Category Archives: Not yet slotted…

If you think you understand Mozart you may, (as my Mother would say), have ‘another think coming’…

Let’s start with a question — one that is almost rhetorical in nature — namely, if anyone were to deliberately lock-out Mozart from jobs or opportunities, must not questions be asked about their credibility as a musician?  Or can we just make excuses for them, on the basis of Wolf’s being obnoxious?

In short, is there any ethical responsibility to others regarding genius or not?  Oh, I suppose we have to add into this question the axiom that everyone, even his worst detractors, consider Mozart to have been a genius. And yet, after Wolf died, didn’t the very people who agreed to his murder in the first place (perhaps through what is called an ‘evil-eye’) became the ones parading his music like a banner, pretending to be as good as Mozart — even pretending that they were him?

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The “Locked-Out” Other Mozart … update…

Everyone involved with what I call “Monostatos” has all the information they need to do the right thing — to provide an apology to my three children and provide a proper introduction for me and die zauberflote, but that has not yet happened.  Why is that? Apparently, by having my credentials denied, I am supposed to become discouraged and give up. As you can see, that is not happening.  🙂

 

Comparison of a the Queen of the Night in Mozart’s last major opera, The Magic Flute and Mildred Payne in Piper to the Alternative…

Perhaps the most extraordinary role in Mozart’s beloved singspiel The Magic Flute is the star-flaming Queen of the Night.  Her arias soar with the most exquisite tenderness or viciousness.  It almost seems at times that there are two very different Queen of the Nights — the tenderhearted Queen terrified of the fate of her abducted daughter Pamina or the vengeful Queen, ordering Pamina to kill her stepfather Sarastro or be damned to hell.  Mozart, in fact, received some criticism that the character of the QOTN was not clearly defined.  Nonetheless, one way or another, everything comes to a stop when she appears on the stage. She is simply unforgettable.

Mildred Payne is the character who represents the QOTN in Piper to the Alternative.  She is not a queen by birth, but has great aspirations.  She charms everyone she meets and then manipulates them to her own ends.  She is not a great beauty, but manages to convince everyone that she is.

In TMF, the QOTN has three handmaidens.  In P2A, she has a couple of wannabees…:-0

 

Why Mozart was killed…

Yes, I do believe he was done away with.  No, I don’t think it was Salieri.  Mozart said he felt as though he was being poisoned.  He even described the type of poison he thought had been used — agua toffana.  But what possible motive would there be for getting rid of Mozart?  What threat did he present?

For one, he had an unusual gift (no, not those of musical genius per se) that caused great consternation in anyone who actually knew him.  There was something about him that was ‘different’, and it was something more or other than simply his gifts.  It is what I call a gift of “shalom”.  Someone else has labeled it in his music as “The Mozart Effect”.  We all know what that means — we listen to his music and cannot help but become at least a bit more centered and relaxed, if not happier and emotionally stronger.  This gift as we hear it in his music is what makes Mozart’s music the most exciting music there is.  In real life, however, there was more to this gift than what we can hear in his music.  There was a sort of challenge of energies, so to speak, between him and those around him.  He set people on edge.  He was disliked.  He was considered obnoxious.  He didn’t help himself because he thought he was protecting these priceless gifts of musical talent.  But this extra gift that he had managed to turn his birth family upside down and destroy his family relationships.  He was virtually disinherited by Leopold. His Mother died tragically on his watch.  His sister and his wife are buried at opposite ends of Salzburg.

This gift of “shalom” had a connection to creating substance.  Of course he thought that if he composed enough great music he would be rewarded with ample resources as a result.  That was not the case.  It was more complex than he realized, due to the unusual qualities of this gift.  This gift of ‘shalom’ could only work in his favor if he held no negative thoughts.  We can see from all his letters that he was intensely critical, at times to the point of arrogance — more of the music of others, but also, by inference or directly, of the people themselves.

So the negativity worked against Wolf, as did his arrogant assumption that he understood “God” and that he was a good servant.  Nothing could be further from the truth.  He was Catholic, indoctrinated with all the dark mysteries of that false gospel.  He became a mason — darkness and mystery to the extreme.  Spiritually speaking, he was living in a counterfeit world.  Only his music was honest.

At the same time, Wolf was an exploited child, conditioned at an early age to give adults (namely Leopold) what they wanted.  He operated on rote as an adult as a result.  So it is possible that he was too immature and frightened to analyze what was going on in his mind in regards to money.  I doubt that he did.  So here he was with this great gift, but one that could only be used for good — and his ego was weighing it down.  He lived at the center of a vortex.  Those around him realized that if they could trip him up and slander him, they could, in effect, steal money from this gift of his.  And so the noose tightened.  He became surrounded by what I would call an “evil eye” — a group of people in agreement to his murder.

And so it happened.  His music was, in effect, stolen by those who performed it pretending to be him.  And these murderers and their descendants have continued this practice for over 250 years.  They claim, because of this, that they have stolen the “Mozart G’zillions” that, had he used his gift properly, could have belonged to him.

#MinnegeddonPartDeux — End of angst, or coming back to face the music?

The ongoing saga of “Monostatos” seems in one sense to be coming full circle — but with one curious difference — everyone has been provided with all the information they need to do the right thing in regards to yet another, other shoe that is going to fall.  Some of them may have walked into a trap of their own making without yet being aware of it.  Others are simply trying to do their best to come to grips with something out of the ordinary.  At any rate, this is a fascinating time…

The Other Side of Die Zauberflote…

It continually amazes me about die zauberflote, not the opera, the flute itself, that so many appear to take it for granted, as though there is nothing unusual.  From my standpoint, there is just nothing more powerful.  I call it a gift of “shalom” — something kind and refreshing, and this is true.  Playing the flute while keeping in mind a certain person or issue always helps to make things better.  No matter how dire a situation may appear, something wonderful seems to swoop in and turn everything for good.

There is another side of die zauberflote, however; a more enigmatic one, somewhat mystical.  It seems that it can generate a sort of energy of fire that will charge into the layers of lies or misrepresentations in a situation and pull them out.  Then it is as though a negative fog lifts and the truth becomes clear.

There seem to be a few stiffnecked people who think they can reverse the energy of die zauberflote somehow and use it to their own ends.  Many of them are now dead.  The luckier ones may be those who end up in a panic, seeking help to deal with something they find they do not understand.