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| Did You Know? The above portrait, long asserted to be that of an 8-year old Mozart seated at the harpsichord, may in fact be that of one Count Karl Graf Firmian (1770-1822), son of Count Franz Lactanz Firmian, as attested by Frau Erna Fel-Firmian. The portrait, painted in 1768 by Franz Thaddaus Helbling was left to the Mozarteum by Angelo Saullich, a successor of Lorenz Hagenauer's property at Getreidegasse 9, presently known as "Mozart's Birth House. " The 3rd floor apartment was rented in 1747 by Leopold and his wife, Mozart's mother, Anna Maria from Hagenauer, effectively making the latter the Mozart's landlord. Saullich acquired the property in 1846 and owned it until his death in 1885. |
Barrington was a true polymath of his day, contributing as a writer (and later becoming vice-president) to the Society of Antiquaries and the aforementioned esteemed Royal Society - an electorate gathering of scientific intelligentsia backed by a Royal Charter (issued by Britain’s King Charles II) and founded in the late 17th century at London.
It was in the year 1770 that Barrington would contribute an essay to the Society’s Philosophical Transactions after having been prompted to conduct a "scientific examination" on the young prodigy Mozart. The 'examination' included an impromptu demand on young Wolfgang to improvise from a manuscript of music in 5 parts (including sung parts), which was to be undertaken prima vista. To the delightful surprise of the honorable secretary Barrington, Mozart completed the task with "most astonishing" technical - and vocal - ability.
Unfavorable critiques (believed to have been uttered in muted tones behind closed doors by envious musicians more than twice Wolfgang's senior) had begun to surround the boy himself : Mozart, it was said, was no child prodigy, but rather a deformed adult with stunted physical growth. Barrington himself had expressed doubts over the youth's real age, famously withholding the fruits of his 'scientific findings' from the Royal Society until he received confirmation from the musician's native Salzburg (which he received on 3 January 1769 from the city's Chaplain, Leopold Comprecht, whose vow was printed within Barrington's report itself).
Once age could be verified, Barrington's findings were handed off to one Dr. Matthew Maty, former Dutch physician and present Secretary of the Royal Society on 28 September 1769. It would be published in vol. LX of the the society's Philosophical Transactions (pp. 55-64) in 1771. The report reads both telling and touching as Barrington paints for the modern reader a rather vivid picture of the young wunderkind's world, and the jealousy-fueled controversies that surrounded an 8 year-old Mozart during his rapidly ascending foray into the esteemed realm of icons of Western Classical Music.
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| Hon. Daines Barrington F.R.S. |
This is in complete contrast to Mozart as both a young man and as a hyper aware adult, wherein his frequent outbursts of what can arguably be described as conceit (although in his case, his outbursts were substantiated by his majestic oeuvre) were commonplace for the composer as he struggled to gain both a royal post and proper accreditation at the court of Joseph II of Austria.
The contrast between a preternatural genius and the innocence of childhood is exquisitely depicted in one delightful exchange, in which Barrington describes the pre-pubescent Wolfgang at one moment expertly playing a number upon his harpsichord (his instrument of choice) with the sharp focus of a man engaged in intellectual vocation, and at the next, childishly wandering off chasing the family cat when it makes a sudden and surprised entrance into the room. Somehow, this ‘conflict’ between the astute focus of a learned man whist engaged in a project vs. the often cumbersome attention span of a curious child - playing, running and skipping his way into learning the wonders of the world - makes the extraordinary gifts of the composer that much more unique, that much more impressive.
The quoted extract:
“…I have been informed by two or three able musicians, when Bach the celebrated composer had begun a fugue and left off abruptly, that little Mozart hath immediately taken it up, and worked at it after a most masterly manner.
Witness as I was myself of most of these extraordinary facts, I must own that I could not help suspecting his father imposed with regard to the real age of the boy, though he had not only a most childish appearance, but likewise had all the actions of that stage of life.
For example, whilst he was playing to me, a favorite cat came in, upon which he immediately left his harpsichord, nor could we bring him back for a considerable time.
He would also sometimes run about the room with a stick between his legs by way of a horse.
I found likewise that most of the London musicians were of the same opinion with regard to his age, not believing it possible that a child of so tender years could surpass most of the matters in that science.
I have therefore for a considerable time made the best inquiries I was able from some of the German musicians resident in London, but could never receive any further information than that he was born near Salzburg, till I was so fortunate as to procure an extract from the register of that place, through his Excellence Count Haslang.
It appears from this extract, that Mozart’s father did not impose with regard to his age when he was in England, for it was in June 1765, that I was witness to what I have above related, when the boy was only eight years and five months old.
I have made frequent inquiries with regard to this very extraordinary genius since he left England and was told that last summer, that he was then at Salzburg, where he had composed several oratorios, which were much admired.
I am also informed, that the Prince of Salzburg, not crediting that such masterly compositions were really those of a child, shut him up for a week, during which he was not permitted to see anyone, and was left only with music paper, and the words of an oratorio.
During this short time he composed a very capital oratorio, which was most highly approved of upon being performed….”
WHAT WAS MOZART DOING “TODAY” (APRIL 14th)?
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| Mozart as he would have appeared in 1789 |
It would be on the 14th of April in the year 1789 that a 33-year-old Mozart would perform for the court of Prince-Elector Friedrich August III his so-named “Coronation” [1] Piano Concerto No. 26 (K.537).
It would be one of Mozart’s last performing appearances at any Royal court. The 33-year-old composer would succumb to an unknown illness just two years later, leaving this earthly sphere at the still tender age of 35.
The “Coronation”: Piano Concerto no. 26 (K.537):
[1] The name “Coronation” was attributed to the Piano Concerto No. 26 by posterity. It was granted the esteemed title following the coronation of Leopold II as Holy Roman Emperor, for which Mozart performed the piece at Frankfurt am Main in October of 1790.
Navigate the pages below to read Barrington’s letter to Maty:
-Rose.
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