Tag: Wolfgang Amadeus Mozart

  • Mozart’s Death Krampus Was the Culprit?

    Mozart’s Death Krampus Was the Culprit?

    How is it that I never before drew the connection?

    You know, every once in a while, how someone comes up with a new theory about the identity of Jack the Ripper, or claims to have discovered the secret of Elgar’s “Enigma Variations?” Well, it only just occurred to me, I may have solved the mystery of Wolfgang Amadeus Mozart’s death. And it is far more sinister than any alleged poisoning by Antonio Salieri.

    Mozart gave up the ghost on this date in 1791. A prodigy at the keyboard and on the violin, and a composer from the age of five, alas, in death he was also ahead of the curve.

    Mozart was 35 at the time of his passing, yet there was always something childlike in his personality. At times, he seemed much younger than his years. There’s no question that he could be naughty. He was certainly disobedient to his father, autocrat though he was. He defied the Pope, was extravagant in his spending, was inappropriate in his speech, and could be perhaps a mite too arrogant for his own good.

    The cause of Mozart’s death was recorded as “severe military fever.” Even so, over the years, there have been dozens of theories put forth as to the true nature of his passing. Acute rheumatic fever. Streptococcal infection. Influenza. Mercury poisoning. A rare kidney ailment. Even a bad pork chop. Combined, of course, with overwork.

    Alas, we’ll never know for sure. Mozart was buried in a common grave – not a communal grave, or a pauper’s grave, as has been frequently stated, but one whose wooden marker has long since worn away.

    Here’s the thing. December 5, the date of Mozart’s passing, also happens to be Krampusnacht. As a former native of Salzburg and later Vienna, Mozart should have known better. Because, you see, Austria is the dark, beating heart of the Christmas devil.

    What exactly is Krampus? Why, he’s St. Nicholas’ austere helper. Horned, hairy, and egregiously long-tongued, Krampus emerges from his Alpine domain to assist the patron saint of children on the eve of his feast day. Saint Nick bestows small gifts to all the good girls and boys. The rest are handed over to Krampus.

    For milder offenses, there is the sting of the switch; for the especially ill-behaved, there are chains, a short ride in a wicker basket, and drowning in a stream or immolation by hellfire. When a recalcitrant child hears the dull clatter of approaching cow-bells on December 5, he knows it’s all over. With anxiety a thousand times worse than the anticipation of a bad report card, the wee sinner pulls the sweat-soaked blankets over his head and prays vociferously for a stocking full of coal.

    No doubt, Mozart was a chronic offender. Could he have withstood a sound thrashing in his weakened state?

    Confutatis maledictus, indeed.

  • Mozart’s Death Krampus Was to Blame?

    Mozart’s Death Krampus Was to Blame?

    How is it that I never before drew the connection?

    You know, every once in a while, how someone comes up with a new theory about the identity of Jack the Ripper, or claims to have discovered the secret of Elgar’s “Enigma Variations?” Well, it only just occurred to me, I may have solved the mystery of Wolfgang Amadeus Mozart’s death. And it is far more sinister than any alleged poisoning by Antonio Salieri.

    Mozart gave up the ghost on this date in 1791. A prodigy at the keyboard and on the violin, and a composer from the age of five, alas, in death he was also ahead of the curve.

    Mozart was 35 at the time of his passing, yet there was always something childlike in his personality. At times, he seemed much younger than his years. There’s no question that he could be naughty. He was certainly disobedient to his father, autocrat though he was. He defied the Pope, was extravagant in his spending, was inappropriate in his speech, and could be perhaps a mite too arrogant for his own good.

    The cause of Mozart’s death was recorded as “severe military fever.” Even so, over the years, there have been dozens of theories put forth as to the true nature of his passing. Acute rheumatic fever. Streptococcal infection. Influenza. Mercury poisoning. A rare kidney ailment. Even a bad pork chop. Combined, of course, with overwork.

    Alas, we’ll never know for sure. Mozart was buried in a common grave – not a communal grave, or a pauper’s grave, as has been frequently stated, but one whose wooden marker has long since worn away.

    Here’s the thing. December 5, the date of Mozart’s passing, also happens to be Krampusnacht. As a former native of Salzburg and later Vienna, Mozart should have known better. Because, you see, Austria is the dark, beating heart of the Christmas devil.

    What exactly is Krampus? Why, he’s St. Nicholas’ austere helper. Horned, hairy, and egregiously long-tongued, Krampus emerges from his Alpine domain to assist the patron saint of children on the eve of his feast day. Saint Nick bestows small gifts to all the good girls and boys. The rest are handed over to Krampus.

    For milder offenses, there is the sting of the switch; for the especially ill-behaved, there are chains, a short ride in a wicker basket, and drowning in a stream or immolation by hellfire. When a recalcitrant child hears the dull clatter of approaching cow-bells on December 5, he knows it’s all over. With anxiety a thousand times worse than the anticipation of a bad report card, the wee sinner pulls the sweat-soaked blankets over his head and prays vociferously for a stocking full of coal.

    No doubt, Mozart was a chronic offender. Could he have withstood a sound thrashing in his weakened state?

    Confutatis maledictus, indeed.

  • Leopold Mozart At 300 A Father’s Legacy

    Leopold Mozart At 300 A Father’s Legacy

    Music historians are often critical of Leopold Mozart, describing him as haughty, domineering, and tyrannical. But really, when you are the father of Wolfgang Amadeus Mozart, what are you going to do?

