Mozart - Week 3

Mythbusters: Mozart Edition

Throughout history, there have been many speculations about Wolfgang Amadeus Mozart’s life.  The dissemination of Mozart myths spread rapidly after Peter Shaffer’s stage play and movie Amadeus became popular in the 1980s.  People started to ask questions such as: did Mozart have affairs with other women? Was Mozart really murdered by Salieri? Where was Mozart buried? These are only some of the questions surrounding Mozart. In this essay, we will sort out the facts from the myths.

Myth: Salieri poisoned Mozart.  This is one of the most infamous myths surrounding Mozart, probably because it’s full of drama.  How exciting to have one of the greatest composers to ever live be murdered by an opponent.  However, while this theory cannot be completely ruled out, because science was not then what it is today, there is really only circumstantial evidence and rumors supporting this theory (Stafford).  While there was definitely competition between the two composers, there never truly was enmity and ill wishes (Gay).  Salieri was even known to compliment and recognize Mozart’s talents.  After Salieri saw a performance of Die Zauberflote he was extremely complimentary about the opera saying “from the overture to the last chorus there was not a single number that did not call forth from him a ‘bravo’” (Borowitz).  While Salieri and Mozart most likely knew each other, their paths rarely crossed. Another theory of how this myth started was because “Mozart was suspicious that he was being poisoned by a circle of Italians” near the end of his life (Angel). What most likely happened was “...an attack of acute rheumatic fever” (Gay 158). It was believed by Vienna’s doctors that drawing blood was a beneficial process. It was likely that the instruments that they used for this process were unsterilized and worsened Mozart’s health.

Fact: Mozart was buried in a common grave.  This statement is a fact, however, not because of a lack of money on Mozart’s part.  It is a fact because there was a decree made in 1784 by Emperor Joseph II that all burials of the lower classes would be simple for purposes of hygiene and economy (Borowitz).  Sack burials were also encouraged and headstones were much too expensive for the Mozart family to pay.  Currently people do not know where Mozart's body rests specifically, however, in St. Marx Cemetery there is a memorial for him today (Stafford).

Fact: Mozart had affairs.  Constanze Mozart herself states that Mozart admitted to having affairs with other women.  She says that Mozart would become infatuated or enticed by a student of his or singers and that these would lead to “infidelities” (Stafford).   Also, Constanze remarks on how she would forgive him immediately, however, her sister states that Constanze would have numerous outbursts over the issue.

Myth: Mozart composed quickly, and often only had one, original draft of his compositions. While Mozart was able to compose rather quickly when he had a strict deadline, or was very inspired, he was like any other composer, constantly questioning what would sound the best. “Many of Mozart’s relatives and acquaintances described him as continually working and perfecting his pieces at a keyboard” (Angel). Unlike the myth people believe, Mozart was a normal composer who would sometimes write and revise multiple versions of the same work.  Here is a scene from Amadeus, which made this myth popular. Pay close attention at 2:25, when Salieri asks Mozart’s wife, Constanze, if he could borrow some of Mozart’s scores:

https://youtu.be/l2WALIes_84

There are many other myths about Mozart’s life and career that are not covered in this essay. Perhaps these rumors came about because listeners wanted Mozart’s personal life to match the amazing scope of his music. Although Mozart’s life is not the grand, marvelous life depicted in Amadeus, he still lived a very adventurous life.

Sierra Marsh wrote paragraphs 1, 3, and 4. Logan Kropp wrote paragraphs 5 & 6. Both Sierra and Logan wrote portions of paragraph 2.

Works Cited

Angel, Amanda. "Top Five Myths about Mozart." WQXR. New York Public Radio, 30 Oct. 2013. Web. 21 Nov. 2015.

Borowitz, Albert. Salieri and the “Murder” of Mozart. The Musical Quarterly. Vol. 59, No. 2 (Apr., 1973), pp. 263-284. Print.

Gay, Peter. Mozart: A Life. New York: Lipper/Viking Book, 1999. Print.

Stafford, William. The Mozart Myths. Stanford Press, California, 1991.  Pg. 23-24 and 45. Print.

