Meistermusik: Evidence of Authenticity.
Evidence that Meistermusik was composed by Mozart.
And the Bizarre Year of 1785.
A Topic Related to:
The Masonic Funeral Music, K.477
Dave Morton, April 2014
Last Updated in December, 2017
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Pictures from this Article (Reduced)
Pictures from this Article (Reduced)
Jeremiah. The Bridge of Sighs, Venice. Michael Haydn. Duke Georg Mecklenburg.
Masonic Connections. Inquisition Insanity. Composer and Friend. Aristocrat. Died young.
Saw Temple Destruction Masonic Funeral Music.
John F. Kennedy. Jackie Kennedy. Nancy Storace. Salvador Dali Painting.
Aristocrat. Died young. Aristocrat. Singer and Friend. "The Persistence of Memory".
Mozart's Requiem. "Magnificent. Played Susanna in Figaro. Obviously filled with Mistakes?
I'll never forget it."
Mona Lisa. Queen Charlotte. The Dissonant Quartet. The Trojan Horse.
Leonardo da Vinci. Mecklenburg's older January, 1785. Obviously a Gift from the
Old Painting. Sister in England. Obviously filled with Mistakes? Greeks?
Obviously not worth Spied on Mozart?
much? Looked Gift Horses in
Sunflowers. The Masonic Funeral Music.
Vincent Van Gogh. Composed "In the Month of July".
Obviously Just Obviously a Date Mistake?
Yellow Paint? (That's what some people claim).
Well, maybe it wasn't a Mistake....
Maybe it was "Smoke and Mirrors"
AND the Date of the first Version
known as Meistermusik.
of this Paper (Synopsis, etc):
Continue Scrolling Down.
Continue Scrolling Down.
Link To General-Information Page
Short Preview, Issues and
First Performances, Etc.
Some Links to Various Topics:
Meistermusik and the Masonic Funeral Music Described
Purpose, Audience, Short History, Primary Evidence,
Analysis of Verses, Phrases, Notes, Words, and Syllables
Funeral March in C
Minor - K.453a 1784 (MIDI)
Completely different from The Masonic Funeral Music.
Grim, Hopeless, Solitary, and very "Final".
Instrument changed to an Organ by Dave Morton.
Mozart: Meaning and Emotions
Miscellaneous thoughts on Mozart.
The Masonic Funeral
Music Abbreviation: The MFM.
Link To General-Information Page
Short Preview, Issues and Questions, Description,
First Performances, Etc.
Some Links to Various Topics:
Meistermusik and the Masonic Funeral Music Described
Purpose, Audience, Short History, Primary Evidence,
Analysis of Verses, Phrases, Notes, Words, and Syllables
Analysis of Verses, Phrases, Notes, Words, and Syllables
Funeral March in C Minor - K.453a 1784 (MIDI)
Completely different from The Masonic Funeral Music.
Grim, Hopeless, Solitary, and very "Final".
Instrument changed to an Organ by Dave Morton.
Mozart: Meaning and Emotions
Miscellaneous thoughts on Mozart.
Miscellaneous thoughts on Mozart.
Meistermusik Abbreviation: MM.
The Masonic Funeral Music Abbreviation: The MFM.
Traditional View of Meistermusik and The Masonic Funeral Music (The MFM)
by some people:
* Meistermusik: There is no such Piece by Mozart, and there's no evidence for it.
* The MFM: Composed by Mozart in November of 1785 when two Masonic
Aristocrats died, and performed at least once - possibly twice.
It was a New, Original Piece.
It had no Predecessors.
It is designated K.477 .
Modified View of Meistermusik and The Masonic Funeral Music (The MFM)
by some people:
* Meistermusik: Composed by Mozart in July of 1785 and performed in August.
There is a considerable amount of evidence for it.
It has been designated "deest" (K.deest) for purposes of discussion --
no K Number assigned.
Not an official part of the Mozart Catalog of Pieces, but the
evidence shows that it should be added to the Official List.
(Official Catalog of Mozart's Pieces: The Koechel Catalog.
Future Catalog: The NMA - the Neue Mozart Ausgabe.
[ The "New Mozart Catalog".] )
* The MFM: The MFM was composed by Mozart in November of 1785 when
two Masonic Aristocrats died, and performed at least once -
It is a derivative of Meistermusik.
Mozart used Meistermusik as the Foundation for the MFM.
The MFM is designated K.477 .
The MFM and Meistermusik are musically very similar, and
Meistermusik incorporates a Male Chorus, while the MFM
The MFM (with no Voices) contains a lengthy musical line
known as the "Tonus Lamentatorium", which was SUNG in
Catholic Churches during "Holy Week" (Easter Week),
with Latin Words, and possibly still is sung, years later.
Thus, the MFM might have had a Vocal Predecessor.
We call that Predecessor Piece "Meistermusik" - a Piece
written for use by the Freemasons, which incorporated
some pre-existing Vocal Church Music.
The non-vocal Masonic Funeral Music (the MFM) was the
successor to Meistermusik.
Meistermusik exists as a Piece of Music in the Classical Music World -
as Audio Recordings and Sheet Music.
But it is not "Officially" recognized as "Authentic Mozart".
The Question is: Did Mozart Compose it??
Is it AUTHENTIC MOZART or not??
Why is the Authenticity of Meistermusik disputed??
Meistermusik is disputed by some people because:
* Mozart did not enter the Piece in his Thematic Catalog.
* We don't have the Autograph Score (in Mozart's Handwriting).
* We don't have any published (Printed) version of it from that Era.
* We don't have any Letters mentioning the Piece - from Mozart or
from anyone else.
* A Clue that Meistermusik existed, in the form of a Date in Mozart's
Catalog for The Masonic Funeral Music ("In the Month of July")
instead of November (with a Day of the Month), is said to be a
MISTAKE by Mozart, or simple Forgetfulness.
[Note that this is a Declaration that the Evidence we see is actually
"Non-Evidence". But the claim of a Mistake is just an Opinion, not a
If it's a Mistake, it's a HUGE and BIZARRE "Mistake" - 4 Months Off!!
(July instead of November.)
If it was Forgetfulness, Mozart was Mentally Ill to forget all that
recent activity in November.
Neither "Explanation" (Mistake or Forgetfulness) makes any Sense.
One is BIZARRE (Inexplicable Behavior), the other implies
MENTAL ILLNESS (forgetting a large and recent portion of one's
Life, from just 4 months earlier).
As far as I know, Mozart was never Crazy or Extremely Forgetful.
If anything, he was the Exact OPPOSITE - Sane and having an
There must be some other Explanation for that Date.
* The Music Historian Alan Tyson did not tackle the issue of the
"July" Date as the month that Mozart composed the MFM - a point
related to the Evidence for Meistermusik.
He called the date "Puzzling".
(Fact: Unfortunately, Tyson died before analyzing the situation.)
* Mozart's Catalog is among the Top Sources of the Truth (unless
he made a Mistake).
Therefore, if Meistermusik isn't listed, it must not have existed.
* A well-known expert player of the Basset Horn was NOT in Vienna
when Meistermusik was supposedly performed.
* Some people claim the The Masonic Funeral Music must have
been an Original Piece, and not a Derivative of some previous
Piece, as the Meistermusik Theory asserts, due to the high positions
of the deceased people involved, and their Relatives.
Therefore, Meistermusik is Fictitious since Mozart would have
composed a New, Original Piece for their Memorial Service.
* Some people claim that the Queen of England somehow knew that the
Freemasons of Vienna from a particular Masonic Lodge, held a Masonic
Memorial Service for her Little Brother, knew that Mozart had composed
Music for it, and knew the Type, Quality, and Originality of the music
used, and that this music had never been played before, in Public, or in
another Masonic Lodge, since she was aware of all the music that had
been played in all the Austrian Masonic Lodges for the past 10 years,
or so, as reported by her Musical Spies, as well as all the music
played in Public Venues in Europe for the past 100 years, or so.
Mozart knew that she would find out about the Memorial Service,
and find out if non-original music was used, and that she would be
offended by it, so he took pains to compose New Music in order
to not offend the Queen of England, even though it would involve
more work for him, more work for the orchestra, and probably
additional cost, since Copies would need to be made for the Orchestra
Therefore, Meistermusik is Fictitious because no previous version of
The Masonic Funeral Music exists or would have been used to create
The Masonic Funeral Music.
Mozart made sure the Queen wasn't offended by Old Music or
non-Original Music for her brother's Memorial Service.
[Except for the Old "Tonus Lamentatorium" from the 1500's, of course,
which was over 200 years old, and incorporated into the MFM.
And the fact that Michael Haydn had already composed a Mass,
partially consisting of the Tonus Lamentatorium.
Meaning that the Masonic Funeral Music was partially a Derivative
Piece, and not New and Original.]
These Points don't PROVE that Meistermusik doesn't exist.
Example: There are about 98 other Missing Autograph Scores
of known Mozart Pieces.
A missing Autograph score doesn't prove anything.
Example: Mozart did not ALWAYS record Pieces in his
A missing Catalog Entry doesn't prove anything.
It indicates that it MIGHT not exist - might not be Authentic,
and that we need some Evidence that it DOES exist (of course).
With no Evidence, Meistermusik is pure Fantasy.
With Evidence, it probably DOES exist.
Additionally, when we enter the World of Freemasonry, we are
entering a somewhat strange World of Hidden Things.
Hidden Symbols, Hidden Meanings, Hidden Motives, Multiple Secrets.
Non-Freemasons (such as myself) are not privy to understanding
WHAT is being hidden and WHY things are hidden.
(The "July" Date for the MFM is the first Curve Ball in this strange
situation, which should make us Pause and try to investigate things.)
Do we have Evidence of Authenticity?? Yes. PLENTY of it.
How many people dispute the Authenticity of Meistermusik - saying
that Mozart did not compose it??
Saying that it's just a False Fabrication by someone??
I don't know. Probably not many.
The Evidence for the Authenticity of Meistermusik
The existence of "Mozart's Meistermusik" (composed
by Mozart) is not an Empty Claim.
The Sheet Music was "Reconstructed" from various
Sources, but not as a Fraudulent Document. Not Falsely.
Its "Correctness" and Authenticity are supported by a
Huge amount of Evidence.
What is some of the Evidence that indicates Meistermusik's
Possible or Probable Authenticity??
Meistermusik is probably Authentic because:
* A large portion of The Masonic Funeral Music is "Choral" or "Vocal"
music (without the voices) indicating a possible Vocal Predecessor
The Melody is called the "Tonus Lamentatorium" sung in Catholic
Churches during Holy Week (Easter Week), codified by the Church
in the 1500's, and is basically a Gregorian Chant.
Therefore, Mozart MIGHT have written a Vocal Predecessor to
The Masonic Funeral Music.
* The proposed Latin words used by Mozart in Meistermusik fit the
Notes and Phrases of the music in The Masonic Funeral Music
-- The 38 Syllables fit the 38 Notes perfectly.
-- The 4 Textual Phrases fit the 4 Musical Phrases perfectly.
-- The text fits the occasion perfectly.
-- The important Figure who wrote the text fits the Freemasons perfectly.
-- The Voices (Tenors and Basses) fit the Freemason Group perfectly.
-- The "Easy" style of the Vocal Lines probably fit the Freemason Group
perfectly (the Male Chorus), since I doubt that the Average Freemason
would be able to handle difficult, complicated Vocal Music.
Just an Opinion. But the Freemasons were not primarily "Choirs".
Their Lodges were not primarily "Choir Lodges" or "Rehearsal
Halls", even though they DID sing some Masonic Songs.
The Singing of Songs was Secondary to their main Purpose, and the
Masonic Songs were not complicated.
The Orchestra Players had more Training and Musical Experience.
The Perfect Fit of Notes, Syllables, and Textual and Musical Phrases -
and the Masonic Textual Source - make it highly unlikely that the result
(Meistermusik) was just a Lucky Fluke, applicable to many Masonic or
* The proposed Latin words originate from the Book of "The Lamentations
of Jeremiah" from the Old Testament of the Bible.
Jeremiah was an important and Key Figure to the Freemasons.
Thus, the proposed words are not just ANY words.
The proposed words are very Masonic in Nature.
* The Masonic ceremony of "Promotion to Master Mason" invokes and
Therefore, if music were composed for the Master Mason Promotion
Ceremony, it would probably be Vocal, in order to invoke the thoughts
and spirit of Jeremiah.
The words would be Jeremiah's words, using some quotes from Jeremiah -
presumably from "The Lamentations of Jeremiah" Chapter in the Bible,
or wherever such Quotes can be found.
The Music would probably utilize the Melody of the "Tonus Lamentatorium" -
the Tone of Lamentations (Jeremiah's Lamentations), written by the
Catholic Church in the 1500's.
This would bring "The Spirit of Jeremiah" in Words and Music to
Meistermusik does exactly that with Words and Music.
It fits the occasion perfectly.
* If Meistermusik doesn't exist, Mozart wrote a Non-Vocal Piece
(The Masonic Funeral Music) containing a Gregorian Chant and a
Vocal Melody with no Vocal Predecessor.
Possible, but somewhat unlikely.
(Gregorian Chants are normally SUNG.)
* Mozart stated in his Catalog that he wrote The Masonic Funeral
Music in July 1785.
That would be technically impossible since the 2 Aristocrats died
4 months later in November.
However, "July" is the right timeframe for composing Meistermusik
(if it was performed in August).
Therefore, what Mozart probably meant is that he composed the
Foundation for the MFM in July, and that Piece we call Meistermusik.
There would be many practical reasons for re-using that music.
And some reasons for hiding Meistermusik.
With other Pieces written and recorded in his Catalog under November,
Mozart didn't lose his mind and write "In the Month of July" for one Piece
by Mistake. That's absurd.
He said "July" because he wrote the Foundation for the MFM in July.
That Foundational Piece was Meistermusik.
There are additional reasons given within.
Meistermusik is almost CERTAINLY Authentic.
The Evidence for it is overwhelming.
"Mozart's Meistermusik" is not a "Theory" or a "Notion" with no Evidence.
I use Evidence, with minimal Speculation.
I don't waste my time on Theories or Notions that lack Evidence.
Even Einstein's Theory of Relativity began with SOME Physical Evidence.
The constant Speed of Light, Gravity, Acceleration, Mass, and Energy
were all observable quantities, thoroughly measured, and thoroughly reported
by Physicists for Years.
Einstein illustrated their attributes and relationships better than his Predecessors,
and reported his amazing conclusions based on the existing Evidence.
Scientists then devised numerous Experiments to Verify (or disprove) Einstein's
Theories, over the years, and repeatedly concluded that Einstein was right.
Could Light be Bent?? Yes.
Does Gravity "Bend" Space?? Evidently, Yes.
Is the Speed of Light Really constant?? Yes.
Can a Physical Object exceed the Speed of Light?? No.
Will an orbiting Satellite "Lose Time" over several months?? Yes.
Are Matter and Energy 2 Forms of the same thing?? Yes.
He used the Published Evidence to expand the concepts of Physics.
Later Experiments by other Scientists simply verified his Theories.
He didn't just "Dream it up" out of thin Air.
Neither have I.
(We still call his work "Einstein's Theory", but it's not really a "Theory"
or a "Set of Theories" anymore.
They're actually "Einstein's Laws" now, but we still refer to them as
In any event, Einstein's Theory still stands, and has not been overturned.
He didn't just "Dream it up" out of thin Air.
Neither have I. )
Original Theorist of the Modified View:
Philippe Autexier, in the 1980's.
He reconstructed Meistermusik from available sources, which mostly involved
adding a Tenor and Bass Line to The Masonic Funeral Music, and filling in the
Autexier would also have needed to recognize the Melody, found in most of the
Measures of The Masonic Funeral Music, and understood that it was a Melody
which is (or was) SUNG in Catholic Churches during "Holy Week" (Easter Week).
The text that Autexier found, and fitted to the Notes of The Masonic Funeral Music,
is from "The Lamentations of Jeremiah" in the Old Testament, in a Latin version
of the Bible, used by the Catholic Church and the Freemasons.
Jeremiah was an important "Masonic" figure to the Freemasons.
Mozart was a Freemason and owned a copy of the Latin Bible.
The phrases Autexier found, that fit the notes of the MFM, are probably also found
in the Catholic Prayer Book, and recited or sung during "Holy Week" (Easter Week).
But to utilize that text, Mozart would need only a copy of the Latin Bible, or a copy
of the Freemason text of Jeremiah, copied from the Bible.
Mozart would also need to understand the Latin text, and understand its meaning
for Freemasonry, as well as for Non-Freemasons.
As a Catholic, a Freemason, and the composer of much Vocal Sacred Music in
Latin (his Church Music), I doubt that Mozart would have any trouble understanding
the Latin Text, and would be an ideal composer for a Masonic Promotion Ceremony,
if the requirement were to arise, as well as an ideal composer for The Masonic Funeral
The Vienna Freemasons had the perfect candidate for composing Masonic Music, if
the need or desire should arise: Wolfgang Amadeus Mozart.
It's the same as the Modified View, plus additional opinions.
