Mozart: A Life (A Penguin Life)
by Peter Gay

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Book Reviews of Mozart: A Life (A Penguin Life)

Book Review: A Triumph of Genius over Preociousness
Summary: 5 Stars

When preparing to review various volumes in this series, I have struggled with determining what would be of greatest interest and assistance to those who read my reviews. Finally I decided that a few brief excerpts and then some concluding remarks would be appropriate.

On misconceptions of Mozart (e.g. the "willful child" unable to grow up, the "miracle worker" who never needed to revise a single note): "These tenacious caricatures are distortions rather than fabrications; most of them, as we shall discover, contain a kernel of truth....But Mozart's life in music is fascinating enough without embroidery; his reputation as a genius is not threatened by mundane truths." (Page 2)

In a letter to his father (1781): "Nature speaks as loudly in me as in anyone, and perhaps louder than in many big, strong lugs. I cannot possibly live like most of the young men today. -- First, I have too much religion; secondly, too much love for my fellow beings and too honorable a disposition to seduce an innocent girl; and thirdly, too much horror and repugnance, dread and fear of diseases, and too much care for my health to scuffle with whores." (Page 70)

Peter Gay on Salieri: "There is an all-too-well-known melodramatic tale about Antonio Salieri poisoning Mozart. It began as a rumor and was first given literary form in the 1820s in a verse playlet by Pushkin. It is a malicious, preposterous fabrication, but hints at the envy Mozart's rivals had every right to feel. Yet Mozart, too, had grounds for envy: Salieri, born in Italy but long settled in Vienna, occupied privileged posts that Mozart would have deserved but, given Emperor Joseph's predilection for Salieri, could never hope to obtain." (Page 100)

Mozart's last year: "[It] has often been described as one long preparation for death. But in that time, Mozart wrote two operas, a piano concerto, a large number of minuets and counterdances, a clarinet concerto, a Masonic cantata, two quintets, and most of the Requiem. His creativity was still working at full speed." (Page 156)

I am among those who have seen the film Amadeus many times, admiring it more each time. For dramatic purposes, those who produced Amadeus focus on several of the "tenacious caricatures" to which Gay refers. What I especially appreciate about this biography is that Gay duly acknowledges all of Mozart's human limitations and inadequacies while examining Mozart's creative discipline in ways and to an extent which the film does not. With regard to this biography's context, Gay tells his reader only what is essential to know about the various cities in which Mozart lived and worked during various periods in his all-too-brief life (January 27,1756-December 5, 1791). Rather than create an historical or cultural context, Gay prefers to focus primarily on Mozart's art. As he notes, the renewal of interest more than a century after Mozart's death raised his music -- "all of it -- to the eminence it deserves."

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