Deanna Maravel-Mozart’s Letters

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     Mozart’s Letters

     We spend so much of our lives communicating via emails and cell phones that it’s easy to forget that writing was once the only source of communication, other than seeing someone in person. It is through each person’s diction and style that you can see his or her personality shine through. While it’s impossible to go back in time to find out what someone in the past was like, through the letters they have written which remain today, we are given a glimpse into their minds. Mozart lives on through his letters that were collected in the Letters of Wolfgang Amadeus Mozart by Hans Mersmann, and we, the readers, are given the chance to discover the brilliant man behind some of the greatest symphonies ever composed.

One of the most prominent threads throughout his letters written to his friend Michael Puchberg was his concern for money. He states that he will go “straight to the point” that he is in need of money to pay for rent and various things, however, this lending of funds does not go unappreciated. (237) He continuously flatters Puchberg for his kindness, continuously referring to him as one of his “best of friends”. (247) This almost excessive flattery is quickly followed with another request for money. It appears that even though Mozart was on such friendly, “brotherly” terms with Puchberg, he was almost embarrassed to keep asking for money, although that could be a result of his poor budgeting skills. He was never able to repay Puchberg, or anyone whom he had borrowed money from, at the time he had promised, and as a result, he racked up a debt that left his family with serious problems following his death.

While Mozart might not have been the most fantastic accountant, he was a caring and supportive family man. For example, he writes to his daughter about her brother’s concerts, which were highly praised and received well by people Mozart knew. He notes in a follow up letter that his son should be safely out of debt, a problem he struggled with himself. In letters to various family members, he apologizes for late responses and offers consoling words to his sister when death takes the life of their father. For his wife, he has nothing but sweet words and love. He constantly refers to her as his “little wife” and sends her “a million tenderest kisses”. (250, 242) Mozart reassures her of their love as they spend so much time apart due to his work. Almost as if it were an afterthought, he also makes a note in his letters to her to give his love to other friends and family members that he cannot see. Even in his hectic schedule, he takes the time to keep his loved ones up to date on what was going on in his life at the time.

Mozart was indeed a professional when it came to business matters. In his letters to royalty concerning work, he adopted a refined tone and dropped the blatant flattery he used in his personal letters to friends. For instance, in a letter to the Municipal Council of Vienna, he signs with “your most humble servant” rather than “ever yours” or “your true friend”. (254) He also offers to take up a position in the Cathedral without pay. In a letter to the Archduke Franz of Vienna, he respectfully requests that the Duke put in a good word for him to the King, seeing as he would like to apply for a job in the court, and perhaps to also be “entrusted with the musical instruction of the Royal Family.” (248) While putting his love of his work first exemplifies his dedication to music, he is leading his family onto a difficult economic path.

In his chaotic, time-constrained life, Mozart had the tendency to shut out the people he loved, not seeing them for long periods of time. It’s through letters that he communicates with the people who mattered to him, and it’s also through these same letters where we are able to see what he was really like as a person.  No one is perfect, and that includes Mozart. While he had his own flaws, such as faulty time and money management, he made up for these imperfections in his dedication to his family and craft. A master of timeless music; his legacy will live forever.

Andrew Zagelbaum – Mozart’s letters

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The name “Mozart,” is one that is not only used today, but will continue to be used for generations to come. The genius that is Wolfgang Amadeus Mozart, was a world-wide known artist, whose music is still known today. Through The Letters of Wolfgang Amadeus Mozart we are able to see what the life of Mozart was like in his younger days.

The artist Mozart lived a life that is unknown to many people today. Everyone knows his name, most people know his music, but not many people know of the life of Mozart. He lived a life most people wouldn’t assume he had. Unfortunately, most of Mozart’s life was in fact lived in poverty. In his letters, it is clear that he was very much in need of money, and was willing to ask anyone for the money.

It’s difficult to have a grasp on the life he lived, because most people would assume otherwise of him. In my own personal opinion, I thought that he would have lived a life of wealth and luxury. I would feel as though the life of one of the world’s greatest artist would have been one of ease. The world in which Mozart lived and the world in which we live today have completely different views on the musician. Where as today he would be viewed as a musical genius who’s career started at a very young age, in his own time it can be seen that he wasn’t as praised.

