What do you think?
Rate this book
Mozart
In this definitive biography, Wolfgang Hildesheimer demythologizes Mozart, revealing him as a flawed and puzzling human being, but a matchless artist. Hildesheimer's fresh approach to the music itself, his telling quotations from Mozart's letters (Mozart was one of the greatest and most outrageous of letter writers), and his sympathetic but unsentimental insights make this a remarkably readable portrait of one of the most popular composers of all time.
444 pages, Paperback
First published January 1, 1977
13 people are currently reading
279 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 25 of 25 reviews
July 16, 2021
Rezi in Progress
Für Einsteiger ungeeignete Darstellung
In Wikipedia wird Wolfgang Hildesheimers Mozart als eine Art Vorlauf zum Film Amadeus vorgestellt. Das stimmt insoweit als dass WH auf die schwer erträglichen charakterlichen Eigenschaften des Genies eingeht. Die betreffenden Passagen wirken trotzdem ziemlich verklemmt, auch sonst ist dieses Buch in erster Linie etwas für Leute, die von der Qualität ihrer Lektüre erst so richtig überzeugt sind, wenn sie auch ordentlich leiden müssen. Das Buch enthält durchaus Einsichten, die der Mühe wert sind, ohne entsprechendes Vorwissen, gerät die Lektüre dieses ziemlich eingenwiligen Ansatzes, in dessen Verlauf von Abert bis Adorno alle ihr Fett wegkriegen aber schnell zur vergeblichen Liebesmüh.
Persönliche Vorbelastung
In den Achtzigern muss es so etwas wie eine Verschwörung unter den Dramturgen der Deutschen Opernhäuser gegeben haben, dass so gut wie jede Zeile des Mozart-Buchs in einem Programmheft unterkommen sollte, sogar der Abschnitt über die Bäsle-Briefe, einer der schwächsten Momente und jene Leseerfahrung, die WHs Mozart-Buch erst mal als überflüssigtes Lesevorhaben jener Jahre erscheinen ließ.
WHs Mozart ist sicherlich die Wolferl-Bibel für die 68er-Generation, ein paar Spritzer Psychoanalyse, blochisches Geraune kurze Abschnitte, die einen Aspekt mehr oder weniger trefflich auf den Punkt bringen und wiederum mit anderen Absätzen, aber eher dem übernächsten als dem folgenden kommunizieren. Als Grundstruktur lässt sich folgende Aufteilung skizzieren:
a) Vorstellung des eigenen Zugangs zu Mozart und Abgrenzung zu den üblichen Zuckergussbücheln,
aber auch erste Rempler gegen ernsthafte Widersacher aus früheren Zeiten wie Abert, Einstein, Schurig, die durchgängig als Reibungsflächen oder prominente Vertreter von Irrtümern herhalten müssen.
Bei der Betonung von Mozarts Eigengesetzlichkeit und der Abwehr einer Vorläuferrolle Beethovens, die bei Abert und Einstein zumindest so nicht vorkommt, schießt WH schon mal übers Ziel hinaus, es gibt einfach Stellen in Mozarts Werk, die Assoziationen an Ludwig Fun wecken KV 491 z.B., aber Haydn war in mehr als einer Hinsicht eher der Anknüpfungspunkt für Beethoven.
b) Verhältnis zum Vater - und zur Mutter von der, wie auch andernorts beschrieben, die Vorliebe für Fäkalhumor stammt. Die Bäslesbriefe werden zwar ausführlich, aber trotzdem ziemlich verklemmt behandelt, wenn man das für Kinder und Jugendliche konzipierte Buch von Greif als Maßstab nimmt. Die Parisreise mit ihren beruflich wie erotisch vergeblichen Vor- und Nachspielen in Mannheim als Wendepunkt, da erzählt WH wenig neues, unterschlägt sogar Fakten, etwa die finanziellen Hintergründe für die Ablehnung der Organistenstelle an der Seine, die Lebenshaltungskosten in Paris.
