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        Meistermusik:  Evidence of Authenticity

                              

                                                A Topic Related to:

                       The Masonic Funeral Music, K.477

                       

 

                                                          Dave Morton, April 2014

                                                       Last Updated in July, 2017     

 

 

 

                      For best Viewing, please expand to Full Screen.

 

 

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                                              Pictures from this Article (Reduced)

 

 

                                                  

                  Jeremiah.           The Bridge of Sighs, Venice.        Michael Haydn.       Duke Georg Mecklenburg.

        Masonic Connections.      Inquisition Insanity.           Composer and Friend.    Aristocrat. Died young.

        Saw Temple Destruction                                                                                     Masonic Funeral Music.

        and more.

               

      John F. Kennedy.              Jackie Kennedy.                   Nancy Storace.              Salvador Dali Painting.

   Aristocrat. Died young.           Aristocrat.                      Singer and Friend.       "The Persistence of Memory".

     Mozart's Requiem.            "Magnificent.               Played Susanna in Figaro.  Obviously filled with Mistakes?  

                                            I'll never forget it."

   

 

                  

              Mona Lisa.            Queen Charlotte.            The Dissonant Quartet.                The Trojan Horse.

       Leonardo da Vinci.     Mecklenburg's older              January, 1785.                  Obviously a Gift from the

          Old Painting.           Sister in England.        Obviously filled with Mistakes?               Greeks?

     Obviously not worth     Spied on Mozart and

          much?                     Looked Gift Horses in

                                          the Mouth? 

 

 

      

                  Sunflowers.                  The Masonic Funeral Music.

            Vincent Van Gogh.       Composed  "In the Month of July".

               Obviously Just               Obviously a Date Mistake?

               Yellow Paint?              (That's what some people claim).

                                                 Well, maybe it wasn't a Mistake....

                                                 Maybe it was "Smoke and Mirrors"

                                                 AND the Date of the first Version

                                                 known as Meistermusik.    

                                           

TOPICS / TABLE OF CONTENTS

 

   Pictures from this Article (Reduced) -- This Page

       *  A Painting of the Prophet Jeremiah, who may have been the author of the

           Biblical writings known as "The Lamentations of the Prophet Jeremiah"

           utilized by Freemasons.

       *  The Bridge of Sighs in Venice, Italy. 

       *  Michael Haydn (Mozart's friend who lived in Salzburg).

       *  Duke Georg Augustus von Mecklenburg (Aristocrat who died in 1785).  

       *  John F. Kennedy, American President.

       *  Jackie Kennedy, President Kennedy's wife. 

       *  Nancy Storace (Mozart's friend).

       *  Salvador Dali's Painting of Watches - The Persistence of Memory.

       *  The Mona Lisa by Leonardo da Vinci.

       *  Queen Charlotte of England.  Mecklenburg's sister.  

       *  The Elephant in the Room: The Dissonant Quartet.  

           Does anyone know WHY it was written that way?? Perhaps. 

       *  The Trojan Horse - a Fake Gift from the Greeks to the City of Troy. 

       *  Yellow Sunflowers by Vincent van Gogh. 

       *  Portion of "The Masonic Funeral Music" Catalog Entry. 

                                         ...........................

 

     Meistermusik - Short Synopsis

     Fairy Tale Version of the "New Piece" Theory 

     Introduction

         Initial Queen Info

         Mozart: Meaning and Emotions (Link)

             Some Modern Movies

             Some Television Programs

             (Opera is dated compared with Movies and TV, but Mozart did a good job)

             3 MIDI Files - Short Portions:  K.550, K.551, K.608

     Mozart and Freemasonry

     Links to Some Specific Topics

 

    Purpose 

        Purpose, Audience, Short History of the Investigation,

        Primary Evidence, Motivation and Developments

 

    The Themes of This Paper

 

   Meistermusik:

        The Issue and the Importance of Meistermusik

            Importance Rating

            Two ways to Look at Meistermusik

            Methodology

        Background    (Background Information on Meistermusik)  

 

   General-Information Page    (<== Click on Link Here or in Text Body)  

      Short Preview

      Issues and Questions

      Description and Basic Theory Regarding Meistermusik

      First Performances of Meistermusik and The Masonic Funeral  Music

      Summary of the Initial Points

      Dealing with No Ceremonial Evidence for Meistermusik

      Vocal Music Implied

      Predecessor Piece Implied (for The Masonic Funeral Music)

      Notes, Syllables, and Phrases Match

      Michael Haydn's Daughter and his Camouflaged Requiem

      Both are "Funeral" Pieces (Meistermusik and the MFM) 

      Motivation

      Musical Mismatch for the Events  (far too intense for the Events)

      Mozart's Stress

      The Dissonant Quartet (K.465)

      Autograph Score of Meistermusik (Comments on the status) 

      Intentionally Confusing??  (Catalog Entry)

      July (Too Early??)     July (Odd Format)     July (Mistake??)

