Just a short article that hopefully introduces the scale of misattribution of works to Mozart which, in fact, were written by others -
TWO EARLY 'MOZART' OPERAS
On 10th January 1768 the 12 year old Mozart and his father Leopold arrived in Vienna. (The family hoped Wolfgang would succeed in the city as a composer of works for the stage. But things did not work out as they hoped.. Vienna was very suspicious of Mozart's musical abilities)
Only a few weeks later Leopold wrote to a friend in Salzburg -
'The people here in Vienna carefully avoid every chance of seeing us and of admitting to Wolfgang's musical skill, so that many times when they can be asked if they have heard this boy's (Wolfgang's) music and what they thought of him, they could always say they had not heard him or his music and that it could not possibly be true - that his reputation was completely fiction and foolishness - that everything he did was all pre-arranged - that Wolfgang was given music by other people which he already knew - that he was ridiculous etc ....' - (Leopold Mozart, Vienna, January 1768 - Letter to Salzburg friend on the reaction of the Viennese public and musicians about Wolfgang, his son).
Frankly, in Vienna Mozart and his father were not trusted. People were deeply suspicious of all the reports from their earlier European tours. Leopold's reaction was predictable. He used his influence to obtain a meeting with the Empress Maria Theresa and her son, Emperor Joseph 2nd. Arguing that discourteous treatment to Wolfgang was grossly unfair it was agreed to commission the 12 year old boy to write an opera buffa for one of the Viennese theatres. Mozart's father continued to protest about their treatment and sent a list of supposed works by his son to the Empress written.
The commission was for 'La Finta Semplice' - payment to be 100 Ducats on completion. They were asked to contact the Vienna theatre director Giuseppe Affligio (1722-1788). Leopold, satisfied, went to see Affligio. (Affligio had 1 year before signed a 10 year contract to manage the two largest theatres in Vienna).
(Note - 'La Finta Semplice' was an opera that had already been staged in Vienna in 1764 with a libretto by Salvatore Perillo - based on a play by Goldoni).
Leopold and Wolfgang then decided to return to Salzburg and work began on composition of the new piece. By March Leopold recorded that the composition was going well. By June the score was complete. (It consisted of some 558 pages of music).
Father and son now returned to Vienna and presented the work to Affligio so that rehearsals could begin.
But there was a major problem. Affligio (who stood to benefit finanically if the opera was performed) is convinced this music was NOT composed by Wolfgang Amadeus Mozart. So are thje singers. He dares to say so. In fact Affligio (agreeing with other musicians in Vienna) tells Leopold the opera has been 'ghost written' and was NOT the product of his 12 year old son. Leopold is deeply offended - once again. But now the orchestra and singers (who reluctantly work with the boy Mozart for a few more days on the piece) agree with Affligio - the work is definitely NOT by Wolfgang.
What happens next ? Well, Leopold now complains at length to the Emperor and Empress (the Empress keen to know the truth) and encloses with his letter the long list of (supposed) compositions already written by his son. (It's this list which was the first attempted inventory of 'Mozart's music thus far).
But the Emperor, despite having commissioned the work, now decides these matters are becoming a public scandal. He finds good reason to abandon the whole opera. Highly significant is that Mozart is not paid. So the Mozart's return to Salzburg empty handed. Back in Salzburg their Jesuit friends arrange for the work to be performed, once, the following year. (But Salzburg, of course, was not part of the Austrian/Hungarian Empire at this time).
As for Affligio, he continued working in Vienna as per his contract but his theatres started to lose money. In a few more years he is obliged to transfer their control to a nobleman, Count Kohary. And, most remarkably, in 1778 Affligio is arrested. (Mozart at this time was 22 years old). He was accused of forgery. And, the following year, the man who challenged Mozart and his father is in Vienna was condemned to life imprisonment on the island of Elba - the island where, 9 years later, this same Affligio dies.
I tell this remarkable story to give an example of how, time after time, things occured in the life and career of Mozart which call in to question the musical abilities and productions of this composer.
THE JESUIT ORDER AND THE CAREER OF MOZART PRIOR TO 1773
It is important to appreciate that Mozart, the young boy, received surprisingly little academic or musical education. His father (a mediocre composer) provided some. There were also some academic lessons at home from a Jesuit priest, Abbe Bullinger - tutor to Count Arco. Bullinger was to become virtually a 'member of the Mozart family' for many more years - up to and beyond the 'Paris' symphony - and it was Bullinger who assisted Mozart's career financially at various times - although, of course, the Jesuit Order were officially suppressed in 1773. It was to Bullinger (not to Leopold) that Wolfgang wrote the news of his own mother's death from Paris. And it was to Bullinger that Wolfgang wrote to celebrate the death of Voltaire. Several of Mozart's early Salzburg works were written with the musical assistance of other Jesuit educated composers.