c) Das frühe Opernschaffen bis Idomeneo als Prüfstein für das Wunderkind, noch so eine unergiebige Partie, da ziemlich lückenhaft, wenn man nicht unmittelbar davor Abert oder Einstein gelesen hat, verschwendete Zeit, außer man ist mit den frühen Mozart-Opern vertraut. WHs Geringschätzung der Seria mutet inzwischen regelrecht banausenhaft an, steht auch irgendwie im Widerspruch zu seiner absoluten Hochschätzung des Idomeneo, den er für die Gipfeloper hält.
d) Die Ehe mit Konstanze, ein Faden, der bis ins Nachleben verfolgt wird, da er die Witwe als Teil der Legendenbildung ausmacht und auch gründlich die Werke unter die Lupe nimmt, die unter ihrem Einfluss entstanden sind, aber auch viel von der Verklemmtheit ihrer biedermeierlichen Verfasser bzw. des prüden Zeitgeists erzählen.
e) Meine persönliche Hauptattraktion: die Aufklärung sämtlicher Widersprüche in der Zauberflöte.
Dabei fördert Hildesheimer echte Perlen zu Tage. Neben den schon vorher bekannten Gründen für den nicht so recht ausgebügelten Rollentausch bei den Schurken, auch den Verfasser des unstimmigen Rests mit den zahlreichen frauenfeindlichen oder rassistischen Kommentaren.
Einen ziemlich rechthaberischen Beamten und Verschwörungstheoretiker.
Für Einsteiger ungeeignete Darstellung
In Wikipedia wird Wolfgang Hildesheimers Mozart als eine Art Vorlauf zum Film Amadeus vorgestellt. Das stimmt insoweit als dass WH auf die schwer erträglichen charakterlichen Eigenschaften des Genies eingeht. Die betreffenden Passagen wirken trotzdem ziemlich verklemmt, auch sonst ist dieses Buch in erster Linie etwas für Leute, die von der Qualität ihrer Lektüre erst so richtig überzeugt sind, wenn sie auch ordentlich leiden müssen. Das Buch enthält durchaus Einsichten, die der Mühe wert sind, ohne entsprechendes Vorwissen, gerät die Lektüre dieses ziemlich eingenwiligen Ansatzes, in dessen Verlauf von Abert bis Adorno alle ihr Fett wegkriegen aber schnell zur vergeblichen Liebesmüh.
Persönliche Vorbelastung
In den Achtzigern muss es so etwas wie eine Verschwörung unter den Dramturgen der Deutschen Opernhäuser gegeben haben, dass so gut wie jede Zeile des Mozart-Buchs in einem Programmheft unterkommen sollte, sogar der Abschnitt über die Bäsle-Briefe, einer der schwächsten Momente und jene Leseerfahrung, die WHs Mozart-Buch erst mal als überflüssigtes Lesevorhaben jener Jahre erscheinen ließ.
WHs Mozart ist sicherlich die Wolferl-Bibel für die 68er-Generation, ein paar Spritzer Psychoanalyse, blochisches Geraune kurze Abschnitte, die einen Aspekt mehr oder weniger trefflich auf den Punkt bringen und wiederum mit anderen Absätzen, aber eher dem übernächsten als dem folgenden kommunizieren. Als Grundstruktur lässt sich folgende Aufteilung skizzieren:
a) Vorstellung des eigenen Zugangs zu Mozart und Abgrenzung zu den üblichen Zuckergussbücheln,
aber auch erste Rempler gegen ernsthafte Widersacher aus früheren Zeiten wie Abert, Einstein, Schurig, die durchgängig als Reibungsflächen oder prominente Vertreter von Irrtümern herhalten müssen.