      The Father of Nancy Storace's Child

      John Fisher     (the Fake "Husband" of Nancy Storace)

      The Aristocrat's Only Tribute?? 

            Is The Masonic Funeral Music the only tribute the 2 Deceased Aristocrats Received?? 

      "New Piece" Theory for The Masonic Funeral Music

                (Some people say that the MFM was an All-New, Original piece).   

                Memorial Service Effort   (by the Vienna Masonic Lodges) 

                "If the Queen Complained"  

                Letter With Invoice to the Queen    (The Ungrateful Queen??) 

                Spy Report 

      Hiding Meistermusik

      Salvador Dali's Painting of the Watches   (Small Version - Larger One Further Down)

      Foul Play??    (Were the 2 Aristocrats Murdered??  Doubtful, but Strange.) 

  .............................

  .............................

 

   The 1785 Collection of Pieces (Short Version) -- A List of Selected Pieces Composed in 1785

 

   Definitions

   Background

   Nancy Storace's Secret Marriage (A Secret in England)

   Questions (Blue)

       * Isn't it ODD that a "Fictitious" piece is missing from Mozart's Catalog, but a known piece

          is listed where the "Fictitious" piece should be, 4 months before it was needed (4 months

          before the Aristocrats died)? 

       *  Mozart's Catalog entries with related events - From a copy of his Catalog.

       *  If Meistermusik is a controversial piece, is The Masonic Funeral Music historically solid

           and free of controversy?

       *  Did Mozart compose The Masonic Funeral Music for the 2 Aristocrats BEFORE they

          died?

       *  Is Meistermusik "Funeral Music"?

       *  Is The Masonic Funeral Music "Funeral Music"?

       *  Did Mozart use Symbolism in his music?

       *  Is "JULY" a Code Word or Symbol for something?  What else happened in July??

       *  Should we "Cast A Wider Net" in searching for evidence that Meistermusik could be

           authentic Mozart?

       *  Can we ever declare that the "July" entry in  Mozart's Catalog for The Masonic Funeral

           Music was a "Mistake"? 

       *  Can we ever declare that "Meistermusik" is a Fictitious piece?

       *  Can we ever declare that The Masonic Funeral Music was a New piece, with no

           predecessor?             

       *  Related Question:

          Has anyone ever explained  WHY the Dissonant String Quartet, K.465,  composed in

          January of 1785,  was written with such dissonance, and keyless, disconnected,

          disorienting, aimless wandering in the Introduction to the First Movement?

          WHY did Mozart write it that way?? 

      *  Salvador Dali's Painting of the Droopy Watches (LARGER VERSION). 

              Relates to "Intentions versus Mistakes".  

              Dali did not make a "MISTAKE" when he painted his watches that way. 

          The notes in the Dissonant Quartet are not "mistakes", and "July" in Mozart's Catalog

               for The Masonic Funeral Music was not a MISTAKE. 

 

   Abbreviations

 

  AUDIO CLIPS      (Click to go to Audio Clips) 

       *  Funeral March in C Minor - K.453a - Organ  (MIDI)

       *  Short Audio Clip of Meistermusik, with piano rather than orchestra (MP3) 

       *  The Masonic Funeral Music (MIDI)

       *  Michael Haydn's Requiem MH-155 Introit (MIDI).

           This piece was composed in December 1771.

 

       *     (Note regarding the similar lengths of the pieces,  and the Tonus Lamentatorium

              entry points of MH155 and Meistermusik, possibly tying the two together even

              more-so than their possible reasons for composition.

              IE, to some extent, Meistermusik and MH-155 are Musical Twins.)  

