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Mozart in Vienna 1781-1791
Chronicles Mozart's ten years in Vienna, detailing what everyday life in the city was like and profiling famous leaders of the day and the composer's wife, Constanze
481 pages, Hardcover
First published January 1, 1986
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December 17, 2016This primary-source-rich, detailed, immensely readable exploration of Mozart's life focuses mostly on the Vienna years, but covers Mozart's early life as well as his death.
The intent here is to dispel the cloud of legends that have taken on a patina of truth, especially those given image in the Amadeus film. The exhaustive research seems to point to the fact that long-lived Salieri did not dislike Mozart at all (who, indeed, picked up Salieri and brought him to his box to see a performance of Magic Flute not long before his death), much less poison him.
But the real benefit, I think, is twofold: Mozart's engaging personality as it emerged from the many quoted letters, and also, the clear, vivid picture of Vienna during the Josephinian reign. (Braunbehrens is excellent on the politics of the empire at the time.) All the main personalities, including Mozart's father, and his beloved wife, take on dimension through the painstaking research and generous numbers of quotations.
The intent here is to dispel the cloud of legends that have taken on a patina of truth, especially those given image in the Amadeus film. The exhaustive research seems to point to the fact that long-lived Salieri did not dislike Mozart at all (who, indeed, picked up Salieri and brought him to his box to see a performance of Magic Flute not long before his death), much less poison him.
But the real benefit, I think, is twofold: Mozart's engaging personality as it emerged from the many quoted letters, and also, the clear, vivid picture of Vienna during the Josephinian reign. (Braunbehrens is excellent on the politics of the empire at the time.) All the main personalities, including Mozart's father, and his beloved wife, take on dimension through the painstaking research and generous numbers of quotations.
August 15, 2012
Herr Braubehrens does great service to the legacy of Mozart. He cuts through the most popular myths of Mozart's life--that he was childish, a reckless spender, and died in a pauper's grave after Salieri poisoned him. This stories made for good theater in the play and movie Amadeus, but bear little relation to the life that Mozart actually led. That's not to say that Mozart was perfect, though, and Braubehrens does not let him off the hook. He paints a realistic and fair portrait of Mozart at the height of his powers.
Braubehrens also describes Mozart's decade in Vienna in the context of the culture and politics of the time, a period in the Enlightenment that would be a fascinating read even if you have no interest in Mozart himself.
July 28, 2014
Braunbehrens' extensively researched biography of Mozart goes well beyond the usual familial correspondence and myths popularized by Amadeus to present a complete and objective view of the composer as one of the great Enlightenment-era geniuses. Braunbehrens presents a well-rounded picture of Mozart's marriage, his finances, his social and professional lives, his involvement with the Freemasons, and his views of Josephinian reforms. He demonstrates how Mozart's social and political views influenced his work, particularly his great operas. And he lays to rest the myths of the uncaring wife and the destitute, unappreciated genius buried in a pauper's grave. By far the best Mozart biography I've read.
February 19, 2023
On the 14th of this month the friends of music in Prague held solemn exequies for the late Kapellmeister Wolfgang Gottlieb Mozart . . . On that day all the bells of the church were rung for half an hour; almost the entire city turned out, so that the square in front of the church could not accommodate the all the coaches, and neither could the church accommodate all the admirers of the departed composer although it has room for almost 4,000 people.
— Report from the Wiener Zeitung, December 24, 1791
Wolfgang Mozart never called himself "Amadeus,” but instead used Amade', nor did he die a pauper and was buried in a pauper's grave. He did in fact earn a fine income in his final years, of which he spent on medical bills for his wife, boarding for his son's school, travel in courting & acquiring commissions, and at times, recklessly purchasing clothes and furniture. Moreover, while there was speculation that he had gambling debts, there lacks any evidence for that claim. In truth what debts he did incur, were shared by many musicians of that time. There was a war that was crippling the economy and many became debtors. In fact, it was the intention of author Volkmar Braunbehrens in his biography MOZART IN VIENNA 1781-1791, not to further contribute to the many speculations and baseless claims, but as explained in his preface, to understand both the world and the times that Mozart lived in: "What was happening outside Mozart’s house while he was composing inside?"