Bei der Betonung von Mozarts Eigengesetzlichkeit und der Abwehr einer Vorläuferrolle Beethovens, die bei Abert und Einstein zumindest so nicht vorkommt, schießt WH schon mal übers Ziel hinaus, es gibt einfach Stellen in Mozarts Werk, die Assoziationen an Ludwig Fun wecken KV 491 z.B., aber Haydn war in mehr als einer Hinsicht eher der Anknüpfungspunkt für Beethoven.
b) Verhältnis zum Vater - und zur Mutter von der, wie auch andernorts beschrieben, die Vorliebe für Fäkalhumor stammt. Die Bäslesbriefe werden zwar ausführlich, aber trotzdem ziemlich verklemmt behandelt, wenn man das für Kinder und Jugendliche konzipierte Buch von Greif als Maßstab nimmt. Die Parisreise mit ihren beruflich wie erotisch vergeblichen Vor- und Nachspielen in Mannheim als Wendepunkt, da erzählt WH wenig neues, unterschlägt sogar Fakten, etwa die finanziellen Hintergründe für die Ablehnung der Organistenstelle an der Seine, die Lebenshaltungskosten in Paris.
c) Das frühe Opernschaffen bis Idomeneo als Prüfstein für das Wunderkind, noch so eine unergiebige Partie, da ziemlich lückenhaft, wenn man nicht unmittelbar davor Abert oder Einstein gelesen hat, verschwendete Zeit, außer man ist mit den frühen Mozart-Opern vertraut. WHs Geringschätzung der Seria mutet inzwischen regelrecht banausenhaft an, steht auch irgendwie im Widerspruch zu seiner absoluten Hochschätzung des Idomeneo, den er für die Gipfeloper hält.
d) Die Ehe mit Konstanze, ein Faden, der bis ins Nachleben verfolgt wird, da er die Witwe als Teil der Legendenbildung ausmacht und auch gründlich die Werke unter die Lupe nimmt, die unter ihrem Einfluss entstanden sind, aber auch viel von der Verklemmtheit ihrer biedermeierlichen Verfasser bzw. des prüden Zeitgeists erzählen.
e) Meine persönliche Hauptattraktion: die Aufklärung sämtlicher Widersprüche in der Zauberflöte.
Dabei fördert Hildesheimer echte Perlen zu Tage. Neben den schon vorher bekannten Gründen für den nicht so recht ausgebügelten Rollentausch bei den Schurken, auch den Verfasser des unstimmigen Rests mit den zahlreichen frauenfeindlichen oder rassistischen Kommentaren.
Einen ziemlich rechthaberischen Beamten und Verschwörungstheoretiker.
July 26, 2020
I enjoyed this intensely informative book which I had sought out after having listened to a lot of Mozart. While living in Saudi Arabia during the 1980s and 1990s, I discovered why I should like, if not love, Mozart. He introduced me to the meaning and appreciation of classical music, which to me is the language spoken between souls, perhaps even between souls and “The Creator”, should there be one.
In my opinion, a culture or individual without such music is one devoid of hope and has little prospect of improvement. Classical music, as formally defined, I think, can be felt to be a melding and enfolding of the thrill of starting out on a new adventure with some trepidation balanced on the horizon of radical psychological change, which you now realize while listening that you have been permanently transformed, having shed an old self.
My family and I had already gone to Vienna from Saudi Arabia for vacation one spring where we attended a performance of Mozart’s work by a period orchestra with contemporary eighteenth century instruments and costumes— powdered wigs, and all. So, when I read this well researched and expertly written book, I felt I knew Mozart much more thoroughly. Of course, nothing surpasses being able to play Mozart oneself on the appropriate instrument, but this was as close as I myself could get.
I would go into Al-Khobar and Dammam every few weeks or so and load up on available CDs and cassette tapes both of which were relatively inexpensive and listen in my free time to the sublimest music on earth, really all thanks to my learning about Mozart and visiting Vienna. Both of my sons started practicing instruments inspired by our adventure in Vienna.
Later on, I jumped from Mozart to Beethoven and then to Brahms, whom I have lit upon now for several years as my go-to composer. If I had been a composer, it would have been Brahms because of his depth and variety, his love for Clara Schumann, and his love for a good helping of beer every evening. Mozart would have approved, I am sure.
Anyway…next life.
In my opinion, a culture or individual without such music is one devoid of hope and has little prospect of improvement. Classical music, as formally defined, I think, can be felt to be a melding and enfolding of the thrill of starting out on a new adventure with some trepidation balanced on the horizon of radical psychological change, which you now realize while listening that you have been permanently transformed, having shed an old self.
