Of these letters only one of them Is written to Nearly; the rest are to a dear friend of Mozart, Michael Bugbear. Interestingly enough Mozart begins all of his letters to Michael delicately and affectionately with “brother”, “Brother of Order”, or “beloved friend” which we know from the past is Mozart way of getting on somebody’s good side before asking for something. After the greeting, the body of all of these letters appears to follow a basic format: starting out with a high feeling of dignity or self-confidence, and ending tit pleas for financial backing or help.
The letters, amounting to twenty between 1 788 and Mozart death (Keys 206), only afforded Mozart an estimated 141 5 florins. This can be compared to the near 3000 gulden that he had borrowed from many people by his death in 1791. Mozart met Michael back in his freemason days; they worked together for the same company. Michael became very wealthy when he inherited the textile manufacturing business that he was working for. Mozart near constant pleas for money were sometimes granted, but not all of the time. Unfortunately.
Mozart never made enough money before his death to be able to fully pay Michael back for all of his help. However, as a small form of compensation, Mozart would occasionally send Michael compositions and even dedicated one of his piano symphonies to him. Michael was such a good friend of the family, that it has been said that he continued to help Castanet out with family and financial problems after Mozart death. Eventually, it becomes rather obvious that Mozart can barely support his family, let alone pay back anyone who lends him money.
Because of this, e loses nearly all of the flannel credibility that he once had. He reaches an economic low point and runs into a great crisis when his landlord demanded immediate payment of arrears in June of 1788. Mozart turns to Bugbear, asking him for the money and promising a return payment within “a year or two with one or two thousand gulden, at a suitable rate”. Michael realizes that Mozart needs to work through this problem on his own and therefore refuses to lend him the money. Because of this, Mozart winds up having to pack up both his family and belongings and move too suburb in Warring.
Here, Mozart lives in a much smaller house than the one in Vienna. During these next few months it can be said that Mozart suffers an air of withdrawal from Vienna and its music life. Not only was Mozart facing an economic hardship at this time, but there was also quite a bit of commotion going on in his family life too. Taking a look at the past few years of Mozart life it can be seen that In 1786 his wife gave birth tonal lost a son and In 1787 he lost 3 of his close that was born to this couple, Theresa Connotations, passes away in June.
This was less than a year after the child was born. The baby girl was buried in the Warring cemetery, right near the family’s new home. On top of all of this, Mozart health was still declining from his re-infection of what doctors assumed to be SSH (Schooners- Hence Syndrome) in mid April if 1787. It seems that nothing here could really pull him out of his rut enough to get better. Eventually though, he got his life back together enough that he moved back to Vienna in late 1788 to early 1789 in hopes of again finding better luck.
Moving on, Mozart professional life seems to be quite uneventful during 1787. Mozart seems to withdraw himself from society. One author even stated that in the autumn and winter “so little appears to be happening that one begins to wonder how Mozart spends his days”(unknown). Looking at the list of works that he finished in 1788 it can pretty much be inferred that he is spending most of his time at home composing. This raises the question of who Mozart was doing all of this composing for.
Looking at commissions, it can be seen that there really are not any; along the lines of employment, activity seems to be kept at a minimal; publishing also appears o have been kept rather stagnant; and performances seemed to be the only small thing that Mozart was falling back on. Joseph Starter died in 1787 and Mozart was appointed his role of the director of Sweetie’s oratorio concerts. In fact, Barron van Sweeten liked what Mozart was doing so much that he had Wolfgang add to and alter Handel’s piece Accusing Galatea in November of 1788.
The piece came out so well that Sweeten decides to have Mozart do the same thing to a couple of other pieces later on in his life. Also during this year a virtual collapse in Mozart concert audience an be seen throughout his performances. On top of that, not only were his subscription attempts in June of this year a failure, but his subsequent promotions did not seem to far any better. When the performances from 1788 are assayed we find that Mozart mainly covers someone else’s pieces along with performing one of his operas.
The piece that he conducted is C. P. E. Bach’s Die Furthering undo Hammertoe Jesus that is performed on March fourth. The opera that is put on was one that Mozart had written Just a year before: Don Giovanni. Although it has been reformed previously in other locations, this is the first time that it is to be seen by a Vienna audience. Unfortunately though, it only has fourteen or fifteen showings before it is no more. The Emperor attends the last showing and declares it good, but unfit for his people (Keys 210).
The score for this opera is so well written that it causes Hayden to react to a circle of aristocratic musical amateurs that were disputing over Mozart Vienna opera with: “l cannot settle this quarrel, but I know this, that Mozart is the greatest composer now living in the world” (unknown). Possibly the best and most incredible thing to come out of this year in Mozart life is the composition of his last three piano symphonies within a time frame of only six weeks.
This task alone is outstanding, but what makes it even more amazing is that he managed to produce such a strong trilogy despite all of the personal problems that he is having. It is now known that these pieces were not commissioned, but why were they written? One possible explanation for the pieces is Mozart great need for time in his life between June 26 and August 10 he was in such a financial bind that e was pawning his belongings to keep the family alive (Keys 206).
Between Mozart declining health and his poor finances, it is becoming clear that the end off great man is nearing. 1788 was a year of struggle, but Mozart stood up against his hardships as much as he could to prove that he was not Just going to Match his life get taken from him. Although none of this effort can be seen financially, his strength can be seen in all of the pieces that he finished in this year alone. Mozart valiant efforts over this year’s struggles illustrate what a truly hard Morning and dedicated man he was.