue began. At least seven people all said, "ssssst!" to silence the talker. They are passionate about music there. Why is it different in Vienna than in the U.S.? They are becoming more multi-cultural, just as the United States is. How is their tradition different that so many Viennese have continued to actively support the many musical groups in the city?

While I was reading the articles that led me to write some more about audience behavior, I kept finding more and more information and opinion. Richard Dare wrote a follow-up article, "The Danger of Writing about Music." Another blogger with opinions about classical music audiences can be found here in this post "How to get more people to listen to classical music". For some original ideas on how organizations could improve the concert experience read "Why the Symphony needs a Progress Bar." There is a lively conversation going on, showing that many people feel strongly about the continuation of classical music. Yes!!

Applause, Encore

 I wrote about applause previously, from the standpoint of how musicians react to applause. Earlier this week Mark Caro wrote an interesting article in the Chicago Tribune titled Claptrap: When to Clap or Not to Clap at Concerts. Two days later, the Trib published reader responses to Claptrap. Basically the problem with applause is that on the one hand audiences oftentimes don't know when it's appropriate or traditional to applaud at classical concerts and so some audience members clap between movements. On the other hand, conductors and performers are often creating a continuous emotional thread through an entire piece of music, which is interrupted by applause between movements. Complicating this is the need for new audience members to support classical music. This means drawing them into a rewarding concert experience and not making them feel like bumpkins for not knowing when to applaud. A further annoyance is the inevitable audience member who wants to be the first to applaud or shout bravo and frequently ruins the mood that the performers have created. This is especially true when the musical work ends very softly.

I don't have an answer, only a couple of thoughts. When I attended Fearless Performance Camp with Jeff Nelsen a few summers ago, he stressed the importance of connecting with your audience. In the Canadian Brass, he said, when people applaud between movements, the quintet members look at the audience, smile and nod in acknowledgement. The idea that Jeff repeated was that audience members want to thank you, and performers should graciously accept thanks and compliments. This doesn't answer the problem of the mood-disrupters. I do wonder if that kind of concert-goer is really getting the full impact of the music.

My other thought on applause concerns our up and coming audiences. I teach in an elementary school and sometimes we have assemblies with performances of various types. I have noticed recently that quite a few young students don't applaud. They have enjoyed the performance, but they just sit looking at the stage while people around them applaud. They continue to do this even after pep talks by me, their teacher. My theory is that kids have spent an awful lot more time watching things on screens than live, and so they act like a live performance is a screen. I made progress with my students this year and more of them are applauding now.

Has anyone come up with solutions to these dilemmas?