The Emperor/Empress in Vienna went on record at this time of describing the Mozart's as virtual 'beggars; round the courts of Europe. They were also approving of moves to ban the Jesuit Order although, by 1773, Joseph 2nd was still official ruler of the Holy Roman Empire. Deep mistrust of the Jesuits by Joseph and other European rulers was well known. But in Salzburg Mozart was at least able to consider his next move. A tour to Italy seemed the best idea. This was to be the next target for improving the status of the young composer.
2. "La Betulia Liberata KV118/74c
Mozart, as a 'prodigy' of the Holy Roman Empire was to tour 3 times in Italy during his lifetime. The story of him writing down from memory a sacred mass in Rome is, of course, largely fiction (the written music already available for his study in Vienna long before his arrival). But, from a public perspective, Mozart was able to obtain, by 1770, the Order of the Golden Spur, a papal knighthood. This, for a composer nurtured by the Catholic Church, seemed highly appropriate. Surely, this would improve his questionable status ? So too his short period of study with Padre Martini ?
Among the various new works attributed to Mozart from his time in Italy was the oratorio, 'La Betulia Liberata'. This commision to write this piece, on a libretto by Metastasio, is refered to in a letter by Leopold Mozart of March 1771 - 'We spent the 13th March in Padua and stayed in the Palazzo of the nobleman Pesaro' he wrote - 'We saw a lot of the city in one day and Wolfgang was asked to play at two houses. He also received a commission to compose an oratorio for Padua, which he can do at his own convenience'.
The commission had come from Don Giuseppe Ximena of Padua, Prince of Aragon. He asked for it to be performed in the city the following Lent.
But there is no evidence 'La Betulia liberata' was ever sent to Padua by Mozart. In fact, the Mozart's never returned to Padua after their visit to Milan in December. And, although 'La Betulia liberata' WAS performed at Lent in 1772 in Padua its libretto (which still survives) identifies the composer of the music, NOT Mozart, but a local composer, Giuseppe Callegari ! What happened ? How do we explain the manuscript of 'Mozart's' La Betulia liberata ?
Well, we must look at this problem from another angle. In fact, from another composer.
cont'd part 2
r
TWO EARLY 'MOZART' OPERAS
On 10th January 1768 the 12 year old Mozart and his father Leopold arrived in Vienna. (The family hoped Wolfgang would succeed in the city as a composer of works for the stage. But things did not work out as they hoped.. Vienna was very suspicious of Mozart's musical abilities)
Only a few weeks later Leopold wrote to a friend in Salzburg -
'The people here in Vienna carefully avoid every chance of seeing us and of admitting to Wolfgang's musical skill, so that many times when they can be asked if they have heard this boy's (Wolfgang's) music and what they thought of him, they could always say they had not heard him or his music and that it could not possibly be true - that his reputation was completely fiction and foolishness - that everything he did was all pre-arranged - that Wolfgang was given music by other people which he already knew - that he was ridiculous etc ....' - (Leopold Mozart, Vienna, January 1768 - Letter to Salzburg friend on the reaction of the Viennese public and musicians about Wolfgang, his son).
Frankly, in Vienna Mozart and his father were not trusted. People were deeply suspicious of all the reports from their earlier European tours. Leopold's reaction was predictable. He used his influence to obtain a meeting with the Empress Maria Theresa and her son, Emperor Joseph 2nd. Arguing that discourteous treatment to Wolfgang was grossly unfair it was agreed to commission the 12 year old boy to write an opera buffa for one of the Viennese theatres. Mozart's father continued to protest about their treatment and sent a list of supposed works by his son to the Empress written.
The commission was for 'La Finta Semplice' - payment to be 100 Ducats on completion. They were asked to contact the Vienna theatre director Giuseppe Affligio (1722-1788). Leopold, satisfied, went to see Affligio. (Affligio had 1 year before signed a 10 year contract to manage the two largest theatres in Vienna).
(Note - 'La Finta Semplice' was an opera that had already been staged in Vienna in 1764 with a libretto by Salvatore Perillo - based on a play by Goldoni).
Leopold and Wolfgang then decided to return to Salzburg and work began on composition of the new piece. By March Leopold recorded that the composition was going well. By June the score was complete. (It consisted of some 558 pages of music).
Father and son now returned to Vienna and presented the work to Affligio so that rehearsals could begin.