 

       *  Gregorian Chant:  Lamentations of the Prophet Jeremiah (MP3)

       *  K.465      String Quartet in C Major (Dissonant), First Movement (MIDI)

       *  K.550-1  40th Symphony - G Minor.  1st Movement. Piano Version.  Hisamori.  (MIDI)

       *  K.551-4  41st Symphony - Jupiter.  4th Movement.    Piano Version.  Hisamori.  (MIDI)

       *  K.608     Measure 194.  3rd Movement.  Piano Version. Morton.  (MIDI)

 

       *  Bach Prelude With Fugue    (MIDI)

       *  Bach-Brandenburg-Concerto-4-2S    (MIDI)

       *  Bach-Mass-in-B-Minor--et-incarnatus est    (MIDI) 

       *  Chopin-Opus 21-M162    (MIDI)

       *  Chopin-Impromptu-Opus 29     (MIDI)

       *  Chopin-Etudes-Opus 25-Hisamori (Pianist)     (MIDI)

 

   ........................................... 

 

  Two Summaries

       Summary-1

       Summary-2 

           Listing of Some Musical Versions of "The Lamentations of Jeremiah"

                 (Holy Week, and 3 Musical Versions by Mozart)

 

   Some Points to Keep in Mind

   The Problem

        The Definition of the Meistermusik Problem

   Overview

        Possible Reasons for Writing Meistermusik

        Death and Resurrection

        Schematic Diagrams of the Possible Evolutionary Development of the MFM

        Performance Reminder      

        Status of the Two Pieces - Meistermusik and the Masonic Funeral Music

        Autexier and Further Research

        Pertinent Questions and Answers (Basic and Advanced)

        Blasphemous Question (after Q5)

 

   Apologies to the Reader 

 

   Freemasonry and The Reason for Meistermusik's Composition

         (including Venice, the Inquisition, and a picture of The Bridge of Sighs)

   The Sketch   (possibly for the text "replevit me" for Meistermusik)

   Michael Haydn's Early Requiem - MH155, with an Audio Clip of the Introit

 

   Meistermusik text per Philippe Autexier

   Phrase Analysis  (Click)   (Meistermusik and the Masonic Funeral Music)

       ...and

       ---Analysis of Verses, Phrases, Notes, Words, and Syllables in Music and Text. 

          Graphically matches Text and Notes to demonstrate that the Text matches the Notes,

                and the Phrases match the Phrases.

          Click the "Phrase Analysis" link to go directly to the topic. 

 

   Level of Confidence.

   Challenge.

       Humor:

           "Ordinary Citizen Proves Mozart Was An Idiot".

           "University Scholar Proves Mozart Was An Idiot".

 

   Cantus Firmus (CF) -- A style of singing (usually singing).  

 

   High Positions of the Deceased Masonic Brothers in November, 1785.

         Painting of Mecklenburg   (one of the deceased Freemasons).

         A description of the Masonic Funeral Music. 

               (See Yellow-Highlighted text).  

         President Kennedy's Memorial Requiem Mass in January 1964. 

               With comments and photos of JFK and Jackie.

               (Mozart's Requiem was performed by Boston groups.)  

 

   The Catalog  

         (What pieces did Mozart write in 1785? 

          What pieces are missing from his Catalog?

          What Fragments have been found? 

          What Events occurred during this timeframe?)

 

         A Portion of Mozart's Thematic Catalog, as written.

         A Portion of Mozart's Thematic Catalog, translated and  analyzed,

               plus Related Events Interspersed. 

         Pieces Possibly Involving Nancy Storace in 1785 - The 1785 Collection

         Pieces Missing from the Catalog

         Pieces Present In the Catalog

         Commonalities for Pieces "Missing" and "In the Catalog"

         Additional Information

             K.465 - The Dissonant String Quartet with Audio Clip of First Movement. 

             K.478 - G-Minor Piano Quartet.

         A drawing of Nancy Storace.

         Hard Evidence for the Existence of a Listed Piece

 

   October Proof

   Possible interpretation

   Conclusion   

   Final Summary

   Additional Notes on The "New Piece" Theory For The Masonic Funeral Music

 

   Leopold Mozart

  

   Some Masonic Lodges in Vienna During Mozart's Time.

 

   Comments on 2 posts by Ron Hunter on the Mozart Forum in 2008 elaborating on

       Meistermusik and the Masonic Funeral Music.   (Thank you, Ron).

 

       1. The brief history of Meistermusik and The Masonic Funeral Music.

           The Masonic concept of a "Lodge of Sorrow" for the Deceased.

