Amadeus and Mozart

[Eine Alpensinfonie]

Yes; Amadè was how Mozart signed his name - the apotheosis into "Amadeus" occured long after his death.

It's strange that he signed himself using what was effectively a false name, when he had 5 to choose from, the middle one being Wolfgangus.

[french frank]

It's strange that he signed himself using what was effectively a false name, when he had 5 to choose from, the middle one being Wolfgangusm

And according to Georg Knepler he used the name 'Amadeus' on three occasions, but I don't think he ever used either form on its own: he used the form 'Wolfgang Amadé'.

One point which I think most (all?) biographers have missed is that the baptismal register, being an official church document, was written in Latin. So when the name is found written as 'Johañes Chrysost: Wolfgangus Theophilus' those weren't the actual names given but Latin translations (Leopold's name appears as 'Leopoldus'). A letter from Leopold written a few months later (not in Anderson, I think) gave the name as Joañes Chrisostomus, Wolfgang. Gottlieb.' His godfather was Johann Gottlieb Pergmayer - and his name is also written as 'Theophilus' in the register.

In a letter of 31 October1771 to his father, Wolfgang (aged 15) signed himself:

Joannes*** Chrisostomus Sigismundus** Wolfgang* Gottlieb Mozart

* Today is my name-day! **That is my confirmation name! *** January 27th is my birthday!

[ferneyhoughgeliebte]

Does anyone know Rimski's opera "Mozart and Salieri" based on the myth perpetuated in Amadeus?

Strictly speaking (and apologies for not posting this on the "Pedants'" Thread) "based on the play by Pushkin which was based on the myth perpetuated in Amadeus".

[Pabmusic]

And according to Georg Knepler he used the name 'Amadeus' on three occasions, but I don't think he ever used either form on its own: he used the form 'Wolfgang Amadé'.

One point which I think most (all?) biographers have missed is that the baptismal register, being an official church document, was written in Latin. So when the name is found written as 'Johañes Chrysost: Wolfgangus Theophilus' those weren't the actual names given but Latin translations (Leopold's name appears as 'Leopoldus'). A letter from Leopold written a few months later (not in Anderson, I think) gave the name as Joañes Chrisostomus, Wolfgang. Gottlieb.' His godfather was Johann Gottlieb Pergmayer - and his name is also written as 'Theophilus' in the register.

In a letter of 31 October1771 to his father, Wolfgang (aged 15) signed himself:

Joannes*** Chrisostomus Sigismundus** Wolfgang* Gottlieb Mozart

* Today is my name-day! **That is my confirmation name! *** January 27th is my birthday!

A good point. But Theophilus is Latinised Greek (Amadeus would be Latin). Gottlieb of course is German.

[french frank]

But Theophilus is Latinised Greek (Amadeus would be Latin).

Indeed - see my Msg#23. I assume that Theophilus was how the church clerk latinised Gottlieb.

[Pabmusic]

Indeed - see my Msg#23. I assume that Theophilus was how the church clerk latinised Gottlieb.

Ah yes. Makes sense.

[Eine Alpensinfonie]

Strictly speaking (and apologies for not posting this on the "Pedants'" Thread) "based on the play by Pushkin which was based on the myth perpetuated in Amadeus".

[french frank]

The Pushkin poem/play is here (in English). Very short and worth reading if the subject interests.

[french frank]

The main contemporary source for Salieri's 'confession' that he had poisoned Mozart is Beethoven's 'conversation books', the books guests wrote in to communicate with him after he had become deaf. Several people reported that the rumour was rife in Vienna that Salieri had confessed and was haunted by the thought that he had 'poisoned Mozart'. S. reported then to be pretty much insane. I suspect that the insanity caused the 'confession' rather than that the insanity was caused by the perception of 'guilt'.

[ferneyhoughgeliebte]

The main contemporary source for Salieri's 'confession' that he had poisoned Mozart is Beethoven's 'conversation books', the books guests wrote in to communicate with him after he had become deaf. Several people reported that the rumour was rife in Vienna that Salieri had confessed and was haunted by the thought that he had 'poisoned Mozart'. S. reported then to be pretty much insane. I suspect that the insanity caused the 'confession' rather than that the insanity was caused by the perception of 'guilt'.

Yes, I believe this, too - so does Shaffer, I suspect, and his play investigates what might have caused such an insane confession. The play begins with the "chorus" whispering; spreading gossip: the citizens of Vienna "rifening" the rumour - the audience hears unvoiced whispering, then gradually "Mozart", "Salieri" and "poison" gradually emerge from the stage.

[french frank]

his play investigates what might have caused such an insane confession.

There is evidence that Mozart himself thought that the symptoms he was displaying were those of poisoning. I would have thought it would only have needed Salieri's 'guilty conscience' at disliking Mozart, being jealous or not as helpful as he could have been in furthering his career to have fuelled an already ailing mind's obsession when Mozart died as he did - not quite a pauper but with no state recognition - that he had been in a measure responsible. That he also apparently denied it suggests that he went in and out of insanity. But Shaffer clearly wove a more complex psychological plot than that.

[Eine Alpensinfonie]

The Pushkin poem/play is here (in English). Very short and worth reading if the subject interests.

Thank you, ff. Greatly appreciated.

[richardfinegold]

I saw the play again tonite, at a local summer stock performance, pretty well done actually but a lot of competition from buzzing and biting mosquitos. I prefer the play to the movie, which shifts the emphasis from Salieri to Mozart.
How factual is the portrayal of W.A.? Based on the Solomon biography that I finished a few months ago, probably not very. Mozart had his silly side and also his egotistical side but he was a complex person, as most of us are, and that just doesn't come through in the play. However, the original intent was to see Mozart through the eyes of Salieri, not necessarily as a person in full.

[french frank]

Mozart had his silly side and also his egotistical side but he was a complex person, as most of us are, and that just doesn't come through in the play. However, the original intent was to see Mozart through the eyes of Salieri, not necessarily as a person in full.

It's probably also worth emphasising that Mozart was 'famous' from about the age of 5, and dead before he was 36. Many of the impressions and anecdotes related about him by contemporaries were of a lad - a child even. Roughly half the letters in Anderson's edition of letters to or from Mozart were written before he was 22. And half his works, judging from the Koechel numbers, were written by then (K311 - piano sonata no 6 - was composed in 1777). He was probably about 25 when he composed the Gran Partita. The 'irritating laugh' appears to have been invented - I presume intended to say more about Salieri than Mozart.