But there was a major problem. Affligio (who stood to benefit finanically if the opera was performed) is convinced this music was NOT composed by Wolfgang Amadeus Mozart. So are thje singers. He dares to say so. In fact Affligio (agreeing with other musicians in Vienna) tells Leopold the opera has been 'ghost written' and was NOT the product of his 12 year old son. Leopold is deeply offended - once again. But now the orchestra and singers (who reluctantly work with the boy Mozart for a few more days on the piece) agree with Affligio - the work is definitely NOT by Wolfgang.
What happens next ? Well, Leopold now complains at length to the Emperor and Empress (the Empress keen to know the truth) and encloses with his letter the long list of (supposed) compositions already written by his son. (It's this list which was the first attempted inventory of 'Mozart's music thus far).
But the Emperor, despite having commissioned the work, now decides these matters are becoming a public scandal. He finds good reason to abandon the whole opera. Highly significant is that Mozart is not paid. So the Mozart's return to Salzburg empty handed. Back in Salzburg their Jesuit friends arrange for the work to be performed, once, the following year. (But Salzburg, of course, was not part of the Austrian/Hungarian Empire at this time).
As for Affligio, he continued working in Vienna as per his contract but his theatres started to lose money. In a few more years he is obliged to transfer their control to a nobleman, Count Kohary. And, most remarkably, in 1778 Affligio is arrested. (Mozart at this time was 22 years old). He was accused of forgery. And, the following year, the man who challenged Mozart and his father is in Vienna was condemned to life imprisonment on the island of Elba - the island where, 9 years later, this same Affligio dies.
I tell this remarkable story to give an example of how, time after time, things occured in the life and career of Mozart which call in to question the musical abilities and productions of this composer.
THE JESUIT ORDER AND THE CAREER OF MOZART PRIOR TO 1773
It is important to appreciate that Mozart, the young boy, received surprisingly little academic or musical education. His father (a mediocre composer) provided some. There were also some academic lessons at home from a Jesuit priest, Abbe Bullinger - tutor to Count Arco. Bullinger was to become virtually a 'member of the Mozart family' for many more years - up to and beyond the 'Paris' symphony - and it was Bullinger who assisted Mozart's career financially at various times - although, of course, the Jesuit Order were officially suppressed in 1773. It was to Bullinger (not to Leopold) that Wolfgang wrote the news of his own mother's death from Paris. And it was to Bullinger that Wolfgang wrote to celebrate the death of Voltaire. Several of Mozart's early Salzburg works were written with the musical assistance of other Jesuit educated composers.
The Emperor/Empress in Vienna went on record at this time of describing the Mozart's as virtual 'beggars; round the courts of Europe. They were also approving of moves to ban the Jesuit Order although, by 1773, Joseph 2nd was still official ruler of the Holy Roman Empire. Deep mistrust of the Jesuits by Joseph and other European rulers was well known. But in Salzburg Mozart was at least able to consider his next move. A tour to Italy seemed the best idea. This was to be the next target for improving the status of the young composer.
2. "La Betulia Liberata KV118/74c
Mozart, as a 'prodigy' of the Holy Roman Empire was to tour 3 times in Italy during his lifetime. The story of him writing down from memory a sacred mass in Rome is, of course, largely fiction (the written music already available for his study in Vienna long before his arrival). But, from a public perspective, Mozart was able to obtain, by 1770, the Order of the Golden Spur, a papal knighthood. This, for a composer nurtured by the Catholic Church, seemed highly appropriate. Surely, this would improve his questionable status ? So too his short period of study with Padre Martini ?
Among the various new works attributed to Mozart from his time in Italy was the oratorio, 'La Betulia Liberata'. This commision to write this piece, on a libretto by Metastasio, is refered to in a letter by Leopold Mozart of March 1771 - 'We spent the 13th March in Padua and stayed in the Palazzo of the nobleman Pesaro' he wrote - 'We saw a lot of the city in one day and Wolfgang was asked to play at two houses. He also received a commission to compose an oratorio for Padua, which he can do at his own convenience'.
The commission had come from Don Giuseppe Ximena of Padua, Prince of Aragon. He asked for it to be performed in the city the following Lent.
But there is no evidence 'La Betulia liberata' was ever sent to Padua by Mozart. In fact, the Mozart's never returned to Padua after their visit to Milan in December. And, although 'La Betulia liberata' WAS performed at Lent in 1772 in Padua its libretto (which still survives) identifies the composer of the music, NOT Mozart, but a local composer, Giuseppe Callegari ! What happened ? How do we explain the manuscript of 'Mozart's' La Betulia liberata ?
Well, we must look at this problem from another angle. In fact, from another composer.
cont'd part 2
r