This Short Talk Bulletin has been adapted from a
paper, "The Sixth Liberal Art," prepared by the late
Worshipful Brother Fred W. Mindermann, Past
Master of Granite Lodge No. 119 of Haddam, Connecticut, for Masonic Research Lodge No. 104,
F. & A.M., of Atlanta, Georgia in 1970. It is
presented at this time because of the number of recent inquires M.S.A. has received pertaining to
Mozart.
Wolfgang Amadeus Mozart was born in
Salzburg in 1756 and died in Vienna in 1791 at
the age of thirty-five. As a child he was known
as a prodigy and genius for among his accomplishments he played the piano at three,
composed a concerto at five, made his first concert tour of Europe at six, had his first four
violin sonatas published at eight, had his first
symphonies played in London at nine, and at
fourteen he had written two comic operas and
one opera seria. Mozart is recognized as the
greatest melodic genius of his time and was a
composer whose wide range of works included
symphonies, sonatas, masses, concertos,
chamber music, piano music, and operas
among which are "Don Giovanni" and "The
Magic Flute." He is remembered as a composer
whose music culminated much of what had
gone on before and led the way for some that
was to follow. In addition, he was a genius in
all areas of musical composition, a complete
master of form, and a master in expressing
human emotions and spiritual feelings.
When only thirteen years of age, he was
made concert master to the Archbishop
Schwatenbach of Salzburg, who recognized his
genius and encouraged his triumphal tour of
Europe, where great honors were heaped upon
him. The churches and theaters where he performed were filled to overflowing.
The Archbishop's successor, von Collorado, was a man of a different stripe. Unartistic, unappreciative, disapproved of those
tours, and even refused permission to leave
Salzburg. Mozart resigned in 1772, returned to
the service of the Archbishop von Collorado in
1778, and in 1779 was made Court Organist.
However, his relations with the Archbishop increasingly worsened, and finally he left
Salzburg for good and settled in Vienna. A
possible reference to his break with Roman
Catholicism and his belief that the highest
possible human happiness could be attained in
a society governed by brotherly love, friendship, beauty, and wisdom is expressed in the
following excerpt from his "Little German
Cantata:
"Oh break the fetters of this folly,
Oh tear this blinding prejudicial veil,
Take off the former robe, which long has
Rendered mankind sectarian."
and another excerpt from the "Little Masonic Cantata:"
"Loudly herald our great gladness,
joyous instrumental sound,
Let the echoes of these pillars in
each Brother's heart abound!
For we dedicate this station by our
golden chain of Brothers,
And the truest bond of hearts,
that it shall our temple be."
In 1784 Mozart joined the Lodge "True
Harmony of Spirits" and later the Lodge
"Charity" and finally the Lodge "New Crowned Hope." The impressions he received were so
profound and significant that on the 6th of
April in 1785, his father, Leopold Mozart,
when on a visit to Vienna, became a member of
his son's Lodge, "New Crowned Hope." The
song called "Gesellenreise" (Fellowcraft's
Journey) was composed at the occasion of the
father being passed to the Fellowcraft Degree.
See the Masonic significance of the Iyrics:
"You, who now are risen higher
unto Wisdom's high abode,
Wander steadfast higher, higher,
Know, it is the noblest road.
Only spirit without blight
May approach the source of Light."
Of all Masonic composers, Mozart appears
to be the one who has written the most on all
types of Masonic subjects. Included here is
music for the actual ritual ceremony, music
dedicated to the establishment of Lodges,
music depicting personal feelings of the
Brotherhood and its meaning, and the Masonic
music for his father mentioned in the previous
paragraph.
"Oh You, Our New Leaders" was a song
written for the installation of the officers of a
newly constituted Lodge and was sung at the
closing of the ceremonies. The text of the Lyrics
illustrates clearly the significance of the occasion.
"Oh you our new leaders,
We thank you now for all your faith.
Oh lead us ever on paths of virtue,
That all rejoice in the chain that ties us,
The chain that ties us unto better men
And giveth sweetness to life's chalice,
Gives sweetness to the cup of life.
"And on the rungs of truth
Let us approach the throne of Wisdom,
That we may reach its holiness,
And that we of her crown may be worthy,
Of we with Charity drive out
The jealousy of the profane.
Choir:
"The holy adjuration we also vow:
To strive for perfection of our great temple,
To strive for perfection of our building great,
To strive for perfection of the temple, like you."