IE, Meistermusik is Authentic Mozart (if correctly reconstructed from
available sources), and it formed the Foundation for the MFM.
Q. Why is it REASONABLE to theorize the
existence of Meistermusik, and that Autexier
reconstructed Meistermusik correctly??
A. Because Everything fits PERFECTLY!!
The Old Melody (Tonus Lamentatorium) fits the Notes Perfectly (Identical),
the Words, the Syllables, and the Phrases fit the Notes Perfectly,
the type and Mood of the Text fits the Occasion Perfectly,
the Language (Biblical Latin), the Occasion (Masonic and Personal),
the Derivative Piece (we know the MFM is authentic),
the possible Motivation for composing it (the OFFICIAL reason and
motivation for composing it, since the Masonic Candidate was somewhat
Oppressed by the Church, having to travel from Venice to Vienna to receive
the plausible motivation of Mozart to make a significant contribution to his
Organization as a New Member (joining the Freemasons about 8 months
the use of Tenors and Basses in the Vocal section,
Music easy to Sing coupled with the probable Limited singing Skills of the
the fairly short length of the Piece (6-7 Minutes), etc, etc.
Everything about this Theorized Piece is POSSIBLE and REASONABLE,
and some of the Points make it PROBABLE that it existed.
And we can create it by using Reverse Engineering on the Masonic Funeral
Music, just as Autexier must have done, plus some knowledge of the Freemasons
and their Ritual Text.
There are No "Show Stoppers",
such as requiring an Organ or a Harp,
or a Piece 30 Minutes Long,
or passages difficult to Sing,
or passages difficult to Play for an Amateur Orchestra,
or Irrelevant Vocal Text,
or a Mis-Targeted Masonic Occasion or Ceremony,
(This Piece is about as EASY to sing as it gets!!
The only exception is a few tongue-twisting Latin words.
But the pace of Singing is SLOW, so the Choir should have been able to
sing them correctly, after a couple of rehearsals.)
Everything about Meistermusik says:
"Possible, Probable, Logical, and Compelling".
Contrarian Theories, stating that Meistermusik is Fictitious, are not based on
any Hard Evidence or Analysis that I've seen, involve nothing more than attempted
Mind Reading, etc, and are easily overwhelmed by the huge amount of Evidence for
Meistermusik's existence, and the MFM's apparent use of a Predecessor Piece.
Stating that there's no Evidence for Meistermusik's existence is basically
a failure to SEARCH for the Evidence.
There IS Plenty of Evidence!!
And most of the so-called "Negative Evidence" isn't really "Evidence" at all.
It involves MIND READING, SHAKY ASSUMPTIONS, and
as opposed to Solid Evidence.
So far, the "Meistermusik Contrarians" don't have a Case.
What would you need to Prove that Meistermusik is Authentic??
What would you need to Invalidate that "Proof"??
Possibly Evidence that Proves that Mozart did NOT write it down, keeping it in his head,
never using it, saving it for a Rainy Day, electing to use the music for a more appropriate
occasion, etc, or NEVER having it in his head, etc.
But that Idea itself is Shaky. How can you Disprove Proof??
And the Ancient "Tonus Lamentatorium", used in The Masonic Funeral Music, is
Pre-existing Music itself, which means that the MFM was never New and Original, even
if Meistermusik never existed.
Is it POSSIBLE that Mozart had a Vocal Version of the MFM in his mind, but chose
not to use it?? Yes, but unlikely in this case.
Is it POSSIBLE that Mozart decided to write an Instrumental Piece using a Vocal Template
but never wrote down the Vocal Version?? Yes, but unlikely in this case.
But he must have gone to a lot of work to make sure that the words, syllables, and phrases
of the selected Latin Text matched the Notes and Phrases of the Music for no apparent
Reason, since no Text was used, and no one would realize how much work he had
expended on that Piece to make the Text fit, that no one would ever hear, since the Piece
was purely Instrumental!!
And only ONE set of Text would fit the Notes and Phrases of the Music.
The Masonic Funeral Music would be a BIZARRE case of
Hidden Effort that only ONE MAN in the World would appreciate
200 years later: Philippe Autexier!!
It seems Highly Unlikely that Mozart would do that.
As far as I know, NO ONE except for Autexier made the connection between the Melody
in the MFM and the "Tonus Lamentatorium" - the Vocal Gregorian Chant, and subsequently
uncovered the Meistermusik Piece.
If others did, they apparently didn't publish their discovery for the Public, and no other
Scholars published it or Popularized it.
This concept of "Hidden Effort" with only ONE or a Few people in the World appreciating
what Mozart did mitigates strongly in favor of a "Visible Effort", appreciated by at least
a couple of Dozen or more Freemason "Brothers".
We know that Mozart did occasionally include humor in his Music, intended for one or
a few people, but that was Easy work done for fun.
Fitting Text and Music together for a Serious Masonic Function (Meistermusik/Promotion)
would have taken a fair amount of Effort, and unlikely that he would do it only for
The Masonic Funeral Music where it would be a Hidden Effort for 200 Years.
The Freemasons DO hide things from Non-Freemasons, but a lengthy Text/Music Linkage
of Latin Words from The Lamentations of Jeremiah, played only by Instruments, and
surrounded by a highly active sub-theme, would probably be Lost on the Freemasons
as well, hearing The Masonic Funeral Music only once or twice.
It's far too subtle!!
Autexier found it because he STUDIED the Piece, and looked for Masonic connections
including TEXTUAL connections.
He found a Vocal theme buried in the MFM!!
And he found the TEXT that fit the Music!!
He revealed what was hidden, but it certainly wasn't Obvious or Easy!!!
This is strong Evidence that Meistermusik is Real - Authentic, and almost tantamount
IE, why go to all that work for the MFM if there was never a Vocal Version??
It would seem like a complete waste of time.
In fact, an analysis of the MFM illustrates that it almost certainly had a
PREDECESSOR, and we call that Piece Meistermusik.
There's much more to say about Both Pieces.
Even The Masonic Funeral Music requires some Research.
For some reason (which we will analyze), the situation with The Masonic Funeral
Music is a CONFUSING MESS, but usually flippantly "explained" with unfounded
assertions, with no Evidence whatsoever, and with no investigations into what OTHER
music Mozart wrote during and before that Timeframe, and what was happening in his
Life and to those around him, During and Before that Timeframe.
Sometimes Life is complicated, and simple "Explanations" don't Explain Anything!!
And for people who are hoping to invoke "Occam's Razor" to simplify everything,
It's a misunderstood, Fake Tool, wielded like a Magic Wand by some people, attempting
to explain Complex things with Imaginary Simplicity.
Mr. Occam lived in the primitive 1300's, his "Razor" applied to Mathematical Formulas,
it was just a Common Sense Suggestion to keep the formulas as simple as possible,
it's not a Law, and it doesn't apply to 99 Percent of Modern Living, or even to Nature
itself (Astronomy, Biology, DNA, Nuclear Physics, Psychology, etc) where we often
find tremendous complexity.
Or even to MUSIC, for that matter.
Occam was a Minimalist and WAY OFF BASE in most of his ideas.
He got Math right, and everything else WRONG.
Why?? Partly because they didn't have Telescopes or Microscopes back then.
He didn't know about Galaxies such as the Milky Way and Andromeda, didn't know that
there are BILLIONS of Galaxies, didn't know about Cells, Bacteria, Viruses, and DNA,
didn't know about the Speed of Light or the size of the Universe, etc.
Occam was CLUELESS about Nature.
People who invoke Occam's Razor usually have no idea what they're talking about,
and are mis-applying the Principle of the KISS method in Math Formulas
(Keep It Simple Stupid, and don't make things more complicated than necessary).
That's basically all he was saying.
But he ALSO had NO CLUE about the complexity of Nature, and added that Nature
did things in a Minimal Way, or a Simple Way when possible, etc.
But that's the OPPOSITE of the way Nature often does things.
Sometimes Nature is Simple, sometimes it's Complex.
Sometimes things are Simple, sometimes they're Not. It varies.
And even if a Simple explanation would make sense, that might not be the way the
thing works, or the way the Event happened.
How many trips do Birds make to build a Nest??
How does Nature produce Oil??
How were "Land" Animals created??
Nature is often complicated - and Slow!!
By the same token, Mozart was often a complex Man, and 1785 was a Complex Year
for Mozart and some others.
In the case of Meistermusik, things are definitely NOT simple.
In fact, as a Pair, Meistermusik and The Masonic Funeral Music are VERY
complex - if you care to study them.
But they are Understandable and Reasonable.
I don't mind Criticism at all.
But make it Reasonable and, where possible, Factual, as well.
* "The article is too long."
You're right. Please send me a shorter version with all the Info. Thanks.
* "There's no such Piece as Meistermusik."
* "One can't prove a Negative (No Meistermusik Piece). "
Yes you can, in this case, by disproving my "Evidence".
If my claimed Evidence is faulty or non-existent, and you can prove it,
then Meistermusik loses its Basis for the claim that it's authentic.
At that point, with no Evidence, Meistermusik's existence would just be an
Empty Claim like so many other Empty Claims.
Its Authenticity would Evaporate.
But how can you claim, for example, that the Words, Syllables, and Phrases
of the "Tonus Lamentatorium" don't fit the Notes and Phrases of the Music??
They DO fit!!
And the Text makes sense for a Master Promotion Ceremony.
How can you claim that MANY Words, Syllables, and Phrases (in Latin)
(not just the ones that were used) will fit the Notes and Phrases of the Music -
with Masonic meaning for a Master Promotion Ceremony??
Meaning that Meistermusik is just a Simple and Lucky Fabrication, and has
no special meaning, since DOZENS of Phrases would fit the Music??
Find ONE, and send me the Text aligned with the Notes, etc - and translate it
Explain the Masonic connection of your text, as well.
Good Luck with THAT idea!!
How can you claim that there was no Predecessor for the MFM
when Michael Haydn himself wrote one for his own use,
years earlier, using the same melody as found in Meistermusik??
And Mozart heard it as a youth!!
How can you claim that Queen Charlotte would have taken offense at the
re-use of some recent music (for the MFM), when we don't know if she
heard about the Memorial Service for her brother, she wouldn't know that
the music wasn't Original, she had much more important things to worry
about than the Originality of some music - MANY things, including a
Husband who was apparently (probably) going INSANE AGAIN, and that
the Vienna Freemason's tribute to her Brother might have been the ONLY
tribute to him in Europe.
Why would she look a Wonderful GIFT HORSE in the Mouth???
A TRIBUTE from the Freemasons of Vienna for her little Brother!!
A TRIBUTE from the great MOZART for her little Brother!!
This was a SILVER LINING in her Life - if she heard about it.
Note that Evidence can include many things including "Common Sense",
although the "Common Sense" needs to take into account different Cultures,
different Customs, different Eras, people in Stressful Situations, etc, etc.
"Common Sense" can't be used as "Hard Evidence", but I think it's valid to
use it as a Factor if many other Factors are taken into consideration.
Weighting: Perhaps a "2" or "3" on a 1-10 Scale.
* "Your information on Nancy Storace is all wrong."
Perhaps. What is your Source?? How reliable is it?? How do you know??
Many details of Nancy Storace's Life are disputed or unknown.
Some of the details don't matter at all for the purposes of this Paper.
We do know that her husband beat her, that her Voice failed, that she lost
a child in July 1785 named Josepha, that she and Mozart were friends, etc, etc.
The identity of the Father of her child might affect the level of her grieving,
but she had plenty of other things to grieve about.
It's pure Speculation on my part that she could have been one of the reasons
Mozart wrote the Dissonant Quartet Intro as he did, and may have also had
her in mind when he wrote Meistermusik and even The Masonic Funeral Music.
Of course, I want ALL the details listed here to be accurate, but some of them
aren't as important as others, and may be unobtainable by ANY method.
There's nothing I can do about it except to go with the best Sources, and use
some Logic to try to fill in the Blanks.
I detest Sloppiness, Falsehoods, and Speculation posing as "Informed Opinion".
If it's labeled as Speculation, it's valid as Speculation.
Unfortunately, without a Time Machine, sometimes all we can do is Speculate
There's nothing wrong with doing it, as long as it's labeled.
Some Speculations and Guesses are better than others.
I've done the best I could.
* "Alfred Einstein can't be trusted."
I didn't realize it. Live and Learn.
* "You're doing a lot of Speculating in this Paper - such as Mozart's feelings of Guilt
over his Mother's Death in 1778."
That's true, but he WAS partly guilty, and his Father hammered Mozart often,
accusing him of killing his own Mother.
Of course, Leopold was far MORE guilty than Wolfgang, and Bad Luck played a
major role, contracting Typhus from some bug in a Hotel Room, possibly sickened
by Mold, then or later in Paris, and receiving a Blood Letting in Paris.
But Mozart KNEW he had dallied with the Weber's for a lengthy period of time,
leaving her alone in the daytime for about 5 months, and alone ALL DAY AND
ALL NIGHT for a while when he lived with the Weber's.....
It was a real Dilemma for Mozart!! Almost like a Movie Plot with the theme of
"A Cruel Hobson's Choice Like No Other".
Between his Dallying with the Weber's, and his Mother's Suffering for
TWO WEEKS (which he wrote about to a Friend), plus his Agony during her last
Hours alive, and his Mother apparently receiving NO Funeral (just a Burial, witnessed
by Mozart and a friend of his), he must have felt SOME Guilt!!
Not just Sorrow: Guilt!!
Perhaps this Scenario for Mozart and his Mother:
"I left her alone for a long time while I played with the Weber Girls,
she was Lonely, she got Sick, and Died. And she didn't even get a Funeral.
I was FRANTIC!! DESPERATE!! I TRIED HARD to save her!!
No Friends stopped by so I could go out and find a Doctor, leaving her in their
care for a little while!!
I couldn't find a German Doctor right away!!
I TOLD her not to get a Blood Letting!! But she did it anyway!!
That was stupid Leopold's Influence.
It's not ALL my Fault, but still.... I wish this pounding in my head would stop!!"
It's NORMAL, ORDINARY Psychology to feel SOME Guilt- not some Far Out
I find it hard to believe that Mozart felt NO GUILT for his Mother's Death.
And let's face it: He WAS partly Guilty for her Death!!
He must have KNOWN IT!!
Complicated, Convoluted, Unfair, a Constant Pounding in his head, Sad, but True.
And that MIGHT have been one of his reasons for composing Meistermusik or
The Masonic Funeral Music, or Both.
Those Pieces MIGHT have been the "Funeral" she never received,
and the Apology and Remorse from Mozart for her Death - as well
as several other reasons.
The Emotions in both Pieces run DEEP, in my opinion!!
And they might be related to Mozart's feelings of Guilt and Remorse
over being PARTLY responsible for his Mother's Death, and the
lack of a Funeral for her.
In 1785, he had a better OPPORTUNITY than in the previous
7 years to express himself Musically more fully over her Death,
and Reality had caught up with him, more-so than in the past.
I'm not Certain, but I think it's very possible and even Likely.
Mozart was a Composer AND a Psychologist.
To compose much of his music, he HAD to be a Psychologist - an Amateur Psychologist.
He understood People quite well, was very empathetic, and was deeply affected
by their Problems and Tribulations.
Some of his music from 1785 (the year of Meistermusik and The Masonic Funeral
Music) exhibits a profound Sadness, Melancholy, and Confusion - partly related
to other people, and sometimes related to himself, in my opinion.
Yet Mozart's own "Psychology" and the Events in his Life are often disregarded or
minimized, with his music portrayed as Isolated Objects - Perfect Planets floating
through Space, and many with exactly Four Continents, meaning nothing.
Or Icebergs of Perfection, cold, passionless, unchangeable, immovable, and sometimes
analyzed as if they were Icebergs, listing their Size, Weight, Temperature, Location,
Date of Creation, etc.
But Mozart was not a Planet, drifting through Space, or an Iceberg, floating and anchored
to one spot in the uninhabited Ocean.
He interacted with people constantly, and was affected by their problems and successes.
And sometimes his Music showed it.
(A Website called "The Mozart Project" has done an Excellent job of producing a Chart,
showing World Events, Mozartian Events, and Mozart's Compositions, as they relate
to each other on a Chronological Basis.
This Website (Meistermusik) delves even deeper, but mostly just for the year 1785 -
not much beyond that.)
Part of our objective here is to clear up this Mess surrounding The Masonic Funeral Music,
and shed some light on what was occurring in Mozart's Life, and what had occurred
in the Past, that might be related to the Piece.
Also, in my opinion, Meistermusik is a BETTER Piece than the Masonic Funeral Music.
It's the way the Piece was intended to be heard.
The MFM is a beautiful Piece as well, but not Quite as good as Meistermusik.
That's one of many pieces of evidence (or "Opinion", in this case) that Meistermusik
is an authentic Piece by Mozart, and The Masonic Funeral Music was a derivative,
rapidly composed from "Off the Shelf" music due to a sudden and unexpected need
for it, with Available Time and Performability being 2 of the factors involved in its
composition and usage, still an excellent and gorgeous Piece, but not QUITE as good
as the Original Piece, which was Meistermusik.