    Today is the 300th anniversary of the birth of Leopold Mozart. Leopold was a composer of some ability himself, so give him credit for possessing the good sense and enough humility to recognize that the talent of his children far eclipsed his own.

    Of course, times being what they were, Nannerl didn’t get to enjoy the same professional advantages that Wolfgang did. But Leopold loved both children. He raised Nannerl’s son as his own, and one can only imagine his frustration over Wolfgang never being able to land a position commensurate with his genius.

    Of his own works, Leopold’s “Toy Symphony” remains popular – although it was long attributed to Haydn – as does his “Musical Sleigh-Ride.” But his Trumpet Concerto must be among his very best.

    Movt. I, Adagio

    Movt. II, Allegro

    Happy birthday, and best wishes in your fourth century, Leopold Mozart.

  • Celebrate Mozart’s Birthday with Classical Music

    Celebrate Mozart’s Birthday with Classical Music

    There’s no art quite like MozArt.

    Reacquaint yourself with the astonishing facility and pervasive humanity of Mozart’s music, as we observe his birthday today (he was born on January 27, 1756) with a full playlist of his symphonies, concertos, chamber and choral works, and selections from his music for the stage.

    Yes, Mozart is good for you. Whether or not exposure to his output improves the development of babies’ brains, it has undoubtedly contributed to the world’s sentimental education. Mozart’s music is just plain good for the soul. It reassures and it keeps us in touch with the larger truths of what it means to be human. Was Mozart’s life a bed of roses? No. But he knew where to find beauty, and he devoted a substantial portion of his brief existence to shepherding it into the world.

    We at The Classical Network understand the significance of keeping great music in our lives and in our community. But we can only do it with your help and with the help of listeners just like you. If you haven’t contributed to The Classical Network, or if you haven’t contributed recently – or if you HAVE contributed, but now feel you are in a position to bestow an additional gift – please consider joining us in membership today. We have four brand new Mozart-oriented thank you gifts to hopefully entice you and certainly to demonstrate our gratitude to you for doing your part to keep classical music on the airwaves and in continued good health.

    There’s more to life than acquiring things, struggling to survive, or shouting down those who happen to disagree with us. The greatest truths and consolations are to be found in the finest music. You don’t have to “know” anything about it. All you to do is open yourself up to it and support it.

    Please call us today (between 9 a.m. and 6 p.m. EST) at 1-888-232-1212, or donate online (anytime) at wwfm.org. Then enjoy the music of Mozart right along with us, your friends, at WWFM – The Classical Network. Thank you for ALL that you do.

  • Viola Love from Marlboro Music Festival

    Viola Love from Marlboro Music Festival

    The viola gets some love on this week’s “Music from Marlboro.” We’ll hear two very different quintets, composed over a century apart, that yet reveal their creators’ shared affinity for the instrument’s dark, rich timbre.

    Ralph Vaughan Williams’ “Phantasy Quintet,” written in 1912, was one of numerous works commissioned from England’s great composers by one Walter Wilson Cobbett, a businessman and amateur musician whose dual passions were chamber music and music of the Elizabethan era. (“Phantasy” was Cobbett’s preferred spelling.) The work is full of Tudor inflections and stamped by Vaughan Williams’ tell-tale love of folk music. Vaughan Williams doubles his violas, and the instrument is heard to great effect throughout the piece. We’ll hear a performance from the 1975 Marlboro Music Festival, with James Buswell and Sachiko Nakajima, violins; Philipp Naegele and Caroline Levine, viola; and Anne Martindale, cello.

    Wolfgang Amadeus Mozart, too, adds a second viola to his String Quintet No. 5 in D Major, K. 593. Composed in 1790, the work was recollected by the composer’s widow, Costanze, to have been written for another musical amateur, speculated to be Johann Trost. Trost must have been quite the gifted dilettante. He also knew Haydn from Esterhaza, and Haydn dedicated some of his quartets to him. When Haydn and Mozart played through the D Major Quintet together before Haydn’s first visit to London, the two men took turns indulging in the first viola part.

    The work was known for centuries as the “Zigzag” because of an alteration to the original manuscript that modified what had been a descending chromatic figure in the final movement into something decidedly more humorous. We’ll hear a performance from Marlboro in 2005, with Sarah Kapustin and Diana Cohen, violins; Mark Holloway and Sebastian Krunnies, viola; and David Soyer, cello.

    The two quintets will be divided by an evocative “Elegiac Trio” by Sir Arnold Bax, composed in 1916. The work, scored for flute, viola, and harp, appeared the year after Debussy’s trio for the same instrumental combination (which Bax may or may not have known). Its alluring melancholy emerged from a world at war. Bax was especially affected by escalating tensions between England and his beloved Ireland, which had just boiled over into violence with the Easter Rising. We’ll hear a performance of the trio from 1978, with Carol Wincenc, flute; Caroline Levine, viola; and Moya Wright, harp.

    Leave your viola jokes in the comments section, if you must; then join me for more exceptional music-making from the archives of the Marlboro Music Festival, this Wednesday evening at 6 EDT, on WWFM – The Classical Network and wwfm.org.

    Marlboro School of Music and Festival: Official Page

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