His under appreciation at the time is very evident through the letters he sent out. He asked family, friends, and peers for compensation for what he would provide musically. Unfortunately, as previously stated, the world he lived in did not view him as we do today.

Music, much like other forms of media, is not as popular in its own day as it is in the days to come. Some of the most amazing artists known today were frowned upon in their own time. Art, whether it be visual or audible, is a timed factor. If it’s not popular at the time it’s produced, it will be eventually. Art, however, is beginning to catch up with modern day. More and more artists are coming out to show what they can do, and modern day society is beginning to appreciate it. There’s a revolution going on in the art world, where traditional and conservative pieces are matched up against the art that is being created today. With these new works coming out, there is hope for the artistic world to come.

Mozart experienced this with his interactions with family members and peers. He even had to beg his own brother for money to compensate for his career. Now, his music is heard, as well as praised, across the entire world. Without these letters, I’m sure that most people wouldn’t assume this was the lifestyle of Wolfgang Mozart, but the primary sources speak for themselves.  Without reading these primary sources, Mozart is praised as a name from history.

Along with names like Bach and Beethoven, there’s Mozart. Legends in the history of composition, and yet their social lives mean nothing to us. Mozart teaches us, if anything, that regardless of the compensation we receive from the society around us, we should keep doing whatever it is we do. Our passions are more important than our impression on those observing us, and who knows…maybe one day we will truly be appreciated for whatever it is that we do. Mozart not only left behind works of art, but also a legacy that will be remembered as inspirational, which is what he ultimately deserved from society.

Stephen Walsh – Mozart’s Letters

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Stephen Walsh

 

To most people, Wolfgang Amadeus Mozart was a musical genius, a child protégé-turned-pioneer who on the world of music left an indelible impression incomparable to that of any other composer. But when one reads some of the letters he sent to family, friends, and potential patrons throughout his life, no such characterizations are rendered. Rather than a grand, proud aristocrat, as might be expected, we see this image of a meek and humble man, desperate for financial security and excessively apologetic. The letters show not “Mozart the Great,” but instead, “Mozart the Despondent.”

The sad fact is, Mozart was poor. And while obviously not proud of it, he exhibited very little shame in begging for patronage, in imploring his “Dearest, best of Friends” for even large sums of money to help him get by. Take for example his numerous letters to Michael Puchberg, a wealthy merchant of Vienna, who, along with Mozart himself, was a member of the lodge of Freemasons. Knowing the man’s favorable social status in comparison to his, Mozart continuously petitions him for sizeable loans, from “one or two thousand gulden” (237) in his initial letters to a few hundred florins here and there to help him subsist – sums he never fully paid back, thus generously leaving a rather substantial debt to his soon-to-be-widowed wife. Such lack of diplomacy even extended beyond the realms of friendship to that of royalty, as evidenced in his letter to Sebastian Winter, Royal-Groom-of-the-Chambers, in which he so forwardly proposes “If his Highness [the Prince] would be so gracious as to commission me, year by year… and if he would be pleased to endow me with a fixed yearly salary therefor, his Highness should be well and punctually served.” Such generous employment, he asserts, would allow him to compose with a liberated mind, and result in music far unparalleled to that which is created by a burdened brain. Whether driven by complete financial desperation or by strong character (or perhaps both), it’s clear that Mozart had little reservations carrying out what most might label “brash” or “tactless,” but which he would call “necessary.”

Securing such favors was indeed no easy task, so in order to possibly capture the sympathies of his targets, Mozart often resorted to excessive flattery and fawning. Obviously, a little “kissing up” is an oft-used tactic for those in need of a particular end, but the famed composer takes it to a whole new level. For example, his aforementioned letter to Sebastian Winter opens up: “Dearest friend! Companion of my youth!” in an overt attempt to win over this man’s pity. Likewise, in his letters to Mr. Puchberg, before asking for any money, he attempts to loosen up his friend’s wallet by inflating his ego by calling him a “man of honor,” a “true brother” to whom Mozart himself has opened up all his heart in a way he would do to no other human being. Such flattery isn’t even existent in his letters to his wife, to whom he says typical, trite utterances in the “I miss you” and “I can’t wait to see you again” realm. While some of the flowery language may indeed be genuine, such a cunning way of relating to his supporters is clearly, largely driven by an end goal.