My family and I had already gone to Vienna from Saudi Arabia for vacation one spring where we attended a performance of Mozart’s work by a period orchestra with contemporary eighteenth century instruments and costumes— powdered wigs, and all. So, when I read this well researched and expertly written book, I felt I knew Mozart much more thoroughly. Of course, nothing surpasses being able to play Mozart oneself on the appropriate instrument, but this was as close as I myself could get.
I would go into Al-Khobar and Dammam every few weeks or so and load up on available CDs and cassette tapes both of which were relatively inexpensive and listen in my free time to the sublimest music on earth, really all thanks to my learning about Mozart and visiting Vienna. Both of my sons started practicing instruments inspired by our adventure in Vienna.
Later on, I jumped from Mozart to Beethoven and then to Brahms, whom I have lit upon now for several years as my go-to composer. If I had been a composer, it would have been Brahms because of his depth and variety, his love for Clara Schumann, and his love for a good helping of beer every evening. Mozart would have approved, I am sure.
Anyway…next life.
August 30, 2017
Quante domande ininteressanti si pone!
Quante polemiche inutili con non si sa chi porta avanti!
Quanti problemi del tipo: che differenza c'è tra il genio e lo pseudogenio?
Quante polemiche inutili con non si sa chi porta avanti!
Quanti problemi del tipo: che differenza c'è tra il genio e lo pseudogenio?
February 21, 2023
Faticosa per la mole di informazioni, ricchissima biografia di non facile accesso, un viaggio completo nella vita e nel periodo storico di Mozart.
September 13, 2008
my love of mozart began years ago when i travelled to austria and saw his childhood home. i have since read several books about the life of mozart, none of which detailed his life in such real terms. this author does a wonderful job depicting mozart's human flaws and oddities. if you are interested in mozart's life at all, this is a must read.
May 6, 2017
Terrible! The whole book is the author stating how ignorant everyone else who has ever thought they knew anything about Mozart is. Whether or not he is right he comes across with such arrogance that I couldn't get through it. I'll take my chances with a better writer.
January 11, 2020
Hildesheimer versucht nicht, uns Mozart näherzubringen, sondern uns von den Klischees der Anekdoten und früherer Biographen zu entfernen. Er schafft damit Lücken, die wir unbedarfte Leser wahrscheinlich mit anderen Klischees füllen werden. Das Material dazu stellt er (leider) selbst bereit, nämlich in seinen eigenen Vorstellungen vom Genie, exemplifiziert an Gestalten wie Wagner oder (als Gegenbeispiel!) Rilke, die mit Mozart nicht wirklich zu tun haben.
Im positiven Sinne versucht Hildesheimer Mozart aus seinen Werken heraus zu begreifen. Ich fürchte, wir lernen dabei mehr über Hildesheimer als über Mozart.
Im positiven Sinne versucht Hildesheimer Mozart aus seinen Werken heraus zu begreifen. Ich fürchte, wir lernen dabei mehr über Hildesheimer als über Mozart.
zum-lesen
June 21, 2017I want to read this but I'm wary and will read other biographies first. Why? Jeffrey Castle, translator of Tynset, writes in its preface, "In his real biography of Wolfgang Amadeus Mozart...Hildeshsimer also straddled the line between fact and fiction, weaving lengthy ruminative sections about the composer's psyche, his motivations, his complexes, into the obligatory overview of his life and work. While technically true to the biographical genre in its inclusion of factual content, upon its release the book drew considerable attention for its unconventional characterization of the famed composer. By repeatedly probing and deconstructing the facade of the carefree boy genius that had been upheld by nearly two centuries of positive, unquestioning reinforcement, Hildesheimer's treatment of Mozart fundamentally altered public perception of one of classical music's most entrenched figures. Even despite their subjective nature, many of the opinions expressed in this work have now been accepted as fact - which in itself is probably the clearest embodiment of what Hildesheimer sought to prove about the fickle nature of truth."
