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The Mozart Delusion
January/February 2013

I still hear zose furrrry German consonants leaking from my boyhood wireless, enjoining me to believe in a music midway between sublimity and divinity. I resisted then and resist it still. While the 1956 purification was in full sway, a second son of Salzburg, Herbert von Karajan, seized control of the festival and yoked it to mammon. Kara- jan turned classical music into a cash cow for himself and his partners, Mozart into a commodity for sale by the boxset and Salzburg into an advertising hoarding for his enterprises.

Karajan died in 1989, two years short of the next Mozart anniversary, but his shad- ow fell upon it like Helen’s over Troy. The year 1991 was wall-to-wall Mozart world- wide. A record label issued Mozart entire on 46 CDs, fostering a nerdish fad for completism and a quantum leap in the commodification of music.

Out of the year’s Mozart glut was born Classic FM, a broadcasting franchise whose UK source (programmes may vary else- where) trickles sweet nothings into our ears while exhorting us, like a malign hypnotist, to relax, relax, relax. Mozart was recast on Classic FM as the ultimate anaesthetic, numbing our brains from cradle to grave.

Literally so. A French ear doctor, Alfred A. Tomatis, proposed that playing Mozart to the unborn would turn foetus into Einstein. In 1991 credulous politicians swallowed his hypothesis. Books were written and films made. The Mozart Effect® became a registered brand. Mercifully, a welter of research in recent years has refuted beyond resurrection the quack Tomatis theory that one com- poser, and one alone, held the key to infant genius. Millions, nonetheless, cling to the pernicious myth.

My final Mozart anniversary was opened by the Austrian President in January 2006. All 22 Mozart operas, ephemera and juve- nilia included, regaled the Salzburg summer. The Library of Congress flung open its vaults with a flourish of Mozartiana. The European Union minted a Mozart coin. The value of Mozart-branded sales that year was estimated at $5 billion. The musical value was, needless to add, negligible.

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Lawrence Eckerling
December 31st, 2012
12:12 PM
Mr. Lebrecht is just as wrong this time as he was the last time he compared Mozart's piano concerti "ear candy" and the "muzak" of classical music. If you don't get it, you don't get it. And Mr. Lebrecht doesn't get it.

JeffDavis
December 30th, 2012
11:12 PM
I think it was Jacques Barzun who noted that there will come a day when the music of Mozart doesn't speak to any human being. I have already met a number of young musicians for whom this is true. For myself, I think Mozart has a few works that move me deeply, but in general I much prefer Haydn among the 'classical' composers.

Keith
December 30th, 2012
4:12 PM
Not a musicologist, but Haydn's Op. 33 and beyond without Mozart Haydn Quartets? Beethoven's Fifth and beyond without the Jupiter? Mozart's use of key in his operas not even remotely seen until Wagner. No man should be worshipped, or pillored by silly minds with petty grudges.

astrodreamer
December 30th, 2012
2:12 PM
"The inventors and energisers in music history were Bach, Haydn, Beethoven, Wagner, Mahler and Schoenberg; all else was entertainment." That's the silliest thing I've ever read. In particular, continuing to exalt the German musical tradition, in spite of the exclusion of Mozart, still smacks of Aryan supremacy. Further -- it is impossible to portray Mozart as conservative or conformist "to a fault" while putting Haydn forth as some sort of radical. On the contrary, Haydn's greatest works were written after Mozart's death and under his influence. Finally, is innovation really preferable to perfection?

AnonymousChrysostom
December 30th, 2012
2:12 PM
The fact that the Nazis pushed Mozart means nothing. The Nazis invented, or pushed, the following: anti-smoking legislation; the Olympic torch; acronyms (e.g. Nazi, Gestapo); "mercy killing" of the "unfit" etc.

Tali Makell
December 30th, 2012
4:12 AM
Once again, Lebrecht's fixation on the Nazis and Herbert von Karajan. It really has become tiresome. In my considered opinion, I am sure that two dozen "worthy" Mozart works understates the case by quite a lot. Even Haydn told Mozart's father that he believed Mozart to be the greatest composer he was aware of. And Mahler loved Mozart to the point that his name was on his lips as he died. Schoenberg lists Mozart as among those composers from whom he learned the most, and no composer worth his salt, aside from Boulez, has ever tried to make the case that he was overrated. Yes, there are those who speak of Mozart in absurd superlatives, but he is certainly not the only composer or artist of any kind accorded such a dubious honor, nor is he to blame for commentary about his music which came long after his death. So my advice is to ignore the hype and just listen to the music itself, as I think it more than adequately makes its case as richly deserving the praise it has received in the years since its composer's death.

Karen
December 30th, 2012
3:12 AM
Lebrecht wrote: "The inventors and energisers in music history were Bach, Haydn, Beethoven, Wagner, Mahler and Schoenberg" Excuse me but why is Debussy missing from that list??!!

Anonymous
December 29th, 2012
11:12 PM
Heart felt thanks.

Tim
December 29th, 2012
9:12 PM
The Complete Mozart edition is actually 180 CDs. (There are 45 themed volumes.)

Tarara Boumdier
December 29th, 2012
6:12 PM
Long after you and I are gone, the will still be Mozart.

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