A child prodigy who became a musical virtuoso before he could properly speak, the greatest composer in Europe, a mystic, Johann Chrysostom Wolfgang Theophilus Mozart was born on January 27, 1756, in Salzburg and died on December 5, 1791, in Vienna. Amadeus Mozart did not live to be 36 years old.
The very name largely determined the composer’s fate. Christened Johann Chrysostom, he possessed an extraordinary artistic gift. And the replacement in the name of the Greek Theophilus with the Latin Amadeus, meaning “beloved by God,” outlined his difficult path as God’s chosen one. And it was this name that brought him success and worldwide fame. But the cosmogram of our hero reveals even more secrets.
Mozart was an extraordinarily talented child – he began playing the harpsichord at the age of 3, and at the age of 5 he composed his first minuet. Starting with a career as a pianist, Amadeus soon mastered the technique of playing the violin and other stringed instruments. Leopold Mozart (his father) taught his son everything he knew himself.
The Ascendant of the horoscope is at 13 degrees of Virgo (the degree of musicians), the ruler of the degree is the Sun – a fruitful life, the ability to realize dreams and ideas, but after the rise and flight, a fall.
In Amadeus Mozart’s natal chart, the Sun in Aquarius in the 5th house (which symbolizes creativity) in conjunction with Mercury and Saturn, the almuten of the 10th house, which indicates the father – the father played a large role in revealing the creative personality of his son. Uranus, the ruler of the 5th house of the horoscope, indicates the creative expression of a person, and creativity is imbued with a spirit of novelty and inner freedom.
Saturn in the 5th house and the ruler of the 5th house – this is a brilliant creator, especially in music and conducting. Mozart’s pen belongs to more than 600 works of almost all major musical genres – symphonies, chamber ensembles, concertos, songs, arias, masses, cantatas.
Also, the position of Mercury in the 5th house indicates a huge creative potential. In addition, Mercury is located in the 9th degree of Aquarius (the degree of genius; the Apostolic degree), which is the degree of exaltation of Neptune – the planet of music and art. An indication of fame – he attracts it to himself, like a magnet.
The Mozart Family
In 1764, Amadeus’s talent was appreciated by the Austrian Empress Maria Theresa, who twice invited the Mozart family to the palace. In 1765, immediately after returning from London, the Mozart family was received by King George III. In 1769 – 1771 Leopold Mozart took his children on an Italian tour, where they were received by the Pope, King Ferdinand IV, and the Cardinal. The Mozarts were received at the court of Louis XV during the Christmas holidays in Versailles and enjoyed great attention from aristocratic circles throughout the winter.
In the natal chart, royal honors are indicated by Venus, the patroness of beauty, harmony and the arts, located in the 30th degree of Aquarius (royal), this degree bestows honor and respect on a person, as well as a musical gift. Venus, the ruler of the 9th house (associated with long journeys), the musician achieved recognition and awards far from his homeland.
“I am convinced that in order to experience great joy, one must sacrifice something. After all, something is always missing in great happiness.”
From the letters
Mozart lived for passions. Childlike, cheerful, and in love, he spent lavishly, enjoyed himself in company, gambled, and cheated. In a letter to his father, Mozart wrote that Constanze was not beautiful, but she had a heart of gold and was a wonderful housewife. Constanze knew almost all of her husband’s works by heart. She was his first listener, the first to sing all the female parts at home with her husband’s accompaniment.
Mozart made no secret of his adventures and wrote to his father: “The Almighty gave me talent not so that I would ruin it because of my wife and live my young life idly. I am only beginning my life, must I spoil it? If I had to marry all those with whom I amused myself, I could easily have 200 wives.” The Moon in Mozart’s chart is afflicted by Uranus, which is located in the 7th house, indicating a tendency to self-deception in relationships and his own inclination to freedom and infidelity.
Constanze Weber
Uranus in the 7th house means that the decision to marry comes unexpectedly and is often not approved by parents. Mozart’s father and closest relatives negatively assessed his marriage, believing that the Weber family had lured, seduced, and tempted their beloved Wolfgang into a trap. But despite everything, they were happy. Wolfgang and Constanze were similar, both with a light and joyful attitude to life. The doors of the Mozart’s house were always open to friends. His father, who once stayed with Wolfgang, once said that his son’s house resembled a madhouse – music blares all day, the baby cries, the dog Huckel barks and rushes around the apartment, and the canary Starl sings as if announced. In addition, there were always guests in the apartment – one friendly feast replaced another.
The 7th house (partnerships) of Mozart’s horoscope is in Pisces, which gives a “blurring” of relationships, illusions in love. His wife is represented by Neptune; she spoke three foreign languages fluently, had a musical and poetic gift, but also had a tendency to deception in marriage. Neptune is in opposition to the Sun and Mercury – the rulers of the 12th house (secrets, betrayals).
