Wolfgang Amedeus Mozart - Master Mason

The Bill of Rights, formulated by a dedicated group of men, some of them Freemasons, guaranteed the basic rights of U. S. citizens and protected them against the intrusions of the state.

Die Zauberflote (The Magic Flute), by Brother Wolfgang Amadeus Mozart, was an operatic attempt by both camposer and librettist (Brother Emmanuel Schikaneder 1751-1812) to convey to the general public, through allegory, the noble ideas of Freemasonry and thus save the Craft from certain eradication by the political authorities in Vienna.

It is hard for us today to get a sense of the enormous and threatening tensions created by ideas which included rights that we take for granted. But back in the latter part of the 18th Century, individual rights, the quest for ennoblement of the human spirit and the pursuit of intellectual goals were threatening ideas in an era of absolute monarchs, ecclesiastical privilege and secret police who wished the "status quo" to continue.

In Europe, the results of the 1789 French Revolution, viewed by some as a "Masonic Conspiracy", coupled with America's successful venture into democracy, made the ruling classes tremble in fear of any group of individuals who met in the privacy of a Lodge, utilized "mysterious" ceremonies and could number among their membership intellectuals, professionals and, in some cases, prominent figures from the government and aristocracy itself. In Mozart's Vienna, Freemasonry had florished under the Hapsburgs mainly due to the influence of Francis Stephen, Duke of Lorraine, who, himself, was a Freemason. He married Crown Princess Maria Theresa who openly loathed the Craft and continued to seek its abolition through the successive reigns of her husband (Francis I) and when co-ruling with her eldest son, Joseph II (1765 -1780). (In The Magic Flute, Mozart was to satirize her as the evil "Queen of the Night"). Upon her death, Joseph II reigned for another ten years and instituted many reforms which angered clerics, aristocrats and the privileged classes. One of these reforms involved funeral practices and included the abolition of caskets (to save precious wood) and the use of communal graves, which became the "norm" for the burial practices of that time. The myth that Mozart received a "paupers" funeral grew out of comparison with customs begun later, in the 19th Century, involving family plots, mon-uments and more elaborate trappings. Another myth was circulated soon after Mozart's death, that the Freemasons had poisoned him because he had given away Masonic "secrets" in The Magic Flute. Nothing could have been farther from the truth.

It has been speculated that Mozart's interest in the Craft might have been increased by the highly visible philanthropy of the Masonic Lodge Zur Wohltitigkeit (Beneficence) whose 32 members raised over $80,000 for flood victims after a natural disaster hit the area. Mozart was initiated in this Lodge on December 14, 1784, and was subsequently passed to the second degree in the Lodge Zur Wahren Eintracht (Troe Harmony) at the request of his mother Lodge on January 7, 1785. The entry in the Lodge minutes reads, "After the Lodge was opened, in the first and second degree, two entered apprentices were passed' to the second degree with the usual ceremony. They were Vincent Marquis Canarisi, son of Joseph, 34 years old, born in Corno, in Austrian Lom-bardi, Captain in the Royal Imperial Regiment Beiioso...and Brother Wolfgang Mozard(sic), at the request of the very worshipful Lodge Zur Nohltatigkeit." Unfortunately, there is no record extant of the date of Mozart's raising. However, he brought his father, Leopold, into the Craft shortly there after, while Leopold was visiting from his Salzburg home. His father was initiated in Zur Nohltatigkeit on April 6, 1785, was passed ten days later, and raised April 22. For his father's second degree, Mozart composed a special song, Fellow Craft Journey K.468, which was to begin a long series of Masonic compositions for Lodge ceremonies, concerts, and funerals.

Some of these compositions were complete cantatas such as Die Maur-erfieude Masonic Joy K.471) and Eine kleine Freimaurer-Kantate (The Little Masonic Cantata K.623), the last work Mozart was known to have completed prior to his death. There were opening and closing odes, songs about Brotherhood and the hauntingly beautiful Mauerisches Trauermusik (Masonic Funeral Music K.477), dedicated to two famous Lodge Brothers and performed for a Lodge memorial service.

There are also programs of concerts arid lists of Lodge members in the archives of the Austrian Secret Police(?!) which give us a clear picture of the extent of Mozart's involvement with the Lodges of Vienna. He was constantly performing "improvisations" and piano concertos for the benefit of Masonic charities and for his Masonic musical Brothers. In fact, his fascination for the basset horn (a forerunner to the clarinet) and the clarinet itself was inspired by Brothers; Anton David and Vincent Springer, both masters of those instruments, and for whom he performed at a benefit concert.

The Court clarinetist, Anton Stadler, a close friend and Masonic Brother, was to inspire Mozart to compose the beautiful Clarinet Concertoin A Major K.622 as well as several quintets and other secular works,which, while not "Masonic" in content, were surely the result of Mozart's close ties to this supreme artist. One can only speculate on how many other works were composed at the urgings of Brother Freemasons.

From the lists of Lodge members and of patrons and subscribers to have come down to us, clearly one out of every four attendees was a Freemason! In fact, the often quoted and famous remark by Brother Franz Joseph Haydn to Mozart's father, "I declare to you before God, as an honest man, that your son is the greatest composer I know either personally or by reputation. He has taste as well as consummate knowledge of the art of composition", occured at an evening gathering in Mozart's home, where several string quartets written by him were performed while Haydn was visiting with other Freemasons from his Lodge. Leopold Mozart, at the time, was in Vienna to receive his Masonic degrees.

