Mozart's 250th birthday seems like the right time to link to this essay on
the Mozart Project website by A. Peter Brown discussing how the composer's life differed from its portrayal in
Amadeus:
Amadeus the play and movie, as well as the books by Hildesheimer and Carr, derived their success from the unquestionable fascination Mozart holds for us today. Without the name of Mozart, the deep interest in these artifacts of our own culture would not exist. For those who want letters, memoirs, and other primary sources in order to make their own interpretation, these are readily available, but they cannot be taken as "just the facts," for nearly every writer of letters and memoirs, as well as the purveyors of rumors, had his own agendas and beliefs. It is from the documents themselves and their interpretation that the Mozartean mythologies flourished.
Why does Mozart command so much attention? Perhaps it stems from the eternally misguided effort to understand the man behind the music. Although Mozart's music is often recognized as universal, it has received varying interpretations of its essential meaning. For example, critical opinion of the Symphony No. 40 in G Minor K. 550 is one of total admiration, but its character has remained elusive. Robert Schumann found it classical in the strict sense, full of Grecian "lightness and grace." Alfred Einstein thought it a "fatalistic piece of chamber music." Jens Peter Larsen believed it was not the expression of a private mood. Robbins Landon stated that it belongs to a series of works revealing the downside of Mozart's manic tendencies, while Jack Westrup found in it the spirit of opera buffa. Probably no work of the symphonic canon elicits such a wide range of affective reactions from knowledgeable critics. But perhaps it is this variety of reactions to his music that explains the varied interpretations of the person. Perhaps it is only in this sense that the biographies with their explanations of the man parallel the receptions of the music. While one can attempt to set the historical record straight, Shaffer's and Forman's Salieri had it right on one count: the phenomenon of Mozart transcends explanation.