Hard work took a lot of energy from Mozart. If he went somewhere, he wrote warm and tender letters to his wife almost every day. Here is one of them: “My beloved wife, I take this opportunity to write to you, my dear. How are you? Do you think about me as often as I think about you? Every minute I look at your portrait and cry with happiness and sadness. Take care of yourself for me and be healthy, my love! Farewell, I kiss you tenderly a million times. Forever yours, until death do us part.”
Neither a high level of intelligence, nor imagination, nor both together create a genius. Love, love, love, that is the soul of genius.
W. A. Mozart
Despite these love letters, Constanze was jealous of her husband with every skirt. Wolfgang was always surrounded by charming ladies, and Frau Mozart, exhausted by illnesses and frequent unsuccessful childbirths, began to lose her girlish freshness. Mozart tried to reassure his wife, writing from trips: “Don’t torment yourself or me with unnecessary jealousy! I beg you! And you will see how satisfied we will become! Only a wise, even behavior of a woman can put bonds on a man. Understand this!”
It was rumored that Constanze sometimes looked at other men as well. After another birth, she went to Baden, where she recovered in the company of gentlemen.
On one of these trips to Baden in the summer of 1791, Constanze was accompanied by the handsome Franz Xaver Süssmayr. He was Mozart’s last student, as well as a friend and former student of Salieri. Wolfgang was very jealous of his wife with him and did not hide it in his letters addressed to her. And Constanze, meanwhile, was jealous of her husband with his student Magdalena Hofdemel. In July 1791, Constanze gave birth to a very cute baby, whom she named after Süssmayr – Franz Xaver, to appease her husband. And immediately malicious tongues began to reproach her for adultery, strongly hinting to the maestro that Franz Xaver was not actually his son.
Mozart and Constanze had six children, two of whom survived: Karl Thomas (1784–1858) and Franz Xaver Wolfgang (1791–1844).
Mars in the 10th house indicates ambition, a huge desire to reach the top, but as the ruler of the 8th house, it brings negative circumstances into life after success, a decline in prestige after ascent.
Mozart joined a Masonic lodge quite early and wrote many pieces for it, but in 1789 his relations with the Freemasons deteriorated. After the premiere of “The Magic Flute,” literally imbued with Masonic symbolism, they became hostile altogether. By the way, Mozart never managed to realize his plan to showcase a Masonic opera. To this day, “The Magic Flute” is staged as a fairy tale, devoid of the religious and mystical layer.
Proserpina as the ruler of the 1st and 12th houses of the horoscope indicates a desire to achieve a high goal and participation in the process of some secret forces (the Masonic lodge). But Proserpina, also in the 8th house of the horoscope, warns of degradation, indicating the disastrous consequences of a single mistake that can decide the fate of many years of effort aimed at achieving the cherished goal. In the worst case, a person prepares an abyss for themselves and falls into it from the height of their achieved position in society. This is exactly what happened to Mozart, who joined the Masonic lodge to improve his material situation and social status, disclosed part of the secret Masonic rituals, and paid the price for it. But the crime and punishment under the laws of the brotherhood of “Freemasons” awaited Mozart in the distant future. It was the passion, which manifested itself mainly in the Masonic ritualism of the opera “The Magic Flute,” that later played a cruel joke on the composer and, perhaps, even became one of the reasons for his premature death. At least it is known that Wolfgang Amadeus fell seriously ill after the unsuccessful premiere of “The Magic Flute.”
In revolutionary Paris, the premiere of “The Magic Flute” would most likely have caused a sensation, but in Austria, the opera provoked a mixed reaction from the public. The residents of Vienna watched the carnage in revolutionary France without much interest, and therefore the opera, filled with the spirit of Masonic ideology, did not evoke particular approval from Austrian music lovers. But most importantly, the premiere of Mozart’s opera forced the “Freemasons” to urgently take measures to eliminate the member of the lodge who had violated the taboo on disseminating information about the organization. The further existence of the musician, who used Masonic symbolism in the plot of the opera, threatened the order with the disclosure of not only the ceremonial but also the semantic component of the Masonic rituals.
Many famous authors believe that the Masons’ unwillingness to provide Mozart with a decent funeral shifts the invisible finger of blame for his death onto them.
Mozart’s House Museum
The strange disease that suddenly undermined the young composer’s health was very similar to poisoning with a slow-acting poison. There were all the signs of poisoning: a swollen body, foul-smelling ulcers, and altered skin color. In those days, people often left the world with the help of poisoners, so the effect of poisons on the body was known to many.