One of Mozart's noteworthy Masonic compositions was his Masonic Funeral Music written on the death of the distinguished
Freemason, Duke Georg August of
Mecklenburg-Strelitz and Count Franz
Esterhazy, and played for the first time on 17th
November, 1785, in the Lodge 'Zur
neugekroenten Hoffnung" (New Crowned
Hope). It is felt that the underlying melody probably stems from "The Lamentations of
Jeremiah," a very ancient melody found in
Hebrew ritual.
No doubt one of the greatest Masonic works
ever written is Mozart's "The Magic Flute." It
was first performed in Vienna in 1791. Written
at age 35 shortly before his death, it is a combination of simple German folk tunes and
classic operatic writing. The plot is one of
political satire set against an Egyptian
background. It is said that this is the swan song
of Austrian Freemasonry, for in 1791 Kaiser
Leopold prohibited Freemasonry in Austria.
Thus the opera is written as an apology and a
confession of fidelity for Freemasonry, as a last
farewell to the Mason's ideals of freedom and
forbearance.
Since it would be literally impossible for us
to analyze the complete Magic Flute for you at
this time, we have selected one of the most
popular arias which I am sure you can associate
with Masonic ritual. Behind this aria, "Oh Isis
and Osiris" lies the following story:
Sorastro addresses the priests in tones of
utmost solemnity, telling them of the
young initiate who waits at the North Gate
seeking to throw off the veil of Night and
enter into the realm of Light. He assures
them of Tomino's ample specifications
and promises that if the youth dies in the
course of his initiation he will speed to the
courts of Isis and Osiris, there to enjoy
divine bliss. As the Orator-Priest and one
of his colleagues go to conduct Tomino
within, Sorastro and the rest sing a solemn
prayer to their tutelary dieties.
"Oh Isis and Osiris, Favor
This noble pair with Wisdom's light!
Grant them your aid in their endeavor,
Lead them to find the path of right !
Let them be strong against temptation,
But if they fail in their probation,
Do not their virtue need deny,
Take them to your abode on high."
It is interesting to note here that the melody
of this song is one that is found in the initiation
rites of a popular American Music fraternity.
Masons in Europe, and especially in
Austria, hold the memory of Brother Mozart in
greatest reverence. The foremost Masonic
Research Lodge in Vienna is the "Soroastro
Club," taking the name from the principal
character in "The Magic Flute," the High
Priest of the Temple of Isis. Truly "To live in
the hearts of those we leave behind is not to
die. "
BlBLlOGRAPHY
I "Mozart & Masonry" Dr. Paul Nettl
2 "Music & Masonry" Dr. Paul Nettl
3. "The Music" Pietro Berrl
4. "Famous Masons & Masonic Presidents"
H.L. Haywood
5. "Freemasonry & The Creative Arts"
Dr. Herman B. Wells
(The Indiana Freemason-March, 1968)
6. " Brother Wolfgang Mozart, Master
Mason, and The Magic Flute" Wm. C.
Blaine (The New Age- June, 1968)
7. A.Q.C. Vol. 4, 1891, "Masonic Musicians"
Dr. W.A. Barrett
8. A.Q.C. Vol. 16, 1903, "Philo Musicians of
Architecturos Societas Apollini"
R.F. Gould
9. A.Q.C. Vol. 26, 1913, "Brother Mozart
and Some of His Masonic Friends"
Herbert Brodley
10. A.Q.C. Vol. 40, 1927, "Masonic Songs and
Verses of the 18th Century" H. Poole
11. A.Q.C. Vol. 65, 1952, "Masonic Songs and
Verses Books of the Late 18th Century"
A. Sharp
12. A.Q.C. Vol. 69, 1956, "Mozart's Masonic
Music" A. Sharp
13. A.Q.C. Vol. 69, 1956, "Mozart and his
Contemporaries" E. Winterburgh
14. A.Q.C. Vol. 75, 1962, "Sibelius' Masonic
Ritual Music" A. Sharp
15. M.S.A. Short Talk Bulletin, Vol. 19, No. 8,
"Small Songs"
16. M.S.A. Short Talk Bulletin, Vol. 24, No. 9
"Great Songs"
17. M.S.A. Short Talk Bulletin, Vol. 25, No. 9,
"Masonry & Music"