March 8, 2019
In many ways my review is unfair; this book was written for an earlier time and another audience than one to which I belong. While the book was written as recently as 1977, there appears to have been much more of an appreciation of classical music in general, and Mozart in particular, than there is now. (Then again, the same can be said regarding a wide variety of subjects, including history and economics.) It also appears that the intended audience knew music, knew Mozart, and turned to this book to obtain a far-less varnished and heroic perspective on the great composer. So if you know your music, you may get something out of this book.
However, if you're far lower down the musical learning curve, this may not be the book for you. Hildesheimer's scattershot approach, while effective at times, becomes annoying the further one gets into the book. There are no chapters. Rather, the book is practically a collective of aphorisms that roughly relate to one another. If Hildersheimer had an approach to Mozart's life or a general thesis he wanted to communicate, heck if I could discern either.
As I mentioned, if you already know your Mozart, you might enjoy the book. Otherwise, if you're looking for a more elementary of Mozart and his music, you might want to look elsewhere.
However, if you're far lower down the musical learning curve, this may not be the book for you. Hildesheimer's scattershot approach, while effective at times, becomes annoying the further one gets into the book. There are no chapters. Rather, the book is practically a collective of aphorisms that roughly relate to one another. If Hildersheimer had an approach to Mozart's life or a general thesis he wanted to communicate, heck if I could discern either.
As I mentioned, if you already know your Mozart, you might enjoy the book. Otherwise, if you're looking for a more elementary of Mozart and his music, you might want to look elsewhere.
April 4, 2024
Este libro es para un conocedor de la música de Mozart, noes la biografía típica, yo sugeriría otra obra para conocer la vida de Mozart de manera más rápida. La cantidad de referencias en las que es necesario conocer las obras musicales para entender lo que el autor escribe es enorme, esto lo hace un libro largo y a aveces tedioso, creo que hubiera preferido algo más sencillo. Sin embargo a través de las múltiples anotaciones musicales habla de Mozart como persona y aunque lo reconoce como un “regalo inmerecido para la humanidad en el que la naturaleza produjo una obra maestra excepcional, quizás irrepetible” , nos lo presenta como un ser humano con todos sus errores, que nunca se supo genio, y eso permite conocer bastante de la vida de Mozart. Dan ganas de ver la película de Amadeus y usar este libro como filtro para entender más su vida.
Me sorprende saber que escribió su primera obra a los 6 años, que viajó por toda Europa de arriba a abajo muchísimos años sin descanso y que en apenas 35 años hiciera tanto por la música, además de que muchas de sus grandes obras a veces fueron hechas con como si nada. Queda pendiente ver sus óperas cómicas y la Flauta Mágica.
Me sorprende saber que escribió su primera obra a los 6 años, que viajó por toda Europa de arriba a abajo muchísimos años sin descanso y que en apenas 35 años hiciera tanto por la música, además de que muchas de sus grandes obras a veces fueron hechas con como si nada. Queda pendiente ver sus óperas cómicas y la Flauta Mágica.
April 12, 2022
Not only one of the greatest Mozart biographies, but also an extended meditation on the theme of Mozart, and the relationship between the figure of Mozart and his music. It also is a theoretical speculation on the nature of genius, and a criticism of earlier biographies, a questioning of
the method and perhaps the very act of writing biography. The author sets out to challenge and correct biographical cliches, thereby intentionally widening the gap between us and Mozart. The author's skeptical attitude, especially to Mozart's letters, caused a great stir in Germany when the biography was published. I first read this book in 1987 in the Dutch translation and have always admired it.
the method and perhaps the very act of writing biography. The author sets out to challenge and correct biographical cliches, thereby intentionally widening the gap between us and Mozart. The author's skeptical attitude, especially to Mozart's letters, caused a great stir in Germany when the biography was published. I first read this book in 1987 in the Dutch translation and have always admired it.
September 11, 2020
Extensa biografía de Mozart, que deja claro que la vida de este prodigio tuvo más sombras que luces. Me gustó compararlo con la peli de unos años antes, la famosa Amadeus, para ver la inmensa cantidad de licencias que se habían tomado para la película. Mozart podría haber producido tantísimo más de lo que produjo... Tenía el cerebro cableado de una manera TAN perfecta para la música... El libro deja un sabor agridulce, porque aprendes mucho sobre él (y algo menos de lo que me gustaría sobre su música) y a la vez te compadeces, mucho , por él. Una lectura que me encantó.