           LOS: It's a Concept and a State or Ceremony for the Deceased, not an actual Lodge. 

           Roughly equivalent to a Funeral or a Memorial Service, but uniquely Masonic.

           Roughly equivalent to setting all the Flags at Half Mast (and more).  

 

       2. Mozart's Thematic Catalog and how he created it.

           Done retrospectively, at first.

           But how far back do the Entries go??

           And when did he create his Catalog?? 

           I don't know, but I doubt that the July date for The Masonic Funeral Music was entered

           retrospectively, or as a Mistake. 

           If it was a Mistake, why didn't Mozart correct it later?? 

           It's a "Version" issue - not a "Date" issue, or a "Memory" issue, in my opinion. 

           It's also a "Camouflage" issue. 

           Version-1 = Meistermusik.    Version-2 = The Masonic Funeral Music.

           Mozart didn't list Performances on his Catalog.

           He listed dates of Music Composition completion, although in this case, he omitted

           Meistermusik and listed the "Preferred" Piece (the MFM) under July (1st Version) even

           though he completed the MFM in November, as a reworked version of Meistermusik. 

           Smoke and Mirrors, and a bit confusing.

           If anyone read his Catalog, they would probably think that "July" was a Mistake, or

           forget what month the 2 Aristocrats died, years later, and not realize that July was

           4 months too early.

           I have a copy of his Catalog, and I see what he did.

           Mozart knew exactly what he was doing, and he sowed some confusion for 200 years,

           and threw researchers off any "Meistermusik" trails, just as he intended.

           It took until 1985 for someone to figure out, at least partially, what Mozart had done. 

 

   Sources for the claim that Nancy Storace's daughter (Josepha Fisher) died

        on 17 July 1785

 

   Contact Us

 

 

 

 

       Main Body of this Paper (Synopsis, etc):

                    Continue Scrolling Down.  

 

       Link To General-Information Page

                       Short Preview, Issues and Questions, Description,

                   First Performances, Etc.

 

                   Some Links to Various Topics:   

                        Description

                                 Meistermusik and the Masonic Funeral Music Described

                        Beginning ("Purpose")

                                 Purpose, Audience, Short History, Primary Evidence,

                                 Motivation, Developments. 

                        Phrase Analysis 

                                 Analysis of Verses, Phrases, Notes, Words, and Syllables 

                                 in Meistermusik.  

                        Funeral March in C Minor - K.453a   1784  (MIDI)

                               Completely different from The Masonic Funeral Music.

                               Grim, Hopeless, Solitary, and very "Final". 

                               Instrument changed to an Organ by Dave Morton.

                               (Click to Play)      

                        Letter-With-Invoice-to-the-Queen

                        Spy Report

                        Mozart: Meaning and Emotions

                        Food for Thought

                              Miscellaneous thoughts on Mozart.

 

  ___________________________________________

  ___________________________________________

 

 

  Meistermusik Abbreviation:  MM.

  The Masonic Funeral Music Abbreviation:  The MFM.

 

 Meistermusik and Masonic Funeral Music Synopsis:

 

       Short Background.

 

       Traditional View of Meistermusik and The Masonic Funeral Music (The MFM):

 

        * Meistermusik: There is no such Piece, and there's no evidence for it.

 

        * The MFM:       Composed by Mozart in November of 1785 when two Masonic

                                     Aristocrats died, and performed at least once - possibly twice. 

                                     It was a New, Original Piece.  

                                     It is designated K.477 .

 

       .........................................................................................................................................

 

 

       Modified View of Meistermusik and The Masonic Funeral Music (The MFM):

 

        * Meistermusik: Composed by Mozart in July of 1785 and performed in August.

                                    There is a considerable amount of evidence for it.

                                    It has been designated "deest" (K.deest) for purposes of discussion -- 

                                    no K Number assigned.

                                    Not an official part of the Mozart Catalog of Pieces, but the

                                    evidence shows that it should be added to the Official List.  

 

        * The MFM:      The MFM is a derivative of Meistermusik.

                                    Composed by Mozart in November of 1785 when two Masonic

                                    Aristocrats died, and performed at least once - possibly twice.

                                    Mozart used Meistermusik as the Foundation for the MFM. 

                                    It is designated K.477 .

                                    The MFM and Meistermusik are musically very similar, and

                                    almost identical. 

