Wolfgang Amadeus Mozart: An early version of Elon Musk?

Under [his father Leonardo’s] guidance Mozart began playing the piano at age four, was a skilled musician at age six, and was subsequently propelled through Europe, visiting Vienna at six in 1762,  Paris in 1763, London in 1764, and Italy in 1769 at the old age of thirteen. As a young child in Rome, he wrote out the entire score of a nine-voice religious work after hearing it twice. He played the piano brilliantly, he read concertos  at sight, he improvised, and he composed from the age of six; his first symphony came at eight, his first oratorio at eleven, his first opera at twelve. At fourteen he conducted twenty performances of that opera. The Pope decorated him, Empress Maria Theresa took note of him, he heard Haydn’s string quartets in 1773 and wrote his own first six that same year, at age 17. (Classical Music: The 50 Greatest Composers and their 1,000 Greatest Works, Phil G. Goulding, P121

That all sounds a little Elon Musky, if you ask me, a contrived ‘great’ man, a product of publicity and deception.

I know there is controversy surrounding the works of William Shakespeare, but I have always set them aside as unimportant. After all, the works were written, and they are timeless. Who cares by whom centuries later? But given what I have learned these past few years about the phenomenon of fake deaths of famous people, I tend now to lean to the Christopher Marlowe theory.  His “death,” after all, relieved him of trial for alleged atheism, at that time a capital offense. Queen Elizabeth I would have been relieved of the responsibility for his public execution. His friends involved in the drunken brawl that resulted in his death were Rosicrucians, so there’s that aspect, the hidden hand crowd.

So alleged authorship takes on significance as it appears to fit the historical pattern of fake death for various purposes, from staging an orderly succession to an otherwise unelectable new president (Lincoln to Johnson) to the tragic final act of a real life play (Hitler) to beginnings of the destruction of a strong country (JFK) to mere cashing in on a soon-to-be moribund music portfolios (John Denver, Cobain, Karen Carpenter, Prince, etc. etc. etc.)

Here’s a rather long passage from an essay on the questions surrounding Mozart by
Dr. Pei-Gwen South called Exploding the Myth About Mozart.

“His performing capabilities aside, much has been made of Mozart’s apparent ability to compose at this young age, and the works that he supposedly wrote and published while on tour. It was, in fact, one of the selling points of his father’s campaign to boost the reputation of his son. An advertisement from 13 May 1765, while they were in London, invited audiences to hear a “‘Concerto on the Harpsichord by the little Composer and his Sister, each single and both together'”, and engraved sonatas and portraits were offered for public purchase (Heartz 1995: 506). Just a few months earlier, in February, Mozart had also apparently performed some of his first symphonies in concert. However, by their very importance to the family’s activities and success at this time, the validity of such works and compositional claims is necessarily questionable, for in building up his son, one has to wonder how much Leopold exaggerated his talent, and how much of his compositional achievement was manufactured for the public. It is known that the harpsichord sonatas composed during their stay in Paris from 1763-64 were written “with the ever-present help of his father” (Heartz 1995: 498), and that his father’s assistance was again required for the Gallimathius musicum K.32, written for the Dutch court, the autograph for which shows parts written in Leopold’s hand. There is also some controversy amongst experts as to the extent of Leopold’s contribution to the symphonies composed during the trip to Italy in 1770, further to his involvement with their copying (Heartz 1995: 507,556).

Certainly, the argument that Leopold ghost-wrote Mozart’s early compositions because it was expedient is a likely one that warrants serious consideration. Given the rigours of travel, especially in those days, and the constant round of social engagements they undertook, the toll on the young Mozart must have been enormous, and extensive documentation indicates that he was frequently ill. During these years alone he was stricken with erythema nodosum, rheumatic fever, angina, small-pox, scarlet fever and intestinal typhoid, the latter of which afflicted him for two months, and during which time it is claimed that he also published six sonatas for keyboard and violin K.26-31 allegedly of his own composition. These illnesses were in addition to minor maladies such as colds. It is indeed difficult to imagine that under these circumstances Mozart would have had the time, vigour or inclination to compose, let alone to compose works worthy of public performance or publication. But for someone of Leopold’s skill it would have been easy. Leopold’s presence looms large in Mozart’s juvenile church works, such as the Masses K.66 and K.139 and the Litany K.125, which are said to have been modelled on Leopold’s compositions and to be thus indebted to them, but which could just as easily have been written by the older composer, thus accounting for their style. Certainly, Leopold’s predisposition towards employing horns in his sacred music (he was probably the first composer in Salzburg to do so) is a feature that is also found in Mozart’s works in this genre (Eisen 1989: 171).

It is a 10,000 word essay, not for the drive-by type, but well worth time spent for students of history involved in the ongoing search for truth.

I think it is understood by all that Mozart was a gifted pianist and did indeed compose many works attributed to him. But he was no Elon Musk.

Or was he.

About Mark Tokarski

Just a man who likes to read, argue, and occasionally be surprised.
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31 Responses to Wolfgang Amadeus Mozart: An early version of Elon Musk?

