Cäcilia, 1826, Vol. 4 PDF

The composer Wolfgang Amadeus Mozart died on 5 December 1791 at the age of 35. The circumstances of his death have attracted much research and speculation. Some principal sources of contention are as follows. Whether Mozart declined gradually, experiencing great fear and sadness, or whether he was fundamentally cäcilia, 1826, Vol. 4 PDF good spirits toward the end of his life, then felled by a relatively sudden illness.


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The former hypothesis was accepted for most of the history of Mozart biography, but the latter has been advanced by contemporary scholars. The actual cause of his death: whether it was from disease or poisoning. The poisoning hypothesis is widely discredited. His funeral arrangements, and whether they were the normal procedures for his day, or if they were of a disrespectful nature. Modern scholarship generally supports the view that the funeral arrangements were normal for Mozart’s time.

During this visit, Niemetschek wrote, „he was pale and expression was sad, although his good humour was often shown in merry jest with his friends. On his return to Vienna, his indisposition increased visibly and made him gloomily depressed. His wife was truly distressed over this. One day when she was driving in the Prater with him, to give him a little distraction and amusement, and they were sitting by themselves, Mozart began to speak of death, and declared that he was writing the Requiem for himself. Masonic temple for Mozart’s own lodge.

Mozart’s worst symptoms of illness soon returned, together with the strong feeling that he was being poisoned. He became bedridden on 20 November, suffering from swelling, pain and vomiting. The view that Mozart was in near-steady decline and despair during the last several months of his life has met with skepticism in recent years. Cliff Eisen supervised the reissue of Abert’s biography in 2008 in a new edition, supplementing it with numerous footnotes. It should be noted that, in this context, the evidence cited by Abert is selective and suits the intended trajectory of his biography. With the exception of citations from Mozart’s letters, all of the testimony is posthumous and prompted by complicated motives both personal and financial. While later sources describe as working feverishly on , filled with premonitions of his own death, these accounts are hard to reconcile with the high spirits of his letters from most of November.

Halliwell contends that „Constanze and Sophie were not objective witnesses, because Constanze’s continuing quest for charity gave her reasons to disseminate sentimental and sensationalist views. Mozart, with the score of the Requiem on his lap, gives Süssmayr last-minute instructions. Constanze is to the side and the messenger is leaving through the main door. Individuals present at the time of Mozart’s death eventually committed their memories to writing, either on their own or through interviews by others.

The stories they told are often contradictory, which may be due in part to some of the events not being recorded until the 1820s, when the witnesses‘ memories might have faded. Benedikt Schack, Mozart’s close friend for whom he wrote the role of Tamino in The Magic Flute, told an interviewer that on the last day of Mozart’s life, he participated in a rehearsal of the Requiem in progress. On the day of his death he asked for the score to be brought to his bedside. Did I not say before, that I was writing this Requiem for myself?

After saying this, he looked yet again with tears in his eyes through the whole work. The widely repeated claim that, on his deathbed, Mozart dictated passages of the Requiem to his pupil Süssmayr is strongly discounted by Solomon, who notes that the earliest reference for this claim dates to 1856. Sophie Weber did claim to recall, however, that Mozart gave instructions to Süssmayr. An 1840 letter from the composer Ignaz von Seyfried states that on his last night, Mozart was mentally occupied with the currently running opera The Magic Flute.

Solomon, while noting that Mozart’s biographers often left out the „crueler memories“ surrounding his death, stated, „Constanze Mozart told Nissen that just before the end Mozart asked her what Dr. When she answered with a soothing lie, he said, ‚It isn’t true,‘ and he was very distressed: ‚I shall die, now when I am able to take care of you and the children. A portrayal by Joseph Heicke of the journey of Mozart’s coffin through a storm to the cemetery. Engraving from about 1860, a few years after the Deiner story appeared. The funeral arrangements were made by Mozart’s friend and patron Baron Gottfried van Swieten.

The common belief that Mozart was buried in a pauper’s grave is also without foundation. The „common grave“ referred to above is a term for a grave belonging to a citizen not of the aristocracy. The graves of the aristocracy were spared such treatment. Rain and snow fell at the same time, as if Nature wanted to shew her anger with the great composer’s contemporaries, who had turned out extremely sparsely for his burial. Only a few friends and three women accompanied the corpse. Deiner’s description of the weather is contrary to records kept of the previous day. The diarist Karl Zinzendorf recorded on 6 December that there had been „mild weather and frequent mist“.