                                    Meistermusik incorporates a Male Chorus, while the MFM

                                    does not.

                                    The MFM (with no Voices) contains a lengthy musical line

                                    known as the "Tonus Lamentatorium", which was SUNG in

                                    Catholic Churches during "Holy Week" (Easter Week),

                                    with Latin Words, and possibly still is sung, years later.

                                    Thus, the MFM might have had a Vocal Predecessor.

                                    We call that Predecessor Piece "Meistermusik" - a Piece

                                    written for use by the Freemasons, which incorporated

                                    some pre-existing Vocal Church Music.

                                    The non-vocal MFM was the successor to Meistermusik.   

 

       Why is the Authenticity of Meistermusik disputed??

                Meistermusik is disputed by some people because:

                *  Mozart didn't enter the Piece in his Thematic Catalog.

                *  We don't have the Autograph Score.

                *  We don't have any published version of it from that Era.

                *  We don't have any Letters mentioning the Piece.

 

                *  A Clue that Meistermusik existed, in the form of a Date in Mozart's

                    Catalog for The Masonic Funeral Music ("In the Month of July")

                    instead of November (with a Day of the Month), is said to be a

                    Mistake or simple Forgetfulness.

                    [Note that this is a Declaration that the Evidence we see is actually

                    "Non-Evidence".  It's just an Opinion, not a Hard Fact.]

                    If it's a Mistake, it's a HUGE and BIZARRE "Mistake" - 4 Months Off!! 

                    If it was Forgetfulness, Mozart was Mentally Ill to forget all that

                    recent activity in November.

                    Neither "Explanation" makes any Sense.

                    There must be some other Explanation for that Date.          

 

 

                *  The Music Historian Alan Tyson did not tackle the issue of the

                    "July" Date as the month that Mozart composed the MFM - a point

                    related to the Evidence for Meistermusik.

                    He called the date "Puzzling".    

                    (Fact:  Unfortunately, Tyson died before analyzing the situation.)  

 

                *  Mozart's Catalog is among the Top Sources of the Truth (unless

                    he made a Mistake). 

                    Therefore, if Meistermusik isn't listed, it must not have existed.  

 

                *  A well-known expert player of the Basset Horn was NOT in Vienna

                    when Meistermusik was supposedly performed. 

 

                *  Some people claim the The Masonic Funeral Music must have

                    been an Original Piece, and not a Derivative of some previous

                    Piece, as the Meistermusik Theory asserts, due to the high positions

                    of the deceased people involved, and their Relatives.

                    Therefore, Meistermusik is Fictitious since Mozart would have

                    composed a New, Original Piece for their Memorial Service.

 

               *  Some people claim that the Queen of England somehow knew that the

                   Freemasons of Vienna from a particular Masonic Lodge, held a Masonic

                   Memorial Service for her Little Brother, knew that Mozart had composed

                   Music for it, and knew the Type, Quality, and Originality of the music

                   used, and that this music had never been played before, in Public, or in

                   another Masonic Lodge, since she was aware of all the music that had

                   been played in all the Austrian Masonic Lodges for the past 10 years,

                   or so, as reported by her Musical Spies, as well as all the music

                   played in Public Venues in Europe for the past 100 years, or so.

                   Mozart knew that she would find out about the Memorial Service,

                   and find out if non-original music was used, and that she would be

                   offended by it, so he took pains to compose New Music in order

                   to not offend the Queen of England, even though it would involve

                   more work for him, more work for the orchestra, and probably

                   additional cost, since Copies would need to be made for the Orchestra

                   Players.

                   Therefore, Meistermusik is Fictitious because no previous version of

                   The Masonic Funeral Music exists or would have been used to create

                   The Masonic Funeral Music.

                   Mozart made sure the Queen wasn't offended by Old Music or

                   non-Original Music for her brother's Memorial Service.

 

                   [Except for the Old "Tonus Lamentatorium" from the 1500's, of course,

                   which was over 200 years old, and incorporated into the MFM.

                   And the fact that Michael Haydn had already composed a Mass,

                   partially consisting of the Tonus Lamentatorium.

                   Meaning that the Masonic Funeral Music was partially a Derivative

                   Piece, and not New and Original.]     

 

                                         ..............................................  

 

 

                These Points don't PROVE that Meistermusik doesn't exist.

                Example: 'There are about 98 other Missing Autograph Scores.'   