December 9, 2018
Not a biography so much as a meditation; but in any case, a profoundly stimulating book.
October 2, 2022
Biografía con perfil psicológico
January 23, 2022
An unusual look at the life of Mozart. Rather than a true biography, it is an extended speculation on the meaning and motivations of Mozart, in roughly chronological fashion. There are no chapters; it is one extended stream-of-consciousness essay that varies in its quality. A valuable look at Mozart if you have already read several of the major biographies (which the author here delights in picking apart), but otherwise difficult to follow.
February 24, 2015
I have been tempted to agree with the sentence the bounders between useful & useless knowledge are separated out before my concerns , accordingly to each individual reader desire for knowledge varies with their degree of personal involvement , I presume that this has been used with all my reviews .
May I quote again, great music does not come from any mystical obscurity or ethic attachment , rather it is made in the interaction of “ unconscious “ ideas & conscious “methodology” the reason that I quote this is Mozart wrote his first piece at the age of five I think it was and as has been noted in a lot o other books manly the ones I have read but found unworthy to review myself he did not join the ( masonic-fraternity ) un till the last ten years of his life in the film "Amadeus")
Salieri reels at the notion of God speaking through the childish, petulant Mozart: nevertheless, he regards his music as miraculous. Gradually, Salieri’s faith is shaken. He believes that God, through Mozart's genius, is cruelly laughing at Salieri's own musical mediocrity. Salieri's struggles with God are intercut with scenes showing Mozart's own trials and tribulations with life in Vienna: pride at the initial reception of his music, anger and disbelief over his subsequent snubbing by the Italians of the Emperor's court, happiness with his wife Constance (Elizabeth Berridge) and his son Karl, and grief at the death of his father Leopold (Roy Dotrice). Mozart becomes more desperate as the family's expenses increase and his commissions decrease. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using "God's Beloved" (the literal meaning of "Amadeus") as the instrument. And remember above all else Europeans, love universally in their heroic geniuses I would say this is a book for the
many contrapuntal and other church items; further a great number of symphonies, some only à 4[37] but others with all the customary instruments; likewise more than 30 large serenades in which solos for various instruments appear. In addition he has brought forth many concertos, in particular for the transverse flute,[38] oboe, bassoon, Waldhorn, trumpet etc.: countless trios and divertimentos for various instruments; 12 oratorios and a number of theatrical items, even pantomimes, and especially certain occasional pieces such as martial music … Turkish music, music with 'steel keyboard' and lastly a musical sleigh ride; not to speak of marches, so-called 'Nachtstücke'[39] and many hundreds of minuets, opera dances and similar items.[40]
May I quote again, great music does not come from any mystical obscurity or ethic attachment , rather it is made in the interaction of “ unconscious “ ideas & conscious “methodology” the reason that I quote this is Mozart wrote his first piece at the age of five I think it was and as has been noted in a lot o other books manly the ones I have read but found unworthy to review myself he did not join the ( masonic-fraternity ) un till the last ten years of his life in the film "Amadeus")
Salieri reels at the notion of God speaking through the childish, petulant Mozart: nevertheless, he regards his music as miraculous. Gradually, Salieri’s faith is shaken. He believes that God, through Mozart's genius, is cruelly laughing at Salieri's own musical mediocrity. Salieri's struggles with God are intercut with scenes showing Mozart's own trials and tribulations with life in Vienna: pride at the initial reception of his music, anger and disbelief over his subsequent snubbing by the Italians of the Emperor's court, happiness with his wife Constance (Elizabeth Berridge) and his son Karl, and grief at the death of his father Leopold (Roy Dotrice). Mozart becomes more desperate as the family's expenses increase and his commissions decrease. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using "God's Beloved" (the literal meaning of "Amadeus") as the instrument. And remember above all else Europeans, love universally in their heroic geniuses I would say this is a book for the
many contrapuntal and other church items; further a great number of symphonies, some only à 4[37] but others with all the customary instruments; likewise more than 30 large serenades in which solos for various instruments appear. In addition he has brought forth many concertos, in particular for the transverse flute,[38] oboe, bassoon, Waldhorn, trumpet etc.: countless trios and divertimentos for various instruments; 12 oratorios and a number of theatrical items, even pantomimes, and especially certain occasional pieces such as martial music … Turkish music, music with 'steel keyboard' and lastly a musical sleigh ride; not to speak of marches, so-called 'Nachtstücke'[39] and many hundreds of minuets, opera dances and similar items.[40]
May 20, 2025
The 1977 biography of Wolfgang Hildesheimer, "Mozart," is a noteworthy and frequently contentious addition to our knowledge of the renowned composer. A complex, difficult, and profoundly human portrait of Wolfgang Amadeus Mozart is presented by Hildesheimer, who avoids an unduly romanticized or hagiographic approach. Decades after its publication, this portrait still sparks debate and reexamination.