The primary sources for exploring, preparing, and documenting this biographical study of W.A. Mozart’s' life rests in a focused and thorough investigation of a time, and in the society, in which he lived; through official recorded documentation that still exists; when letter writing flourished between family, friends, and in the exchange of business correspondence. The book's narrative begins by conceding that much is already known of the composers’ early life; the wunderkind that traveled extensively to greet royalty: Noble, State and Ecclesiastical, and his rise to success in paving the way for future employment. Facts that have been properly researched and authenticated.
However, in focusing on his final decade, it begins with him settling in Vienna (although still continuing his practice of residential moves frequently), his actual contention with the archbishop of Salzburg in being denied outside employment, and his subsequent coordination with Emperor Joseph II political agenda of “enlightenment”. We learn his wife, Constanze, was an accomplished piano player and singer, that his father although suspicious of this marriage, was very supportive of every other aspect of his life. We also learn of his interest and role in Freemasonry, that his final demise and death was caused by rheumatic fever, not poison, and the many other myths and romantic absurdities that have been attributed to this young eighteenth century icon. That they lack any merit in truth; facts again clearly revealed in the many letters, reviews, & correspondences written both by & about him during his final years of his life.
Despite the many digressions to peripheral characters and topics of that decade (references to the French Revolution being predominant) MOZART IN VIENNA 1781-1791 is a scholar’s and historian’s exercise in analyzing this famous composers life, revealing the non-musical aspects of life in a city that embraced music above any other at that time, and endorses the idiom of Fact being more compelling that Romantics.
— Report from the Wiener Zeitung, December 24, 1791
Wolfgang Mozart never called himself "Amadeus,” but instead used Amade', nor did he die a pauper and was buried in a pauper's grave. He did in fact earn a fine income in his final years, of which he spent on medical bills for his wife, boarding for his son's school, travel in courting & acquiring commissions, and at times, recklessly purchasing clothes and furniture. Moreover, while there was speculation that he had gambling debts, there lacks any evidence for that claim. In truth what debts he did incur, were shared by many musicians of that time. There was a war that was crippling the economy and many became debtors. In fact, it was the intention of author Volkmar Braunbehrens in his biography MOZART IN VIENNA 1781-1791, not to further contribute to the many speculations and baseless claims, but as explained in his preface, to understand both the world and the times that Mozart lived in: "What was happening outside Mozart’s house while he was composing inside?"
The primary sources for exploring, preparing, and documenting this biographical study of W.A. Mozart’s' life rests in a focused and thorough investigation of a time, and in the society, in which he lived; through official recorded documentation that still exists; when letter writing flourished between family, friends, and in the exchange of business correspondence. The book's narrative begins by conceding that much is already known of the composers’ early life; the wunderkind that traveled extensively to greet royalty: Noble, State and Ecclesiastical, and his rise to success in paving the way for future employment. Facts that have been properly researched and authenticated.
However, in focusing on his final decade, it begins with him settling in Vienna (although still continuing his practice of residential moves frequently), his actual contention with the archbishop of Salzburg in being denied outside employment, and his subsequent coordination with Emperor Joseph II political agenda of “enlightenment”. We learn his wife, Constanze, was an accomplished piano player and singer, that his father although suspicious of this marriage, was very supportive of every other aspect of his life. We also learn of his interest and role in Freemasonry, that his final demise and death was caused by rheumatic fever, not poison, and the many other myths and romantic absurdities that have been attributed to this young eighteenth century icon. That they lack any merit in truth; facts again clearly revealed in the many letters, reviews, & correspondences written both by & about him during his final years of his life.