                It indicates that it MIGHT not exist, and even probably DOESN'T exist,

                and that we need some Evidence that it DOES exist (of course).

                With no Evidence, Meistermusik is pure Fantasy. 

                With Evidence, it probably DOES exist.     

                (The "July" Date for the MFM is the first Curve Ball in this strange

                situation, which should make us Pause and try to investigate things.)   

                Do we have such Evidence??  Yes. PLENTY of it.   

 

 

       What is some of the Evidence that indicate Meistermusik's

       Possible Authenticity??

               *  A large portion of The Masonic Funeral Music is "Choral" or "Vocal"

                   music (without the voices) indicating a possible Vocal Predecessor

                   by Mozart.

                   The Melody is called the "Tonus Lamentatorium" sung in Catholic

                   Churches during Holy Week (Easter Week), codified by the Church

                   in the 1500's, and is basically a Gregorian Chant.  

                   Therefore, Mozart MIGHT have written a Vocal Predecessor to

                   The Masonic Funeral Music. 

 

               *  The proposed Latin words used by Mozart in Meistermusik fit the

                   Notes and Phrases of the music in The Masonic Funeral Music

                   perfectly.

                   --  The 38 Syllables fit the 38 Notes perfectly. 

                   --  The 4 Textual Phrases fit the 4 Musical Phrases perfectly.

                   --  The text fits the occasion perfectly.

                   --  The important Figure who wrote the text fits the Freemasons perfectly. 

                   --  The Voices (Tenors and Basses) fit the Freemason Group perfectly.

                   --  The "Easy" style of the Vocal Lines fit the Freemason Group perfectly.  

                   The Perfect Fit of Notes, Syllables, and Textual and Musical Phrases -

                   and the Masonic Textual Source - make it highly unlikely that the result

                   (Meistermusik) was just a Lucky Fluke, applicable to many Masonic or

                   Non-Masonic Pieces. 

 

              *  The proposed Latin words originate from the Book of "The Lamentations

                  of Jeremiah" from the Old Testament of the Bible.

                  Jeremiah was an important and Key Figure to the Freemasons.

                  Thus, the proposed words are not just ANY words.

                  The proposed words are very Masonic in Nature. 

 

              *  The Masonic ceremony of "Promotion to Master Mason" invokes and

                  involves Jeremiah.

                  Therefore, if music were composed for the Master Mason Promotion

                  Ceremony, it would probably be Vocal, using some words from The

                  Lamentations of Jeremiah, and it would probably utilize the Melody

                  of the "Tonus Lamentatorium" - the Tone of Lamentations, written

                  by the Catholic Church in the 1500's.

                  This would bring "The Spirit of Jeremiah" in Words and Music to

                  the Ceremony.

                  Meistermusik does exactly that with Words and Music.

                  It fits the occasion perfectly.  

 

             *   If Meistermusik doesn't exist, Mozart wrote a Non-Vocal Piece

                  (The Masonic Funeral Music) containing a Gregorian Chant and a

                  Vocal Melody with no Vocal Predecessor.

                  Possible, but somewhat unlikely.

 

             *   Mozart stated in his Catalog that he wrote The Masonic Funeral

                  Music in July 1785.

                  That would be technically impossible since the 2 Aristocrats died

                  4 months later in November.

                  However, "July" is the right timeframe for composing Meistermusik

                  (if it was performed in August).

                  Therefore, what Mozart probably meant is that he composed the

                  Foundation for the MFM in July, and that Piece we call Meistermusik.

                  There would be many practical reasons for re-using that music.

                  And some reasons for hiding Meistermusik.

                  With other Pieces written and recorded in his Catalog under November,

                  Mozart didn't lose his mind and write "In the Month of July" for one Piece

                  by Mistake.  That's absurd.

                  He said "July" because he wrote the Foundation for the MFM in July. 

                  That Foundational Piece was Meistermusik.  

 

      There are additional reasons given within.

      Meistermusik is almost CERTAINLY Authentic.

      The Evidence for it is overwhelming. 

 

      And please note:  OF COURSE I use Evidence, with minimal Speculation.

      Meistermusik is not a "Theory" or a "Notion".

      I don't waste my time on Theories or Notions that lack Evidence.

 

      Even Einstein's Theory of Relativity began with SOME Physical Evidence.