Mozart further embodies this idea of subservience and humility by being markedly apologetic and offering numerous excuses for having not completed certain tasks. For instance, he opens up his letter to Professor Anton Klein with a myriad of reasons why he didn’t respond to three consecutive letters from his companion, ranging from “my hands are so full of affairs” to “I… need reading through not only once, but numerous times” (227). Additionally, in a number of letters to his wife, he explains why he has been so unreliable in responding to letters, whether due to the poor conditions of the road, extremely busy business trips, or nonstop itineraries. Thus, between excessive excuses, fawning flattery, and shameless financial inquiries, it’s easy to see that Mozart was not the grand, proud man his music and current prestige might imply.

Berger Versus Chase

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Simon Plutser-Sarno

Looking at an artwork may seem like a simple act – universal and timeless, but in Ways of Seeing John Berger shows us how intricate and charged the notion really is. The way we look at art has changed drastically throughout the course of human civilization, but never so much and so quickly as in the past several centuries. New inventions and media such as photography and film, art movements – cubism, futurism, impressionism – and the rapid change in social hierarchy have affected our perspective so profoundly that we can never return, and even often find it hard to imagine the way our ancestors must have seen it. By contrasting the direct way in which Berger proposes we look at art with the model of artistry Alice Chase outlines in Looking at Art, we can begin to understand the only and the necessary way of perceiving an image.

In the first few pages, Berger quickly cuts to the chase, and establishes that art is about perspective – “An image [is] a record of how X had seen Y… the more imaginative the work, the more profoundly it allows us to share the artist’s experience of the visible. (p.10)” After defining art in this concrete way, Berger goes on to warn us about mystification. He tells us that as soon as we observe an artwork as such, we begin to make pre-learned assumptions about it that obscure it from deeper understanding. As we mystify, we begin to examine form rather than content, historical background, monetary value, etc., and forget about the immediacy of our experience – about the fact that we are now situated within a fragment of history as an observer. In Berger’s terms, Alice Chase unknowingly mystifies art in some of her discussions. We can see this clearly when Chase states that “[A work of art] is the expression of man’s thoughts and feelings. (p.31)” and follows up with diversion on lengthy tangents that project the artists’ emotional states, and lead to a completely ambiguous analysis of the artworks as illustrating the human condition, the splendor of god’s creation, or something of the like.  Berger would say that the mystifying way in which Chase views art “transfers the emotion provoked by the image from the plane of lived experience, to that of disinterested ‘art appreciation.’ (p.13)”

Another area of high contrast between Berger and Chase is their opinion on photography as a medium, and the way it changed our perspective on art. Chase holds a dismissive standpoint – often comparing photography to a simple “viewing” or “recording” of reality, and saying that, since it doesn’t give any freedom to the artist in capturing different aspects of it, it is not a real art form – it is merely documentation, and that utilitarian purpose was its only contribution. For a reader of John Berger, this notion is completely laughable. Photography has developed since the 19th century, the images produced can be highly controlled and conceptualized by the artist – change in ISO, shutter speed, angle, lens, subject, context, digital effects, etc. all make photography a fine art like any other. This is beside the point, however – Berger explains to us the real importance of photography. Today we rarely see original artwork – we mostly see photographs – reproductions. They take art out of its original context – icons out of the chapel and onto our walls, paintings out of the collection and onto our TV screen. Berger states: “In the art of pictorial reproduction the meaning of paintings is no longer attached to them. (p.24)” And truly, we now see art in advertisements, with their added definitions, we see original paintings shown in segments and those even in sequences. We see new narratives layered right on top that hide the original ones.

For Berger, the creation of art is the immediacy of the moment – the image captured and extended temporally, while its reception is our emotional and intellectual reaction to it in its silent immediacy. After reading his essays on the proper viewing of art, I find it impossible to contextualize or perceive images in any other way.