Meistermusik is almost certainly a genuine Piece, and was composed
It is not just a 20th Century Fabrication re-created from The Masonic
Funeral Music plus some text, but was actually written by Mozart in 1785.
It's a short piece for Orchestra and a Male Chorus (Tenors and Basses),
supposedly written for a Masonic Promotion Ceremony in 1785.
Ceremony: Believed to be August 12th, 1785.
Reason for the Ceremony:
A Promotion to Master Mason (Meister Mason).
Reason for the Music:
However, the recipient had travelled all the way from Venice to Vienna
for the Promotion after his Masonic Lodge in Venice had been
closed by the Catholic Church.
Thus, the Freemasons were being oppressed (again) - at least in Italy, and
the Freemasons of Vienna may have wanted to make a statement about
Their inspiration, Jeremiah, was ALSO oppressed, and the Promotion
Ceremony invokes the Name and Tribulations of Jeremiah (and invokes
the name of Hiram Abiff, as I understand it).
Thus, there was DOUBLE Oppression involved in the Promotion Ceremony:
1. The oppression of the Candidate to be promoted, because Freemasonry
was being oppressed in Italy by the Catholic Church by closing the
Masonic Lodge in Venice ("La Fedelta"), requiring a trip to Vienna for
2. The oppression of Jeremiah - the ancient Prophet.
Those 2 reasons may have been sufficient to ask Mozart to compose a
Piece for the Promotion Ceremony.
I think that Mozart had additional reasons for composing Meistermusik.
Meistermusik Composed: Probably July 1785. (Begun and Completed)
Evidence: There's a great deal of evidence for Meistermusik's existence.
(The Masonic Funeral Music was Composed in November 1785).
It does not have a K Number (Kochel Catalog Number) or Anhang Number
(Appendix), and has probably been relegated to the "deest" category:
Unknown, Undefined, Possibly Authentic.
(This is a category for keeping track of Pieces which have not been officially
accepted as "Authentic Mozart". Some of them might be moved to the
Official List in the future, depending on the results of further research.)
Some people have erroneously labeled Meistermusik as "K.477".
This is incorrect. K.477 is The Masonic Funeral Music.
Meistermusik does not yet have a K Number.
While Meistermusik is very similar to The Masonic Funeral Music, it is not
the same Piece.
researcher, Philippe Autexier, reconstructed the piece from
evidence in the 1980s, producing a choral version of "The
Funeral Music" with Tenors
and Basses added to the score in the middle
section of the piece, and theorized that it formed the
foundation for The
Masonic Funeral Music
(K.477), with the two Pieces being nearly
The Masonic Funeral
Music is COMPLETELY DIFFERENT from Mozart's
typical Masonic music,
prompting one to wonder why that would be.
Is it really a
(Mozart himself called
it the "Masonic Funeral Music".
But it's very ATYPICAL
Masonic music from Mozart, raising questions about
its true purpose, or
possibly Multiple purposes.
And its ORIGIN.)
The same is true
for Meistermusik: Completely different from his other Masonic
Meistermusik really a "Masonic" Piece??
MFM is quite different from ALL the rest of Mozart's music.
The MFM is
"Mozartian", but there's nothing else like it from Mozart,
the Masonic Funeral
Music a UNIQUE Piece from Mozart.
Why is it so
"Different" from all his other Pieces (with the exception of
What compelled Mozart
to make the MFM so Unique??
A researcher, Philippe Autexier, reconstructed the piece from available
evidence in the 1980s, producing a choral version of "The Masonic
Funeral Music" with Tenors and Basses added to the score in the middle
section of the piece, and theorized that it formed the foundation for The
Masonic Funeral Music (K.477), with the two Pieces being nearly
The Masonic Funeral Music is COMPLETELY DIFFERENT from Mozart's
typical Masonic music, prompting one to wonder why that would be.
Is it really a "Masonic" Piece??
(Mozart himself called it the "Masonic Funeral Music".
But it's very ATYPICAL Masonic music from Mozart, raising questions about
its true purpose, or possibly Multiple purposes.
And its ORIGIN.)
The same is true for Meistermusik: Completely different from his other Masonic
Pieces. Is Meistermusik really a "Masonic" Piece??
Furthermore, the MFM is quite different from ALL the rest of Mozart's music.
The MFM is "Mozartian", but there's nothing else like it from Mozart, making
the Masonic Funeral Music a UNIQUE Piece from Mozart.
Why is it so "Different" from all his other Pieces (with the exception of Meistermusik)??
What compelled Mozart to make the MFM so Unique??
The Masonic Funeral
Music is a UNIQUE Piece from Mozart.
it has a SOLEMN DEPTH to it - rare for Mozart, as well as
It's Unique MUSIC,
and Unique "MASONIC" Music.
for Meistermusik which is almost Identical.)
Most of Mozart's
Masonic music is very PLAIN-VANILLA and rather boring.
It's "Open, Clear,
Plain, Direct, and Simple", with no Frills or Complexity.
The MFM is
the OPPOSITE - rich, moving, more complex, and satisfying.
the same "Uniqueness" since the 2 Pieces are essentially the
"Same Piece", with
Meistermusik containing the Male Chorus, but with the same
Notes as The Masonic
"Different Pieces with the Same Notes".
So, the MFM and
Meistermusik are "Unique Pieces", and essentially the Same
I'm saying : "The
Masonic Funeral Music is a Unique Piece" for Simplicity.)
And it has a SOLEMN DEPTH to it - rare for Mozart, as well as DEEP PASSION.
It's Unique MUSIC, and Unique "MASONIC" Music.
(Unique except for Meistermusik which is almost Identical.)
Most of Mozart's Masonic music is very PLAIN-VANILLA and rather boring.
It's "Open, Clear, Plain, Direct, and Simple", with no Frills or Complexity.
The MFM is the OPPOSITE - rich, moving, more complex, and satisfying.
(MEISTERMUSIK shares the same "Uniqueness" since the 2 Pieces are essentially the
"Same Piece", with Meistermusik containing the Male Chorus, but with the same
Notes as The Masonic Funeral Music.
Musically, they're "Different Pieces with the Same Notes".
So, the MFM and Meistermusik are "Unique Pieces", and essentially the Same Piece.
I'm saying : "The Masonic Funeral Music is a Unique Piece" for Simplicity.)
Therefore: How"Masonic" is The Masonic Funeral Music which sounds nothing
Mozart's other Masonic Pieces??
Masonic?? 80 Percent?? 50 Percent?? 10
Not Masonic at all??
Why is The Masonic
Funeral Music so DIFFERENT from Mozart's usual Masonic
Did it originate from
Did it originate
from another "Masonic" Piece that wasn't really very "Masonic"??
Piece 1: Semi-Masonic. Musically Unusual.
Piece 2: Semi-Masonic. Musically Unusual. (The
Masonic Funeral Music)
Pieces 1 and 2 (same notes): MM and
Unique Music for Mozart.
Nothing else like it from Mozart.
Not like the Requiem - not like anything.
But containing actual "Church Music" related to
sadness, suffering, and rejection.
Then there's the
possible issue of the text selected for use in Meistermusik.
Could the "Masonic
Text" in Meistermusik apply more to CURRENT or RECENT
Individuals (of that Era) than
to Ancient Masonic Heroes??
With their Sadness,
Suffering, and Rejection being related to CURRENT or RECENT
The text seems like
extreme "lamenting" for things that supposedly happened
thousands of years ago.
How "Genuinely Sad"
can one become over the deaths and tribulations of men like
Jeremiah and Hiram
Abiff who died thousands
of years ago (Meistermusik)??
And with The
Masonic Funeral Music, written for 2 recently-deceased
how "Genuinely Sad"
can one become over their deaths??
Perhaps these 2
Pieces had different reasons - secondary reasons - for
That is, perhaps
100 Percent Masonic?? 80 Percent?? 50 Percent?? 10 Percent??
Not Masonic at all??
Why is The Masonic Funeral Music so DIFFERENT from Mozart's usual Masonic
Did it originate from another Piece??
Did it originate from another "Masonic" Piece that wasn't really very "Masonic"??
Piece 1: Semi-Masonic. Musically Unusual. (Meistermusik)
Piece 2: Semi-Masonic. Musically Unusual. (The Masonic Funeral Music)
Pieces 1 and 2 (same notes): MM and the MFM.
Unique Music for Mozart.
Nothing else like it from Mozart.
Not like the Requiem - not like anything.
But containing actual "Church Music" related to
sadness, suffering, and rejection.
Then there's the possible issue of the text selected for use in Meistermusik.
Could the "Masonic Text" in Meistermusik apply more to CURRENT or RECENT
Individuals (of that Era) than to Ancient Masonic Heroes??
With their Sadness, Suffering, and Rejection being related to CURRENT or RECENT
The text seems like extreme "lamenting" for things that supposedly happened
thousands of years ago.
How "Genuinely Sad" can one become over the deaths and tribulations of men like
Jeremiah and Hiram Abiff who died thousands of years ago (Meistermusik)??
And with The Masonic Funeral Music, written for 2 recently-deceased Aristocrats,
how "Genuinely Sad" can one become over their deaths??
Perhaps these 2 Pieces had different reasons - secondary reasons - for their
That is, perhaps Mozart hadOfficial and Masonically-Public Reasons,
and Stronger and Private Reasons for writing The Masonic Funeral Music
and Meistermusik that way, with so much Depth and Passion.
I really don't think Mozart wrote The Masonic Funeral Music IN THAT WAY for the
Official (and Semi-Public) Reason that "Two Highly Placed Masonic Freemasons Died".
It doesn't quite compute, and the Piece isn't very Funereal.
The MFM is SAD, but not very "Funereal".
The Masonic Lodges in Vienna had one or more orchestras, and their members
sang Masonic songs, as needed.
Mozart's last composition was for a Masonic Lodge, for Orchestra and Male
Chorus, as well as for vocal soloists.
Mozart probably wrote Meistermusik in July, 1785.
It was the foundation for The Masonic Funeral Music.
We don't have the Autograph score, and it's not listed in his Catalog - at
least, not under the name of "Meistermusik", but it's apparently listed
under the name of "The Masonic Funeral Music" for July.
(The Masonic Funeral Music was actually written in November, 1785).
Both pieces are somewhat "Funereal", but only to SOME extent.
Both are Intense and filled with Emotion.
The Masonic Funeral Music is very Emotional, but not very "Funereal".
The Masonic Funeral Music seems FAR too Emotional and Intense for the
Deaths of two Aristocrats even though it's entitled "Masonic Funeral Music",
"....for the deaths of Brothers Mecklenburg and Esterhazy" in Mozart's
Catalog in his handwriting.
Mozart apparently did the same thing his friend Michael Haydn did:
He composed a piece PARTLY in memory of a deceased child (or more than
one child), and he used the SAME MELODY as Haydn to do it (the Tonus
This Piece was Meistermusik.
Thus, even Meistermusik had at least one predecessor, in a sense:
Michael Haydn's music (a Requiem, MH155), which was probably composed
in memory of his daughter who died on January 27th, 1771, and was composed
in December 1771.
The Masonic Funeral Music probably had a predecessor, as can be seen
in the Vocal Style of the central Melody, as well as the Name of the Melody
which is the "tonus lamentatorium" - a Gregorian Chant, and a Melody
codified by the Catholic Church in the 1500's.
The Latin words taken from "The Lamentations of Jeremiah" in the
Old Testament of the Bible fit the notes in The Masonic Funeral Music
Jeremiah was an important figure for the Freemasons, and Mozart was a Freemason.
If we add the words to the Masonic Funeral Music, we have Meistermusik.
If we remove the words from Meistermusik, we have The Masonic Funeral
The 2 Pieces are nearly identical except for the words.
Meistermusik includes words (sung text), and the Masonic Funeral Music
If Mozart composed The Masonic Funeral Music as a "New" piece, he used
"Old Vocal Music" to do it (as well as using Michael Haydn's music).
And he composed a "Vocal" Piece with no Voices, and with no Vocal
predecessor or successor - a peculiar situation.
He also wrote the MFM as a very Emotional Piece for 2 deceased Aristocrats
(a somewhat odd decision), and a Piece that doesn't sound very "Funeral"
compared with the Requiem and a short piece of Funeral Music.
The Masonic Funeral Music is a beautiful Piece, but somewhat of a Misfit
for the occasion.
The MFM feels sad, but AFFECTIONATE and TENDER as well - at least to
And Mozart admitted that he wrote The Masonic Funeral Music 4 months
before the Aristocrats died by listing it in his Catalog with a Date 4 months early!!
(Actually, it was the Foundation that he wrote.)
That Piece was Meistermusik.
Mozart used some "Smoke and Mirrors" in his Catalog in 1785, but in the
end, it all makes sense if we support his actions with known Facts, and keep
speculation down to a minimum, using it only when we have to.
Meistermusik is actually a BETTER Piece than The Masonic Funeral Music.
It's presumably the way the Piece was intended to be heard.
Ungrateful Foreign Queens??
It is claimed that Mozart wrote The Masonic Funeral Music as a NEW Piece,
and Meistermusik is fictitious because the Queen of England would take offense
at the use of a derivative Piece at the Memorial Service for her little Brother
(one of the deceased Aristocrats) - this Generous, Kind, Honorable, Pro Bono
gesture by the Vienna Freemasons and the Greatest Composer in the World
(who she had met twice in England when Mozart was a child).
It supposedly should have been, and supposedly WAS, a Brand New Piece -
not a version of an OLD PIECE. A version of an Old Rag, 4 months Old, because
the Queen of England (Queen Charlotte) would have been Offended!! Insulted!!
This is an attempt at Mind Reading of 2 dead people.
Speculation is fine (and often necessary), but drawing hard and fast conclusions based
on the attempted Mind Reading of 2 dead people is not Scholarship.
The attempt at debunking Meistermusik by purely "Social" reasons, and the
attempted Mind Reading of 2 dead people, one of whom is apparently deemed
to be extremely Snoopy, Paranoid, Hostile, and Mysteriously Ungrateful (the Queen),
and the other is afraid of what the dead Aristocrat's sister will think of a beautiful
Piece presented at a wonderful Memorial Service (Mozart), that received a small,
Private performance a few months earlier, in a Masonic Lodge, far, far away, or
that she would even find out about it, is not exactly Logical or even Possible.
Is it possible to do Mind Reading of Dead People??
Why would the Queen be Ungrateful about The Masonic Funeral Music?? And Hostile??
Why would Mozart think the Queen would be Ungrateful or Annoyed by a beautiful,
How would she HEAR it??
Why would Mozart care what a Non-Freemason and Non-Austrian cares about
his gorgeous musical Tribute, who wouldn't even HEAR the Piece and be able to
Why would this Foreign Queen, hundreds of miles away, even be on Mozart's
Radar Screen?? He was writing The Masonic Funeral Music for the two deceased
Freemasons (in their Memory), and for the Freemasons of Vienna and Austria - his
Lodge Brothers and other Freemasons.
(Some Friends and Relatives might have attended, but Mozart probably didn't write
the Piece partly for them - unless he knew they would be there.)
The Masonic Funeral Music was performed in a Private Masonic Lodge (not in Public),
was probably filled with Masonic Symbolism (which only Freemasons would understand),
and that was his targeted Audience, unless someone can prove otherwise.
Mozart wasn't WRITING IT for the English Queen!!
(If she was annoyed that it was a Derivative Piece, she would have no right to voice
her irritation because it was none of her business anyway, and Mozart didn't write it
for her. He wrote it for the Austrian Freemasons and the deceased Brothers.)
The Masonic Funeral Music could easily have been a derivative Piece, and its
predecessor could easily have been Meistermusik.
This was perfectly HONORABLE and RESPECTABLE Praise for 2 Freemasons -
for 2 members of their organization, and could have been done entirely Privately,
but with no intent to hide the 2 Performances.
If Queen Charlotte heard about the Service and the music, she probably would
have been PROUD of her little Brother, and GRATEFUL to the Freemasons,
as any NORMAL person would be - especially since it might have been the
ONLY tribute in Europe given to the two Aristocrats.
If she heard about the Memorial Service for her brother, and
the performance of the beautiful Masonic Funeral Music, it
might have been one of the few BRIGHT SPOTS in her life
during the year 1785 when her Brother died, and her Husband
(King George) may have been slowly sliding into madness, again,
which temporarily, finally manifested itself in 1788 (terrifying her),
and who eventually went permanently Insane!! Mad!!
King George had several bouts of Madness: 1765, 1788, and 1804-1811.
The bouts of Madness in 1804 forward, were Intermittent, then Permanent.
(Today's Doctors believe King George probably had Acute Porphyria,
which can cause Psychosis in a small percentage of Victims.
Due to a lack of certain Enzymes, Porphyrins can accumulate in
the body, causing all sorts of problems - Acute Porphyria being
one of the possible outcomes, and Madness being a possible outcome
in a small percentage of Victims.
The condition can be inherited.
King George died Blind, Deaf, Lame, and Insane around 1820.)
Most of the audience hearing the Masonic Funeral Music would be unaware
that the Piece was a derivative of an earlier Piece.
The orchestra players would know (if the same orchestra was used), but they
would probably be grateful that they wouldn't need to learn a New Piece with
more rehearsals to make it sound polished.