Mozart - Week 2

Mozart’s Influences

Wolfgang Amadeus Mozart is known very well for his musical compositions. Yet, what most of his listeners do not learn about are the influences that shaped and molded his works. Mozart’s music was affected by many sources in his life, including his membership in the Freemasons and his father, Leopold Mozart.

Freemasonry throughout history has always seemed to have an infamous reputation.  Freemasons have always had criticizers of all different backgrounds. However, there have been many famous and influential men who have been freemasons.  If people look upon how America was built and who built it, one might be surprised to discover that the founding fathers were mostly all freemasons.  One man that stands out in the music history of the world is Mozart, who in fact was a freemason.  Mozart wholeheartedly participated in the freemason world.  As many sources say, he absolutely loved being a part of the brotherhood.  Mozart respected and was passionate about the “Masonic ideals of humaneness, reasonableness, and equality” (Gay).  The appeal of this for Mozart could be based in numerous different theories.  Such as some speculations that he only joined for the connections it gave him as a composer, other speculate that he did it because it was good for his image and good for ‘business’ (Gay).  Another possible speculation is more psychological in that Mozart wanted to be a part of an important organization and participate in something bigger than himself.  As a freemason, he was accepted first as an apprentice and quickly climbed to the rank of Master Mason for his craft, music.  By becoming a freemason and eventually a master it could possibly satisfy a need that he had because of his childhood.  Mozart's father was always pushing him to be a better musician, to uphold the honor of the family, and to bring in income from his talents.  We also know that Mozart craved attention and praise, especially as a child.  Being a member of the Masons allowed him to receive the recognition and praise he always wanted, and he was doing the family proud, specifically his father.  

Leopold Mozart, Wolfgang Mozart’s father, was a large influence in Mozart’s life and compositions. Mozart’s very first music lessons came from Leopold. Yet, Mozart soon started transcribing other composers work, analyzing it, and learning new methods for composing. Mozart learned the art of counterpoint in this fashion. Mozart also took, “…lessons in polyphony…from Giovanni Battista Martini…” (Gay 67). Mozart’s Symphony No. 41, “Jupiter,” is an example of his use of counterpoint. In the fourth section, he uses five motifs at the same time, creating a polyphonic effect.

https://youtu.be/zK5295yEQMQ?t=41m16s

Sometimes, Leopold’s letters to Mozart seem to supress Mozart’s creative genius. Once, Leopold said to Mozart, “You know that there are 100 ignoramuses against 10 true connoisseurs – so don’t forget the so-called poplar which also titillates the long ears” (Gay 68). In a practical sense, what Leopold says is true. In order to appeal to a larger audience and make more money, Mozart should have wrote simpler pieces to appeal to common music listeners. Yet, one can see the jealousy that Leopold must have felt with such a successful son. Even though Leopold was jealous, Mozart still had a sense of respect for his father. Leopold continued to affect Mozart even after his death. It is widely believed that there are autobiographical elements to Mozart’s famous opera Don Giovanni. Even though Leopold highly influenced Mozart, all of his life, Leopold strove to be as successful of a musician as his son. There is one bit of infamy that Leopold has: “His textbook of 1756 on the art of violin playing” (Gay 3-4). Yet, he will forever be known in history as Mozart’s father.

This portrait of Leopold Mozart was featured in his textbook.

Sierra Marsh wrote about Mozart’s involvement with the Freemasons. Logan Kropp wrote about Leopold Mozart’s influence on his son.

Sources

Gay, Peter. Mozart: A Life. New York: Lipper/Viking Book, 1999. Print.

Judd, Timothy. "Mozart’s “Jupiter” Symphony: An Explosion of Counterpoint." Timothy Judd, Suzuki Violin Lessons. Timothy Judd, Suzuki Violin Lessons, 23 June 2014. Web. 15 Nov. 2015.

Landon, Howard.  Mozart, the Golden Years, 1781-1791. Schirmer Books, New York, 1989. Pg. 122-123. Print. 