In 1795, Joseph II issued a proclamation which stunned Freemasons throughout the Austrian Empire. The Freemasonry Act had several provisions that severely limited the Craft Only three Lodges were to be permitted to function in any one area, and none would be permitted in outlying areas. Meeting schedules, lists of members and officeholders had to be given to local authorities. No Lodge could have more than 180 members. Clearly, members of the ruling establishment had become nervous at the growth of Freemasonry and had urged Joseph II to limit its influence. In his statement, he used terms such as "chicanery" and "corrupting effect on law and order" to describe the Craft. In the same document however, he states, "Although I am also ignorant of them, it is enough for me to know that these Masonic societies have engaged in some good work for their fellowmen - for charity and education; more indeed than in any other land."

A rush of Lodge mergers followed the edict. Mozart's Lodge reorganized with two others into the Lodge, Zur neugekri-jnten Hoffnung (New Crowned Hope) and he responded with two works written for chorus, tenor soloist and organ one for the closing of his old Lodge (K.484), and the other in celebration of the opening of the newly-merged Lodge (K.483). It is clear that Mozart was deeply involved with the Craft as he became resident composer for his Lodge. His compositions, combined with those of other musicians, demonstrate the importance of music in Masonic Lodge meetings and ceremonies of that period.

Much has been written about Mozart's poverty, and once again, Masonic Brothers were to help him out. His main source of financial aid came from Brother Michael Puch-berg, who managed, and later owned, a large textile business. Many of Mozart's letters to him begin with, "Most honorable Brother of the Order, dearest, most beloved Friend!" The letters request money with various promises that all will be right if the money was forthcoming. From the few pieces of correspondence that have survived, it is clear that Puchberg did sent him money, although not the amounts Mozart had requested. One of these letters ended with, "I take the liberty of sending you two tickets which, as a Brother, I beg you to accept without payment, seeing that, as it is, I will never be able to adequately return the friendship you have shown me." After the death of Joseph II in 1795, his brother, Leopold II became Emperor and more intense pressure was placed on the Craft. In fact, it became clear that the government wanted Masonry eliminated entirely. Set against this background, the importance of The Magic Flute becomes so clear. Mozart and Schikaneder combined to create a fairy tale opera denoting the journey of its protaganists through various trials. Priests witness the events and warn the main character, Tamino, to be steadfast and to remain silent through his ordeals. The opera con-nveys key Masonic ideals throughout the work such as brotherhood, tolerance and wisdom which are stressed against a sinister group of characters who attempt to impede Tamino's progress. From the very opening of the overture, in the key of E-flat (three flats), the number "3" dominates the work. The overture begins with full orchestral chords denoting the knocking on the Lodge door, and, from begin-ing to end, Masonic allusions abound. The popularity of the opera was immense and the Viennese public had to arrive three hours before a performance in order to obtain a seat, Unfortunately, its purpose, to save Masonry in Vienna, was not served.

In 1792, a year after Mozart's own death and the premiere of The Magic Flute, Leopold II became suddenly ill and died. Rumors became rampant that the Freemasons had poisoned him and the new young Emperor, Francis, was convinced that Masonry was a real threat. In 1795 the Court Chancellor ordered the closing of all surviving Masonic Lodges. They would not come to light again until 1918 - 123 years later!

Mozart's last appearance, two weeks prior to his death on December 5, 1791, was to conduct his last completed work, The Little Masonic Cantata K.623 in his own Lodge. Upon his death, they held a Lodge of Sorrows and had the work printed " for sale by subscription, to benefit his needy wife and orphans." A few months later, they also took up a collection for her and the children. Brother Em-manuel Schikaneder held a benefit performance of The Magic Flute for her shortly after Mozart's death. The Masons responded with the kind of charity that had attracted Mozart to the Craft years earlier. At the Lodge of Sorrows ceremony, Brother Ignaz Alberti delivered these final words: "It pleased the Eternal Architect of the world to tear from our chain of Brothers one of the most deserving and beloved links Who did not know him? Who did not love him, our worthy Brother Mozart. Only a few weeks ago he stood here in our midst, glorifying with his magic sounds the dedication of our temple. Who among us would have thought then how soon he would be taken from us? It is the sad fate of men to have to leave this life with their excellent works unfinished. Kings die, leaving their incomplete plans to posterity. Artists die, after having spent their lives in perfecting their art, and general admiration follows them to the grave. Though whole nations mourn them, it is usually their fate to be forgotten by these admirers but not by us, my Brothers. Mozart's death is an irreplaceable loss to art. His talent, which already showed itself when he was a boy, made him one of the wonders of our time. Half of Europe esteemed him, the great called him their darling, and we called him - Brother.

"Though it is proper to recall his achievements as an artist, let us not forget to honor his noble heart. He was a zealous member of our Order. His love for his Brothers, his cooperative and affirmative nature, his charity, his deep joy whenever he could serve his Brethren with his special talents, these were his great qualities. He was husband and father, a friend to his friends and a brother to his Brothers. He only lacked riches to make hundreds of people as happy as he would have wished them to be.

"On December 5, 1991, At Avery Fischer Hall, 200 years to the day that Mozart went to the "Great Architect of the Universe", Maestro Kurt Mazur and the New York Philharmonic opened the Gala Centennial Evening with The Masonic Funeral Music K.477 - a fitting tribute to a Brother who gave so much to our beloved Craft and to the world. As comedian Victor Borge put it, "In my dreams of Heaven, l always see the Great Masters gathered in a huge hall in which they all reside. Only Mozart has his own suite."

Reprint of, "Mozart", The Empire State Mason, 1991 Winter Edition. Editor:PGM Kenneth R Force, Grand Lodge of New York 1992