  1. fm says:

    Ohhhh, living near Salzburg, I take that as personal offense ….. 😉

    But honestly, there might have been a lot of pushing from Leopold’s side involved. After all, it was his business success as well. And in case you missed it, W.A. was Freemason, as his father Leopold. That suggests pushing from high-level masonry as well.

    I would, however, not put him in the same corner as front-ends and empty shells like Musk, Zuckerberg, Gates and Jobs.

    Liked by 1 person

  2. B. Müller says:

    it all happened before the french revolution so there is potential for truth. And the music stands extraordinary to these days. Somebody wrote it. I know musical kids playing piano perfectly. They may be no geniuses but back then there was no minecraft to waste the precious time of the youth. I consider this to be maybe exaggerated but in general true. I think the big lying started about 1900. That’s the time where inventions like theoretical physics captured science. Schools changed their education lines and replaced classical education with history. And history I consider to be pure propaganda. See Edward Bernays.

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    • fm says:

      I think the big lying started about 1900. …
      Schools changed their education lines and replaced classical education with history.

      According to my research, the timeline is a little different. The current schooling system (or better indoctrination system) was introduced by Prussia. Background was a crushing defeat (AFAIK against the French), and the need to reform. Objective was and still is the perfect slave and working bee, knowing as much as required for the job, and nothing more. It was never about knowledge or enlightenment.
      A recommend to read John Taylor Gatto on this topic.

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      • Gatto is pretty good – who was it who said that there is nothing more hopeless than a slave who does not know he is a slave? Something like that.

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        • fm says:

          AFAIK it was Goethe.
          Another quote supposedly from him: “Happy slaves are the greatest enemies of freedom.”

          I wait for somebody to come up with the theory that he was a spy / mason / disinfo agent / Elon Musk himself. At least his poet-friend Friedrich Schiller was Jewish …

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    • fm says:

      And history I consider to be pure propaganda. See Edward Bernays.

      While I think Bernays was not about history and more about contemporary propaganda and brainwashing of the populace, I fully agree.
      History is pure propaganda. The more recent one is mainly black- or whitewashing, and the further you go back, the more it dissolves into pure fiction.

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  3. tyronemccloskey says:

    Let me offer a different template from Musk: The old rugged Beatles. Like the Beatles, there were multiple Mozarts in the beginning, the network overseeing these concerts/operations were the Masons, Leopold was the George Martin of the project (Recall just how much music Martin composed for the records) and that the overall objective was to corral professional musical expression within the myth of singular geniuses, in a way creating a “playlist” that would crowd out other composers from the top venues and publishers. Other Masonic composers contributed to the “canon”, taking their cut and moving on to smaller, local venues while the Mozart machine played the top courts with their re-autographed originals.
    BTW, I recall reading that Mozart’s sister was a superior performer on the keyboards, bringing an awkward delight to the assembled nobles, the gimmick of a young prodigy being buttressed by this novelty.
    I also recall reading that young Wolfgang’s own performances were erratic at times, suggesting multiple performers in the role. And it could very well be that some audiences knew they were hearing a cover band but that official history simply did not allow such information to survive.
    Wild spec, but the playlist concept I think is a thing. We certainly see it today, so why not back then? Music, as Mark has pointed out more than once, is too powerful to be left to chance.

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    • calgacus says:

      I think that they use this singular genius method in many areas. Maybe it is easier to use this method in order to manipulate the people in certain directions. Killing the competition, like you said, is also very important. But outsiders are probably excluded from the start, because various platforms are denied to them (especially those that go too far from the main stream).

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  4. Truth be told, I do not care for much of Mozart’s music, too choppy for my taste. But I’ve not heard all of it either. Some of it, like Piano Concerto 21 Second Movement, is near divinely inspired. If I have listened to it a hundred times, I never tire of it.

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    • tyronemccloskey says:

      The Rondo Alla Turca is as catchy as it comes. Couldn’t give a fig who wrote it. I do love Beethoven and I so want him to be legit. I want to think some can actually achieve greatness on their own, so to speak. I certainly aspire to that but greatness is so relative and rationales for stopping and being satisfied after exhausting all possibilities leaves one at the mercy of posterity.
      Beethoven’s motifs suggest to me a single mind at work. “Mozart” strays too far afield so that it is hard to resist the idea that a committee is at work here. Something more than the Brill Building or the Wrecking Crew, but factory-like, perhaps.

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    • calgacus says:

      Piano Concerto 21 is sometimes called Elvira Madigan. I wonder if there is some funny business with the Elvira Madigan story. In 1889 he also have the Rudolph of Austria death. 2 stories of lovers killing themselves.
      Nonetheless that movement is very romantic.

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      • My knowledge of classical music is skin deep, but there is so much of it that I ahve a lifetime to explore. According to Robert Newman in the link below, the great works of the time were channeled through Mozart, but most of them were not published in his lifetime. According to Dr. South (the 10,000 word essay referenced above), Mozart plagiarized beyond the pale while at the same time saying derogatory things about the men whose work he stole. Newman also says, but does not elaborate, that a similar type of psyop was used in the creation of the image of Isaac Newton.