Mozart - Week 1

Mozart’s Compositions for Choir and Choral Methods of the 18^th Century

While most of Mozart’s passions were geared toward orchestral music and operas, he wrote some pieces that feature choir.  Most of his vocal pieces were masses that were commissioned by religious figures that correlated with Mozart’s Roman Catholic faith during the 18th century.  Mozart's most famous mass would be considered his Requiem Mass in D Minor. In Roman Catholicism, the definition of a requiem is a mass of the repose of the souls of the dead. 

This mass was composed near the end of his life; however, he was never actually able to finish it because he died before it was completed.  There are many different theories as to who completed it. The most popular theory is that his student Franz Xaver Süssmayr finished the last few pieces near the end of the mass.  Within the mass, there are numerous movements.  Most of them are performed separately because when the mass is performed in its completion it is close to a whole hour without cessation. These movements were also special because the “musical substance” of this requiem was not on the instrumentals but on the vocalists.  This is very unique for Mozart because most of his music was written for orchestras.

Here is a small clip of Mozart’s Requiem and Arsys Bourgogne performing Dies Irae:

https://youtu.be/neDnpgZPPvY?t=8m19s

Listening to this piece, it seems much darker than most of Mozart’ other works.  Multiple musicologists speculate that may be because of his declining health and the possible depression he was suffering from at the time (Wolff).  However, these are just speculations and theories created by historians.  At this same time, most of Mozart’s priorities were focused on his opera Die Zauberfloüte.  Many musicologists hypothesize that Mozart worked on the Requiem often in his head throughout the day and night while he was preoccupied with the opera’s premiere.  However, the requiem was mostly complete before his death. 

We will never know for sure how choristers sung during Mozart’s time because there are no recordings from the 18^th century. However, there are written accounts of the choral tone that audience members heard. For example, “…in the latter half of the 18^th century, reports about offensively loud choral singing became more frequent, and indicate that most choral directors knew little about using the voice properly” (Jerold 78). This is very different from the way choirs normally sing today. Emphasis is taken on expression through dynamics. In fact, “the extent of the vocal straining can be gauged by Dr Friedrich August Weber’s criticism in 1800 of training that leads to coughing blood” (Jerold 78). Today, choir directors focus on healthy singing techniques that choristers can use for their entire lives. One issue in some choirs of the 18^th century was tempo. One account of an 18^th century choir was said to be, “…confusing: all irregular in the music” (Jerold 77). This is because there was, “…no metronome to train musicians in rhythmic accuracy” (Jerold 77). Instead, conductors would pound large sticks or stamp their foot to keep time. Yet, without metronomes or formal music training, many choirs in the 18^th century had timing issues.

Perhaps, these accounts are merely criticisms of poor choirs, but since these are some of the only accounts of choral singing at the time, these accounts are considered true by historians. I think that Mozart and his audiences would prefer how choirs sing today compared to the screaming techniques of the choirs of the 1700’s. Because of the poor quality of choirs in the 18^th century, “Early composers rarely had the luxury of hearing their works performed with what we consider to be good musicianship” (Jerold 77). While musicians today often strive to create performances that are true to how they would have sounded when they were first premiered, Mozart would most likely cherish the sound of today’s choirs.

Sierra Marsh wrote about Mozart’s compositions. Logan Kropp wrote about choral singing methods in the 18^th century.

Works Cited

Jerold, Beverly. "Choral Singing Before The Era Of Recording." Musical Times 147.1895 (2006): 77. MasterFILE Premier. Web. 8 Nov. 2015.

Schwarm, Betsy. "Requiem in D Minor, K 626 - Mass by Mozart." Encyclopedia Britannica Online. Encyclopedia Britannica, 24 Apr. 2015. Web. 08 Nov. 2015.

Wolff, Christophe. Mozart's Requiem: Historical and Analytical Studies, Documents, Score. University of California Press: 1998. Print. 