MFM Rehearsals required for the Orchestra: Probably ONE Rehearsal.
They had just performed it 3 months before (in August) as Meistermusik.
It's doubtful that Mecklenburg's sister (the Queen of England) was even on
the Radar Screen of the Vienna Freemasons for the performance of The
Masonic Funeral Music.
The Queen wouldn't have the slightest idea that the MFM was a derivative
Piece, nor would she necessarily even find out that the Vienna Freemasons held
a Memorial Service for her little Brother (Mecklenburg) and another Aristocrat,
where The Masonic Funeral Music was performed - and performed at a different
Masonic Lodge than Meistermusik.
The Queen had many more important concerns on her mind in 1785.
* Such as the fear that the Aristocracy might be under attack since TWO
Aristocrats died in November, one day apart (November 6th and 7th).
* Such as paying for the recent War against the American Colonies.
* Such as a husband who was going Insane, with his first bout of
Insanity occurring in 1765.
* Such as making funeral and burial arrangements for her brother.
* Such as investigating the death of her brother to find out if he was
murdered (he died at Age 37).
* And whatever "Normal" Duties she may have had as Queen.
She was supposedly not aware of her husband's bout of Insanity in 1765, but it's
hard to believe that for over 2 decades, she didn't pick up on any hints of it or
his predisposition for it until he went temporarily Insane again in 1788.
There was probably some kind of "background noise" which she would have
The King's 2nd Bout of temporary Insanity of 1788 terrified the Queen.
He gradually became Insane again beginning in 1804, and became fully and
permanently Insane in 1811.
(It was probably a medical condition (Acute Porphyria) that is known to
sometimes result in "Madness".
That's the current theory from the Doctors, and it makes sense.
In the 1700's, no one knew the cause.)
King of England: George III.
Queen of England: Charlotte. Sister of Duke Georg Mecklenburg.
Three Periods of Madness (Insanity) for King George III
of England, with the last one Permanent:
3) 1804=>1811====> Permanent
1804-1811: One or more Intermittent Bouts of Madness.
1811 forward: Permanent Madness.
CAUSE: Probably Acute Porphyria which is known to cause Psychosis
in some Victims (although the attacks are normally temporary).
WIFE: Queen Charlotte.
QUEEN CHARLOTTE'S BROTHER: Duke Mecklenburg, who died in
November 1785 at the age of 37.
Mecklenburg was a Freemason.
SIGNIFICANCE: Mozart wrote The Masonic Funeral Music for the
1785 Death of Mecklenburg and another Freemason Aristocrat.
But the much bigger tragedy later in Queen Charlotte's Life was that
her husband, King George III, was going Insane (1788, etc).
King George had had an earlier Bout of Madness in 1765, but it's claimed
that the Queen was kept unaware of it, even though they were Married
at the time.
The King and Queen (both Music Lovers) met the Child Mozart twice in
1764, before the King had suffered any bouts of Madness.
Young Mozart entertained the Royal Couple for hours, playing the Piano, and
he and the Queen also played some music together.
I doubt that in 1785, the year of The Masonic Funeral Music, she was
completely at ease with her situation, and untroubled over the "Secret"
information of the 1765 Bout, supposedly hidden from her by the Usual
Suspects: The Meddlers.
Can you imagine living in the same Residence as a Spouse, and having no idea
that they've gone Mad??? Even in a LARGE House???
When King George was Mad, in 1765, isn't it possible that he sometimes
YELLED?? Or threw Furniture?? Or frightened the Children??
Or frightened a Dog or Cat who came running to Charlotte for protection??
In other words, wouldn't Charlotte find out about George's 1765 Madness
And it's easily possible that the King was SLOWLY going Insane over the years,
which we know he WAS with the 1804-1811 Bout which culminated in Permanent
Insanity from 1811 forward.
I don't know if the lapse into Insanity was Slow or Sudden for the 1788 Bout.
But if King George was not Slowly lapsing into Insanity, certainly Queen Charlotte
could have picked up hints that he had gone Insane once BEFORE.
This theorizing is a bit heavy with Speculation, but people almost always fool
themselves when they think that they've tricked a household member and
hidden "The Big Secret" - whatever that might be.
Most people are VERY Transparent, despite all their "cleverness".
They become quite "Unnatural" and less Spontaneous, thinking about every
answer to a question, giving strange explanations for activities, suddenly
suggesting that they take a Trip, or throw a Big Party, or start on some major
upgrade for the House with much Interior Decorating, etc.
It rapidly becomes clear that SOMETHING is being hidden, and it's EASY
Therefore, a tribute to the Queen's deceased brother would probably be
viewed with some Relief that some Normal and Generous people saw fit to
pay tribute to her brother, and the Undercurrent of "something" (A husband
who went Insane 20 years earlier?? A husband going Insane again??) could be
temporarily put aside - if she heard about the wonderful Memorial Service with
its beautiful music by Mozart - the famous Composer.
Mozart's tribute could have been a SILVER LINING in her cloud of
Fear and Anguish, with multiple issues swirling around her.
A bit of Relief at last!! Praise for a family member!! Her brother was Highly
Honored by his Peers!! And even by Mozart, himself!! The great MOZART!!
The Man who had entertained her years earlier as a Little Boy.
A Positive Valid Distraction from all that Stress!!
And a source of Peace and Contentment, knowing that her Brother was so well
liked, admired, and valued by his Friends.
IF she heard about it.
Did she even HEAR about the Memorial Service and the music??
How would she know that the music was DERIVATIVE??
WHO would tell her that a previous Version of the Piece was performed
a few months earlier at a different Lodge??
WHY would she be offended that the beautiful MFM wasn't a New Piece??
What's "offensive" about 3-month-old music (August-November)??
What's "offensive" about a beautiful version of an earlier Piece??
Why would she CARE very much what the Vienna Freemasons did for her
(Unless she was informed about the wonderful gesture by the Freemasons
Why would the Vienna Freemasons worry about the reaction of Mecklenburg's
Sister (in England) to a beautiful Memorial Service??
Why would the Vienna Freemasons worry about the reaction of Esterhazy's
relatives (in Hungary) to a beautiful Memorial Service??
Why would Esterhazy's relatives (in Hungary) worry about the Vienna
Freemasons after he died??
What did the Vienna Freemasons owe Esterhazy and Mecklenburg??
A Masonic "Lodge of Sorrow".
Did Esterhazy and Mecklenburg receive a Masonic "Lodge of Sorrow"??
Almost certainly. It's automatic.
What would such a Masonic "Lodge of Sorrow" consist of??
Unknown. Customs vary widely.
For a "Full" LOS, it could be a grand affair with Speeches, Food
and Drink, and a Memorial Service, etc.
For the 2 deceased Freemason Aristocrats, apparently they received
a Memorial Service with Mozart's Masonic Funeral Music.
If you're going to debunk the existence of Meistermusik, one should have
something stronger than Psychological Theories and Mind Reading.
If that's not possible, at the very least, base such Theories on known information
plus Normal Psychology.
It's quite a REACH to claim that an Older-Sister Queen of one of the deceased
Aristocrats (Queen Charlotte - sister of Mecklenburg) would take offense at
the non-originality of the beautiful music, whose Spies informed her that the
MFM Original (Meistermusik) had been performed 3 months earlier for a Private
performance at a different Masonic Lodge in Vienna (for a Master Mason
Promotion Ceremony), and therefore, Mozart wrote a New Piece for the 2 Dead Men,
because he feared the reaction of one of the sisters living in England, hundreds
of miles away - if she heard about the Memorial Service and the music.
("What's a Master Mason Promotion Ceremony....???")
This "New Piece with Musical Spies" notion reads more like a Fairy Tale:
Once Upon a Time,
in a Land far away, there was an Evil Queen who had secret Musical Spies
spying on the Good Stone Cutters of Wienerschnitzel, because she had decreed
that any Music used by them must be New and Original, for certain important
occasions, such as something related to her Little Brother, even though she did
not rule over Wienerschnitzel!!
In fact, most of the good citizens in her Land thought she was Delusional, which
is a big word for "Crazy".
Then, one Day, while she was polishing her Crown, her Chief Musical Spy
named Bad Igor, dashed into the Palace!!
"Your Great Enormous Huge Majesty!!", Bad Igor proclaimed.
"The Good Stone Cutters of Wienerschnitzel performed a Near-Duplicate
Piece of Music!! A 3-month old Derivative Piece!!
Performed all the way back in August!!! This past Summer!! Recently!!!
And they used it in a Ceremony for your Brother who just dropped dead
a fortnight ago, against your Royal Decree!!"
"What???" she declared, dropping her heavy Crown on her Foot.
"That sounds like an important occasion!!
Those Impudent Dolts of Wienerschnitzel!! Bring me an Aspirin!!
And fetch my Croquet Mallets that I may pound their worthless Names into
And the Queen pounded their Names into the ground so long, that she fell
into the Hole she had created, and was never seen again.
Then all the people of the Land Sang and Danced and Celebrated, and
everyone lived happily ever after.
Of course, that supposedly DIDN'T happen, because Mozart supposedly wrote
a New Piece for the Ceremony, terrified of the reaction of the Evil Queen,
who was the sister of one of the men who dropped dead - according to one
Then again, maybe it DIDN'T occur to him, and he wrote a Near Duplicate
Piece anyway, and the Good Stone Cutters used it in their Ceremony to
honor the 2 men who dropped dead, because the music was "off the shelf",
recently performed by one of their orchestras, and should sound Polished,
Beautiful, Moving, and Impressive for all the Stone Cutters and Relatives
in attendance, and none of the Good Stone Cutters in Wienerschnitzel gave
any thought to Evil Queens in Foreign Lands, or Royal Spies lurking about
and reporting on the Music that was used.
"Music Analysis" and perhaps even "Normal Psychology" work so much
better in analyzing this situation.
In short, it appears that The Masonic Funeral Music had a Vocal predecessor
(based on an analysis of the Music and the possible Text of the predecessor), and
was a derivative of that predecessor.
We call that predecessor Piece "Meistermusik".
If The Masonic Funeral Music was a New Piece (doubtful), it wasn't New because
of Aristo-Phobia or Queenery-Phobia.
There was no reason for Mozart or the Lodge to fear a negative reaction to a
wonderful, splendid, generous, orchestral tribute to two of its members, even if
it was a derivative of a Piece performed 3 months earlier at a Private gathering,
(August 1785), never heard before by most of the attendees, and not previously
heard by Anyone in that orchestral format.
No negative reaction from the Aristocratic Lodge Members or the Queen would be
expected or feared.
If anything, their reactions should be the OPPOSITE, feeling proud of the organizers
of the Memorial Service, proud of Mozart, and the Freemasons proud of their deceased
Members that they rated this wonderful tribute.
All explained further, below.
This is an attempt to determine if the Piece known as "Meistermusik" is
authentic Mozart or not.
Several other issues are investigated that are related to Meistermusik,
such as The Masonic Funeral Music's history, etc.
Meistermusik (if it exists) and its Twin, The Masonic Funeral Music, involve
significant complexities, in some ways.
Some aspects are simple, some are not, and some are quite convoluted.
The good news is that once we accept the existence of Meistermusik, and evaluate
some of the other Pieces (and Fragments) Mozart wrote in 1785, multiple issues
are suddenly cleared up.
The Fog of 1785 and Mozart's Catalog, and certain actions taken by Mozart's
wife and his friend Nancy Storace, make sense - or at least Possible and Plausible
(Accepting the existence of Meistermusik based mostly, or entirely, on Evidence,
of course - Evidence from multiple sources and multiple KINDS of sources).
Mozart apparently wrote Meistermusik BECAUSE of the stressful events of
1785, and possibly for a few additional reasons.
To some extent, we can progress from some confusion and perplexity involving
the Year 1785, to greater clarity, as a side benefit of investigating the authenticity
Let us also remember that just when we could have used some help from the
great Mozart researcher Alan Tyson on these issues, Mr. Tyson merely labeled
the "July" Catalog date for The Masonic Funeral Music as "Puzzling", and
then began a severe mental decline due to some illness (I don't know what
it was), and died.
(Source for the Illness and Mental Decline: Dan Leeson, who was a friend
of Alan Tyson.)
If he was aware of the theorized Meistermusik Piece, he didn't take a stand
Therefore, we're on our own - like it or not.
I know why Mozart listed The Masonic Funeral Music in his Catalog under
"July", even though he wrote the Piece in November.
The Puzzle has been solved.
(And others probably solved it earlier, as well. It wasn't that difficult.)
(Note that some other aspects are difficult, and Philippe Autexier, Mozart
Researcher and Author, did the initial Heavy Lifting for them.)
The reason for the "July" Date for The Masonic Funeral Music in Mozart's
Catalog is that he wrote the Predecessor Piece in July.
It was the "Original" music for The Masonic Funeral Music that he
wrote in July.
It was the "Foundation" for The Masonic Funeral Music.
We call that Piece "Meistermusik".
Mozart wrote The Masonic Funeral Music in November, but re-used music
written in July, and performed in August, to do it.
It was a situation of Smoke and Mirrors since he was also hiding Meistermusik
to some extent, never listing it by name in his Catalog.
He had his reasons.
He COULD have listed The Masonic Funeral Music under "November" but
chose not to, probably (partly) because he never listed the same music
twice, and always listed the date of the FIRST composition, if he re-used the
music later. That date (the month) was July.
In this case, he listed the date of the first (original) composition, but used the
second Piece (The Masonic Funeral Music) as the name.
He hid Meistermusik, and documented The Masonic Funeral Music.
It's all a bit bizarre, BUT it makes sense.
And we have plenty of EVIDENCE that that's exactly what he did.
July was the right Month for composing Meistermusik, the MFM has a
known vocal Melody, it's a Gregorian Chant for Male Voices, the words and
phrases fit the notes of both Meistermusik and The Masonic Funeral Music,
the Collection of Pieces from 1785 have emotional themes somewhat similar
to Meistermusik (sadness, bitterness, etc), etc.
This (and more) is strong Evidence that Meistermusik exists, that it formed
the Foundation of The Masonic Funeral Music, and that Mozart MIGHT
want to HIDE Meistermusik in his Catalog, never listing it under that name,
but (hopefully) listing it under some other name if the opportunity arose.
And hiding Meistermusik - but keeping some kind of entry for it in his Catalog,
might explain his Primary Motivation for writing the MFM: To Hide
Meistermusik, but not forget about it.
Yes, Mozart was hiding something, and some of the hiding worked for 200 years.
We probably owe the existence of the MFM to Meistermusik.
The Evidence trumps all the Theories.
The reason the MFM date was Puzzling, and that some people claimed that
Mozart made a Mistake with the date in his Catalog in order to explain the
Puzzle, is that the analysis was Superficial or ***NOT DONE AT ALL***.
A Kneejerk response of "Mistake" to the Catalog entry "In the month of July"
is not Research. It's just an empty Claim.
And it ignores the strange Format of the "Date" ("In the Month of July").
And it ignores 2 other Pieces which WERE listed under November, meaning
that Mozart knew how to spell "November", and he listed 2 out of 3 "November"
Pieces under November.
If he listed 2 other Pieces under November, why didn't he list the MFM under
November?? Because he made a MISTAKE?? Because he mistakenly wrote
"July" instead of "November" 1 out of 3 times??
Because he FORGOT when he wrote the MFM - and forgot about all the other
things required for "Putting a Piece into Production", such as making Copies
of the Music for the Musicians?? And Rehearsals??
And he Forgot when those 2 Aristocrats Died??
I'm not buying it.
(Someone claimed that Mozart "obviously FORGOT" when he wrote The Masonic
And it ignores the fact that he listed the MFM prior to a Piece written in July or
October (K.478), making July a feasible date.
(The Catalog says July, the Autograph says October for K.478).
Very strange, but claiming "Mistake" for the MFM Date doesn't make any sense.
It's a HUGE "Mistake" of 4 months off (if it is one), and people are just "Grasping
at Straws" to try to explain an Anomalous Pseudo Date - a Pseudo Date of a
Month without a DAY of the month.
For THIS Puzzle, we have to search wider and deeper to figure it out, or
at least explain it more completely.
The Predecessor concept is easy to explain and grasp.
But the more complete explanation takes a lot of work.
The Meistermusik/Masonic Funeral Music "Predecessor" concept is probably
a "2" on a scale of 1-to-10.
For a more COMPLETE explanation, the Meistermusik/Masonic Funeral Music
Puzzle is probably a "10" on a scale of 1-to-10 in terms of research and analysis -
and because of the Length of all the relevant details.
And for ensuring Understanding and Belief that the explanation is correct.
This one is a tough one.
WHY Did Mozart Write a Certain Piece??
Dates of compositions and other lifeless details are sometimes a bit over-rated
in terms of their value.
They don't involve unspoken motivations and other thoughts and events.
What's sometimes unknown, ignored, or glossed over, is WHY Mozart wrote
a certain Piece, and what events were happening in his life.
Some of it involves speculation, some of it involves known facts.
(Sometimes the information is stated by Mozart, sometimes not.)
