Wolfgang Amadeus Mozart Myths and controversies Mozart is unusual among composers for being the subject of an abundance of legend, much due to the problem that none of his early biographers knew him personally. They often resorted to fiction in order to produce a work. Many myths began soon after Mozart died, but few have any basis in fact. An example is the story that Mozart composed his Requiem with the belief it was for himself. Sorting out fabrications from real events is a vexing and continuous task for Mozart scholars mainly because of the prevalence of legend in scholarship. Dramatists and screenwriters, free from responsibilities of scholarship, have found excellent material among these legends. An especially popular case is the supposed rivalry between Mozart and Antonio Salieri, and, in some versions, the tale that it was poison received from the latter that caused Mozart's death; this is the subject of Aleksandr Pushkin's play Mozart and Salieri, Nicolai Rimsky-Korsakov's opera Mozart and Salieri, and Peter Shaffer's play Amadeus. The last of these has been made into a feature-length film of the same name, which won eight Oscars. Shaffer's play attracted criticism for portraying Mozart as vulgar and loutish, a characterization felt by many to be unfairly exaggerated. According to an essay by A. Peter Brown, "the Mozart mania of the 1980s was initiated by Peter Shaffer's play Amadeus. It and the subsequent film directed by Milos Forman did more for Mozart's case than anything else in the two hundred years since the composer's death." Unfortunately, the same could be said of the popular myths surrounding Mozart, many of which are firmly rooted in the film. Shaffer and Forman have often emphasised the fictitious elements of the movie, although they are equally quick to defend elements of the film which they believe are accurate but are disputed by Mozart historians. Shaffer has detailed in many interviews, including one featured as an extra on the DVD release of the film, how the dramatic narrative was inspired by the biblical story of Cain and Abel - one loved by God, and one scorned. Transcribed as creative rivalry between Mozart and Salieri, the notion of divine blessing and murderous jealousy provides the basic premise for Amadeus, although there is no historical evidence of any rivalry between the two composers. Conversely, it is well documented that Salieri frequently lent Mozart musical scores from the court library, and Mozart selected Salieri to teach his son, Franz Xaver. One of the more detailed essays on the "dramatic licenses" present in Amadeus is written by Gregory Allen Robbins, titled "Mozart & Salieri, Cain & Abel: A Cinematic Transformation of Genesis 4". Another area of debate involves Mozart's prodigy as a composer from childhood until his death. While some have criticised many of his earlier works as simplistic or forgettable, others revere even Mozart's juvenalia. The image of Mozart as the divinely inspired effortless creator, popularized by the film Amadeus, is generally believed to be an exaggeration. Quite the contrary, Mozart was a studiously hard worker, and by his own admission his extensive knowledge and abilities developed out of many years' close study of the European musical tradition. It has been speculated that Mozart suffered from Tourette syndrome. Letters he wrote to his cousin Maria Anna Thekla ("Bäsle") between 1777 and 1781 contain scatological language and he wrote canons titled Leck mich im Arsch ("Lick my ass") or variations thereof (including the pseudo-Latin Difficile lectu mihi mars). Further information: |