Tag Archives: Mozart

Really suffering for your art

Everyone says music is getting more physical again. We continue to get our daily sounds from ever more insubstantial sources, floating above us like those glittering landscapes in Neuromancer, but we’re going to more concerts and festivals than ever and buying more stuff while we’re at it (merch. fancy limited editions. Even musical instruments are booming).

Turns out we love schlepping around for some actual, physical experience of music in an actual physical place as much as we love the disembodied bits. But there’s twenty-first Century physical and there’s eighteenth Century physical.

I’m reading a terrific book called 1791: Mozart’s Last Year, by H.C. Robbins Landon (who died last year). And it’s essentially a catalogue of grim physical trials – of epic journeys (in horse-drawn carriages quite often bought specially for the trip), of intolerable living conditions and diabolical food provided by hateful grandees who never paid their bills, of mysterious debilitating illnesses and (of course) of lives cut short by service to art (and to miserable patrons). The book’s full of enervating phrases like the one at the top (which is from an account of a dinner performance by Mozart) and:

The mail-coach with four horses left Vienna at eight o’clock in the morning and took three days, with twenty-one post stations, to arrive at Prague in the morning

(a trip to Prague to perform at a coronation). And here’s a job ad from Vienna in the period:

A musician is wanted, who plays the piano well and can sing too, and is able to give lessons in both. The musician must also perform the duties of a valet-de-chambre…

(My italics). And then, of course, there was the final, ghastly physicality of his early death:

Suddenly he began to vomit – it spat out of him in an arch – it was brown, and he was dead.

(and that’s from a book based on his wife’s recollections, quoted by Landon).

What I’m left with is an image of the musician as grafter, as under-appreciated, barely-recognised labourer in the fields of art. Sacrifice, privation, hunger, physical collapse – evidently the necessary preconditions for creation in that golden age.