We try to supply some possible or probable reasons for some Pieces, here, and
examine some possibilities.
We probably cannot know for certain why Mozart wrote a particular Piece, but
reasonable possibilities and probabilities can be suggested.
(Sometimes the probable reason is very simple: He needed the money.)
(Mozart was probably not writing music for the benefit of Musicologists and
Historians. He had his own reasons for writing every Piece.
In some cases, perhaps All cases, music analysis should include an examination
of Mozart's life at the time he wrote the Piece - or when he first made a Draft
of the Piece (or a short Sketch), possibly setting it aside, and finishing it later.
If we don't know WHY Mozart wrote a certain Piece, we don't fully understand
We can't know for certain what Mozart was thinking or feeling, but by examining
the events and other Pieces of that timeframe, we can arrive at some reasonable
If one or more of those possibilities seems to be a near certainty, based on
normal human behavior, and not attempting to read Mozart's Mind for any
uniquely Mozartian thoughts, we may have brought Meaning to the Piece and
given it Life, in a sense.
Click the Link below for further thoughts on Mozart's meanings in music and
his depiction of emotions - especially in Opera, as well as in The Masonic Funeral
Music and Meistermusik.
Mozart: Meaning and Emotions
Click to read the Article.
The Masonic Funeral Music (and Meistermusik):
The Masonic Funeral Music (and Meistermusik):
It's a BEAUTIFUL, SHORT, MAJESTIC, DIGNIFIED, NOBLE,
ELEGANT, SERIOUS, SAD, SOMBER, SOLEMN, LONGING, INTENSE,
EMOTIONAL, MOVING, TENDER, PERSONAL, MELANCHOLY,
ACHING, DEEP, YEARNING, DESPAIRING, GRIEVING,
ANGUISHED, STRIVING, LAMENTING, RESPECTFUL, PEACEFUL,
OTHER-WORLDLY, SOOTHING, SERENE, UNFORGETTABLE Piece.
There's nothing else like it (except for Meistermusik).
Meistermusik is a short Piece for orchestra and Male Chorus (Tenors and
Basses), about 6-7 minutes long, believed to have been composed by Mozart.
The source for the text is from "The Lamentations of Jeremiah" (from the Bible).
It is theorized that Meistermusik was the predecessor and foundation for
"The Masonic Funeral Music", K.477, with the 2 Pieces being very similar -
In my opinion, Meistermusik is actually a BETTER Piece than The Masonic
Funeral Music, even though the 2 Pieces are nearly identical.
It's the way the Piece was supposed to be heard.
They are BOTH beautiful, majestic, dignified, deep, etc, Pieces.
Meistermusik and The Masonic Funeral Music are 69 measures long, and
take about 6-7 minutes to perform.
The Masonic Funeral Music feels "LENGTHY", but it's actually a SHORT Piece.
Meistermusik is exactly the Same length as The Masonic Funeral Music, with
the same number of Orchestral Notes and Measures.
(Mozart later added a few instruments to The Masonic Funeral Music, but
he didn't lengthen the Piece.)
Both Pieces are only 6-7 minutes long, but feel fairly "Lengthy" to me.
The Masonic Funeral Music is thus "a Very Famous, Short Piece, well known
to Mozart Fans".
The term "Meistermusik" is an invented term which means "Master Music".
It was invented by Philippe Autexier.
We don't know what Mozart called it, but "Meistermusik" would apparently
be a reasonable title.
It is almost certainly authentic, composed by Mozart, and probably for
The evidence for its existence is very strong - overwhelming, in fact.
The exact date of the composition is unknown, but he apparently wrote it in
July of 1785.
Some people dispute the existence of the Piece, and this paper is an attempt
to determine if Meistermusik is "Authentic Mozart" or not, and if it was
the foundation for "The Masonic Funeral Music", K.477 ..
We will also try to make some sense of all of the strange "Oddities" surrounding
the music and Mozart's life in 1785 - the year that both The Masonic Funeral Music
and Meistermusik were composed.
Instead of encountering fairly normal and ordinary events and music when
investigating these questions, one finds mostly Odd, Unusual, Strange, Puzzling,
Sad, Distressing, Troubling, Highly Emotional, Traumatic, Anguished, Lonely,
Alienated, and even Bizarre music and events during that year, raising the
additional question of whether some of these events had an impact on Meistermusik
or The Masonic Funeral Music, or Both, beyond what is already known.
Did the events of 1785 prompt the composition of Meistermusik and The Masonic
Funeral Music, beyond what is already known??
In that regard, one additional BASIC question needs to be asked, although
I don't have an Answer for it.
The Question is:
Why did Mozart compose The Masonic Funeral Music??
The traditional, Standard, "Obvious" answer is:
"Because 2 important Masonic Aristocrats died, and they died one day apart
(November 6th and 7th, 1785)."
They were Georg Mecklenburg and Franz Esterhazy.
Esterhazy was also the Lodge Master of a Vienna Masonic Lodge.
Mecklenburg was 37 years old when he died.
He was an "International" figure, and died in Tyrnau, Hungary.
Both men were highly placed on the Social Register of Europe.
Mecklenburg's older sister was the Queen of England, as co-regent (later as
full-time Queen after her husband, King George, went Permanently Insane).
That "Standard Obvious Answer" is not completely satisfying when you examine
Human Nature, time, effort, rationale, motivation, Mozart's workload, probable
non-payment to Mozart for his work, Mozart's status in the Freemason
organization (probably fairly high), Mozart's Masonic obligations (if any), the
workload on the Masonic Orchestra, payment to the Copyists, the Lodge's
budgets, what is a proper tribute for the men, etc.
The "Standard Obvious Answer" is Partially satisfying (Two Important Freemasons
Died), but not Entirely.
It feels a bit ODD that Mozart would go to all that work for the Occasion.
People Die ALL THE TIME!! Important People!!
Why did these two deserve a special Musical Tribute??
Why not hire a Detective Firm and Doctors to find out
why the 2 men died??
Especially for Mecklenburg, dying so young at Age 37??
And the two men dying just 1 day apart??
This is VERY suspicious - don't you think??
* TWO Top Citizens of Vienna died 1 day apart.
* BOTH men were Aristocrats.
* BOTH men were Freemasons.
* Mecklenburg was only THIRTY SEVEN years old.
* Mecklenburg was an "INTERNATIONAL" Type.
* PARIS was simmering, but had not yet erupted in violence
(which occurred in 1789).
The large-scale Revolutionary violence never reached Austria
or Hungary, and no small-scale violence occurred, as far as
* Mozart and the Vienna Freemasons might have been the
ONLY people to Honor the 2 Men.
* Why did they die??
* Did those Aristocrats have enemies??
* Are the Aristocrats under attack??
* Are the Freemasons under attack??
* Should the Vienna Freemasons start taking precautions
against being poisoned, or whatever the cause of death
was of the 2 Aristocrats??
* Has the simmering anger of Paris floated to Austria and
Hungary, and some malcontents have begun to execute
members of the Aristocracy 4 years before the Paris
Peasants began building Guillotines in 1789??
* Why is the response to have Mozart write music for a
Memorial Service instead of investigating their deaths??
* If the Freemasons or the Freemason Aristocrats were
sending a message to the possible killers of the 2 men
(one of "Solidarity"), why didn't they hold the Memorial
Service in a Church or a large Public Venue, rather than
in a private or semi-private Masonic Lodge??
It implies an Automatic, Knee-jerk response FOR Mozart or BY Mozart,
seemingly lacking in Rationale and Common Sense, as well as lacking
documentation for the exact reason that he wrote it.
And someone has claimed that Mozart would have composed New Music for
the Memorial Service, when there's not much Rationale involved in holding
an Orchestral Memorial Service, or writing *ANY* music in the first place.
What would be appropriate for the 2 men??
A Masonic "Lodge of Sorrow"??
Yes. Definitely. It's automatic.
A Memorial Service??
Probably reasonable and appropriate.
Songs, Hymns, Speeches.
Possibly a Piano accompaniment by Mozart or someone else.
Note: The Lodge of Sorrow could be a big affair, including
a Memorial Service.
An Orchestral Memorial Service with known, revised
Quite an effort for Mozart and the Orchestra.
Did Mozart volunteer to write the music, pay the Copyists, etc,
so the Lodge wouldn't need to foot the Bill??
Did the Freemasons of Vienna ever do that for anyone else??
An Orchestral Memorial Service with ALL NEW MUSIC??
A SUBSTANTIAL effort for Mozart and the Orchestra!!
Did Mozart volunteer to write the music, pay the Copyists, etc,
so the Lodge wouldn't need to foot the Bill??
Did the Orchestra players get a Vote, since they would need
to learn the Piece and rehearse it??
Did the Freemasons of Vienna ever do that for anyone else??
Yet they supposedly ensured that orchestral music was performed, forced
Mozart to write some Funeral Music, and made sure that it was NEW Music,
when there were Bigger Fish To Fry, such as determining why the 2 men died
1 day apart, and evaluating their safety as a group of Freemasons, and as a group
of Aristocrats (which some of them were), and taking any necessary precautions???
Apparently they didn't see fit to investigate the Deaths, as far as we know,
but they insisted that the music for the Memorial Service had to be Brand
New orchestral music (not hymns or songs), written by the Greatest Composer
in the World, as a Pro Bono gesture, copied and ready to rehearse in about a
week, and sounding polished when performed??? Really??
This is not making any sense as New Music, and is also somewhat strange that
the Freemasons might not have been investigating the Deaths.
Reworking Old Music would at least make MORE sense.
It would put less strain on the orchestra, and the performance should sound
polished with minimal rehearsal time.
Most of the members wouldn't know that the music had been performed 3 months
earlier, and I doubt that any of them would care, except the orchestra players
who would be GRATEFUL for already being acquainted with the music.
Under the circumstances, holding an orchestral Memorial Service seems a bit
silly and unnecessary (as opposed to something smaller), but at least they could
make life easier for the orchestra by re-using Old Music (Meistermusik)
re-worked as The Masonic Funeral Music.
We don't know if the Lodges investigated their deaths - something that probably
should have been done, and would be FAR more important than holding a
Memorial Service for them, or asking Mozart to write some funeral music.
Handling both tasks simultaneously would be a strain, I think.
If some of the Lodge members were investigating the Deaths, or acting as points
of contact for investigators, the Lodges would probably want any Memorial
Service to be as easy and uncomplicated as possible, adding to the logic of
re-using Old Music for the Memorial Service.
Investigating the Deaths of 2 of their members could be difficult, depressing,
stressful, and time-consuming.
But it SHOULD be done!!
If high-ranking Aristocrats are suddenly dying, they might
ALL be in danger!!
If high-ranking Freemasons are suddenly dying, they might
ALL be in danger!!
(Paris was simmering for several YEARS before the French Revolution in 1789,
when the Common People started sending Aristocrats to the guillotine.
1785 was just 4 years before Paris finally EXPLODED against the Aristocracy.)
Is the death of 2 important Masonic Aristocrats a REASON for composing
Masonic funeral music or simply a statistic??
Did the Lodges have agreements with the families to have someone compose
funeral music if they died?? (Freemasons???)
Was funeral music some kind of requirement at a Memorial Service??
Was Orchestral funeral music a requirement at a Memorial Service??
If they decided to hold a Memorial Service for the 2 men, why did it need to
include music played by their ORCHESTRA??
That's kind of a big production, but only the Freemasons would know about it,
Why not just sing a few Hymns?? Or some Masonic Songs??
Or say a few Prayers?? And have a few Speeches??
Why an Orchestra??
We won't know if the answer is important or not until it's been answered.
And it has not been answered.
If there is a simple, mundane answer to the Question of why Mozart wrote
The Masonic Funeral Music, so be it.
(There's no need to make Mountains out of Molehills.
BUT, is it a Molehill??)
So, can the Question be answered in a satisfying way:
"Why did Mozart write The Masonic Funeral Music??".
If it's obvious, what's the obvious answer??
Why did these two receive a major musical work of art, composed by the
Greatest Composer in the World, and possibly the ONLY tribute in the entire
World created for them, when others might have received nothing at all??
What did other deceased Aristocrats receive from Mozart or others??
What did other deceased Leaders receive from Mozart or others??
(Mozart wrote Funeral Music for Emperor Joseph II for the Wax Museum,
but only as a kind of gimmick, commissioned by the owner of the Museum
as a money-making Enterprise - not as an "Official Honor" by the Government
or any groups or individuals. Yet the Emperor was theoretically and officially
more important than the 2 Aristocrats, being the Emperor of Austria.
On the other hand, Joseph was not held in high esteem by Austrians towards
the end of his life.
He unintentionally ruined the Music scene and the economy in Vienna by
assisting Russia in its war against the attacking muslums, not appreciated
by the citizens of Vienna.)
Who decreed that it was Mozart's lot in life to be forced to write
"Funeral Music" whenever high-ranking Masonic Aristocrats died??
The Vienna Lodge Masters??
But this happened only once in about 7 years, with some kind of Masonic
Maybe, but it's kind of odd.... A bit Strange.
Why didn't they ask Haydn to compose some Funeral Music??
Because Haydn wasn't a Freemason??
Did Haydn or other composers offer to compose some Funeral Music for
the 2 Aristocrats??
If they were that important as Aristocrats, why didn't OTHER people step
forward and do something for them??
Important people have LOTS of friends and Admirers, and plenty of people
who know about them and admire them from a distance.
Yet, apparently, Mozart was the only person who did ANYTHING for the
Mozart was apparently the only man in Europe and in the entire World
who took action to commemorate the deaths of the 2 Aristocrats.
Kind of odd....
So we could have:
"Two high-ranking Freemason Aristocrats died.
Mozart, get to work!! Compose some Funeral Music!!
And make it SNAPPY!! We want it by the end of the week!!
And get it rehearsed. Make it sound polished!!"
He did it, but we don't exactly WHY he did it.
Perhaps the Lodge Management, and Mozart, simply decided that they
should do something appropriate for the men.
But hiring a Detective Firm and some Doctors to investigate the deaths
makes much more sense than holding a Memorial Service, complete with
(Holding a Memorial Service without an Orchestra makes sense.)
The notion that it was Mozart's responsibility to write Orchestral Funeral
Music for the 2 men, for a Memorial Service (New or Reworked music),
filled with over-the-top Emotion, doesn't seem to have any strongly
compelling Rationale behind it.
Did Mozart perhaps have a Hidden Motive for writing it, using the Deaths
of the 2 Aristocrats as an excuse for writing it??
Did Mozart volunteer to write the MFM??
Did he volunteer to pay the Copyists??
The answers may be Normal and Ordinary, or they might involve some
intrigue and camouflaging - a very MASONIC kind of thing to do.
Thus, The Masonic Funeral Music is a bit mysterious, even without the
odd Date entry in his Catalog.
Freemasonry had been hiding and keeping secrets for Centuries.
To a certain extent, it had become a way of life for them.
In Austria, Freemasonry was tolerated at times, but it was also suppressed
at times, and secrecy was invoked again.
Mozart's reasons for composing Meistermusik are unclear, but considerable
evidence hints at several possibilities.
It was the predecessor of The Masonic Funeral Music.
Both pieces are "Funereal" and Masonic in nature (to some extent), dealing
with Death and Resurrection (per Masonic ritual), while Meistermusik also
deals with bitterness, sadness, and isolation in its choral text.
This paper presents evidence for Meistermusik's existence, and speculates on
several possible reasons for its composition, as well as analyzing its successor,
The Masonic Funeral Music, and other pieces and fragments composed in
1785 to see if they might have any bearing on Mozart's state of mind during
this timeframe, and to look for any commonalities in the music - completed
or left incomplete.
The result is that 1785 appears to have been a very stressful year for Mozart,
with commonalities in many of the Pieces (and Fragments) throughout half or
more of the year.
While that stress of 1785 might have had no effect on the composition of The
Masonic Funeral Music, it evidently had an effect on many other pieces,
probably including Meistermusik.
And older stress from 1778 might have been one of his motivators for creating
The Masonic Funeral Music, possibly to deal with old guilt, basing it on the
"heavy" and intense Meistermusik piece.
And possibly even further back, using the Piece as a tribute to his friend
Michael Haydn, who lost a child in 1771 on Mozart's Birthday.
(Michael Haydn was devastated by the loss of his child.)
In other words, even The Masonic Funeral Music might have been written
for more than 1 reason - especially since Meistermusik was mostly hidden
from view, and to assist in hiding and camouflaging Meistermusik.
And with the huge over-delivery of passion in both pieces for their purported
events (a Masonic promotion ceremony, and a Memorial Service for
2 Aristocrats), it makes one wonder what Mozart was thinking.
Instead of being a relatively simple and straightforward situation of
composing music for all the usual reasons (income, commissions, talented
students, songs for the Masonic Lodges, etc), some of Mozart's compositions
and Catalog entries in 1785 were quite unusual, perplexing, lost, troubled,
stormy, sad, traumatic, grief-stricken, bitter, painful, longing, aching, deep,
Meistermusik and The Masonic Funeral Music are 2 of those pieces with
some of those emotions.
Even though both pieces are "heavy" and intense, they are easily accessible
by anyone, and deeply satisfying.