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  5. Jesse says:

    The “Matrix” (to assign it an arbitrary name) is very, very ancient. It is a multi-layered, multi-dimensional design. Not even back to the 1700s… Spook Ronald Syme once jotted down on his book about Rome: “In all ages, whatever the form and name of government, be it monarchy, republic, or democracy, an oligarchy lurks behind the façade ….”. Romans had their Aquila. Americans have their Eagle as well. Heck, even the Third Reich had the Eagle as well…very curious, isn’t it? The problem with some truthers (some of them perhaps unwillingly and unintentionally) is they are the biggest liars since the biggest lie is the one closest to the truth (nothing wrong with that). Our disadvantage is most of the time we speculate; on the other hand, the architects, the designers, they (underscore) KNOW.

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  6. Jack says:

    There was a Red Ice interview (back in the day when Red Ice was much more interesting, history mysteries, alt science etc) in 2009 called The Mozart Myth by Robert Newman who said that he spent 15 years researching Mozart. He theorises that it was all a fraud and he gives a suggestion of why the fraud was engineered. It’s an interesting listen and is probably knocking around Youtube or somewhere.

    Like

    • fm says:

      I don’t care too much about the Mozart figure, no emotional attachment from my side. However somebody wrote this wonderful music, all by himself. In difference to empty facades like “Lady Gaga”, where every tone is computer-generated. No musical skills whatsoever required …

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    • I am sympathetic to that, other than “somebody,” if by that you mean than other than the genius Mozart we are told of, there was merely some other genius. I am more inclined to agree with Ty above who says that this is committee work, like the Beatles of our day, just on a much higher level for the musical tastes of that era. The people who wrote this music had to have intense and long training before it issued forth.

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      • fm says:

        Even if more than one compositor was responsible for Mozart’s symphonies or operas, they were still really good, and deserve respect (IMHO).
        And, being in the software business, I know the algorithms simulating Gaga et.al. have been evolving for the last 20 .. 30 years. They (the algorithms, combined with current computer performance) can do amazing things. This destroys any respect for slutty pseudo-performers like Gaga. BTW, I use the Gaga-thing just as example. There are plenty, and you know …

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    • This link is better.

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      • B. Müller says:

        dear Mark, it is easy to make such claims but there is no prove for any of it. On the same basis they claim, Leonardo da Vinci was gay. It doesn’t really matter if there was a child genius called Mozart, the music is still there and still outstanding. There is no way to find out the truth, we already have all the details. If any new documents would suddenly come out I would consider them faked. It only makes sense to search for the truth if it changes anything and if there is a possibility or a way to get any new information. Miles Mathis may find out, Mozart was a psyop because his bio is fudged and he was Jewish or whatever, but I cannot derive any useful instructions from questioning the Mozart tale.

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        • Those sentiments have been expressed repeatedly here in the comments and have merit, just as the work of Shakespeare are known to exist, so that authorship is a moot point. I tend to agree to maybe 90% except that the paragraph I cited at the opening is such an insult to our intelligence, as is Elon Musk. In addition, there must be something of value hidden in the Mozart tale, as they thought it important enough to mask the truth with that stupid movie, Amadeus.

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          • fm says:

            In addition, there must be something of value hidden in the Mozart tale, as they thought it important enough to mask the truth with that stupid movie, Amadeus.

            Tourism, heavily drawing from Mozart’s name, is a significant factor in Salzburg. Not sure if this alone qualifies to finance stupid movies …
            And to add a counterpoint for the psyop hypothesis, the “market penetration” of classical music (the kind Mozart made) was quite small even at it’s time. Only the small amount of people was both wealthy enough to have access, and educated enough to understand it. This music was never intended for the masses, and certainly not to influence the masses.

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          • Hope you get a chance to view the Robert Newman video on this matter, linked somewhere here in the comments. I have to listen again as I was distracted and only half paying attention, but that very issue is discussed in detail.

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          • fm says:

            Finally found the time to listen to the interview, and the arguments sound quite plausible. I even remember I had come across some of the facts before.
            “A local musician totally blown out of proportion, as a public relations stunt.” That remembers me on another mediocre man, who was 100% ghost-written and glorified even today, to further a hidden agenda – Albert Einstein.

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  7. calgacus says:

    Is there a nice study or book about how music was used as propaganda throughout the ages? I know that there is a passage in Valerius Maximus (Memorable deeds and sayings) about Spartans listening to a tune before going to a battle. The ancient navies used musical instruments to coordinate the rowers. Of course the propaganda goes beyond the military. I also remember reading something about transition from 432 Hz to 440Hz (a quick google search and some call it nonsense, maybe people here know more about this). My knowledge of many aspects of music is very limited.

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  8. zoomah says:

    If you are a soldier revving for battle, the British marching battle music wins the prize. Listen to the Barry Linden movie soundtrack. The military marches raise the hair on your neck. It is quite splendid and inspiring, “Britannia rules”. Egads, the British are coming! Percussion, percussion, percussion!

    Like

  9. fm says:

    German/Prussian and Austrian march music does not stand back one micron…

    Like

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