In Amadeus’s horoscope, Neptune – the planet that patronizes musicians, as well as everything mysterious, incomprehensible, and enigmatic – is located in the destructive 10th degree of Leo. According to astrological symbolism, Neptune “oversees” all liquids, alcohol, narcotic and poisonous substances. Therefore, people in whose natal charts Neptune is in a deficient position (and in Mozart’s horoscope, this planet was in fall and in a destructive degree and in opposition to the Sun) are prone to alcohol and drug addiction, and they may even become victims of poisoning.
“I comfort myself with the thought: let what must happen, happen, because I know that it is pleasing to God, who cares for our good (even if we do not understand it). For I believe (and no one will convince me otherwise)
Ah, God does everything for the best! I have something in my head that I beg God for every day. If it is His will, then it will happen. If not, then so be it, but at least I will do everything that depends on me.”
From the letters of W. Mozart
The suspect #1 for a long time was the composer Antonio Salieri, allegedly he was poisoned by Salieri out of jealousy. This hypothesis lacks credibility – the cosmogram of Salieri, who was born near Venice on August 18, 1750, presents him as a person who is not untalented (he wrote more than 40 operas) and very successful in life and completely devoid of the “endowments” of a murderer. Salieri was an outstanding music teacher, and among his students were Schubert, Liszt, Beethoven and other composers of the early 19th century.
In addition, in 1791 Mozart was difficult to envy: there were a lot of problems – both financial and personal, and even creative (a number of works of that period, including the famous “Requiem”, were never finished) – while Salieri was basking in the rays of glory. Unlike Mozart, he had the Sun not in detriment, but in its domicile, and therefore he was completely self-sufficient, successful, rich and even wasteful (like a typical Leo) and knew his worth. It is known that Salieri in the 1780s repeatedly conducted Mozart’s works, and after being appointed Kapellmeister of the court opera, he primarily returned Mozart’s opera “The Marriage of Figaro” to the repertoire. There was also a case of Mozart and Salieri writing a joint musical work: the cantata for voice and piano “On the Recovery of Ophelia”.
The Black Man
The most mystical version of the death of our hero is connected with the composer’s last work – “Requiem”. It was in July 1791 that he received an order to write this work from a stranger.
Once a stranger dressed all in black knocked on the door.
“I have come to you, sir, on behalf of a very important person. This person does not want his name to be known.
“So be it. What does he want?” Mozart replied.
“He has just lost a loved one. He wants to celebrate the anniversary of his death every year with a church service and asks you to write a requiem for this purpose. Put all your talent into this work, you have the honor to work for a great connoisseur of music,” the stranger said and left.
The idea of creating a requiem deeply captivated Mozart. He worked with incredible enthusiasm. Mozart took on the order because of the generous fee, but the further the work progressed, the more he thought about his own death, that he was writing a “Requiem”… for himself!
The strange mystery of the stranger only aggravated the situation and had a depressing effect on the composer’s excited imagination.
Mozart died without knowing who that mysterious client was. Biographers of the composer got to the truth. This “black man” was a certain Count Walsegg-Stuppach, who decided to “appropriate” the creation of our hero. Mozart’s death is still shrouded in mystery, and the exact place of his burial is unknown. The composer reached the creative peak and died in his prime practically a beggar. There are two tombstones in the Viennese cemeteries that claim that the greatest composer of all time lies beneath them.
“I firmly hope for the best, although I have made it a habit to always assume the worst in everything, since death is the true, ultimate goal of our life. In the last two years, I have become so closely acquainted with this true and better friend of man that the image of death not only contains nothing frightening for me, but, on the contrary, gives a lot of comfort and consolation! And I thank God for giving me the happiness… to understand death as the source of our true bliss. I never go to bed without thinking that, perhaps (although I am young), I will not see a new day. But at the same time, none of my acquaintances can say that I am gloomy or sad. I thank the Creator every day for this bliss and wish this bliss from the bottom of my heart to each of my neighbors.”
From the letters of W. Mozart
The Mozart Effect
The Mozart effect. This term refers to a set of controversial scientific findings that classical music quickly enhances some of a person’s mental abilities. After listening to Mozart, people who take the standard IQ test show some increase in intelligence. Also, listening to Mozart in the cradle is beneficial for the child’
American Don Campbell is successfully making money on the “Mozart effect” (even patenting the phrase itself), having already released 18 books and 17 collections of classical music with instructions on how to use music to treat memory, dyslexia, autism, and mental illness.
Other evidence of the influence of Mozart’s music on the brain has been obtained. Neurologist John Hughes from the Medical Center at the University of Illinois (USA) conducted an experiment on 36 severely epileptic patients who suffered from almost constant seizures. During the observation of the patients, the scientist turned on Mozart’s music and compared the electroencephalogram of the brain before and during the music’s influence. In 29 patients from this group, the brain activity waves that occur during a seizure became weaker and less frequent shortly after the music was turned on.
