Act 5 — MOZART

IT IS not at all probable that anything so ridiculous as the "Magic Flute" story was ever before written. It might have been the concerted effort of Artemus Ward, Theodore Hook, Bill Nye, and Mark Twain. But an effort at coherence must be made in the putting together of this story, because the opera is, above all things, one that every man, woman, and child should know. Mozart's lovely music could not be ruined, even by this story.

It has been said that the "Magic Flute" might have had some Masonic significance. That is quite likely, on the ground that it has no other significance whatever.

This opera proves one thing beyond a doubt: That Mozart could have written beautiful music with the New York Directory for a theme.

Rossini summed up Mozart very properly: "Who is the greatest musician in the world?" some one asked him. "Beethoven," Rossini answered. "But what about Mozart?" "Well, you see, Mozart is the only musician in the world," he answered, allowing of no comparisons! And he is the only one, yet, to some of us!

That he was a man of the most fascinating temper cannot be doubted, when one reads his memoirs. He was without any financial judgment. He could make money, but he couldn't keep it. There is a story illustrating the dominance of his heart over his head, told in connection with an offer of patronage from the King of Prussia. At that time Mozart was Emperor Leopold's musician, and when he went to Leopold to offer his resignation and take advantage of the better arrangement which the Prussian King had offered, Leopold said urgently: "But, Mozart, you surely are not going to forsake me?" "No, of course not," Mozart answered hastily. "May it please your Majesty, I shall remain." When his friends asked him if he had not been wise enough to make some demand to his own advantage at such a time, he answered in amazement: "Why, who could do such a thing—at such a time?"

His sentiment was charming, his character fascinating. He married Constance Weber, herself a celebrated person. She was never tired of speaking and writing of her husband. It was she who told of his small, beautifully formed hands, and of his favourite amusements—playing at bowls and billiards. The latter sport, by the way, has been among the favoured amusements of many famous musicians; Paderewski is a great billiard player.

As a little child, Mozart had a father who "put him through," so to speak, he being compelled to play, and play and play, from the time he was six years old. At that age he drew the bow across his violin while standing in the custom-house at Vienna, on the way to play at Schönbrunn for the Emperor, and he charmed the officers so much that the whole Mozart family baggage was passed free of tax. While at the palace he was treated gorgeously, and among the Imperial family at that time was Marie Antoinette, then a young and gay princess. The young princesses treated little Wolfgang Mozart like a brother, and when he stumbled and fell in the drawing room, it happened to be Antoinette who picked him up. "Oh, you are good, I shall marry you!" he assured her. On that occasion the Mozart family received the sum of only forty pounds for his playing, with some additions to the family wardrobe thrown in.

Most composers have had favourite times and seasons for work—in bed, with a heap of sausages before them, or while out walking. Beethoven used to pour cold water over his hands till he soaked off the ceiling of the room below; in short, most musicians except Mozart had some surprising idiosyncrasy. He needed even no instrument when composing music. He could enjoy a game of bowls, sitting and making his MS. while the game was in progress, and leaving his work to take his turn. He was not strong, physically, and was often in poor circumstances, but wherever he was there was likely to be much excitement and gaiety. He would serenely write his music on his knee, on his table, wherever and however he chanced to be; and was most at ease when his wife was telling him all the gossip of the day while he worked. After all, that is the true artist. Erraticalness is by no means the thing that makes a man great, though he sometimes becomes great in spite of it, but for the most part it is carefully cultivated through conceit.

Mozart's burial was probably the most extraordinary commentary on fame and genius ever known. The day he was buried, it was stormy weather and all the mourners, few enough to start with, had dropped off long before the graveyard was reached. He was to be buried third class, and as there had already been two pauper funerals that day, a midwife's, and another's, Mozart's body was to be placed on top. No one was at the grave except the assistant gravedigger and his mother.

"Who is it?" the mother asked.

"A bandmaster," the hearse driver answered.

"Well, Gott! there isn't anything to be expected then. So hurry up!" Thus the greatest of musical geniuses was done with this world.

Germany has given us the greatest musicians, but she leaves other people to take care of them, to love them, and to bury them—or to leave them go "third-class."

THE MAGIC FLUTE

CHARACTERS OF THE OPERA

Queen of the Night. Pamina (Queen's daughter). Papagena. Three ladies of the Queen's Court. Three Genii of the Temple. Tamino, an Egyptian Prince. Monostatos, a Moor in the service of Sarastro. Sarastro, High Priest of the Temple. Papageno, Tamina's servant. Speaker of the Temple. Two priests. Two armed men.

Chorus of priests of the Temple, slaves, and attendants.

The scene is near the Temple of Isis, in Egypt.

Composer: Mozart.