Lev gunin

Lev Gunin

THE LIFE OF MOZART AND ITS MYSTERIES

PART ONE

(CONTINUATION)

BIOGRAPHY

Birth: January 27, 1756. Place of birth: Salzburg (Austria). At baptism, he received the names Johann Chrysostomos Wolfgang Theophilus (Gottlieb) Mozart ( Joannes Chrisostomus Wolfgang Gottlieb Mozart). Mother - Maria Anna Pertl. Father - Leopold Mozart (1719-1787), an outstanding composer, teacher and theorist. Even before the birth of Wolfgang, in 1743, Leopold received a place as a violinist in the court orchestra of the Salzburg archbishop. Maria Anna and Leopold had seven children. Perhaps they all had pronounced musical abilities. The monstrous infant mortality of that time claimed five. Only two survived: Maria Anna (Nannerl) and her younger brother Wolfgang. Both are endowed with extraordinary musical talent. Like Johann Sebastian Bach his distinguished sons, Leopold Mozart began to teach music to his son and daughter from a very young age. Like Bach, he himself composed in 1759 a Notebook of harpsichord pieces with a children's repertoire. The pedagogical talent of Leopold and the brilliant data of his children worked wonders. Five-year-old Wolfgang is already composing simple minuets.

Leopold Mozart, Wolfgang's father, mother,
and the Mozart family (right)

However, Mozart the father was not only a strong teacher, but also an enterprising person. The son and daughter became his craft tools. The father decided to make a fortune on them. January, 1762. The first "run-in" of two prodigies (miracle children): a trip to Munich, a large, brilliant cultural center, where the three of us played in the presence of the Bavarian elector. At that time, Germany was fragmented into many small states - kingdoms or principalities - each of which was ruled by a separate monarch. The decision to start the first foreign tour with her reflects the entrepreneurial flair of Leopold Mozart. The public in Germany was not as spoiled and capricious as the Austrian, and did not turn away from their own, German, performers. In Austria, it should be noted, the Italian school dominated. Italy has been part of the Austrian (Holy Roman) Empire for centuries, just like Hungary, Bohemia (Czech Republic), Slovakia, and other countries. Therefore, the predilection for Italian music in no way ran counter to Austrian patriotism. Moreover, the preference of the Italian masters for the German ones did not reflect the suppression of the German national musical art, but the desire of the nobility to move away from the people, to put between themselves - and the mob playing music on the streets of Vienna - an impenetrable partition. Only after Germany, having collected reviews and recommendations, Leopold Mozart with children makes a tour of his native Austria: in September 1762 he visits Linz and Passau, from where he arrives on the Danube to Vienna.

Salzburg Palace

Salzburg Church

Mozart's sister, Nannerl

A favorable reception in Germany and recommendations did their job: the Mozarts were treated kindly at court, they were admitted to the Schonbrunn Palace, and twice they were received by Empress Maria Theresa herself. In Pressburg (as the Austrian conquerors renamed the Slovak Bratislava) they get again along the Danube, where they stay until Christmas, and by Christmas Eve they are again in Vienna.

In a palace

From June 1763 to November 1766, the Mozarts toured for three long years, having traveled almost all of Europe: Munich, Schwetzingen (the summer residence of the Elector of the Palatinate), Ludwigsburg, Augsburg, Frankfurt, Brussels, Bern, Zurich, Geneva, Lyon, Paris, London. This is far from being the full itinerary of their travels. In Frankfurt, Wolfgang performed his own violin concerto, and among the audience was the 14-year-old Goethe. Reception at the court of Louis XV. Performances in luxurious Versailles during the Christmas holidays, and - after them - tenderness and enthusiastic squeal of the French aristocracy. The works of seven-year-old Mozart (four violin sonatas) were first published in Paris. Then London (April 1764): for more than a year. Just a few days after they arrived, they were already received by King George III.

Concert

Only princes of royal blood were honored to communicate with the monarchs of the leading countries of Europe, and even then not only what kind of princes, but belonging (like almost all European autocrats, including Russian ones) to the Habsburg family (another element of the world order established by the Austrian imperial house). With a large gathering of the public, the children demonstrated their phenomenal musical abilities, much like the circus children walking on a tightrope - their own. Johann Christian Bach, who lived in London, one of the sons of the great J.S. Bach, saw in Wolfgang a great genius, and not a living toy. Appreciated by London society no less than Handel, Johann Christian was a truly outstanding composer.