Hildesheimer's work is fundamentally a demythologization. He removes the façade of the carefree genius who creates masterpieces with ease, the porcelain prodigy. Rather, he explores Mozart's imperfections, fears, and eccentricities by using a psychoanalytical lens to delve into the composer's mind. As demonstrated by the biography's candid discussion of Mozart's notorious scatological humor in his letters, this "Mozart" is not always a comfortable character; at times, he can come across as perplexing, aloof, and even uncivilized.
One of the most unique aspects of the book is that it is a "meta-biography." Hildesheimer is not satisfied with merely narrating Mozart's life story. He actively participates in and critiques the biographical writing process itself, especially the customs that have molded Mozart's reputation over the ages. He criticizes earlier biographers for projecting their own ideals onto their subject, being sentimental, and having wishful thinking. This critical attitude includes challenging long-held beliefs and conducting a thorough analysis of sources.
It is a theme-based biographical analysis of Mozart's life. Using excerpts from Mozart's letters, the author creates an engaging, though never hagiographic, account of his life and music. Mozart fans will enjoy this entertaining and well-written biography.
Hildesheimer's work is fundamentally a demythologization. He removes the façade of the carefree genius who creates masterpieces with ease, the porcelain prodigy. Rather, he explores Mozart's imperfections, fears, and eccentricities by using a psychoanalytical lens to delve into the composer's mind. As demonstrated by the biography's candid discussion of Mozart's notorious scatological humor in his letters, this "Mozart" is not always a comfortable character; at times, he can come across as perplexing, aloof, and even uncivilized.
One of the most unique aspects of the book is that it is a "meta-biography." Hildesheimer is not satisfied with merely narrating Mozart's life story. He actively participates in and critiques the biographical writing process itself, especially the customs that have molded Mozart's reputation over the ages. He criticizes earlier biographers for projecting their own ideals onto their subject, being sentimental, and having wishful thinking. This critical attitude includes challenging long-held beliefs and conducting a thorough analysis of sources.
It is a theme-based biographical analysis of Mozart's life. Using excerpts from Mozart's letters, the author creates an engaging, though never hagiographic, account of his life and music. Mozart fans will enjoy this entertaining and well-written biography.
February 3, 2016
I enjoyed this book, but it is fairly rambling with no chapters... at all. It's just one paragraph after another, which - for a person like me who is obsessed with measuring progress - is just irritating. It also makes it a bit more difficult to flip back to sections you have already read and may want to re-read. There is an index, but I really prefer to flip to the chapter and skim.
I can see how this book would be extremely heavy going for someone who isn't either very knowledgeable about Mozart's works (including the lesser known pieces) or educated in music theory. Entire sections may be lost on your otherwise.
I have a petty complaint about this book.... the cover. It does my head in! You see it laying on your coffee table, and you think to yourself, "Wolfgang HILDESHEIMER Mozart? WTF!" It's just the layout of the cover and the coincidence that the author has the same first name, and of course - you know this. But for a split second, you seriously question whether the sky is - in fact - blue.
