1791: Mozart's Last Year

1791: Mozart's Last Year
by M. C. Landon, H. C. Robbins Landon

1791: Mozart's Last Year
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Book Summary Information

Author: H. C. Robbins Landon, M. C. Landon
Preface: H. C. Robbins Landon
Edition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 1999-05-01
ISBN: 0500281076
Number of pages: 240
Publisher: Thames & Hudson

Book Reviews of 1791: Mozart's Last Year

Book Review: Well written and informative plus a lot of extra details
Summary: 5 Stars

This is a well-researched book by Robbins Landon not only giving a detailed glimpse of Mozart in 1791 but also the ongoing intrigues associated with life in late 18th century Vienna. Discussed in detail are the three main compositions that he completed during this final year: those being, The Magic Flute, La Clemenza di Tito and his Requiem. There is an interesting section on Mozart's death and the myths and suspicions associated with his final illness. The last chapter is devoted to Constanze and her struggles to survive after Mozart's death.

The book has extensive reference notes, a detailed bibliography and an index that list people who were part of Mozart's life during this period. Also included are some interesting sketches of Mozart's apartment and an area map of Vienna where he and Constanze live in during his last year.

What I personally found of interest, resulted from the extra measures that Robbins Landon goes to give added details on some topics (in particular the 3 works mentioned above). Insights as to the sequencing of construction, participation of other people and outside distractions that influenced Mozart's ability to work on and complete these projects. For example: the fact that 5 different types of sheet paper were used by Mozart during the writing of "La Clemenza di Tito" gives clues not only as to the actual chronological order that some of the scenes were composed, but also an idea as to the geographic locales where different parts this opera was conceived. i.e. Prague or Vienna

It seems hard to believe that retrieving accurate material on Mozart's life and music would be difficult, given his fame. You'd just assume that every note (musical or otherwise) that he wrote would have been recorded for the sake of posterity: sadly, such is not the case. Although Mozart was regarded as a brilliant musician during his time he was only recognized for his true genius, posthumously. So, although a lot of the musical scores, letters, writings and conversation have survived, many were lost or went missing over the past 200 years. What a pity!

Well written and informative. This is certainly a book of special interest, but one that goes beyond the superficial discussions of Mozart's life. Recommended!

Summary of 1791: Mozart's Last Year

The last month of the year 1791 witnessed what Robbins Landon calls "the greatest tragedy in the history of music" - the premature death of the 35-year-old Mozart. The event was surrounded by enigma and intrigue, allegations of poisoning and sexual scandal. Drawing on his knowledge of the sources, Professor Landon seeks to cut through the fantasy to present the facts and to reconstruct the story of the last year of Mozart's life. The composition of such works as the "Requiem", "The Magic Flute" and "La Clemenza di Tito" is discussed in detail, and light is thrown on Mozart's relations with the freemasons, with Salieri, Sussmayr and others.
When Haydn left on a concert tour to London in December 1790, Mozart said farewell forever, and most people assumed it was Haydn's health that he was worried about. As we know now, the elder composer was to live for almost two decades more; Mozart, a single year. It was to be a year in which he wrote The Magic Flute, La Clemenza di Tito, and the Clarinet Concerto, as well as most of the Requiem; it was also a year of mounting disappointment in his career as part of the Viennese musical establishment, and a year of growing debt. Robbins Landon is keen to debunk the myths: Mozart was not poisoned ,but died of progressive kidney failure, and Salieri was innocent of his death, though not of promoting his own career at Mozart's expense. Landon defends Mozart's wife, Constanze, against the libels of biographers, though at times his portrait of comfortable bourgeois monogamy sounds like special pleading and overlaps with hints of conscientious bohemian racketiness. This is a wonderful portrait of a great artist and the city where he lived; in passing, Landon tells us everything we need to know about musical life, Masonry, and the truth about that pauper's grave. --Roz Kaveney

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