Although composed during Mozart's "middle" period when he was only
29 years old, they have a very "mature" and "wise" sound to them, as if
Mozart has found his voice, and we are listening to the Voice of Wisdom,
Truth, Honesty, and Maturity, with no pretenses, no frills, no humor, no
antics, and no showiness.
Just direct music as solid as a tree trunk, but personal, and straight from
Mozart is telling us something important - probably about his own feelings.
There's nothing else like them by Mozart.
what curious Pieces and Fragments do we find composed in 1785??
So, what curious Pieces and Fragments do we find composed in 1785??
* In 1785:
Who was Mozart referring to when he wrote a vocal musical Fragment
which reads "I am lonely, my love..." ??
(Or "I'm so lonely, my love.")
(K.475a - Einsam bin ich - FRAG).
Did the married Mozart have a girlfriend in 1785??
Why was he lonely - and when?? What month??
* In 1785:
Who was Mozart referring to when he wrote a vocal musical Fragment
which reads "What was my Mistake??" sung by 2 lovers??
(D.18 - Alexis und Naide - FRAG).
Anyone in particular?? No one in particular??
Two people in Vienna that he knew, who were having marital problems??
Why would Mozart write music about it, even if the words were about
real people whom he knew??
Wouldn't one AVOID publicly mentioning such things, and not start
writing a song (a duet) about it, unless one had some kind of personal
reason for taking an interest in it??
Two Pieces about women, two Fragments, two sad and desperate situations,
* Why did Constance Mozart wait 17 years before visiting Mozart's grave?
Too busy?? Disinterested?? Jealousy?? Discovered love letters??
Did Mozart get some of his mail at a Masonic Lodge, then bring it home
and hide it - discovered by Constance after Mozart died??
You would think that she would at least want to know where the
Graveyard was located, and visit it, so she could tell her 2 boys where
their Father was buried before 17 long years had passed, and the
gravedigger might have died by then (he did), and any grave markers
might have been removed by then, due to the 3rd Class Funeral (they
were - if they existed).
All the boys could have learned from their mother was the name of the
Graveyard and the City, as a kind of Afterthought.
She even "accidentally" smashed Mozart's Death Mask, made shortly
after he died. But Constance profited handsomely from selling her
husband's music and giving concerts, dying a quite wealthy woman.
It would appear that Constance might have been seeking REVENGE
against Wolfgang after he died.
If true, it might have been due to the discovery of "The Other Woman".
(It might also have been due to all the debts Mozart left that she had to
pay off. At least she was able to get some help from the government in
the form of a monthly check after Wolfgang died, and she received
multiple Income Streams as time went on. )
Mozart and Nancy Storace might have been simply "close friends".
But they might easily have been more than that.
Whatever Mozart's relationship was with Nancy Storace, it might have
been "too close for comfort" as far as Constance was concerned.
Scholars have wondered for years about some odd aspects of Constance's
behavior. I don't recall all of their concerns, but is it possible that Some
of her odd behavior was related to finding letters, musical fragments, and
Pieces related to Nancy Storace, after Mozart died??
For that matter, did she suspect that Mozart had a girlfriend in 1785
and later (and possibly earlier) - WHILE HE WAS STILL ALIVE??
Hiding the existence of a Lover is almost impossible.
Perfume, Blond Hairs, Odd Behavior, peculiar attitudes, tiredness,
running errands late at night, lack of eye contact, covering up "music"
when someone comes into the room, etc, etc, are all giveaways that something
strange is going on, and it might be related to having a Lover, if the proper
clues are present.
It doesn't take an Einstein to figure out that secret activities are taking
place. The only question is: What are the Activities??
How could Mozart hide it if he was having an Affair with Nancy Storace??
The Young, Pretty, Talented, Fun, Funny, Teenager Nancy Storace??
He couldn't have hidden it.
What would Constance do about it?? I don't know.
But she would have done SOMETHING.
Perhaps she found ways to make Mozart jealous - and angry.
Perhaps with the "Calf Measuring" game shown in the movie Amadeus --
a game that was actually more lewd than depicted.......!!
Where strange men were permitted to measure her calves, and see more
than London and France - something a Wife would not normally do....
(Leopold was disgusted, although Wolfgang might not have been bothered
by it, assuming it was all just in "erotic fun" for Adults.
I've also read that Wolfgang was quite angry at her for doing that.)
Was her behavior "mysterious"?? Maybe not.
Maybe that was a clue that Constance had figured out what was going on
between Wolfgang and Nancy Storace, and she decided to participate in
the Game with other men, to turn the tables on him. It's a possibility.
In any case, Mozart could not possibly have hidden an affair with Nancy
while alive, and could not have hidden it after he died, since there were
incriminating Song Fragments, a Catalog Entry (K.505), and possibly
Letters. Possibly even Perfumed Letters. Oh oh.....
* Why did BOTH Nancy Storace and Constance Mozart burn a number of
Letters before they died??
Who were they from??
Were they hiding "Normal" Private things that we don't want anyone to
read, or "Very Sensitive" types of Private things - with Love or Great
Interest for the WRONG person revealed in the letters??
Was Constance burning Perfumed Letters from you-know-who??
I don't know, but it's possible and even probable.
(It's claimed that the letters might not have existed and not burned.
My SPECULATION: They probably existed and were burned.
We know that Mozart wrote a song Fragment in 1785 called
"I am lonely, my love" (K.475a) ..
1785 was a Year of Tumult for both Mozart and Nancy Storace.
The Letters thus have a Musical Precedent or Secondary Evidence,
adding weight to the claims that both women burned some Letters,
some of which probably involved Mozart and Nancy Storace.)
The Probable Situation:
His Songs fly up, his Letters to her they go.
Songs without Letters make little sense, you know.
If there were Songs, there were probably Letters.
Text of first Song Fragment mentioned above ("I am lonely, my love")
K.475a / Anhang 26 - Fragment, 8 Measures, d-minor:
Einsam bin ich, meine Liebe,
Denke dein, und härme mich!
Wie ist mir die Welt so trübe,
Wie so traurig ohne dich! [How sad I am without you!]
Mozart was apparently "sad and lonely" without "his Love"
(Meine Liebe) in June or July of 1785.
I wonder WHO that could have been....
Who was "his Love"?? Nancy Storace, perhaps??
Or was he just writing a song with words that had no bearing on his
And if that SONG Exists (it does), some Letters existed before being
burned (independently) by Constance and Nancy.
The Song remained an unfinished FRAGMENT, apparently never
performed, and never sent to her.
A very important Fragment, but less important than the Letters
Mozart sent to her, and the Letters she sent to him.
Certainly, I think we can assume that any Letters between them would
have been Longer than the words to a Song....
Multiply the average length of a Letter times the number of Letters,
and we potentially have a HUGE amount of Information about these
two People (and their Relationship - and Other Relationships) Lost
We know ONE thing - and possibly only ONE thing:
Constance waited 17 Years before visiting Mozart's Grave, or more
correctly, visiting his approximate Burial Location.
Does it mean anything?? I think it probably does.
It was a Long Drive out to St. Marx and its Cemetery.
But still, she could have gone with her (older) boys, or her Second
Husband (when they lived in Vienna), or a Girlfriend, or one of her
Sisters (Webers), or a Friend of Mozart (Salieri, etc).
But she didn't.
I think it's possible that she became quite Angry with Wolfgang and
whatever relationship he had with Nancy Storace, after reading some
or ALL of the Letters she found after he died.
Whatever that relationship was, the "Einsam bin ich" Song revealed
that he was IN LOVE with Nancy Storace (!!) or SOMEONE in
1785. It might not have been sexual, but he LOVED some other
Woman. Who?? I think we can figure out who it was.
The Good Looking, Sparkling, Feisty, Suffering, Singing, Teenager,
Anna Selina Storace.
If she asked for his help, or even just a Sympathetic Ear, how could
And Constance found out.
Mozart was in a difficult position, but I doubt that Constance cared
how difficult it was.
17 years after Mozart died, Constance finally got around to visiting
And that situation is probably related to Letters and Songs discovered,
with the Letters subsequently BURNED.
(She might not have discovered the Song Fragment. It might have been
taken by Sussmayr or someone else.)
Anna Selina Storace (Nancy Storace or "Signora Storacce").
Pronunciation: Variable, depending on the spelling, and the
nationality of the speaker.
Why would Mozart be attracted to Nancy Storace??
* Partly because of her good looks.
* Partly because of her sparkling and feisty personality.
* Partly because her Voice failed.
She suffered when her voice completely failed in June of 1785 - not
surprising that it failed since she was singing leading roles at young
ages and straining her voice for years.
(NOTE: Her voice may also have failed because of strangulations by
her "Husband", John Fisher. A possibility, but not a proven fact.
Evidence: Reasonably good.)
* Horrible marriage.
She was also SUFFERING in a Marriage Made in Hell (an arranged
Marriage, arranged by her mother), and Mozart's compassionate nature
drew him to her.
To some extent, Mozart also ended up being victimized by this Insane
situation in 1784 and 1785.
Nancy Storace was a flirt and a tease, and had been fired from an opera
for failing to take reasonable orders from the Director.
(She was upstaging the Principle Castrato, who threatened to quit, and
she refused to stop doing it, claiming that she had the "Right" to do it
(Gag Me), so the Director fired her.
I agree with the Director. He fired the little Snot who was in the process
of wrecking the Opera, and possibly the Opera Company.
She was, to an extent, "The New Kid in the Block", but refused to show
Respect and Common Courtesy to the singer who had INVENTED the
special Vocal Display of talent.
Mozart might not have known the real story.
She was a Teenaged Girl, about 18 or 19, and had been treated like a
Prima Donna from an early age.)
Mozart might not have been aware of all these complications, and may
have seen her as "The Victim" - which was PARTLY true, but not
(She was also a rude and self-centered Prima Donna, but Mozart might
not have realized it.)
Meistermusik might be partly related to Nancy Storace's problems
in 1785 and 1784, some of which were not her fault.
To some extent, she was a Victim - a Victim of bad luck with her voice,
bad luck that her young daughter died, and bad luck that her mother
apparently forced her to marry John Fisher - 22 years older than she was,
and a match made in Hell.
And bad luck that she had such a Controlling Stage Mother.
"Does it matter??" (in terms of the music, the history of the music, the
actions taken by Constance, etc)??
It might matter a lot!!
I rate it as a 5 on a scale of 1 to 10, but it might merit a higher rating.
If The Masonic Funeral Music was a derivative of an intensely personal
predecessor (Meistermusik), we owe the MFM to the existence of
Meistermusik. THAT is worth knowing. And learning more about
Meistermusik is ALSO worth knowing.
What IS this Meistermusik piece?? And why was it composed??
And.... Who WERE those Masonic-Funeral-Music Aristocrats??
All this Passion and Emotion for a
couple of Aristocrats???
The Intense Passion in The Masonic
Funeral Music probably came from
And the Intense Passion in Meistermusik
probably came from non-Masonic
sources, such as the deaths of children,
and possibly even the death of Mozart's
Mother, who never received a funeral
when she died.
It's hard to imagine that an ancient
Masonic Hero would generate that much
emotion (Meistermusik - Hiram Abiff),
or that 2 Aristocrats would do the same
(The Masonic Funeral Music - Esterhazy
And Two Aristocrats??
(Two Good Guys, but not Girlfriends, or
Children, or Mothers.)
Has anyone in History become sad and
sentimental over Hiram Abiff??
With a Name like that???
Who lived thousands of years ago??
Has anyone deeply grieved with a
Yearning Soul and an Aching Heart over
the deaths of a couple of Rich Swells??
Wouldn't it be more appropriate to say:
"Dear Mr. Abiff,
We're sorry you died.
The Masonic Lodges"
"Dear Swell Aristos,
We're sorry you died.
We know you were good guys, and it's not Fair,
but that's the way it goes, sometimes.
The Masonic Lodges"
But NEITHER Piece is making much sense!!
Why did Mozart put so much passion into both of them --
Meistermusik and The Masonic Funeral Music??
Or more correctly, why did Mozart put so much passion
into Meistermusik (since the MFM evidently came from
Meistermusik, and we're really dealing with ONE Piece)??
Meistermusik is a choral piece (male chorus and
orchestra), and The Masonic Funeral Music shows
strong evidence of a Vocal Predecessor.
And whatever passion Meistermusik had was
automatically inherited by The Masonic Funeral Music.
Thus, the strong popularity of the MFM.
It's filled with intense passion, derived from
Meistermusik, and connects well with listeners at a
And we might owe the existence of Meistermusik PARTLY or MOSTLY to
Nancy Storace's many problems.
These are just SOME of the background items involving the year 1785, and
the lives of his wife and friend after he died. Significant items that shouldn't
be brushed off as being trivial or immaterial.
If a towering figure like Mozart, who was full of passion and easily hurt,
writes anything about his feelings, (which he did), it's important!!
And if his feelings involved Nancy Storace ("I am lonely, my love..."), his
feelings would be even stronger.
And if wives and female friends are burning letters and not visiting graves
for 17 years, you can be certain that something very peculiar was going on,
and apparently HAD been going on, years earlier.
In 1785?? Yes. In other years as well?? Possibly.
None of this was fair to Constance, but neither was it fair to Mozart, or
Nancy Storace, or John Fisher. (Or Aloysia Weber, earlier.)
* Aloysia Weber was forced to abandon Mozart,
* Mozart was Lied to,
* Mozart was empathetic,
* Nancy Storace was forced into a loveless marriage,
* England was kept in the dark,
* John Fisher was apparently lied to,
* Nancy Storace was forced into starring roles at too young an age, and
* Constance was caught in the middle.
What a Mess!!
It was yet another example of Moronic Meddlers causing trouble for everyone,
operating partly in Secret in 1777, 1784, 1785, and probably other times,
The same thing happened to John Kennedy with his Meddling Father and his
annoying, disliked, naive, Meddling Brother, McBooby Kennedy, plus
McGeorge McBungle (McGeorge Bundy) - all of whom, caused MASSIVE
problems for the Kennedy Administration.
It appears that many people in Mozart's life suffered, and Everyone involved
had a lot of Bad Luck.
And it shows how much havoc a MEDDLER can cause.
And, of course, it was 1785 when both The Masonic Funeral Music and
Meistermusik were written.
And 1785 when the bizarre Dissonant Quartet was written.
And the year when the stormy D-Minor Piano Concerto was written.
It was a very strange and troubling year for Mozart.
We are therefore COMPELLED to ask the question:
"Is this strangeness and stress reflected in Meistermusik and the MFM??
Are there any signals in his Catalog of some kind of strangeness??
Did Mozart even Write a piece we call Meistermusik??
If so, did he hide it or camouflage its meaning??
Was there something unusual about 1785 that would
cause Mozart to write a piece like the theorized
Multiple things, perhaps?? What things??
Why the words of Sadness, Bitterness, and Isolation
And of being cast out - Evicted??
All done for a Masonic promotion to Master Mason??
On a grand scale??
Possibly never done before at any of the Vienna Lodges
on this scale??
It's kind of odd. And it's complex.
We have plenty of hints (more than listed above) that we've been presented
with a large JIGSAW PUZZLE, unseen until the oddities began to emerge
from Mozart's Catalog, documented behavior, biographical files, scraps of
paper, and so forth.
It's only when we start to EXAMINE the History and related information,
that the Year 1785, The Masonic Funeral Music, and the possible existence
of a Predecessor, suddenly changes from a fairly ordinary year and an ordinary
investigation into a popular Piece (The Masonic Funeral Music) into a
Large, Complicated Jigsaw Puzzle.
And, of course, these things all reside as Layers of an Onion.
Peel back one layer, and we get another layer and another piece of the Puzzle.
The question is: Can we make sense out of it?? Can we assemble a coherent
picture of what these oddities mean??
And, of course, can we determine if the Piece "Meistermusik" ever existed??
Is it an authentic Mozart composition??
Was it the foundation of The Masonic Funeral Music??
Can we answer the "foundation" question on purely technical grounds --
not on "social" grounds??
The answer is "Yes" to all the Questions.
Mozart composed Meistermusik, it was the foundation for The Masonic
Funeral Music, Nancy Storace was involved in Mozart's music in 1785,
Mozart's Mother MIGHT have been involved in some of his music, various
deceased children probably played a role in his music that year, and a few
other factors were probably involved in this complicated situation, including
Freemasonry (of course) and possibly even a visit from his father, which
served to remind Mozart again that his Mother had died a few years earlier -
an event that Leopold blamed Wolfgang for, and for which Wolfgang might
have begun to more fully accept partial responsibility for her death, perhaps
including his emotions over the issue in Meistermusik or The Masonic
Funeral Music, or both pieces.
The number of possible factors involved in both pieces might be why they are
so rich and intense, with Mozart driven as never before, to produce such
deep, profound, and emotional music.
Even if Meistermusik never existed, we can easily grasp the fact that The
Masonic Funeral Music is like no other piece that Mozart had written, and
has a solemn depth to it, rare for Mozart. Why??
We will try to shine a light on this complex situation.