Mozart in London (age 11), portrait by
J. Vander Smissen

In his well-known work, the Soviet musicologist B. Levik describes how, having put Wolfgang on his knees, the famous composer played with him in four hands, or in turn, performing harpsichord sonatas. The child and the wise husband caught each other's style so subtly that even when they played - each in turn, 4-8 bars each, it seemed that the same musician was playing. It is no accident that the young composer wrote his first symphonies in London. They appeared under the influence of personality and music, and the lessons of Johann Christian Bach.

After London, in The Hague (September 1765), Wolfgang and Nannerl barely survived, suffering severe pneumonia. The boy went on the mend only in February 1766. Despite this, the tour continues. The names of cities flashed like roadside posts. And, as if specifically according to the laws of classical dramaturgy, Munich again puts an end to it, where the Bavarian Elector again listens to the child prodigy, marveling at the successes he has made in such a short time. They didn't stay in Salzburg. In September 1767, the whole family had already arrived in Vienna. The terrible smallpox epidemic that raged there, with its bony hand, managed to touch the children in the Czech Republic, where it released them only by December. And, already in January 1768, without wasting time, they reappear in Vienna, having received a reception at court. It was then that the fateful intrigues of Viennese musicians rang out as a leitmotif of fate from Beethoven, due to which the production of the first opera written by a child prodigy, " La finta semplice"("Imaginary simpleton"), was thwarted.

Mozart in 1789. Drawing by Doris Stock

It is significant that it was during that period, at the end of the 1760s, that the young Mozart outlined the main directions of his composer interests: he tried himself in the genres of opera, mass (his great mass for choir and orchestra was performed at the opening of the church), concerto (for trumpet) , symphonies (K. 45a; performed in Lambach, in the Benedictine monastery), sonatas, quartets. This period of Mozart's creativity has already entered the classification of Ludwig von Koechel (the letter K before the serial number of the composition), who periodized and divided into opuses all the work of the great composer; this classification, supplemented and rethought (the largest revision - 1964), has survived to this day.

The musical heart of the Austrian Empire was undoubtedly Italy: where fine taste, school, canons and exactingness surpassed everything that could then be found in Europe. It is no coincidence that Mozart the father left the tour of Italy "for a snack", having previously strengthened his position in other countries. And yet he was not yet sure that he could conquer Italy; therefore, intensive studies and preparation for the trip lasted 11 (!) months (Salzburg). In total, Wolfgang moved with his father through the Alps 3 times, having spent a total of more than a year in Italy (1769 - 1771). Despite all the fears and skepticism, the tour of Italy turned out to be a brilliant triumph. It was possible to conquer everyone: the highest elite circles, the supreme authorities, the aristocracy in a general sense, the general public, and even pretentious musicians. The Mozarts were received and treated kindly by Pope Clement XIV (July 8, 1770, he granted Wolfgang the Order of the Golden Spur) and Cardinal, (Erc-) Duke of Milan and Neopolitan Ferdinand IV of Naples, and other rulers. No less warm welcome was rendered to them by local musicians. In Milan N. Picchini and Giuseppe Sammartini meet with Wolfgang, in Naples the head of the local opera school N. Iommelli, composers Giuseppe Paisiello and Maio. In Rome, Mozart listened to the famous " Miserere"Allegri, whose notes were forbidden to be rewritten and taken out under pain of punishment. Wolfgang, leaving the church, recorded the entire work from memory. No one had such a phenomenal musical ("spatial"!) Memory.

House in Salzburg where Mozart was born

Commissions for essays became the crowning success. In Milan, Mozart-son was ordered an opera seria for the carnival season. In Bologna, he is engaged in counterpoint under the guidance of the legendary teacher - Padre Martini, and proceeds to fulfill the order: the opera "Mitridate, re di Ponto" ("Mithridates, king of Pontus"). Martini insisted that Mozart go through the test of the famous Bologna Philharmonic Academy. After the exam, the academy accepted him as a member. At Christmas, the new opera was a success in Milan. Followed by a new order - " Ascanio in Alba". In August 1771, father and son appear in Milan to prepare him. The opera, which premiered on October 17, was a great success.