"Mozart worked on Die Zauberflote (The Magic Flute), his contribution to the debate about Freemasonry, and a work that takes on special significance against the background of events in 1791 . . . directed to a public different . . . the exclusively bourgeois public of the suburban theaters, the ‘little people’ whose expectations of theater were vastly different . . . theater that still had the air of a circus."
Seated far right — Joannes Chrysostomus Wolfgangus Theophilus Mozart was initiated into the “Zur Wohltätigkeit” Freemasonry Lodge in Vienna, Austria in December 1784 at age 28. The oil painting (above) is the lodge circa. 1789, & painted by Italian artist Freemason Bro. Ignaz Unterberger, and purchased in 1926 by the Historical Museum of Vienna.
Despite the many digressions to peripheral characters and topics of that decade (references to the French Revolution being predominant) MOZART IN VIENNA 1781-1791 is a scholar’s and historian’s exercise in analyzing this famous composers life, revealing the non-musical aspects of life in a city that embraced music above any other at that time, and endorses the idiom of Fact being more compelling that Romantics.
"A motley and colorful society was beckoning Mozart. There was continual give and take, a free exchange of ideas, and a constant receptivity to new ones . . . Mozart was captivated by Vienna’s liberal atmosphere and lack of social complications, his encounters with unconventional people, and the unlimited passion for music shared by all Viennese (1783)"
September 11, 2018
Review
A story of Mozart's last ten years presented by a historian, and therefore focussing mostly on his life, not the music. This is the first book about Mozart, I have come across, that verifies so many myths that have been spread about his marriage, competition with Salieri, reception of his music by the emperor Joseph II, and finally his death and burial. The author, by using the documents and contemporary information clearly presented the facts behind each of the events. An excellent read for all Mozart fans.
Notes:
Mozart Children: Mozart had six children. Only two survived:
Karl Thomas, the second child - born in 1784, died a bachelor in Milan in 1858 after a career as tax official.
Franz Xavier Wolfgang, born in 1791, five months before Mazart's death. He worked as musician, primarily in Lvov, and died a bachelor in 1848.
Konstance Weber: She was a good wife to Mozart and excellent mother to his children.
Mozart's poverty: During his last ten years of life Mozart earned, on average almost 2,000 florins per year, based only on the documentary evidence. He also performed the concerts and had students which, conservatively should bring his income to about 4,000 florins per year. In Salzburg Mozart was paid 450 florins per year. His father received 350 florins per year as assistant kapellmeister. A secondary school teacher would earn 400 florins per year.
Freemasonary: Mozart joined the lodge Zur wohltatigkeit (Beneficience) in 1784 and was promoted to Master in 1785.
Death: On 18th of November 1791 Mozart conducted his cantate K.623. He took to his bed on 20th.He expired on 5th of December at one o'clock in the night. The author suggest that he died of rheumatic fever. A notice appeared in the Wiener Zeitung on the day of Mozart's burial remembering his scaling the heights of the greatest masters with his works loved and admired everywhere, which were the proofs of his greatness and revealing the irreplaceable loss which the noble art of music has sufferred through his death.
Funeral Service: Constanze Mozart did not have the strength to funeral service at St. Steven's. On 7th of December Mozart's body was taken from his apartment and brought to St. Stephen's Cathedral for the funeral service. The service took place in a small chapel just inside the cathedral's main entrance. We don't know how many attended. The names of about 10 friends and 6 family members appear in the recollections of a few participants. His masonic lodge held a memorial service, and a memorial service in Prague drew over 4,000 mourners. After six o'clock in the evening the coffin was transported to the cemetery of St. Marx, beyond the city limits, approximately three miles from the cathedral.