      The constant Speed of Light, Gravity, Acceleration, Mass, and Energy

      were all observable quantities, thoroughly measured, and thoroughly reported

      by Physicists for Years. 

      Einstein illustrated their attributes and relationships better than his Predecessors,

      and reported his amazing conclusions based on the existing Evidence.

 

      Scientists then devised numerous Experiments to Verify (or disprove) Einstein's

      Theories, over the years, and repeatedly concluded that Einstein was right.

 

        Could Light be Bent??  Yes.

        Does Gravity "Bend" Space??  Evidently, Yes.

        Is the Speed of Light Really constant??  Yes.

        Can a Physical Object exceed the Speed of Light??  No.   

        Will an orbiting Satellite "Lose Time" over several months??  Yes.

        Are Matter and Energy 2 Forms of the same thing??  Yes. 


      He used the Published Evidence to expand the concepts of Physics.

      Later Experiments by other Scientists simply verified his Theories. 

      He didn't just "Dream it up" out of thin Air.  

      Neither have I.

 

      (We still call his work "Einstein's Theory", but it's not really a "Theory"

      or a "Set of Theories" anymore.

      They're actually "Einstein's Laws" now, but we still refer to them as

      "Einstein's Theory".

      In any event, Einstein's Theory still stands, and has not been overturned.      

      He didn't just "Dream it up" out of thin Air.  

      Neither have I. )

     

 

        

      Original Theorist of the Modified View:

       Philippe Autexier, in the 1980's. 

       He reconstructed Meistermusik from available sources, which mostly involved

       adding a Tenor and Bass Line to The Masonic Funeral Music, and filling in the

       appropriate Words.

 

       Autexier would also have needed to recognize the Melody, found in most of the

       Measures of The Masonic Funeral Music, and understood that it was a Melody

       which is (or was) SUNG in Catholic Churches during "Holy Week" (Easter Week).       

 

       The text that Autexier found, and fitted to the Notes of The Masonic Funeral Music,

       is from "The Lamentations of Jeremiah" in the Old Testament, in a Latin version

       of the Bible, used by the Catholic Church and the Freemasons. 

       Jeremiah was an important "Masonic" figure to the Freemasons.

       Mozart was a Freemason and owned a copy of the Latin Bible.

 

       The phrases Autexier found, that fit the notes of the MFM, are probably also found

       in the Catholic Prayer Book, and recited or sung during "Holy Week" (Easter Week).

       But to utilize that text, Mozart would need only a copy of the Latin Bible, or a copy

       of the Freemason text of Jeremiah, copied from the Bible.

       Mozart would also need to understand the Latin text, and understand its meaning

       for Freemasonry, as well as for Non-Freemasons.

 

       As a Catholic, a Freemason, and the composer of much Vocal Sacred Music in

       Latin (his Church Music), I doubt that Mozart would have any trouble understanding

       the Latin Text.     

      

 

       My View:

       It's the same as the Modified View, plus additional opinions.

       IE, Meistermusik is Authentic Mozart (if correctly reconstructed from

       available sources), and it formed the Foundation for the MFM.

 

       How can we be sure that it's reasonable to theorize the existence of

       Meistermusik, and that Autexier reconstructed Meistermusik correctly??

 

       Answer: 

       Everything fits Perfectly - the Old Melody (Tonus Lamentatorium),

       the Words, the Syllables, the Phrases, the type and Mood of the Text,

       the Language, the Occasion, the Derivative Piece (the MFM), the possible

       Motivation for composing it (the OFFICIAL reason and motivation for

       composing it, since the Masonic Candidate was somewhat Oppressed by the

       Church, having to travel from Venice to Vienna to receive his Promotion),

       the plausible motivation of Mozart to make a significant contribution to his

       Organization as a New Member (joining the Freemasons about 8 months

       earlier), the use of Tenors and Basses in the Vocal section, Music easy to

       Sing, coupled with the probable Limited singing Skills of the Singers, the

       fairly short length of the Piece (6-7 Minutes), etc.

 

       Everything about this Theorized Piece is POSSIBLE, and some of the

       Points make it PROBABLE that it existed.

       And we can create it by using Reverse Engineering on the Masonic Funeral

       Music, just as Autexier must have done, plus some knowledge of the Freemasons

       and their Ritual Text. 