1770. Mozart in Verona, Italy (Salieri was born near Verona)

In Italy, young Mozart had a bright future. This country, its mentality, its atmosphere - best of all corresponded to the character of Mozart's genius, his sunny cheerfulness, hedonism, open and benevolent character. Not surprisingly, his father understood this best. Leopold Mozart is trying by all means to obtain a place for his son in Italy, trying to secure him there. Before the upcoming wedding of Archduke Ferdinand - and the festivities on this occasion in Milan - Leopold insistently asks the Archduke to take Wolfgang into his service. According to the existing legend, Ferdinand satisfies this request.

And here something absolutely fantastic begins; at the very least, inexplicable.

When it became clear that - after the royal letter - Wolfgang could not get a job, a place, a livelihood, father and son reluctantly returned to Salzburg, to their sweet, but disgusting cage. Another strange, macabre coincidence immediately followed, "welcoming" them in their native city with a gloomy cannonade. December 16, 1771, exactly on the day of their return, their ardent admirer and good patron, Prince-Archbishop Sigismund, dies. His successor, Count Hieronymus Colloredo, was hardly the monster depicted in thousands of biographical sketches. Firstly, Colloredo accepts the young composer into his service, ensuring his existence with an annual salary of 150 guilders, which is quite enough for Salzburg at that time. Secondly, he orders him a "dramatic serenade" Il sogno di Scipione"(" The Dream of Scipio "), about his inaugural celebrations (April 1772); thirdly, he gives permission for Wolfgang to travel to Milan to prepare a new opera" Lucio Silla"(from late autumn 1772 to spring 1773).

The empress's letter, which was devastating for his career, and the death of Archbishop Sigismund could not but cause psychological trauma, and the opera turned out to be not as successful as the previous ones, without evoking the usual public response; however, even this cannot explain the complete lack of new orders and the strangely hostile attitude. No, this is a clear conspiracy organized against the Mozarts at a very high level. Wolfgang's father probed the situation by appealing for patronage to the Grand Duke of Florence, Leopold, patron of the arts and guardian of art. The duke's reaction was cool, which meant only one thing: someone was interfering with the career of a young genius in Italy. After several more attempts to get the support of higher circles, Leopold was forced to leave this country forever. B. Levik calls Mozart's third stay in Italy the last relatively bright streak of his life.

In the capital of the empire, Vienna, everything that took place in Italy was repeated. Silent wariness of those in power and other influential people, sometimes turning into open hostility, intrigues in musical circles, hard pressure. In Salzburg, Mozart finds himself in a position that can be called house arrest without great exaggeration. Deprived of all hope, cut off from a further career, he seeks salvation and solace in creativity, writing furiously. Quartets, symphonies (K. 183, 200, 201), spiritual compositions, divertissements: genre "omnivorousness" - these are the earliest symptoms of graphomania. As you can see, those who hounded him are to blame for the development of this creative "illness" in Mozart. The relaxation of the Salzburg "house arrest" came in connection with the composition and production of a new Munich opera (for the carnival of 1775), " La finta giardiniera"(" Imaginary gardener "), one of the most important milestones in his work.

The provincial life of Salzburg and the intolerance of a dependent position overwhelmed Mozart's patience. He breaks with the new archbishop (the final break occurred during the Munich production of the opera Idomnea, in 1781), becoming the first musician in history to reject a dependent position. He speaks of the archbishop in the harshest terms, calling the latter a scumbag, and other swear words, which is completely unusual for a time when class barriers and social hierarchy seemed indestructible. It is noteworthy that the break with the archbishop marked the beginning of attempts to "break with Austria" in general, i.e. leave for good. This intention of fleeing abroad, into emigration, was also supported by Leopold. However, the arms of the Austrian monarchy were very long, long enough to prevent Wolfgang from gaining a foothold in any other capital. The degree of determination of the Austrian imperial dynasty to expand their "guardianship" over Mozart to foreign countries was underestimated even by such a very perspicacious and sober person as his father.

