Wolfgang Amadeus Mozart

Around the traps: under grey skies repatriated

Barth on Mozart

‘… Wolfgang Amadeus Mozart. Why is it that this man is so incomparable? Why is it that for the receptive, he has produced in almost every bar he conceived and composed a type of music for which “beautiful” is not a fitting epithet: music which for the true Christian is not mere entertainment, enjoyment or edification but food and drink; music full of comfort and counsel for his needs; music which is never a slave to its technique nor sentimental but always “moving,” free and liberating because wise, strong and sovereign? Why is it possible to hold that Mozart has a place in theology, especially in the doctrine of creation and also in eschatology, although he was not a father of the Church, does not seem to have been a particularly active Christian, and was a Roman Catholic, apparently leading what might appear to us a rather frivolous existence when not occupied in his work? It is possible to give him this position because he knew something about creation in its total goodness that neither the real fathers of the Church nor our Reformers, neither the orthodox nor Liberals, neither the exponents of natural theology nor those heavily armed with the “Word of God,” and certainly not the Existentialists, nor indeed any other great musicians before and after him, either know or can express and maintain as he did. In this respect he was pure in heart, far transcending both optimists and pessimists. 1756–1791! This was the time when God was under attack for the Lisbon earthquake, and theologians and other well-meaning folk were hard put to it to defend Him. In face of the problem of theodicy, Mozart had the peace of God which far transcends all the critical or speculative reason that praises and reproves. This problem lay behind him. Why then concern himself with it? He had heard, and causes those who have ears to hear, even to-day, what we shall not see until the end of time—the whole context of providence. As though in the light of this end, he heard the harmony of creation to which the shadow also belongs but in which the shadow is not darkness, deficiency is not defeat, sadness cannot become despair, trouble cannot degenerate into tragedy and infinite melancholy is not ultimately forced to claim undisputed sway. Thus the cheerfulness in this harmony is not without its limits. But the light shines all the more brightly because it breaks forth from the shadow. The sweetness is also bitter and cannot therefore cloy. Life does not fear death but knows it well. Et lux perpetua lucet [light perpetual shines] (sic!) eis [upon them]—even the dead of Lisbon. Mozart saw this light no more than we do, but he heard the whole world of creation enveloped by this light. Hence it was fundamentally in order that he should not hear a middle or neutral note, but the positive far more strongly than the negative. He heard the negative only in and with the positive. Yet in their inequality he heard them both together, as, for example, in the Symphony in G-minor of 1788. He never heard only the one in abstraction. He heard concretely, and therefore his compositions were and are total music. Hearing creation unresentfully and impartially, he did not produce merely his own music but that of creation, its twofold and yet harmonious praise of God. He neither needed nor desired to express or represent himself, his vitality, sorrow, piety, or any programme. He was remarkably free from the mania for self-expression. He simply offered himself as the agent by which little bits of horn, metal and catgut could serve as the voices of creation, sometimes leading, sometimes accompanying and sometimes in harmony. He made use of instruments ranging from the piano and violin, through the horn and the clarinet, down to the venerable bassoon, with the human voice somewhere among them, having no special claim to distinction yet distinguished for this very reason. He drew music from them all, expressing even human emotions in the service of this music, and not vice versa. He himself was only an ear for this music, and its mediator to other ears. He died when according to the worldly wise his life-work was only ripening to its true fulfilment. But who shall say that after the “Magic Flute,” the Clarinet Concerto of October 1791 and the Requiem, it was not already fulfilled? Was not the whole of his achievement implicit in his works at the age of 16 or 18? Is it not heard in what has come down to us from the very young Mozart? He died in misery like an “unknown soldier,” and in company with Calvin, and Moses in the Bible, he has no known grave. But what does this matter? What does a grave matter when a life is permitted simply and unpretentiously, and therefore serenely, authentically and impressively, to express the good creation of God, which also includes the limitation and end of man.

I make this interposition here, before turning to chaos, because in the music of Mozart—and I wonder whether the same can be said of any other works before or after—we have clear and convincing proof that it is a slander on creation to charge it with a share in chaos because it includes a Yes and a No, as though orientated to God on the one side and nothingness on the other. Mozart causes us to hear that even on the latter side, and therefore in its totality, creation praises its Master and is therefore perfect. Here on the threshhold of our problem—and it is no small achievement—Mozart has created order for those who have ears to hear, and he has done it better than any scientific deduction could’.

— Karl Barth, Church Dogmatics III/3 (Edinburgh: T&T Clark, 2004), 297–99.

‘Mozart’s Starling’, by Robert Cording

A little fool lies here
Whom I hold dear—
—Mozart, lines of a poem for his pet starling

None of his friends understood.
A poem for a bird?—
and a funeral, and the ridiculous
request that they dress in formal attire.

But when Mozart whistled a yet-to-be
fragment of a piano concerto
in the marketplace, the bird
may have sang it back to him—

the starling appears in his diary
of expenses, May 27, 1784,
along with a transcription of its song.
What fun they must have had,

he whistling a melody, the bird,
a virtuoso mimic, echoing it back,
interspersed among its clicks
and slurs and high-pitched squeals.

Music to Mozart’s ears,
that dear bird who sang incessantly
for the duration of its three
short years in Mozart’s company.

His little fool was wise indeed—
it could hear a squeaking door,
a teapot letting off its steam,
a woman crying or rain pinging

in metal buckets and gurgling
in gutters, even a horse’s snort
or Mozart scratching notes,
and sing it back until Mozart, too,

could hear the cockeyed,
nonstop music in the incidental
bits and pieces of the world going by,
the exuberant excess of it all.

— Robert Cording, ‘Mozart’s Starling’.