Mozart and Freemasonry:
Mozart was admitted as an Apprentice (1st Degree) to the Masonic Order
at the Beneficence Masonic Lodge in Vienna on December 14th, 1784.
He was promoted to Journeyman (2nd Degree) at the True Concord
Lodge on January 7th, 1785 - the most Aristocratic Lodge.
The promotion came just 3 weeks after joining the Freemasons.
It's unclear when Mozart was promoted to Master Mason (3rd Degree),
but it may have occurred in 1785 or the following year, in 1786.
The documentation is vague on that point.
He composed a number of Masonic pieces, most of them short songs, from
Mozart remained a Freemason for the rest of his life.
1st Degree: December 14th, 1784. (New member) Beneficence.
2nd Degree: January 7th, 1785. (Promotion) True Concord.
3rd Degree: Unknown - possibly 1785. (Promotion)
(Most likely promoted in 1785 rather than 1786,
considering his rapid progress from 1st to 2nd
Degree in only 3 weeks.
It appears that Mozart was being "Fast Tracked".
Therefore, he probably achieved "3rd Degree"
(Master Mason) sometime in 1785.)
Joseph Haydn attended one meeting at Mozart's suggestion, but never
For that matter, it seems a little odd that Mozart was so attracted to
Freemasonry. Perhaps it was their core principles of benevolence,
compassion for others, etc.
Perhaps he was also attracted to their Symbolism, since Mozart was a
creature of Symbolism, with Music itself being an entirely symbolic medium.
Mozart was also a "people person" - not a loner. The Masonic Lodges
may have helped to satisfy that need.
Mozart's father became a Freemason in 1785 at Wolfgang's suggestion,
while the father was in Vienna.
He passed through the Masonic levels very rapidly, and became a Master
Mason in April of 1785, in Vienna, probably before Wolfgang did, probably
being "penciled through" due to his age and status as a violin teacher and
book author (of the Art of Playing the Violin).
Leopold's extremely rapid progress might also have been done to get rid
of him -- at the Lodge's behest. (Pure speculation).
He didn't have Wolfgang's pleasant personality, was not exactly cosmopolitan,
and was certainly no Aristocrat.
(Technically, Wolfgang wasn't an Aristocrat, either, but he apparently fit in
comfortably, and was welcome at all the Lodges, including the most
Aristocratic one, the "True Concord" Lodge.)
It seems unlikely that Leopold would have been attracted to Freemasonry,
for multiple reasons. For one thing, Leopold was a Control Freak, and there
was no one to control as a Freemason. Even as a Master Mason, he couldn't
order anyone around as if he were a General in the Army.
For Wolfgang, one of the attractions of Freemasonry might have been the
social aspect, with many interesting and important people to meet and talk to
at the Lodges, in the same way that people do today on Social Media on the
And a Lodge was a "place to go to" - a Men's Club, and not a Bar.
The last piece Mozart completed, and the last work entered in his Catalog,
was a Masonic Cantata, K.623 for orchestra and male voices, on
15 Nov 1791:
"Laut verkünde unsre Freude".
* The primary purpose of this paper is to determine if "Meistermusik" is an
authentic piece, composed by Wolfgang Mozart in the Summer of 1785
(most likely in July) , or if it's just an unsupported claim that this Reconstructed,
"Lost" piece was ever created by Mozart.
(The Autograph Score is lost, if it existed, and no printed copies have turned up.
There is also no clear and unambiguous entry in Mozart's Catalog for this piece.
Exception: One Page of the Autograph Score of Meistermusik might exist as
a page in the Masonic Funeral Music for the Basset Horn(s) part.
We do have the entire Autograph Score of The Masonic Funeral Music.)
* The secondary purpose is to investigate the theory that Meistermusik was the
foundation and predecessor of The Masonic Funeral Music, which was written
in November of 1785.
* A third purpose, created as a byproduct of the research, is to try to determine
Mozart's state of mind and evaluate his activities in the Year 1785 by examining
other pieces written (including Fragments), and examining documented events
that involved Mozart and some of his friends and relatives.
Doing so might also add some meaning to known pieces, and possibly add
justification to the existence of Meistermusik.
Anyone who has an interest in the subjects of "Meistermusik" and
"The Masonic Funeral Music", as well as the Dissonant Quartet, and various
pieces and fragments of music composed by Mozart in 1785.
Short History of the Investigation:
When the investigation began, there were just 2 issues:
1. Did Mozart compose a Piece known as Meistermusik - a Piece for
male chorus and orchestra, very similar to The Masonic Funeral Music??
2. If authentic, did it form the foundation of The Masonic Funeral Music??
Mozart did not list "Meistermusik" (or something similar) in his Catalog,
and we don't have an Autograph score or early printed score for the Piece.
Additional issues have arisen and been pursued as a byproduct of the
Investigation, such as the mysterious date for The Masonic Funeral Music
in his Catalog, his life in 1785, his relationship with Nancy Storace (which
is only partially known, but more fully illuminated), the question of Why the
Dissonant Quartet Intro was written the way it was, various unusual pieces
written in 1785, etc.
All of these issues, and more, probably have a bearing on the existence of
Meistermusik, and the history of The Masonic Funeral Music.
Avoiding complexity in this matter, while highly desirable, does not seem to be
possible due to the many interacting relationships.
Primary Evidence for Meistermusik:
The Primary Evidence that Meistermusik exists, and is a Vocal Version
of The Masonic Funeral Music, constituting a Predecessor for it, comes from
The Masonic Funeral Music itself, as well as the postulated text for
Evidence also comes from Mozart's Catalog: It says that he wrote The Masonic
Funeral Music "In the month of July" - not November.
Analyzing The Masonic Funeral Music:
It appears that:
* The MFM was a Vocal Piece in its original incarnation.
* The postulated sung text for Meistermusik fits the notes, syllables,
and phrases of The Masonic Funeral Music perfectly.
Analyzing Mozart's Catalog, it appears that:
* Mozart wrote The Masonic Funeral Music in July.
Perhaps the true situation is that he wrote the Predecessor in July.
We are not theorizing about Meistermusik from "Nothing".
We are using The Masonic Funeral Music as the Basis for theorizing that
And we DO have the Autograph Score of The Masonic Funeral Music, plus
an entry in Mozart's Thematic Catalog.
What we end up with is STRONG EVIDENCE that Meistermusik exists:
Musical evidence and Textual/Musical evidence.
Thus, The Masonic Funeral Music is a perfect template for Meistermusik.
(Secondary evidence for Meistermusik would include the fact that the postulated,
Biblical text is Masonically significant, of course, and would appear to fit a
Masonic Promotion Ceremony, which was the claim made for its existence.
Just more evidence to add to the pile.)
Even the Tenor and Bass lines of Meistermusik could be sung by reading the
instrumental lines in The Masonic Funeral Music.
An instrumental line in the middle section of The Masonic Funeral Music
contains a melody known as the "tonus lamentatorium" which is a Vocal piece
in Latin, developed by the Catholic Church in the 1500's for singing during
Holy Week (Easter Week).
It begins at bar 25, continuing to the end of the Piece, and is played by an Oboe
and a Clarinet.
It appears in a Vocal Style (Gregorian Chant / Cantus Firmus).
The postulated text for the "tonus lamentatorium" line fits the notes perfectly,
and is phrased like the music - line for line, and phrase for phrase.
There are 38 notes in the TL melody, and 38 Syllables in the text, with pauses
in the music matching pauses in the text.
The text comes from "The Lamentations of Jeremiah" in the Old Testament,
and speaks of bitterness and being cut off or lost, as you might expect a
lamenting person to say. That is, the words match the description of the melody.
Mozart owned a copy of the Latin Bible containing that text.
The text was also used by the Freemasons, making it likely that eventually, a
Freemason (or a hired composer) would set some of the verses to music, since
the Vienna Freemasons used music in their meetings (evidently "songs").
Apparently, Mozart did exactly that, setting verse 3:15 and 3:54 to music,
as an easy-to-sing Gregorian Chant.
The occasion was a promotion to Master Mason which involves invoking
thoughts of the Prophet Jeremiah.
We call that composition "Meistermusik".
Thus, using Reverse Engineering, Meistermusik can largely be created from
The Masonic Funeral Music.
One additional step is necessary and that is to create separate Tenor and Bass
lines using the TL melody and the Lamentations text.
Using 2 additional staffs, the Tenor line and the Bass line can be created, with
the Tenors and Basses singing the same notes (except for a few notes at the end),
placing all notes in a comfortable range, beginning with the Eb below Middle-C
in the Bass Clef.
The result is a short piece for a male chorus and orchestra, easily sung by
amateur singers singing a SIMPLE, Gregorian Chant melody, and moderately
difficult for an orchestra, but with nothing too demanding.
Thus, Mozart probably wrote a Vocal Version of the piece prior to writing
The Masonic Funeral Music since the Vocal ingredients are present in
While that doesn't constitute proof of Meistermusik's existence, it comes
If Meistermusik doesn't exist, Mozart composed an instrumental Piece
(The Masonic Funeral Music) with a known Vocal melody and a Vocal style
containing a section with 38 notes that match the 38 syllables of an appropriate
Masonic text, with the Vocal Style being an easy-to-sing Gregorian Chant, suited
to amateur Male voices, but didn't create a Vocal version of the Piece.
This would be like saying that Shakespeare wrote many Plays, but never
presented them to any audiences.
Not likely. Why did Shakespeare write them??
And why did Mozart write an Instrumental Piece (the MFM) that could easily
have been a Vocal Piece in an earlier incarnation, but failed to write a Vocal
Version of the Piece?? Or did he??
Perhaps he DID write such a Piece.
It would make sense that he DID write such a Piece, and a strange situation if
he DID NOT write such a Piece.
The Logic of it is compelling.
The problem is in finding more Evidence that he DID write such a Piece.
The musical and textual evidence comprise strong Evidence that Mozart DID
write such a Piece.
But is that enough evidence to constitute Proof that he wrote a Vocal Version??
What's lacking is the PROOF that Mozart wrote a Vocal Version of the MFM.
We will search for more Evidence to assemble Proof that Mozart wrote a
Vocal Version of the Piece, namely what we call "Meistermusik".
What we have, so far, comes VERY close to Proof.
Motivation, Developments, etc:
Wouldn't Mozart use the opportunity of a somewhat "Special" Masonic
Promotion Ceremony to create a Vocal Version of a piece for some Masonic
function, with Masonic text appropriate to the function, easily performable
by an amateur men's chorus available at the Lodges if someone asked him
to do it??
Or, if he wanted to make a significant contribution to the Freemason
Movement as a New Member of Freemasonry??
With all of the elements fitting together like a hand in a glove??
And that it was Mozart and Freemasonry who made sure that all the elements
fit together - not some incredibly lucky fluke??
And that this could easily have been the first Version of the piece (the
predecessor to The Masonic Funeral Music)??
And that Mozart simply re-used the music for the Memorial Service for two
Aristocrats a few months later, omitting the chorus since the words were not
very appropriate for a Memorial Service??
And that the performance should be polished if the same orchestra players
were used - probably needing only one rehearsal??
And that any Freemason and Non-Freemason friends and relatives of the
deceased, in attendance at the Memorial Service, would be very touched by
the wonderful gesture and beautiful music presented by the Lodge for the
A generous act of Friendship and Honor??
One would think so.
The logic of it is straightforward and compelling.
The postulated basis involves well known music, musical styles, and plain,
ordinary human behavior - reasonable and possible behavior, and Normal
behavior, with some Masonic symbolism involved, but with no Hidden
Agendas, no secrets, no Ulterior Motives, etc.
In my opinion, Hidden Agendas were ALSO involved, but they were
ADDITIONAL and completely INVISIBLE to Mozart's fellow Freemasons,
and to any outsiders who might have been invited to attend the Memorial Service
for Esterhazy and Mecklenburg in November, 1785, after the sudden deaths of
the two Aristocrats.
Hidden Agendas are not required for Meistermusik's existence, nor for its
use as a predecessor to The Masonic Funeral Music.
The situation with the two Pieces can be viewed in a Normal, Ordinary way,
or in a deeper way, with more information, such as information gleaned
from Mozart's Catalog and other sources.
There are no Skeletons in the Closet, and no Shocking Information (except,
perhaps, some information about Leopold Mozart's behavior in later life).
Just interesting information and some Analysis.
This Paper presents the deeper information, for those who want it.
The two deceased Masonic Aristocrats were Well Honored by their fellow
Any further complexities, with private meanings for Mozart, were invisible to
the attendees at both functions, and nothing got in the way of the generous and
official tribute to these 2 men - even if it was more generous than the
Freemason philosophy taught, in which all men begin as Equals, and Royalty
and Aristocrats don't get special treatment from the Great Architect of the
Universe - unless they deserve it.
They didn't deserve more than average due to their high births, or the social
positions of their friends and relatives, according to Masonic Philosophy.
Social rank by virtue of high birth is anathema to the Freemasons, apparently
because it involves having nothing more than Good Luck - not virtuous
behavior and hard work.
It would appear that the Vienna Freemasons might have slipped up a bit
with their beautiful Memorial Service for Esterhazy and Mecklenburg,
when all the 2 men deserved, Masonically speaking, was what everyone else
got - whatever that was, unless it was felt that they deserved more than
average if they had EARNED more than average.
Evidently, that was the consensus, if they were true to their Masonic
principles, they were given a Memorial Service, and Mozart wrote the music
We don't know exactly what they were thinking.
In any event, Meistermusik research is the primary purpose of this paper.
It turns out to be an interesting and rather complicated subject.
The Themes of this Paper:
Meistermusik is almost certainly authentic, composed by Mozart in July
of 1785. The exact date of the composition is unknown.
Meistermusik was the Foundation and Predecessor (and near duplicate) of
The Masonic Funeral Music.
There's a great deal of evidence for it.
Some of it is basic, but some is complex.
* Masonic Promotion.
Meistermusik is believed to have been written for the promotion of a
Freemason, Carl von Kõnig, to the level of Master Mason, which took place
on August 12th, 1785, in Vienna.
The Catholic Church had closed his Lodge in Venice, as part of its
Inquisition activities in May, 1785, and he travelled to Vienna for the
The Ceremony was the "Official" reason for its composition.
Mozart probably had additional reasons for writing it.
"Master Mason" is the Third and highest Level in Freemasonry.
(There may be additional awards, descriptions, positions, Titles, Honors, etc,
which may elevate a Freemason to a higher status (such as "Lodge
Master"), but Master Mason is the highest Official Level in Freemasonry.
Higher degrees can exist, but these are administered locally, vary widely,
and are not part of the "Standard" Freemason system.
Mozart himself achieved the level of Master Mason at some point, probably
during 1785 or the next year (1786), but the history is vague on that point.)
* Vocal Music and Vocal Style in the Masonic Funeral Music.
Meistermusik is a Vocal Piece (and Instrumental) for a chorus and an
orchestra, while The Masonic Funeral Music is purely an Instrumental
Piece for orchestra only.
But The Masonic Funeral Music was probably a Vocal Piece in its original
incarnation, with the Original Vocal Music in it (as Instrumental Music),
and traces of the Original Vocal STYLE remaining in it.
Thus, a Vocal Predecessor for the MFM is implied.
We call that piece Meistermusik.
Meistermusik: Orchestra + Chorus.
Meistermusik: Vocal Music (in the middle section).
Meistermusik: Vocal Style in the middle section.
Masonic Funeral Music: Orchestra.
Masonic Funeral Music: Vocal Style in the middle section, plus
the ability of Masonic text to fit the notes.
If The Masonic Funeral Music is authentic (it is), then a nearly identical
predecessor would also be authentic (genuine and written by Mozart - not
an imaginary piece).
We are making the perfectly valid assumption that The Masonic Funeral
Music is not a copy and version of someone else's composition. IE, it had
to be Mozart who wrote the Predecessor - not some other composer such
It was written by an extremely talented Masonic composer, probably living
in Vienna. That would be Mozart and ONLY Mozart.
* Partly For Nancy Storace.
Hidden and Camouflaged.
Meistermusik was partly written for Nancy Storace and the death of her
child (Josepha Fisher) on July 17th, 1785, but it was hidden and
camouflaged by Mozart to protect her and her partly Secret Marriage, as
she wanted, and he used the Masonic Promotion Ceremony and The
Masonic Funeral Music to do it.
The name "Nancy Fisher" (her married name) has either been erased from
history, or never publicly materialized, as she wanted.
(Have you ever heard of Mozart's friend "Nancy Fisher"?)
Legally named "Fisher", but apparently always known as "Storace" - and
not necessarily for "Show Business" reasons.
Her marriage to John Fisher (an arranged marriage) was known to some
people, but hidden from others, and never publicized.
Similarly, Meistermusik by Mozart, which may have been written partly in
memory of Nancy Storace's child who died in July 1785, was camouflaged
and partially hidden by Mozart to protect one of the meanings of the piece,
and to protect the knowledge of her marriage from spreading beyond
Vienna and a limited number of people who knew about it.
And if John Fisher wasn't the father of the child, the meaning of the piece
and any linkages to Nancy Storace and the real father had to be completely
obscured in order to protect ALL the parties involved, whoever they might
One of those parties MIGHT have been the Emperor himself - Joseph II.