In September 1777, Wolfgang went with his mother to Paris, with the firm intention of staying there. The way there lay through the German states, where it turned out that Mozart was in disgrace, almost persona nongrata. The Elector of Munich almost defiantly refused him. On the way, mother and son stopped at Mannheim, an important opera center in Germany. And here, at the court of Karl Theodor, Mozart received a demonstrative refusal. Contrary to the attitude of higher circles, local instrumentalists and vocalists warmly and friendly welcomed Mozart. But that's not what made him stay. He fell madly in love with the singer Aloisia Weber. Her magnificent voice (a chic coloratura soprano) and bright stage appearance played an important role. However, hopes for a big concert tour with her were not destined to come true. At first, she sympathizes with Wolfgang, and in January 1778 they both go (incognito) to the court of the Princess of Nassau-Weilburg. Obviously, the cheerful nature of the young genius refuses to accept the scenario of conspiracy and accountability (in the "Mozart affair") of all these petty princes, princes and princesses of the Austrian crown. One must think that the refusal of the Princess of Nassau-Weilburg had a sobering effect on the pragmatic Aloisia, and she lost interest in Mozart. Hoping to revive him, Wolfgang lets his mother go to Salzburg, while he himself remains. However, the father, who found out that his child did not go to Paris accompanied by Mannheim musicians (as reported), but wandered aimlessly around Mannheim in paroxysms of unrequited love, with all his paternal authority forced his son to immediately go to Paris with his mother.

In 1778, he was offered the position of court organist at Versailles, under the direct patronage of the sister of the Austrian Emperor Joseph, Marie Antoinette. However, in France, the British King George III is gaining more and more influence, for an inexplicable circumstance, as well as Empress Maria Theresa, Mozart's antagonist. The French court had just officially withdrawn its support for the revolt of the American colonies against the British king.

Mozart, while in France, mainly visits circles that supported the American Revolution. For ten days he collaborated with Johann Christian Bach, who arrived from London, at the residence of the aristocratic de Noaille family, related to the Marquis de Lafayette, who went to America to fight against British troops. However, all these circumstances alone cannot explain the presence of a completely impenetrable wall in the way of the professional establishment of such an outstanding musician as Mozart in a city such as Paris.

It is interesting that Mozart anticipates the future Parisian tragedy, as can be seen from his letters. The blank wall that surrounded him in Italy and Germany, impenetrable and ruthless, was also found in Paris. Everywhere, wherever Mozart went, they were already warned about his appearance, and instructed accordingly. Immediately upon arrival, back in March 1778, it turned out that court circles were hostile. Neither the resounding success of two new symphonies by Mozart, nor the arrival of Christian Bach from London, who did everything in his power for Mozart and used all his connections, nor the participation of other famous and influential personalities, broke the enmity. And this says only one thing: the architecture of this insurmountable wall was born on the highest political Olympus. However, the stay in Paris, in addition to the "earthly", physical harassment, was colored by some sinister, satanic bacchanalia of esoteric forces that flocked here to resist the bright genius. A chain of outwardly unrelated gloomy events sets its black milestones. On July 3, the composer's mother dies, which coincides with the general apotheosis of the rampant dark forces. Evil, death, mystery, everything unknowable and incomprehensible hypnotize us, and, as if in a trance, Mozart is in no hurry to leave Paris, from where he is pulled out by his father's severe order.

Depressed, killed, Mozart calls in Mannheim, still hoping for the reciprocal love of Aloisia Weber, as the last joy of life. The full realization that she would never become his mistress dealt him the last cruel blow, plunging him into a state of unrestrained depression. Terrible entreaties, curses and even threats from his father may have saved him from certain death, tearing him out of Mannheim and bringing him home to Salzburg. Such dramatic experiences for another would be enough to mentally de-energize and interrupt musical inspiration. However, for Mozart, it is creativity that becomes one of the last connections with life. His talent deepens so much, growing into an unsurpassed genius, that not a single composer of his era can be compared with him. Any genre touched by the magical Mozart pen blossoms with all colors, starting to live a higher spiritual, esoteric life. Pushkin said wonderfully about him in his little tragedy "Mozart and Salieri": "What depth! What courage and what harmony!" It is the boldness of thought that distinguishes Mozart's writing most of all. In comparison of emotional states, psychologism, philosophy of music, in vivid figurative means, he surpassed anyone else. Not to mention that he was the greatest melodist. These years bring a number of profound church works, such as " missa solemnis" in C major and "Coronation Mass" (K. 337), operas (" Idomeneo, re di Creta"(" Idomeneo, King of Crete "), and other works. In April 1781, the conflict between Mozart and Archbishop Colloredo develops into a scandalous personal squabble, after which a resignation was submitted, and on June 8 Mozart was humiliatingly put out the door.