Burial regulations: In 1784 Joseph II issued a decree about funerals, which stipulated the cemeteries were to be located outside the city limits. Following the church service, the body was to be conveyed by a priest, without ceremony, to the local cemetery for internment. To promote decomposition the bodies were to be sewn unclothed into linen sacks and buried without the coffin. The coffins used to transport the body were to be reused and provided free of cost to the parishioners. The body were to be placed in the grave and strewn with unslaked lime and immediately covered with earth. If several bodies arrived at the same time, they all could be placed in a single grave. Any memorials could be only located along the walls of the cemetery, not in there, in order to save space.
Burial: Mozart was buried in a coffin, as shown in the death register of his parish. He got a third-class burial, which applied at the time to 85% of the bourgeois population. After eight years at most, the site was reused. Any bones that came up then were reburied somewhere else. When the grave was searched in 1844, the gravedigger was already dead, and they could only identify two rows that were used in 1791.
A story of Mozart's last ten years presented by a historian, and therefore focussing mostly on his life, not the music. This is the first book about Mozart, I have come across, that verifies so many myths that have been spread about his marriage, competition with Salieri, reception of his music by the emperor Joseph II, and finally his death and burial. The author, by using the documents and contemporary information clearly presented the facts behind each of the events. An excellent read for all Mozart fans.
Notes:
Mozart Children: Mozart had six children. Only two survived:
Karl Thomas, the second child - born in 1784, died a bachelor in Milan in 1858 after a career as tax official.
Franz Xavier Wolfgang, born in 1791, five months before Mazart's death. He worked as musician, primarily in Lvov, and died a bachelor in 1848.
Konstance Weber: She was a good wife to Mozart and excellent mother to his children.
Mozart's poverty: During his last ten years of life Mozart earned, on average almost 2,000 florins per year, based only on the documentary evidence. He also performed the concerts and had students which, conservatively should bring his income to about 4,000 florins per year. In Salzburg Mozart was paid 450 florins per year. His father received 350 florins per year as assistant kapellmeister. A secondary school teacher would earn 400 florins per year.
Freemasonary: Mozart joined the lodge Zur wohltatigkeit (Beneficience) in 1784 and was promoted to Master in 1785.
Death: On 18th of November 1791 Mozart conducted his cantate K.623. He took to his bed on 20th.He expired on 5th of December at one o'clock in the night. The author suggest that he died of rheumatic fever. A notice appeared in the Wiener Zeitung on the day of Mozart's burial remembering his scaling the heights of the greatest masters with his works loved and admired everywhere, which were the proofs of his greatness and revealing the irreplaceable loss which the noble art of music has sufferred through his death.
Funeral Service: Constanze Mozart did not have the strength to funeral service at St. Steven's. On 7th of December Mozart's body was taken from his apartment and brought to St. Stephen's Cathedral for the funeral service. The service took place in a small chapel just inside the cathedral's main entrance. We don't know how many attended. The names of about 10 friends and 6 family members appear in the recollections of a few participants. His masonic lodge held a memorial service, and a memorial service in Prague drew over 4,000 mourners. After six o'clock in the evening the coffin was transported to the cemetery of St. Marx, beyond the city limits, approximately three miles from the cathedral.
Burial regulations: In 1784 Joseph II issued a decree about funerals, which stipulated the cemeteries were to be located outside the city limits. Following the church service, the body was to be conveyed by a priest, without ceremony, to the local cemetery for internment. To promote decomposition the bodies were to be sewn unclothed into linen sacks and buried without the coffin. The coffins used to transport the body were to be reused and provided free of cost to the parishioners. The body were to be placed in the grave and strewn with unslaked lime and immediately covered with earth. If several bodies arrived at the same time, they all could be placed in a single grave. Any memorials could be only located along the walls of the cemetery, not in there, in order to save space.
Burial: Mozart was buried in a coffin, as shown in the death register of his parish. He got a third-class burial, which applied at the time to 85% of the bourgeois population. After eight years at most, the site was reused. Any bones that came up then were reburied somewhere else. When the grave was searched in 1844, the gravedigger was already dead, and they could only identify two rows that were used in 1791.