Unicorne – Medieval Poem

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Simon Plutser-Sarno

9/10/12

Arts in NYC

 

Unicorne

 

Trapped within the flower’d gar’n

Subdued with silver chain

Kicks a wild colt of gleaming white

Its efforts are in vain

 

The king desired it and his men

With hounds had chased it down

They tore it from its forest home

To please the jewel’d croun

 

No simple wild harse is he

But spirit without flaw

A beard like of old men and gotes

He sports upon his jaw

 

And thar atop his graceful hed

Sticks owt an arm’s length horne

It makes him fearsum – a wilde beest

They call him unicorne

Kristy Timms – The Letters of a Genius

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Wolfgang Amadeus Mozart is a world renown musical genius. All recognize his name and music, some even worship him, but only few truly knew him. His life left a musical legacy that will remain until the end of time, but it is his hand written letters to friends, family and the distinguished that give us a glance into the real life of the man behind the music; the real Wolfgang Amadeus Mozart.

To people of high standing he would scribe letters of utter respect and reverence. Those addressed to Professor Anton Klein, Sebastian Winter, Royal Groom-of-the-Chambers, the Municipal Council of Vienna and alike, were formal letters in which Mozart strived to remain constrained and reserved, often signing “Your most obedient servant”(229) or “Your sincere friend and servant.” (230) However, his language remained incredibly expressive and exuberant, “…to whom I beg you will say, in my name, that I lay myself at his feet and thank him most humbly for the present he has sent me” (229). Within his letters to those powerful and influential, Mozart strove to broaden his musical audience and admirers. He also wrote in search of support with regards to yearly contracts and commissions, asking “If his Highness would be so gracious as to commission me, year by year, with a certain number of symphonies, quartets, concertos for different instruments or other pieces according to choice, and if he would be pleased to endow me with a fixed yearly salary” (230) in order to secure himself a fixed salary. These requests were always followed with a heartfelt commitment in which Mozart would do everything in his will to “well and punctually serve.” (230)

Through his letters, it would appear that Mozart only had one true friend to whom he wrote often, Michael Puchberg. Within his letter to “[his] only friend” (244) “[his] best friend and brother” (242) Mozart asked for money. His constant need to lend money from Puchberg not only shows he inconsistent income, but the fact that he was so under appreciated during his time. He would write to Puchberg often, giving little excerpts of news amongst his begging for money, and forgiveness. Similar to those written to people in positions of power, Mozart’s letter to Puchberg were incredibly melodramatic and elaborate. After explaining his present financial difficulties which he “would not wish [on his] worst enemy” (242) a situation in which “[he was] guiltless of [his] most unfortunate, most tragic situation! Oh God!” (243) Mozart guarantees return payment, “I can pay back the whole sum, with whatever interest you ask, and at the same time acknowledge myself your life-long debtor.” (244) He always seemed regretful in having to ask for financial support, as it was a burden upon himself as well as the helper. However, his relationship with his only friend, Michael Puchberg, did not entail much more than help with Mozart’s unstable money situation.

Most notably, Mozart was exceptionally dramatic and flamboyant in his letters to his “best little Wife” (251). Away from her often, his notes to her would be of missing and tenderness, “Tears rained upon the paper as I wrote the foregoing page, but now let us cheer up! Catch! – an astonishing number of kisses are flying about” (253). Although his letters to his wife would be emotional, they were often short as he appeared to be exceptionally busy, and often able to only “write a few lines now in haste” (257). He also addresses others within the p.s. to his wife, mentioning Carl often and Sophie, and sending them kisses and “a few good nose-pulls” (266). Throughout his writing, Mozart appears to be very devoted to and passionate about his wife.

Wolfgang Amadeus Mozart comes alive in his letters to people of every caliber. His close, complex relations with a friend, respect for elders and love for his wife are evident on the pages left behind. His passion and dramatic sense within his writing of words is similar to that emotion we sense within his written music. A beautiful writer in all forms, he will forever be remembered.

Ways of Seeing

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Art is not merely strokes of color or graphite on a piece of canvas to be simply looked at- art is to be interpreted.  Because of it’s nature, interpreting art, subjectively, gives the piece more meaning.  Two pieces, John Berger’s Ways of Seeing, and Alice Elizabeth Chase’s Looking at Art, discuss ways to view and understand art.  Though the words ‘seeing’ and ‘looking’ are seemingly interchangeable, the two writings convey differences in perception.

