Mozart: A Life

Abstract

Mozart, A Life. By Maynard Solomon. New York: HarperCollins, 1995. [xvi, 640 p. ISBN 0-06-019046-9.$35.00] Maynard Solomon's eagerly awaited biography of represents a distinguished achievement in studies. bulk of its pages (xiii-519) is devoted to life and works, and includes an important appendix, Mozart's Vienna Earnings, which furnishes a thorough and revelatory appraisal of income during the last decade of his life. Significant also is the information Solomon gives in the endnotes and in a classified and annotated bibliography. Solomon surmounts the body of scholarship and literature, particularly that leading to and proceeding from the bicentenary in 1991 of the composer's death, and contributes decidedly fresh perspectives. Psychological inquiry, a hallmark of Solomon's work, proved essential to his path-breaking Ludwig van Beethoven biography, and has informed his work on other composers, including Franz Schubert and Charles Ives, but not always without controversy. Here Solomon is aided by the illuminating and extensive correspondence of the family that provides insight into the Mozarts and suggestions about their motivations. Though the book is about Wolfgang Amadeus Mozart, it would be difficult (and impossible for Solomon), to separate Leopold from Wolfgang in terms of cause and effect, motivation and influence. Yet, Solomon manages to form a larger picture, drawn additionally from his impressive knowledge of primary and secondary documents, from which he interprets the dynamics of their relationship. book's prologue, The Myth of the Eternal Child, advances one of Solomon's chief arguments, that a notion of Mozart, as both childlike and childish, as ultimately incapable of taking care of himself, was perpetuated by his family--notably by Leopold--in part to bind him to its prerogatives. Leopold became both impresario and teacher, and bore in eighteenth-century terms an obligation to his son's genius. Mozart was seen, then, as a superlative example of the child's unlimited potentiality for creative and moral development, which could be unlocked by enlightened upbringing (p. 4). Thus, Leopold figured as most important first model. He taught his son the clavier and composition, the latter practical in approach rather than systematic, as has been demonstrated by Wolfgang Plath and Alfred Mann. He organized the tours that allowed the child singular experiences involving music and musicians at Europe's court's and leading cities. While there was arguably an element of exploitation of the children on these tours (Marianne, sister also appeared in the childhood performances), still the opportunities and their effects cannot be overstated in terms of education and broadening influence. loyalty and affection Wolfgang had for father, mother, and sister is amply documented. Leopold held pride of place, Next to God comes Papa (in spite of the strains between diem in adulthood, it remains evident maintained respect and deep affection for him). He guided literally his son's first compositions, as indicated by the presence of his handwriting in earl) compositions, including the autograph scores of the keyboard sonatas with violin accompaniment (K. 7 and K. 8) and his manuscript next to that of his son in the keyboard concerto arrangements (the pasticcio concertos, K. 37, K. 39-41, and the arrangements of sonatas after J. C. Bach, K. 107/21b). Thus, early on, the lives of the father and son became merged, even inextricably bound. Not surprisingly, the tension between them, as the adolescent grew into young adulthood and sought independent existence--on every term--forms a large part of Solomon's study. Solomon also sheds light on the finances of father as well as son. Mozarts realized significant income from moneys and expensive gifts dining the three and one-half year grand tour. …

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