August 20, 2025
Mozart in Vienna, 1781-1791 is so richly researched and well-written that the reader might wonder if Herr Volkmar Braunbehrens transported in from 18th-century Vienna to compose it. Some readers who do not listen to classical music will undoubtedly like it. Fans of classical will find their enjoyment immeasurably enriched.
Though Mozart in Vienna, 1781-1791 is intended as a "popular biography" for everyday readers, it is so richly detailed that it would pass as a scholarly biography for academics. Unlike some academics, however, Braunbehrens is an excellent writer. The mix of great research and great writing makes for a compelling read. Even translated into English, the book is excellent.
The best element is the analysis, rather than only dry recitation of facts. However, analysis is reliable only when the facts and conclusions back it up. Braunbehrens's work is a success. He has done original research, read other biographies of Mozart and brought sound reasoning to his subject.
Braunbehrens stands on the shoulders of others and goes beyond them in his book. He points out the failings of previous biographies, especially their assessment of Constanze Mozart, the composer's spouse. Previous biographers attacked her for being a unloving woman, a poor companion for the brilliant Mozart and and a money-maker only interested in exploiting her husband's legacy. The misogyny is shocking. As Braunbehrens shows, Frau Mozart was a loving wife, an accomplished musician and a shrewd businesswoman who faced debt while trying to raise two sons. Braunbehrens sets the record straight on Constanze Mozart, as well as other misconceptions.
Ironically, most lovers of Mozart hate the Hollywood movie Amadeus because it distorts elements about his life. Though I acknowledge those distortions, the overarching theme of the movie is right: Mozart was a gift from God. As Braunbehrens shows, Mozart's output of music was almost freakish, he frequently borrowed money and he lived in a world of intrigue. The movie's spin on these issues isn't reliable, but its conclusion is on target.
Some elements of Mozart's story are particularly compelling, including his membership in the Freemason societies. Usually, I find talk about fraternal societies tiresome because of their secretiveness. Ironically, the goals of the freemasons were a product of the Enlightenment. They wanted to shine the light of reason, freedom and liberty on the masses, yet they had to maintain an element of furtiveness because of the authoritarian nature of politics in Mozart's time. Braunbehrens sets Mozart's membership in the society in the context of his age. In fact, the world owes a debt of gratitude to the Freemasons. A lot of his music would never have been written without the existence of Freemasons, as he often wrote pieces to perform for them. Braunbehrens interprets Mozart's opera Die Zauberflöte through the lens of the Freemasonry and the social and political concerns of the day.
The sections on Mozart's finances, Emperor Joseph II of Austria, the composer's death and the reactions of audiences to his music are excellent. Audiences in Prague embraced Le Nozze di Figaro with its seemingly liberal politics, while those in Vienna were a bit more circumspect in their reaction.
Like a phaeton on the muddy streets of the Austrian capital, Mozart in Vienna, 1781-1791 takes readers to a fine performance. The theater is buzzing, the musicians are ready and the maestro emerges. A masterpiece awaits them!
Though Mozart in Vienna, 1781-1791 is intended as a "popular biography" for everyday readers, it is so richly detailed that it would pass as a scholarly biography for academics. Unlike some academics, however, Braunbehrens is an excellent writer. The mix of great research and great writing makes for a compelling read. Even translated into English, the book is excellent.
The best element is the analysis, rather than only dry recitation of facts. However, analysis is reliable only when the facts and conclusions back it up. Braunbehrens's work is a success. He has done original research, read other biographies of Mozart and brought sound reasoning to his subject.
Braunbehrens stands on the shoulders of others and goes beyond them in his book. He points out the failings of previous biographies, especially their assessment of Constanze Mozart, the composer's spouse. Previous biographers attacked her for being a unloving woman, a poor companion for the brilliant Mozart and and a money-maker only interested in exploiting her husband's legacy. The misogyny is shocking. As Braunbehrens shows, Frau Mozart was a loving wife, an accomplished musician and a shrewd businesswoman who faced debt while trying to raise two sons. Braunbehrens sets the record straight on Constanze Mozart, as well as other misconceptions.