Alice Elizabeth Chase begins her work by describing the difference between an average person’s view of art versus an artist’s view of art.  According to Chase, regular people see art in colors, near or far, big or small.  Artists see what is in front of them and reinterpret it to match their view of the world.  Artists are faced with the scenario of confining a real life view to a canvas- restructuring and tweaking what is visible in order to express his ideas on it.   Chase supports her statements by giving examples of the ways different cultures have created art.  Egyptians were more concerned with the shape of objects and viewed a scene as a map; thus, they represented what they saw with simple shapes and lines.  Romans enjoyed vibrant paintings of landscapes as sharp contrasts to the turmoil-ridden cities they lived in.  Chinese reflected the importance of landscape as the “moods of man and the infinity of God.”  In America, once the country had established itself, artists began to look to painting the countryside as an enthusiastic form of patriotism. Overall, Chase relays the idea that art is a reflection of the culture and time period of which it was created in combination with the artist’s personal view of the world.

Chapter 4 in Chase’s work describes the way in which artists used space.  Egyptian representations of humans were often inaccurate; typically displaying a profiled face, forward facing shoulders, and side-facing legs.  Artists used size and shape to represent importance as was done in King Assurnasirpal’s Encampment an Stables.  It was the Greeks who began to add a third-dimension to their artwork.  Greek artists employed shadows and foreshortening to suggest depth.   Another topic discussed by Chase was perspective.  She describes the evolution of perspective used in art ranging from the vanishing-point perspective used by Italians to the isometric perspective used by the Japanese.  Chase once again makes it clear that there is no way “right” way to create art; beauty is in the eye of the beholder.

Berger shares a similar view to Chase’s, however, his work “Ways of Seeing” focuses more on the individual viewing the piece of art as opposed to Chase’s focus, the artist who created the art.  Berger believes that modern day art viewers’ perceptions are skewed to reflect what society has taught us of beauty, form, and truth.   Berger also touches upon an aspect that Chase did not mention: technology.  Berger believes that the value of perceived art comes not from what we see, but it’s uniqueness.  He states that technology and the camera’s ability to reproduce copies of art in different sizes “destroys its unique original meaning.”

Art is infinite in meaning, there is no “correct” way to create art or look at art.  The meaning of art is hidden in a combination of what the artist intended to create and portray and what the viewer interprets it as.  Chase and Berger both express different views on how art should be looked at and see, but one thing is constant: art is dynamic, a forever changing entity that is always interpreted and reinterpreted.

Mozart: The Man, The Myth, The Musician

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Victor Rerick

The Arts in NYC

October 7, 2012

Professor Graff

The Mozart Letters: Exploring Mozart’s Personality

The name Wolfgang Amadeus Mozart has become synonymous with instrumental genius and creativity with not only those who religiously practice his masterpieces, but even with those who have once ventured to pick up an instrument.  He is perhaps the most well known, and highly esteemed artist, in musical history.  Yet despite the near universal recognition of his music, very few people know the details, or even the general structures, of the society and family in which Mozart was raised and molded.  His story becomes like that of many historical figures; a single moment or achievement viewed as if it happened inside a black hole. Even in our history textbooks, where context is essential, we often ignore the events that led to the World Wars, the prior thinking that spurred the Renaissance, or in this case, the unique upbringing that inspired a musical prodigy.  It is through closer examination of Mozart’s personal letters to family, friends, and business colleagues, that we can begin to appreciate not only his musical talent, but his more personal side.  His personality, emotions, beliefs, and motivations all shine through his series of preserved letters, providing us with a fascinating glimpse, into one of music’s most mesmerizing minds.

Like most contemporary professional artists, Mozart’s craft was not only his passion; it was his source of income.  This dual role of music in Mozart’s life, as both an artistic outlet, and a means of financial provision, was one that Mozart would struggle with contentiously.  He tried to find the precarious balance between the two, but often failed, especially later in his life.  In a 1786 letter to the Royal Groom of Chambers, Sebastian Winter, we are offered a glimpse of Mozart as not only a musician, but a businessman.  During a time period when proper entertainment (especially that fit for kings) was in short supply, live performers such as Mozart could often amass significant wealth playing for the royal and the wealthy.  Mozart was a master of flattery, but more so in writing than in person.  His maturity took an odd course of development, and a certain social awkwardness does shine through his letters.  But for the most part, Mozart commended the pen as adroitly as the bow, and managed to pluck at the heart strings of those he needed favors from (of which there were many).  In this particular letter, Mozart essentially begs for the opportunity to play for the Prince.  Due to social costume, he must disguise his motives as pure, and claims that his business proposal “arises from an impulse of genuine zeal to serve his Highness diligently” (230).  But at the heart of Mozart’s letter, is the genuine impulse for the acquisition of material resources.  Mozart requests that if the Prince would so desire, Mozart would humbly accept a yearly compensation in exchange for musical performances.  Mozart claims that with a consistent salary he would be able to “work with a collected mind, being sure of having that work to do”.   A similar concern is present in almost all of his business letters.  He remarks to Michael Puchberg that it is “inconvenient, nay, impossible, to live from own installment to another!” (237).  Although Mozart may seem sly in his attempt to gain admittance to the Prince’s Court, he is simply following the expected business model.  Mozart would rely on such methods to provide for his himself and his wife throughout his short life.