Following these turbulent events, Mozart's marriage took place, and to none other than his sister Aloysia Weber. He marries her against the will of his father, who, in dozens of angry letters, begs him to break with Constanze. The wedding ceremony took place on August 4, 1782 at the Vienna Cathedral of St. Stephen. Spouses with the same disgust relate to the conduct of financial affairs, which cannot but affect the tragic end of life; however, in his personal life, Mozart appears to be happy with Constanze, and this stimulates his creativity.

Constanza Weber, Mozart's wife

When Mozart was at the side of his pursuers, in their own home (Vienna), the rules of the game changed. Certain attitudes did not allow them to spoil in private quarters, and until a certain moment, if Mozart is not left alone, then outwardly they tolerate him, without interfering (for the time being) in the course of his professional career. In addition, Maria Theresa was replaced on the throne by her son Joseph II, an extraordinary personality, and Vienna came to life, hoping for a brighter future. In July 1782 a new opera in German "Die Enfhrung aus dem Serail" ("Abduction from the Seraglio"), staged at the Burgtheater, made a splash. Mozart becomes a people's favorite and idol. His melodies are heard everywhere: in houses, in coffee houses and on the streets. Even court aristocratic circles are treated with feigned favor. Performing, teaching and composing music bring a good income.

It is curious to note that tickets for his concerts (called academies), distributed by subscription, were not only completely sold out, but often supplemented by extra seats. In 1784, Mozart gave 22 concertos in just six months. All this can be considered in the conditions of Vienna, where there was no shortage of performances, premieres, concerts, composers and musicians, as a phenomenon of a phenomenal order. The extraordinary success of his instrumental music stimulated the composition of a whole series of piano concertos. Mozart's wife, Constanza, although, apparently, was not such a great singer as Aloisia, nevertheless, she could well perform on the professional stage. For example, in October 1783, she performed one of the solo parts in her husband's (perhaps) best mass - g-moll (K. 427), written on the occasion of his visit (to Salzburg) to his father Leopold and sister Nannerl. On the way to Vienna, the couple stops in Linz, where Mozart writes the brilliant Linz Symphony (K. 425).

Unknown portrait of Mozart found in Russia

Since 1784, a sincere and close friendship begins between the two greatest composers of Austria: Mozart and Joseph Haydn. Later, the young Beethoven meets both. At a performance of the young genius's quartets, Haydn addressed Mozart's father, Leopold, with these words: "Your son is the greatest composer I know personally or have heard of." A cycle of six quartets, in which the influence of Haydn is felt, Mozart dedicated to him. However, the influence was not one-sided. We need to talk about interaction. Haydn in his later writings repeated the findings and features of the writing of his younger contemporary. Just like Christian Bach, Haydn was one of Mozart's guardian angels, a bright and kind patron. However, it was probably he who drew the young Wolfgang into Freemasonry, immediately in the year of their rapprochement. The Freemasons consisted of many Viennese celebrities - poets, artists, writers, scientists, public figures, doctors, musicians. Freemasonry has paved a wide road for itself in aristocratic court circles. However, for Mozart, joining the Freemasons was another fatalistic, fatally tragic circumstance, possibly bringing his untimely death closer.

Mozart took Masonic symbols and mottos at face value, not because he was so naive, but because, having a whole personality, wanted accept. (Masonry by that time was actively crushed by the Illuminati and the forces behind them). In the Masonic environment, they try to stop such well-wishers by any means in order to prevent the separation of the external entourage form of existence from the secret goals and plans of leaders. It is all the more dangerous for the most influential Masonic lodges to propagate this external paraphernalia ("freedom, equality, fraternity") through outstanding works of art. To order a doomed man a requiem for his own demise: this is very in the style of Masonic massacres.