Ironically, most lovers of Mozart hate the Hollywood movie Amadeus because it distorts elements about his life. Though I acknowledge those distortions, the overarching theme of the movie is right: Mozart was a gift from God. As Braunbehrens shows, Mozart's output of music was almost freakish, he frequently borrowed money and he lived in a world of intrigue. The movie's spin on these issues isn't reliable, but its conclusion is on target.
Some elements of Mozart's story are particularly compelling, including his membership in the Freemason societies. Usually, I find talk about fraternal societies tiresome because of their secretiveness. Ironically, the goals of the freemasons were a product of the Enlightenment. They wanted to shine the light of reason, freedom and liberty on the masses, yet they had to maintain an element of furtiveness because of the authoritarian nature of politics in Mozart's time. Braunbehrens sets Mozart's membership in the society in the context of his age. In fact, the world owes a debt of gratitude to the Freemasons. A lot of his music would never have been written without the existence of Freemasons, as he often wrote pieces to perform for them. Braunbehrens interprets Mozart's opera Die Zauberflöte through the lens of the Freemasonry and the social and political concerns of the day.
The sections on Mozart's finances, Emperor Joseph II of Austria, the composer's death and the reactions of audiences to his music are excellent. Audiences in Prague embraced Le Nozze di Figaro with its seemingly liberal politics, while those in Vienna were a bit more circumspect in their reaction.
Like a phaeton on the muddy streets of the Austrian capital, Mozart in Vienna, 1781-1791 takes readers to a fine performance. The theater is buzzing, the musicians are ready and the maestro emerges. A masterpiece awaits them!
May 23, 2025
This book presents Mozart as a busy and successful member of the bourgeoisie - seeking and obtaining commissions and posts, giving piano concerts, presenting his operas and other music to the public, and so forth. In this telling, he appears to have been not much different than any industrious tradesman, shopkeeper, or businessman, except that his stock in trade was music of the most sublime class. The author also makes a point of debunking the many legends that have arisen about Mozart since his untimely death in 1791 at the age of just 35 years, such as that he died forgotten and impoverished, that he was murdered by Salieri, and that in manner he was an annoyingly insipid fool.
My major criticism of the book is that it doesn't give enough attention to Mozart's music, its value, and his methods in composing and performing it. Mozart would be unknown today but for the fact that he composed some of the most beautifully sublime music ever written. It seems to me that subliminity must be placed at the center of his life, but that doesn't happen in this book.
My major criticism of the book is that it doesn't give enough attention to Mozart's music, its value, and his methods in composing and performing it. Mozart would be unknown today but for the fact that he composed some of the most beautifully sublime music ever written. It seems to me that subliminity must be placed at the center of his life, but that doesn't happen in this book.
Want to read
June 27, 2021One of LaRouche’s researchers said of this book in a magazine article: “among all the books on the market around the bicentennial of Mozart's death in 1791, is one that must be read. Volkmar Braunbehrens surpasses the field in his stated goal of stripping away the romantic myths and properly situating Mozart's life, and strews tantalizing suggestions throughout his book. Mozart deliberately undertook to fight for truth and to change the world by means of creating beauty. Any attempt to account for Mozart's extraordinary contributions that implies some innately magical phenomenon, is either the product of abysmal ignorance, or willful lying.”
September 20, 2018
Well written account of Mozart's years in Vienna, debunking some of the popular myths about his life. Especially interesting to me was the section about Freemasonry.
January 15, 2020
Excellent insight into the last decade of Mozart's life and the Viennese milieu he moved in.
December 14, 2020
Superb writing
April 24, 2014
An interesting look at Mozart in the social context of 18th century Vienna.
Displaying 1 - 12 of 12 reviews