All that said... it is a very sobering and realistic account that doesn't try to fill in gaps with mythology and fandom.
I can see how this book would be extremely heavy going for someone who isn't either very knowledgeable about Mozart's works (including the lesser known pieces) or educated in music theory. Entire sections may be lost on your otherwise.
I have a petty complaint about this book.... the cover. It does my head in! You see it laying on your coffee table, and you think to yourself, "Wolfgang HILDESHEIMER Mozart? WTF!" It's just the layout of the cover and the coincidence that the author has the same first name, and of course - you know this. But for a split second, you seriously question whether the sky is - in fact - blue.
All that said... it is a very sobering and realistic account that doesn't try to fill in gaps with mythology and fandom.
April 2, 2015
"...[Mozart's] life...is shrouded in mystery and always will be." So writes the biographer. Mozart's death fares no better under biographical scrutiny, lighted only by the putative glimmer of speculation.
Be that as it may, Wolfgang Hildesheimer seems to have done a masterful job of uncovering what can be uncovered of the mystery of Mozart's life through analysis of his music, his letters, and stories from those who knew him, though the veracity of some of those stories is brought into question.
The problem is, I am a layman; I have no back ground in music so I found myself wading through the technical jargon of music, which sometimes threatened to overwhelm me. Musicologists and composers, steeped in Mozart's works, would better understand what Hildesheimer was trying to do (e.g. almost one page devoted to what D minor might mean in Mozart's life), but only the desire to finish the book kept me going. The easiest part of the book to understand was the timeline at the end.
Be that as it may, Wolfgang Hildesheimer seems to have done a masterful job of uncovering what can be uncovered of the mystery of Mozart's life through analysis of his music, his letters, and stories from those who knew him, though the veracity of some of those stories is brought into question.
The problem is, I am a layman; I have no back ground in music so I found myself wading through the technical jargon of music, which sometimes threatened to overwhelm me. Musicologists and composers, steeped in Mozart's works, would better understand what Hildesheimer was trying to do (e.g. almost one page devoted to what D minor might mean in Mozart's life), but only the desire to finish the book kept me going. The easiest part of the book to understand was the timeline at the end.
July 12, 2015
This is an English translation of a German book. As Mozart is German, it seems appropriate to read a biography from that perspective. The translation is done well but I find it hard to label this a biography. This reads like a meandering, rambling 400 page essay on Mozart full of the authors opinions and speculations. No chapters, no structure, nothing chronological about it so it was extremely difficult to follow. The assumption is that you are a Mozart lover who knows his music by heart. If that doesn't describe you, you won't get much out of it. I only finished it because it was the only thing I had to read while on the plane.
January 25, 2025
I have never read a more poorly written biography. If some of the insights didn't seem so spot-on, there would have been nothing good to say about the book, outside the subject matter. It meanders aimlessly, with no discernible structure, filled with criticisms of others' baseless or flawed assertions, followed or preceded by his own seemingly baseless or flawed assertions.
I am intensely interested in Mozart but this is a bad biography with a few great points sprinkled throughout.
I am intensely interested in Mozart but this is a bad biography with a few great points sprinkled throughout.
December 7, 2015
Well, after reading it you won't know anything more about Mozart's life because, in my opinion, the author assumes that you already know about it.
The author wants to go deep inside Mozart's character, psyche, personality.
Sometimes it seem to argue about other authors' Mozart books.
In the end: a good books but too advanced for a "medium" reader
The author wants to go deep inside Mozart's character, psyche, personality.
Sometimes it seem to argue about other authors' Mozart books.
In the end: a good books but too advanced for a "medium" reader
December 5, 2015
Hildesheimer was well versed in Mozart's private life, and the book is really an effort to demythologize the great composer. At times I was annoyed with all this; but in the end I can say that this is informative in many ways.
March 24, 2022
My rating goes for the german original, I don't know, if the translation is any good - it is one of my favourite books about music. It is written by a scholar in love.
Read
February 13, 2019I have the slovenian edition.
Displaying 1 - 25 of 25 reviews