The Death of Mozart

The cause of Mozart's death is still very doubtful. Why is this? It must be known that at that time many were buried in mass graves and that was the end of the Great One's body. Therefore, over time, it has not been possible to ascertain the cause of death. It seems that from a "medical record" found by a scholar of the problem (a document that, however, dates back some time before his death), an intestinal infection was present. All very unreliable. The same diagnosis was made for Beethoven's deafness. At that time, diagnoses were very approximate. Interventions and treatments were very mild. Consider the absence of penicillin. Thus, one died from a simple infection, which was almost always diagnosed. When the doctor did not know what to do, he proposed a "bloodletting."

Around Mozart's death, according to many, a legend was built. Salieri's envy, Master of all the Greats, was real, even though I am convinced that the Master had great admiration and amazement for Mozart's genius. This is well represented in the Film, which I invite you to purchase in its complete version. The actor who won the Oscar and plays Salieri deserved it, in my opinion.

The dictation of the Requiem on his deathbed might also be a fable. But one thing is certain: this little man turned a page in the history of Music. Why? His themes, his developments, his phrasing, his characters and even the operatic plots chosen are daring! He had a rebellious and ironic temperament. Think of the courage to compose The Marriage of Figaro, a comedy by Beaumarchais, which was blacklisted for the rebellion of a servant against his Master (The famous romance "If you want to dance, Signor Contino, I will play the little guitar for you...".. naturally on his backside!!!)

I invite you to read the letters... you will enjoy it. When we instrumentalists play his music, we must think of his characters. Everything in Mozart's music is alive and the air one breathes is fragrant. A pianist said a phrase that left an impression on me: "..When I play Mozart, I feel a little tingling under my fingers...." And he is an author who is anything but "delicate." One should not think of playing his music delicately. And it is also expressive!! He had (from the letters) great interest in expression. He called Clementi "a rogue" who made a "show" with his double thirds and sixths, but who according to him played without "feeling." Just listen to the Fantasy in A minor or the last piano rondos op., or the progression of the second movement of the clarinet concerto, to think of the announcement of the expression of Romanticism. In short, "love Mozart." Happy listening and happy studying

See you soon Paolo

I am very much in agreement with Paolo as far as I am concerned. In fact, in Mozartian composition, one senses the harmonic density and depth as an element of expansion of sonorities that adapts perfectly to pianistic performance, whereas at the time the harpsichord was something else entirely. I think that this capacity for "sustenance," referring to the score revealed through sonic means with very different sound qualities and depths such as those of modern pianos, determines the goodness and universality of these extraordinary poems that say everything and reveal everything. The same happens with Bach and.......this is the universal element outside of time and of every time.....greatness, in short!

Regarding the causes of Mozart's death, I have always heard talk of various theories:

- Beating ... the "Freemasonry" discourse

- Syphilis

- Poisoning (a colossal hoax born from a later "elaboration" during the Romantic period)

... but one never stops learning (fortunately); a while ago, an acquaintance who is a doctor and a great music enthusiast looked deeper into the matter, and it seems that in the end he died of tuberculosis.

I don't know if it's a colorful interpretation, but it really seems that moments of maximum inspiration coincide exactly with moments of crisis; do you have the same findings?

Thinking about it carefully, however, this would also explain why a musician, very popular and of Mozart's stature, was buried in mass graves and there were only 4 people at his funeral (it was an infectious disease ... and one died of TB) ... think instead of the funerals of Chopin or other "figures" of that kind.

As far as I know, he died of nephritis (which also explains why, in recent months, he was convinced he had been poisoned with aqua toffana). There is a text that deals with the subject in depth based on medical reports and testimonies of the time. The author's name is Paumgartner (director of the Mozarteum in Salzburg for many years), ed. Einaudi.

The burial in a mass grave is easily explained by the events of his final years and also by a series of circumstances at the time. Furthermore, while alive, Mozart was not considered as much as Beethoven or Chopin.

It is all very doubtful but, personally, I have never ruled out the strong hypothesis that he may have been "done away with" by someone or some people; this is because dear Wolfgang was very passionate about beautiful ladies, among whose husbands someone was not exactly happy... furthermore, he had many creditors around him looking for him. The mass grave was consistent with all people of his economic status... however... Mozart's "balls" do not make the story any more pleasant.

Mozart died of some unidentified typhoid fever and the burial in a common grave was not due to the fact that nobody cared about him, but it was normal at the time for those who were neither noble nor rich (and Mozart was neither of those two things). Salieri was the most appreciated composer of the era, so I really don't think he envied him. Mozart was more or less starving and had to beg for commissions. Milos Forman's film, although very beautiful, is however full of exaggerations. The Requiem, of all the things Mozart wrote, is the least indicative of his genius, given that he didn't write more than half of it himself...

Carlos wrote:

Salieri was the most appreciated composer of the era, so I really don't think he envied him.

It is my understanding that Salieri also had his hands full trying to stay in power after the death of the enlightened sovereign who considered the court theater a crown jewel. We were on the threshold of the French Revolution and, at a certain point, a "every man for himself" sentiment evidently spread among the court musicians: Vienna ceased to be the heart of European musical culture and everyone sought their fortune elsewhere: some in London, some in St. Petersburg, some in Paris... Mozart himself tried Prague, which, unfortunately, did not resolve his financial situation. In this regard, an episode from Mozart's biography has always struck me deeply: a carriage of musicians left Vienna bound for I don't know where, and Mozart was unable to find a seat; which apparently mortified him particularly.

Salieri was a "man of the world," he sensed the evolution of situations much more than Mozart, so he knew how to manage in his own way. Especially in Vienna, where he managed to remain.

I wouldn't want to state inaccuracies, because I don't have the precise references with me here, but I would gladly return to the subject.

Carlos wrote:

everything Mozart wrote is the least indicative thing of his genius, given that for more than half he didn't write it himself...

...in fact, it was said that he was boring... I'm giving up on that idea

Vitrus wrote:

he had many creditors around him looking for him.

This seems not to be true; Mozart worked a lot in his last year of life and managed to earn enough (also with The Magic Flute, but not only) to have settled almost all his debts. In any case, he was helped by his friends and admirers, who supported him without any interest, so much so that, perhaps, the word "creditors" may not be appropriate.

Carlos wrote:

Mozart died of some kind of unidentified typhoid fever

This surprises me because, from what I have read and which seemed well-documented to me, there are certainly elements that could be less vague.