Coincidence or not, but it was after the entry of Mozart into the Freemasons that the previous persecution resumed. His brilliant opera Le nozze di Figaro("The Marriage of Figaro") - along with "Don Giovanni" and "Magic Flute" - the pinnacle of his operatic work - despite obvious success, was removed shortly after the premiere (May 1, 1786), replaced at the "Burgtheater" by a new opera by V. Martina y Solera" Una cosa rara"(" A rare thing "). But in Prague, the success of this opera turned out to be simply stunning, which coincided with the political aspirations and premonitions of the citizens of Prague. Seeking independence from the Austrian Empire, the Czechs felt in Mozart's opera, written on the plot of Beaumarchais's censored comedy, a breath of fresh air. She became almost a national Czech opera. They danced to her melodies in halls and coffee houses, they sounded on the street, in the market - everywhere. The composer himself conducted several performances. In January 1787, he spent more than a month in Prague with Constanta, confessing later that, after Italy, it was the happiest time in his life.But one can easily imagine what displeasure the revival of separatist sentiments in the Czech Republic caused at the Austrian court, and what royal wrath in connection with this must have incurred the culprit: the Mozart opera .

It was Bondini, director of the Prague theater opera company, who commissioned a new opera, Don Giovanni. There are suggestions that Mozart himself chose the plot. Under the name " Don Giovanni"She began her triumphant march through the opera houses of the world (premiered in Prague on October 29, 1787). However, no success in Prague could fix the "Viennese bummer", the tone of which was set by the filming of "The Marriage of Figaro" and a deliberate (artificial) failure "Don Giovanni" in the same Vienna (at the reception after the performance, one Haydn stood up to defend the opera.) One after another, Mozart's other compositions are blocked or failed, and his most profitable students go to other teachers (according to our data - Barbara PLOYER, Josepha AUERNHAMMER, and others). The years 1786 and 1787 were fatal, turning points in the fate of the composer. He is completely crushed and doomed, torn to pieces by intrigues, persecution and simply gloomy circumstances. As in Paris, not only Mozart's cruel enemies, insidious and ruthless, gathered to deal with him, but also "otherworldly" dark forces that flocked to the bloody feast of the execution of the bright genius, for the sake of asserting evil and injustice on earth. In May 1787, the composer's father dies, after whose death depression and despondency became Mozart's constant companions. Sarcasm, irony and gloomy pessimism are established in his thoughts until the very end of his short life.

Getting the position of court composer and bandmaster of Emperor Joseph II did not solve anything, especially since the size of the salary emphasized the subtle poison of humiliation (only 800 guilders annually). Backed into a corner, Mozart borrows money from Michael Puchberg, a member of the same Masonic lodge he belongs to. Unable to return a large amount of money to Prince Likhnovsky, he faces a lawsuit, which he later loses. A trip to Berlin, in order to improve financial affairs, brought only new debts. Like other kings, the Prussian king Friedrich Wilhelm II did not give Mozart a place at court. Since 1789, the health of Constanta, and then of Wolfgang himself, worsened, the house and other property, ready to go under the hammer, were mortgaged. A year later, after the death of Joseph II, Mozart is not even sure that the position of court composer, with its small, but still constant income, will remain with him. He goes to Frankfurt - where the coronation of Emperor Leopold took place - at his own expense, hoping to be in sight, not to miss the moment. However, the performance of his "Coronation" clavier concerto (K. 537) did not bring money even to cover the cost of the trip. Did not correct the situation and the new opera " Cosi fan tutte"(That's what everyone does").

In Vienna, saying goodbye, Mozart told Haydn, who was leaving for London, and his London impresario Zalmon, that they would never see each other again. Seeing off both, Mozart cried like a child, and kept repeating: "We will not see each other again, no." Until his death, he had to write his best works: "Die Zauberflote"("Magic Flute"), Requiem, and several symphonic scores.

The opera was commissioned for him by his longtime friend E. Schikaneder, a musician, writer, impresario and actor, for his Fry House Theatre. (At the same time, the Prague Opera ordered him " La clemenza di Tito"(" The Mercy of Titus "), on the creation and production of which he worked together with his wife Constance and student Franz Xaver Süssmayr (Franz Xaver Süßmayer); for its preparation, the three of them go to Prague. The premiere of The Magic Flute took place in Vienna on September 30, 1791 His last instrumental composition was a concerto for clarinet and orchestra a-moll (K. 622).