Mozart’s letters to his family members, especially his sister, reflect Mozart’s more childish side.  In his letters to family and friends, he is almost always quick to share a joke, or even make fun of the person to whom he was writing. Other than business, the only topics that Mozart seemed to take seriously were love and death.  He writes to his sister, who informed him of his father’s death, that IF she “desires a kind and loving brother to care for you, you will find one on every occasion” (234).   He not only grieves for his father, but also tries to comfort his distressed sister by offering his full love and brotherly support.  A similar tone is found in his heartfelt letters to his wife.  He often uses poetic language when speaking to her, declaring his love through any number of metaphors he can think of.  While traveling, he scribbles a letter to his wife remarking that when thinking of her he both cries and smile, all the while staring at her portrait whenever he can (240).

Mozart’s letters provide invaluable insight into the mind of one of the world’s greatest composers.  By reading them we can see that he was not only a musician, but a human.  And as such he shared with us moments of humor, sadness, joy and stress, and all of the other melodies of the human condition.

Roseann Weick – Mozart’s Letters

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The Character of Wolfgang Amadeus Mozart

             The letters of Wolfgang Amadeus Mozart, musical genius, to such recipients as friends, colleagues, prospective clients, and family exhibit occasions where one can interpret the composer’s character and ability to relate to others. From his letters, Mozart appears to embody the common idea of the struggling artist who is always lacking funds and time.

The work oriented and driven Mozart was portrayed in a letter addressed to Sebastian Winter, Royal Groom-of-the-Chambers. In this specific letter, Wolfgang thanks profusely for the Prince’s generosity, but also divulges his desire to provide his Highness with “certain orchestrated pieces,… If his Highness would be so gracious as to commission [him], year by year” (229). Mozart is also revealed to be very busy and consumed with his work, as well as a “starving” artist, when he writes to such friends as Anton Klein and Michael Puchberg. In his writing to Klein, Mozart apologizes for his late reply. He exclaims, “my hands are so full of affairs that I can find scarce a minute for myself” (227). When addressing his friend Puchberg, Mozart shows his business ambition and financial shortcomings when he asks Puchberg for money. He apologizes for this but assures he will repay this loan with interest. To confirm his honesty Mozart states, “whoever, lends to me is, secure enough by reason of my character and my salary” (239). He finds himself to be a trustworthy friend.

In his letters to his wife and friend Michael Puchberg, Mozart also reveals a caring and very grateful side. Mozart misses his wife dearly for when he looks upon her portrait he weeps for sorrow and joy. He also expresses concern in light of her health. He proclaims, “look after your precious health, which means so much to me” (240). He also shows unease for his wife’s respect and conduct. In his letters to Puchberg, Mozart also shows his regret and “torment” (243) in asking for more funds. Mozart explains his misfortune in being ill and thus must “beg so shamelessly” (244) for money. However, he professes his thankfulness and assures the good of his friend’s generosity will outweigh the bad.

Also apparent in his letters to his wife is Mozart’s joking and playful nature. When addressing his wife, he uses the pet name “little wife” (241) in his enthusiasm to finally be able to see her again after such a long period apart. He professes how he thinks of her often and admits to conversing with her portrait. When talking to his wife’s picture, Mozart uses such antics and phrases as “Good day, little rogue! pussy-wussy! saucy on! – good-for-nothing!-dainty morsel!” (241).

Mozart’s various letters reveal his character as an eventful businessman, thankful friend, and loving husband. Despite his struggle to obtain money and to find suitable work opportunities, Mozart remained a humble and thankful musical prodigy.