Mozart’s Letters
The musical marvel, Wolfgang Amadeus Mozart, has been consistently characterized by his dynamic concertos and opulent operas. The depth of his character, however, fails to be properly outlined by the average observer. In the book Letters of Wolfgang Amadeus Mozart, letters are selected and edited by Hans Mersmann that depict the struggle of the famous composer. From a need for money to a lack of free time, Mozart seems to personify the “starving artist” cliché. His faith in his music manages to keep him on track, but it is not hard to see the problems that he inevitably faced while trying to compose and prosper.
In his letters, Mozart constantly refers to his lack of time, claiming “[he has] not had time to read [letters] through even once without interruption.” (227) This lack of time seems to be a theme throughout the letters chosen by Mersmann, but the source cannot be determined. Whether pure forgetfulness or a lackadaisical view of social niceties, this trait shows how focused Mozart is upon his work. At one time, he claims it was the “eleventh day” (236) he’d been writing a letter! He seems to be sidetracked by his compositions. His letters are generally about his music or offerings to create music for several productions. Even in his last correspondence to his father, he gossips about musicians and composers. This dedication to his trade is infallible.
It could almost be assumed by the modern musician that Mozart had always received acclaim for his work, but that obviously wasn’t the case. Mozart’s money troubles become very apparent in June of 1788. He starts writing to several people including Michael Puchberg and Franz Hofdemel, claiming to go “straight to the point without affectation.” (237) He asks for sums of money that would greatly help him and even seems to guilt his friends, claiming to “throw [him]self on [their] goodness, being convinced of [their] friendship.” (240) The letters are quite short and devoid of true substance beyond the asking for money and asking for time to pay back the loans. Within the correspondences to Puchberg and Hofdemel, he gives several excuses as to why he does not have money. He uses excuses ranging from a missed payment to just barely being able to get by.
Despite the fact that Mozart seemed to abuse his resources, his love for his wife Costanze runs deep. He tries to protect her from the knowledge of his money troubles, writing that he is “suffering no hardships or inconveniences on this journey.” (240) He constantly sends her kisses and even refers to moments when he “looks to [her] portrait and weep, half for joy, half for sorrow.” (240) In a second letter, he goes more in depth with the ritual he keeps with the portrait, which, despite how romantic he thinks it is, seems very strange. He vies for her attention always and expects her to write him in all of her spare time. The “million kisses” (253) he sends her usually reach her well. He usually mentions their son Karl, but his general concern lies in Costanze.
Overall, Mozart seemed to be a man who was both concerned with his music and his wife. He fell into financial debt for the things he did, but never let himself forget his family. It’s hard to recognize that despite his fame, he could not manage to support himself. The letters that Mersmann chose humanized this musical marvel and helps modern musicians appreciate the work he put into his craft.