* Similar Piece Needed.
Meistermusik needed a second, similar piece in order to hide it and change
its meaning, and in order to salvage the beautiful music, rather than
relegating it to the wastebasket, or to a pile of "Miscellaneous but
That piece was The Masonic Funeral Music, nearly identical to
Meistermusik, with the opportunity provided by the deaths of two important
Freemasons, 3 months later.
If the two important Freemason Aristocrats hadn't died when they did,
Mozart would probably have found some other occasion to use it - Masonic
or not, but probably Funereal since the music is so sad.
With all the Masonic Lodges in Vienna (8 Lodges at one time), you would
think that SOMEONE important would eventually die, or a Memorial
Service could have been held for an important Freemason who had died a
few years earlier.
Or it could have been used as music for an important citizen of Vienna - or
some other city in Europe.
Mecklenburg himself died in Hungary - not Vienna or Austria.
Freemasonry is International, and opportunities for composing "Funeral"
music for a Freemason would abound.
* Catalog Entry Delay.
Mozart delayed making the entry for The Masonic Funeral Music in his
Catalog for several months - at least 3 months (November-xxxx??).
It may have been due to simple procrastination, due to being busy, due to being
occupied with non-musical issues, or it may have been due to waiting for an
Opportunity to camouflage Meistermusik.
(It sounds like quite a stretch, but Nancy Storace was VERY important to
Mozart, and it didn't take any effort at all to hold off on making entries in
his Catalog until the right opportunity came along - the deaths of two
Freemason Aristocrats, and of course, composing The Masonic Funeral
Music, which he had essentially already done in July, in the form of
Meistermusik, creating almost a note-for-note copy.)
* The MFM is Somewhat Mystifying.
The documentation and music for The Masonic Funeral Music is
NOT clear and normal. It's bizarre.
Mozart listed a puzzling Date for its composition, and the music seems like a
huge Over-Delivery of emotion for 2 deceased Aristocrats.
Even the motivation for writing it is a bit mysterious, with the 2 Aristocrats
receiving a Magnificent Send-off, possibly not given to other Freemasons, and
possibly the ONLY tribute in Europe given to these 2 men.
It's as if Mozart MIGHT have had additional reasons for writing it.
Official reasons and Private reasons.
And that opens the door to researching the true situation.
* The MFM Needs A Predecessor.
The Masonic Funeral Music is not a piece that can be explained without
the existence of a Predecessor: Namely, Meistermusik (as well as other issues).
A Predecessor can be shown to exist based on the issues with The Masonic
Funeral Music (emotional over-delivery, etc).
* Same Behavior.
Michael Haydn and Nancy Storace.
The problem for some people evaluating the evidence and the situation
with Meistermusik and the Masonic Funeral Music, might involve
Believing and Accepting the idea that Mozart would Hide or
Camouflage a piece, despite weighty evidence that he did exactly that.
One aspect to keep in mind, however, is that Michael Haydn and Nancy
Storace did the same thing. It's theorized by scholars that Michael Haydn's
Requiem, MH155, was actually written partly in memory of his daughter
who died at the age of 1 Year, and we know that Nancy Storace kept her
marriage a secret from England, hiding both the marriage and her
daughter's early death in July of 1785.
Both individuals were noted musicians.
Mozart was clearly not the only musician in Europe who might have been
hiding or camouflaging music, and might have been hiding some events
and feelings as well - possibly including love, lust, sadness, regret, guilt,
empathy, compassion, stimulation, honor, shame, contrition, longing, etc.
It's not "preposterous" or "completely out of character" at all.
If anything, it's very likely. Mozart was a human being like all of us, as well
as being a musical genius, with the same foibles and desires that we probably
all have, from time to time - emotionally and intellectually.
Mozart and his friends hid some things, including "meanings", when the
situation required it, and Constance and Nancy Storace finished the job
before they died by burning some letters.
Some things needed to be hidden, and they all did it.
(And it's not imaginary Mind Reading on my part when people burn letters,
to understand their motives.
You don't need to be a Mind Reader to know that they didn't burn those
Letters to save money on their heating bills. They had other reasons involving
Mind-Reading of people long deceased is tricky, unreliable, and often nearly
impossible, unless there's strong evidence to support the assertions.
"Mistake-ology" is not a recognized scientific discipline.
Sometimes people are correct, sometimes they're just guessing or assuming
when they claim that something is a Mistake.
A "Mistake" is a claim of Fact.
A "Mistake" often changes the meaning of the story, creating a new Story.
A claim of a Mistake requires supporting evidence like any other claim.
People making the claim that Mozart made a Mistake somewhere don't
always supply their evidence, begging the question: "Do they HAVE any
If they don't supply their evidence, it effectively DOESN'T EXIST.
This is not a Quiz Show or a Guessing Game such as "I've Got a Secret".
I'm not going to waste my time trying to guess their secret about the
claim of a Mistake, nor will I take their claim seriously.
It's just useless, empty blather. A 3rd Grader could make the same claim.
One needs to have Evidence to support the new Story just as with the
If someone claims that a piece contains wrong notes by Mistake, or that
an entry in Mozart's Catalog is a Mistake, they need to supply their
evidence that they know what Mozart intended to write, what he should
have written, and why it should have been written that way.
They need to explain Mozart's intentions - his objectives, and prove it.
It's their job to supply the Evidence, not our job to figure out if they have
any, and if it's solid.
Some minor Mistakes are actually obvious, and don't require a lengthy
explanation. "In the month of July" is not one of them.
1785 was apparently a very tough year for Mozart, and the month of July
was a difficult month (and neighboring months) - in 1785 and also in 1778.
Thus, the word "JULY" may have some special meaning to Mozart.
* Endless Problems.
Mozart's problems and entanglements in 1785 might have followed him all
the way to the grave, and for years beyond that.
* Musical Mismatches.
Meistermusik and The Masonic Funeral Music express more emotions and
have additional reasons and purposes than their Official purposes.
The music for both pieces seems like a mismatch.
Mozart may have had hidden agendas and secret purposes behind these two
compositions, but they weren't malicious (as is usually the case).
They were Private, Personal, Sorrowful, and Compassionate, and the results
were extraordinarily beautiful.
* Notes and Words Match.
A careful analysis of the Masonic Funeral Music notes and some appropriate
Masonic text, demonstrates that the notes match the words, syllables, and
phrases of the text exactly, proving that a Vocal Predecessor utilizing 38 notes
and syllables, easily sung by an amateur chorus, could have existed.
We call the piece with that text "Meistermusik".
We could be conservative and call the Piece "Theoretical Meistermusik" - a fair
description, but it's as theoretical as saying that "A description of the Suspect's
height, weight, color hair, color eyes, voice, Age, clothing, home address, profession,
make of car, color of car, and noisy muffler, all match the man we have in custody,
but it's only a Theory that we have the right man, so we let him go since we didn't
have his Fingerprints or a signed and Notarized Confession."
* Old Music in the MFM.
Some of the music in The Masonic Funeral Music was 200 years old and well-
known to Catholic churchgoers when he wrote the piece.
Therefore, the MFM was never Entirely a New Piece.
* "New" is not Always Better.
"Old Things" and "Used Things" are not necessarily inferior, less valuable,
undesirable, dishonorable, disrespected, tawdry, unwanted, or insulting,
and are sometimes much sought after and even expensive.
Old paintings, old wine, old music, old traditions, old Antiques, used Antiques,
and old Grandparents are normally valued.
The "Old and Used Music" of Mozart - even the Requiem, "modified" and
completed by Sussmayr, familiar to millions, highly valued Centuries later,
and even performed at the Memorial Services of the Great and Famous, is one
of many such Proofs of that concept.
It's not always necessary to give New things as gifts, and sometimes it's better
and safer to give high-quality, familiar, or cherished Old Things.
The notion that "New is always Better" is nonsense.
If that were true, we probably wouldn't listen to Mozart's old music from
2 Centuries ago, we wouldn't perform Mozart's Requiem at Memorial Services,
or give someone tickets to an old Mozart Opera or Symphony, or pay for an
old chair, or buy an old house, or donate an old Classic Car, or value the old
"Mona Lisa" painting from 500 years ago, or admire the old Roman and Greek
Temples from thousands of years ago, preferring John Cage, Charles Ives, and
Old Things are usually KNOWN Quantities, often valued.
New Things are usually UNKNOWN Quantities.
"Old Things" are often much better - and Safer to give - than "New Things".
It all depends on the situation.
* Thin Evidence.
People who say that Meistermusik is Fictitious and never existed, might be
right, but they're basing their claim on the thinnest of evidence, such as
Mozart's Catalog or Mind-Reading of dead people.
Like saying that Dinosaurs never existed because there aren't any at the Zoo.
Or that a certain person doesn't exist because he's not listed in the Phone
* Where's the Investigation into the Deaths
of the 2 Aristocrats??
Why didn't the Vienna Freemasons hire a Detective Firm and a couple of
Doctors to investigate the cause of Death of the 2 Aristocrats??
Or did they??
Holding a Memorial Service with a Freemason Orchestra to perform The
Masonic Funeral Music seems like a rather weak response to the situation,
when the 2 men might have been murdered, and all the Vienna Freemasons
and Aristocrats might have been future targets.
It's a bit strange.
* Mind-Reading, Assuming,
Extra Work, Additional Cost.
People who say that Meistermusik is Fictitious because Mozart would have
composed a New Piece for the Memorial Service for the 2 Freemason
Aristocrats are trying to do Mind-Reading, and assuming that a recent,
beautiful, reworked piece of Funeral music, written by the Greatest
Composer in the World, would somehow not be Good Enough for a Private,
or Semi-Private Service, done as a Pro-Bono gesture of Generosity for the
esteemed men, with most of the audience not even aware that a previous
version of the piece had been performed a few months earlier for a Private,
Talk about looking a Gift Horse in the Mouth!!
What monumental ingratitude!!
What Pettiness!! What a demanding attitude!!
And a further burden on their orchestra to LEARN a New Piece!!
And REHEARSE it!!
And have the Copyists COPY the parts!! And PAY the Copyists!!
And PROOFREAD the Copied Parts!!
If it occurred.
(Did Mozart re-use the parts from Meistermusik in the MFM, so that no
copying of music was involved?? Possibly.
It would have made the Memorial Service easier and cheaper.)
I seriously doubt that any of the attendees had such sniveling thoughts, marking
them as carping "Little People", non-Freemasons, non-Aristocrats, and not
worthy to rub shoulders with the friends and acquaintances of Esterhazy and
If any of the attendees at the Memorial Service were offended by the re-use
of beautiful, polished, 3-month old Funeral music, written by the Greatest
Composer in the World, they were free to leave, and free to compose their
OWN Funeral music for the men, and hold their OWN Memorial Service,
with their OWN orchestra performing the music, sending out invitations to
their OWN group of friends, to correct this inadequate tribute.
And make it Snappy!! The men died in early November. Their Memorial
Service shouldn't be pushed out to the Spring.
Mozart and the other Freemasons got it done in about 10 days.
If they did it, the music must have been forgettable, since I don't think we
have a piece called:
"New and Better Funeral Music for Esterhazy and Mecklenburg, Composed
by People Upset With Mozart's Re-Use of a Recently Composed Piece"
in the Classical Music Literature.
Where's the music?? Where's the uproar?? Where's the musical response??
Where's the Miffed response from the Queen of England??
Where are the private letters complaining about it, reviewed by Historians??
What right would people have to complain about the use of beautiful, recycled
music if they themselves did nothing better, or nothing at all??
(Please also keep in mind that this group of Men probably gave no thought
at all to the reaction of the Queen of England regarding the Memorial Service.
This was a group of Men, belonging to a Private Men's Club (Freemasonry),
in a country hundreds of miles away from England, not worried or thinking
about some Foreign Queen, regardless of her sibling status.
So she was the sister of one of the deceased Aristocrats. So what??
If she finds out about the Memorial Service with music by Maestro Mozart,
she would probably be proud of her little brother that he was so well
And if The Masonic Funeral Music was a New Piece, there's a lot of explaining
to be done about Catalog dates, Vocal Music styles, the effort of learning
a new piece rather than the simplicity of re-using some recent music, the use
of 200-year old music in a "New Piece" turning it partially into an "Old Piece",
the partial copying of Michael Haydn's Requiem - a Predecessor, etc, etc.
Good luck with that "New Piece Theory".
A New Piece written in November??
Why did Mozart list this so-called "New Piece" in JULY (in his Catalog), under
the heading of "In the month of July" with no exact date, such as "July 25th"??
(The Aristocrats died in November).
Why does this Instrumental piece use a Vocal Melody and Vocal Styles?? Etc.
If you say: "July was obviously a Mistake." you need to supply your evidence,
and handle the other two issues dealing with July - as well as explaining how
Mozart, or anyone else, could be 4 months off, with all the "November" Date
Triggers fresh in his mind, the Catalog "Month" entry staring him in the face,
and why he never corrected it over the next 6 years!!
Why is it listed ahead of a piece completed in October??
Why the strange "Date" ("In the month of July")??
Why did he list other pieces with November dates, but not the MFM??
No one has even attempted to do this, to my knowledge - and for a good reason:
It can't be done without acknowledging Meistermusik and other issues, thus
negating the New Piece theory for The Masonic Funeral Music.
The Masonic Funeral Music is not a piece that can be explained without the
existence of a Predecessor (as well as other issues).
A Predecessor can be shown to exist based on the oddities with
The Masonic Funeral Music.
We have the "July" date in Mozart's Catalog preceding the MFM by 4
months, the Vocal Style, the fit of Masonic text to the music, the huge over-
delivery of pathos for 2 Aristocrats as if the Piece had been written for some
other occasion of greater emotional significance - perhaps Personal
I'll stick with Mozart's decision: Re-use Meistermusik, but drop the Chorus.
It should sound polished, there should be no complaints from the attendees,
most of the attendees had probably not heard Meistermusik performed,
Meistermusik could be camouflaged in his Catalog, the music could be salvaged
and listed under a different name, Meistermusik could easily be recreated, if
necessary, and all would be well.
If there were any complaints about re-using some recent music (very doubtful),
they would be from a small number of people who had heard it before, and
whose complaints could be ignored as being silly, demanding, and petty, with
questions put to them, such as: "Since we didn't do enough for those two
deceased men, what have YOU done to honor them?? More than we did??"
Clearly not Management Material where you sometimes have to balance
Value and Necessity against cost, time, effort, and Common Sense.
Would a New Piece have been a better idea?? No.
Risky and difficult, unnecessary, and too time-consuming.
Mozart and the Lodge Orchestra members were not Employees of the Lodges,
nor were they Indentured Servants.
Using beautiful, appropriate, recently-performed, Off-The-Shelf music was
smart and practical.
I suppose Mozart could have written a lengthy Symphony for the men...
And the Lodges could have given them a Parade...
Austria and Hungary could have given Esterhazy a posthumous award...
Or held a 3-day Celebration of their lives.....
England could have knighted Mecklenburg....
Apparently, they didn't do any of those things.
But the Vienna Lodges gave them a Memorial Service, and Mozart supplied
some beautiful music.
(What did YOU do when 1 or 2 Important and Wealthy men from your Club died??
Did you write a New Piece for Orchestra, get copies made, rehearse it, and perform it??)
The deceased Aristocrats were not cheated or given a "Cheap" or Cut-Rate
Memorial Service in the Music arena. Mozart and the Lodges were very
GENEROUS, doing far more than any imaginary obligations would have
required them to do.
The only "obligation" they would have had would be to ensure that the men
were treated with respect, as any normal person would do.
They did that - and more.
Mozart and the Lodges had nothing to apologize for.
The Masonic Funeral Music is a Gorgeous Piece.
And it doesn't matter that it was a version of a piece, written 4 months earlier,
performed 3 months earlier, which most people probably hadn't heard, anyway.
And the previous version is related to none other than Hiram Abiff - a Masonic
Hero, as a central part of the Masonic Promotion Ceremony!!
Symbolically, their Hero was honoring the deceased Aristocrats.
The Hero of Meistermusik honored the two men through the music of The
Masonic Funeral Music.
Through the power of music (The Masonic Funeral Music - a version of
Meistermusik), Hiram Abiff, the Masonic Hero, architect, and chief builder of
Solomon's Temple in Jerusalem, who was murdered in that temple by 3 envious
workers seeking higher wages by trying to learn Hiram's secret Password of his
craft - a Master Mason's Secret Password, and whose legend forms the symbology
for the promotion to Master Mason, was perhaps symbolically saying something
like this to the two deceased Aristocrats:
"Farewell, my two Brothers.
There is great sadness and bitterness here, today, just as
Jeremiah suffered and wrote about, many years ago, as
he saw the destruction of Solomon's Temple - the temple
I was in charge of designing and building, as well as seeing
the destruction of Jerusalem.
Today, you are Lost and cut off from Life.
But tomorrow, you will be Resurrected, and we will meet
in the Peace of the Afterlife, designed by the Great Architect
of the Universe.
Mozart's Meistermusik and Masonic Funeral Music describe
the situation well."