The countdown of the days of Mozart's life was now based on the work on the Requiem, which - as it happened - Mozart actually wrote on his death. A guest, an unknown person, dressed in all gray, came to the sick composer and anonymously ordered a Requiem. This episode made a strong impression on the patient's imagination. Mozart was sure that he was composing the Requiem for himself. He, exhausted, worked on the score, feverishly trying to finish it with his own hand. Constance, who was being treated in Baden, hurried back home as soon as she realized how seriously ill her husband was. From November 20, 1791, Mozart no longer got out of bed, and wrote music while lying down. On the night of December 4-5 he became delirious; he imagined that he was playing the timpani in Dies irae his unfinished Requiem. At about five minutes into the first night, he tried to get up, onomatopoeia of the timpani part with his lips, but fell back, head to the wall, and froze, lifeless.

Mozart was buried like a beggar among the beggars in the chapel of St. Stephen. On the last journey to the cemetery of St. Mark Mozart's body went alone, and was buried without honors, without witnesses, in a common grave for the poor. Later, the very location of this grave was completely forgotten. Neither a cross, nor a monument, nor even a modest tombstone has ever been erected. A tombstone, not material, but spiritual, was erected for his great teacher by Süssmayr, who finished the Requiem, setting to music and orchestrating those by no means small fragments of the text that Mozart himself missed (some of the arrangements were made by protege Mozart, Joseph Eybler. In the same way, other composers completed the greatest compositions of Schubert, Mussorgsky, Scriabin, and other geniuses endowed with a similar fate. None of Mozart's brilliant piano concertos, none of his mature symphonies, were published during his lifetime.

Monstrous injustice, persecution, intrigue and envy: the fate of the most winged, brightest people on sinful earth, and the fate of the great Mozart, like in a mirror, reflected the fate of thousands and millions of other talented and pure creators of the spirit.

It seems that the legend of the poisoning of Mozart was born among the Austrian political and aristocratic elite as a desire to divert the blame for the non-recognition and death of the great composer from being in a permanent crisis and falling under the hammer of even more reactionary forces of the political regime, shifting it onto the shoulders of a private individual (Salieri ). And the true motive-cause of Mozart's death (political despotism (from ferocious censorship to the imposition of "permitted" aesthetics) is artificially replaced by settling personal scores. Even if Salieri really poisoned Mozart, he would do it on the orders of Emperor Leopold or someone However, without physically killing his rival and friend, Salieri - with his bureaucracy and subtle intrigues - greatly poisoned his life. Salieri was a court toy and an instrument of the court against Mozart. We will talk about the degree of his guilt before the world musical genius in the future.

Autograph "Marriage of Figaro"

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Lev Gunin

THE LIFE OF MOZART AND ITS MYSTERIES

PART ONE

(ENDING)

3. INFLUENCES

The music of Leopold Mozart, the father of the great composer, is often heard on the waves of Montreal music radio stations. It is in libraries and record libraries. It is not difficult for the ear of an inexperienced listener to confuse it with the music of his illustrious son. A professional musician immediately understands that this is not Wolfgang Amadeus, although it is difficult to say right off the bat what is "missing" in the music of Mozart the Father. Probably, bright melody, aspiration, brilliance and courage of thought, equal to "Mozart's". The works of Leopold Mozart are "too" academic and "correct", although they also have a fresh, versatile feeling. The strong influence of Haydn is striking. One thing is clear: the mature Mozart-son is the same Leopold Mozart-father, only deepened, expanded, ennobled and purposeful.

The influence of Petzold and Telemann, Buxtehude, Schutz and Bürgmüller can be traced through strong-willed and life-affirming motives, often following the sounds of a tonic triad. Mozart's favorite variants of cadences are sometimes "supplemented" with typically Telemannian intonations.

