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Beast and angel

  • William Stafford

Abstract

According to this story, Mozart was Caliban and Prospero rolled into one, homme supérieure and Erdenkind:

In Die Zauberflöte this double life is brought to clearest expression. Mozart is Tamino, who strives for Pamina, the symbol of the highest humanity. But at the same time he is Papageno, the natural man, the Pantagruel … The fundamental idea of the whole is the conflict between the earthly and heavenly powers in men, hence the problem we investigate in Amadeus’s double life.1

The thesis of the split personality is the major theme of Schurig’s biography. First published in 1913, it was to have a considerable influence. Its image of a man constantly wrestling with inner contradictions seemed a salutary counter to sickly-sweet nineteenth-century portrayals. Saint Mozart could only be shallow as a man and an artist: Schurig’s Mozart had aesthetic and psychological profundity. Einstein’s well-known study of 1945 follows Schurig: ‘There is a strange kind of human being in whom there is an eternal struggle between body and soul, animal and god, for dominance. In all great men this mixture is striking, and in none more so than in Wolfgang Amadeus Mozart’.2

Keywords

Good Friend Money Matter Psychological Profundity Coarse Humour Dress Rehearsal 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    A. Schurig, Wolfgang Amadé Mozart (1913) (Leipzig, 1923), ii, 89, 345Google Scholar
  2. 2.
    Alfred Einstein, Mozart: his Character, his Work (1946) (London, 1971), 13Google Scholar
  3. 3.
    Edward Holmes, Life of Mozart (1845) (London, 1912), 241, 242nGoogle Scholar
  4. 17.
    Otto Keller, Wolfgang Amadeus Mozart: sein Lebensgang nach den neuesten Quellen geschildert (Berlin and Leipzig, 1926), 214–5Google Scholar
  5. 18.
    Quoted in E. J. Breakspeare, Mozart (London, 1902), 234Google Scholar
  6. 26.
    Théodore de Wyzewa and Georges de Saint-Foix, Wolfgang Amédée Mozart: sa vie musicale et son oeuvre (Paris, 1912), i, 175Google Scholar
  7. Josef Kreitmeier, W. A. Mozart: eine Charakterzeichnung des grossen Meisters nach literarischen Quellen (Düsseldorf, 1919), 14, 36, 41, 206, 236;Google Scholar
  8. 27.
    see also Ludwig Schiedermair, Mozart: sein Leben und seine Werke (Munich, 1922), 21, 160Google Scholar
  9. 27.
    and Bernhard Paumgartner, Mozart (1927) (Zürich, 1945), 23–8Google Scholar
  10. 28.
    Henri Ghéon, In Search of Mozart (London, 1934), 62, 64; Adolphe Boschot, Mozart (Paris, 1935), 35, 38–9, 84Google Scholar
  11. 45.
    Emil Karl Blümml, Aus Mozarts Freundes- und Familienkreis (Vienna, Prague and Leipzig, 1923), 93, 96; Braunbehrens, Mozart in Wien 395–402Google Scholar
  12. 68.
    H. C. Robbins Landon, Mozart: The Golden Years (London, 1989), 124Google Scholar
  13. 71.
    Uwe Kraemer, ‘Wer hat Mozart verhungern lassen?’, Musica, xxx(1976), 203–11Google Scholar
  14. 73.
    Andrew Steptoe, ‘Mozart and poverty: a Re-examination of the evidence’, Musical Times, cxxv(1984), 199;Google Scholar
  15. 73.
    Rudloph Angermüller, “Auf Ehre and Credit”: Die Finanzen des W. A. Mozart (Salzburg, 1983), 5Google Scholar
  16. 74.
    P. Burke, Tradition and Innovation in Renaissance Italy (London, 1974), 83–96Google Scholar
  17. 84.
    Alec Hyatt King, Mozart: a Biography with a Survey of Books, Editions and Recordings (London, 1970), 51Google Scholar
  18. 86.
    King, 38; K. Kramer, ‘Strittige Fragen in der Mozart-Biographie’, Acta mozartiana, xxiii (1976), 79–81Google Scholar
  19. 99.
    Arthur Hutchings, Mozart: the Man: the Musician (London, 1976), 66–7Google Scholar
  20. 101.
    Otto Keller, Wolfgang Amadeus Mozart: sein Lebensgang nach den neuesten Quellen geschildert (Berlin, 1926), 156, claims that the mass was by Naumann.Google Scholar
  21. 105.
    W. J. Turner, Mozart: the Man and his Works (London, 1938), 123, 267–8Google Scholar
  22. 112.
    Jean and Brigitte Massin, Wolfgang Amadeus Mozart (Paris, 1959), 223Google Scholar

Copyright information

© William Stafford 1991

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  • William Stafford

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