Carnival Music in Trinidad - Week 3

Women in Carnival

Carnival season is a joyous time in Trinidad and Tobago. Yet, some people are silently ostracized from taking part in some Carnival activities. Women have had a difficult time breaking the glass ceiling of Carnival. This essay will explore the lives and journeys of women who have broken through that glass ceiling and have paved the path for more women to participate in all aspects of Carnival.

Pat Bishop

During the Carnival season in Trinidad, Panorama, a steelband competition, encourages bands to work as hard as they can to create a performance that focuses on a calypso, or a “pan tune,” from the current year (Dudley 74). The leader of these Panorama groups is usually the arranger. The arranger is arguably the most important aspect of a steelband group. They direct the group in performance, decide the repertoire, and arrange the songs. Oftentimes, the arranger is a woman. This is unique because the world of Carnival music is saturated with sexism. It is rare to see women Calypsonians, very few are successful in this area however; women such as Singing Sandra broke the barriers and prospered in a male dominated aspect of Carnival. In arranging steelband songs, women have found a niche. “Girls were more likely than boys to have taken music lessons and pursued formal music training. Bands began seeking the musical expertise of these women” (Smith 83). One of these women is Pat Bishop. Here is a video of Pat Bishop’s Desperadoes steelband performing her arrangement of “Bartered Bride” at the Steelband Music Festival in 1992:

“When the Desperadoes performed at Carnegie Hall in 1987, Bishop was their conductor” (Smith 83-84). Pat Bishop was born and raised in Port of Spain, but studied music in England in the 1960’s. Along with her contributions to steelband music, she has written choral pieces and folk operas (Blake). She was the director of the Lydian Singers, a choral group in Trinidad, which would sometimes be accompanied by a steelband. Bishop “was the first to conduct a combined Steelband and Symphony Orchestra” (“Pat Bishop”). Bishop was a trailblazer for women steelband arrangers, chartering new territory in the Carnival music world.

Daisy McLean

Daisy McLean performing at her first concert.

Women playing pan had been a foreign concept in Trinidad for many years in the past.  Women playing in the pan courtyards was a forbidden territory. Until one young girl decided that playing pan was her passion and that is what she was supposed to do with her one and only precious life.  Daisy McLean started out playing a Ping-Pong, an old type of steel pan, around the age of 6.  Her brother was a dedicated member of the Casablanca steel band. Sometimes, she would be found sneaking out in the middle of the night to play pan with Casablanca.  In an interview with Shannon Dudley, she stated that, “she felt accepted, respected, and treated well by the steel-bandsmen” (Smith 82).  She also stated that a pans-man like herself was only interested in making music and nothing else. 

Ursula Tudor

Ursula Tudor at a Desperadoes rehearsal.

A similar, passionate woman to McLean is Ursula Tudor, who made an amazing career for herself a little after McLean’s time.  Tudor did not start playing pan until she was about 26 years old because she was taught by her family that a woman’s place was not in the pan-yard.  As a result, she did not learn to play pan until she was married and her husband, who was a panist (one who plays pan), taught her how to play.  She first started playing bass for a band called the Serenaders.  After playing pan for them for a short period of time she decided to take her pan playing elsewhere and started playing tenor for the Fairyland Steel Orchestra.  But around 1970, an opportunity arose for her to join the Desperados, the group that Bishop directed, where she was able to play in Carnegie Hall and tour Jamaica with them.  Amazingly, after a while, four of her children grew up and played in the Desperados with her. 

These women helped break down barriers that were put in place a long time ago and helped start a movement of women playing in pan in a mostly male dominated world.

Sierra Marsh wrote about Daisy McLean and Ursula Tudor. Logan Kropp wrote about Pat Bishop.

Works Cited

Blake, Felix. "Pat Bishop." The Steelbands of Trinidad & Tobago. Islands         Research, 19 July 2014. Web. 31 Oct. 2015.

Dudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York: Oxford UP, 2004. Print.

"Pat Bishop." Pan on the Net. When Steel Talks, Mar. 2005. Web. 31 Oct. 2015.

Smith, Angela.  Steel Drums and Steelbands: A History. Scarecrow Press, Jun. 7th, 2012. Pg. 81-83. Oct. 31st. 2015. Print.