The drama of minor symphonies (for example, two g-moll "nyh) evokes the features of the symphony of J. Wahnhal. In Salzburg, Mozart was influenced by Michael Haydn, Joseph's brother, who largely shared the style of the latter. However, Mozart never shows "usus tyrannus "("shackles of custom"; Serov's expression); he violates any canon if something gets in the way of his self-expression. As the well-known musician in Montreal Yuli Turovsky likes to say, geniuses do everything "wrong". Note that pomposity, triumphant intonations and heaviness not only of Handel, but also of the early representative of the Vienna School - Gluck - repels Mozart.During his stay in Paris, he reports almost nothing about Gluck's operas, although all of Paris was buzzing about the enmity between Piccinists and Glucinists, and the creations of the Viennese classics invariably caused a terrible stir.There is no doubt that Mozart was influenced not by the Austrian, but rather by the Italian and German school of opera art, and that he was known masterpieces of Monteverdi, Bellini, Donizetti, Scarlatti, Picchini, etc. However, the main models for study and imitation were for him the Italian operas of Paisiello (Neapolitan composer, among others who met with the young Wolfgang during his stay in Naples (1770); later - the court bandmaster in St. Petersburg under Catherine the Great: 1776 - 1784 ), Domenico Cimarosa (court composer in St. Petersburg - from 1787 to 1791), and Antonio Salieri (older friend and rival, consultant and mentor of Mozart). Interestingly, Martin y Soler, a musician of Spanish origin who composed Italian operas, another dangerous rival of Mozart, was also a court composer in St. Petersburg. Giovanni Battista Casti, Salieri's main librettist and rival of Mozart's main librettist, Da Ponte, also lived and worked for some time in Russia, in St. Petersburg. In Mannheim, Mozart was greatly impressed by I. Goldenbauer's opera "Günther von Schwarzburg". Gluck's influence still took place, especially the operatic-choral style of the latter.

The saturation of Mozart's works with German folklore was due in no small part to Emanuel Schikaneder, whom Wolfgang met in the late 1770s. "Luffy", itinerant folk theater troupes visited Salzburg, and one of these theaters was directed by Schikaneder - an impresario, actor, director, musician, writer and playwright. Schikaneder proclaimed freedom from despotism, nationality, love for national culture, freethinking and overcoming the fetters of orthodox thinking with all the strength of his lungs. It was he who was Mozart's partner in creating the pinnacle of Mozart's operatic creativity: The Magic Flute. Schikaneder not only ordered this opera, but also created a brilliant libretto, highly valued by Goethe. The aesthetics of Mozart and Schikaneder anticipated Weber and Wagner, and were the most advanced for that time. Shikaneder became another bright guardian angel of Mozart in the host of his "squires".

The elegant, effortless style of Christian Bach is cited as one of the strongest influences. His "smart", intricate music, sincerity and sincerity, Italian clarity and plasticity not only of melodies cantabile, but also harmonies, slender beauty and crystal purity of form: all this was continued and developed in Mozart's compositions. The work of Johann Christian's father - the great J.S. Bach - Mozart began to seriously study relatively late (as well as Handel). The pinnacle of the spiritual music of Wolfgang Amadeus, his Requiem - reflects the undoubted influence of J. S. Bach. We should not forget that Mozart had excellent teachers, the best in that era: his own father, Padre Martini, Christian Bach, Joseph Haydn, and others. It was thanks to them that Wolfgang masterfully mastered counterpoint, harmony, arrangement, and other elements of composing technique. We will talk about the impact of Salieri in the corresponding chapter.

In chamber and symphonic music one can feel the greater influence of the Viennese composers of the older generation, such as Wagenseil and Monn. No less important was the influence of Italian masters - Frescobaldi, Allegri, Albioni, Bellini, A. Corelli, L. Boccherini, A. Vivaldi, J. Batista Vitali, Marcello Benedetto, Domenico and Alesandro Scarlatti, Giovanni Agrell, Domenico Zipoli, Attilio Ariosti, Giuseppe Tartini, G. Pergolesi, Domenico Gabrielli, and others. Italian music, this boundless ocean of hundreds (or thousands?) of peculiar, often very bright talents, had an undoubted influence on Mozart. The closeness to its typical features, Italian predecessors, contemporaries and even followers (a paradox, but true) is especially felt in the clavier music of the genius. Muzio Clementi, Dominico Scarlatti, Cimarosa, and other outstanding clavier composers had much in common with Mozart's clavier style. Penetration into the intonational sphere of Mozart intonations of the Slavic type is also caught by a sensitive ear.

Mozart's love of life, spontaneity, sincere warmth, sparkling or very lyrical presentation of the main themes, their brightness, simplicity and vocal melodiousness, a complex attitude to harmonies are related to Italian music by Mozart. Perhaps Mozart was also influenced by French harpsichordists: Rameau, Lully and Couperin. Undoubtedly the influence of the English composer Purcell in some of the interludes. Separate places in Mozart's chamber works "reminiscent" of Leclerc.

Mozart is a pan-European phenomenon, alive, comprehensive, direct and infinite. Therefore, any European culture can consider it their own.

(end of the first part )

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