 

       There are no "Show Stoppers", such as requiring an Organ or a Harp, or

       a Piece 30 Minutes Long, or passages difficult to Sing, or passages difficult

       to Play for an Amateur Orchestra, or Irrelevant Vocal Text, or a completely

       Mis-Targeted Masonic Occasion or Ceremony, etc, etc.

 

       Everything about Meistermusik says:

       "Possible, Probable, Logical, and Compelling".                   

 

       Contrarian Theories, stating that Meistermusik is Fictitious, are not based on

       any Hard Evidence or Analysis that I've seen, involve nothing more than attempted

       Mind Reading, etc, and are easily overwhelmed by the huge amount of Evidence for

       Meistermusik's existence, and the MFM's apparent use of a Predecessor Piece.

 

 

                                                                                                                                                    

       Stating that there's no Evidence for Meistermusik's existence is basically                 

       a failure to SEARCH for the Evidence.                                                                           

      There IS Evidence!!                                                                                                            

      And most of the so-called "Negative Evidence" isn't really "Evidence" at all.            

      It involves MIND READING, SHAKY ASSUMPTIONS, and                                       

      IRRELEVANT DETAILS,                                                                                                 

      as opposed to Solid Evidence.                                                                                            

      So far, the "Meistermusik Contrarians" don't have a Case.                                          

                                                                                                                                                    

 

       What would you need to Prove that Meistermusik is Authentic??

        Solid Evidence.

        What would you need to Invalidate that "Proof"??

        Possibly Evidence that Proves that Mozart did NOT write it down, keeping it in his head,

        never using it, saving it for a Rainy Day, electing to use the music for a more appropriate

        occasion, etc, or NEVER having it in his head, etc.

        But that Idea itself is Shaky.  How can you Disprove Proof??

        And the Ancient "Tonus Lamentatorium", used in The Masonic Funeral Music, is

        Pre-existing Music itself, which means that the MFM was never New and Original, even

        if Meistermusik never existed.

 

        Is it POSSIBLE that Mozart had a Vocal Version of the MFM in his mind, but chose

        not to use it??  Yes, but unlikely in this case.

 

        Is it POSSIBLE that Mozart decided to write an Instrumental Piece using a Vocal Template

        but never wrote down the Vocal Version??  Yes, but unlikely in this case.

 

        But he must have gone to a lot of work to make sure that the words, syllables, and phrases

        of the selected Latin Text matched the Notes and Phrases of the Music for no apparent

        Reason, since no Text was used, and no one would realize how much work he had

        expended on that Piece to make the Text fit, that no one would ever hear, since the Piece

        was purely Instrumental!!

        And only ONE set of Text would fit the Notes and Phrases of the Music. 

 

        The Masonic Funeral Music would be a BIZARRE case of

      Hidden Effort that only ONE MAN in the World would appreciate

      200 years later:  Philippe Autexier!!    

          

       It seems Highly Unlikely that Mozart would do that. 

       As far as I know, NO ONE except for Autexier made the connection between the Melody

       in the MFM and the "Tonus Lamentatorium" - the Vocal Gregorian Chant, and subsequently

       uncovered the Meistermusik Piece.

       If others did, they apparently didn't publish their discovery for the Public, and no other

       Scholars published it or Popularized it.

 

       This concept of "Hidden Effort" with only ONE or a Few people in the World appreciating

       what Mozart did mitigates strongly in favor of a "Visible Effort", appreciated by at least

       a couple of Dozen or more Freemason "Brothers".

       We know that Mozart did occasionally include humor in his Music, intended for one or

        a few people, but that was Easy work done for fun.

        Fitting Text and Music together for a Serious Masonic Function (Meistermusik/Promotion)

        would have taken a fair amount of Effort, and unlikely that he would do it only for

        The Masonic Funeral Music where it would be a Hidden Effort for 200 Years.

 

        The Freemasons DO hide things from Non-Freemasons, but a lengthy Text/Music Linkage

        of Latin Words from The Lamentations of Jeremiah, played only by Instruments, and

        surrounded by a highly active sub-theme, would probably be Lost on the Freemasons

        as well, hearing The Masonic Funeral Music only once or twice.

        It's far too subtle!!

 

        Autexier found it because he STUDIED the Piece, and looked for Masonic connections

        including TEXTUAL connections.

        He found a Vocal theme buried in the MFM!!

        And he found the TEXT that fit the Music!! 

        He revealed what was hidden, but it certainly wasn't Obvious or Easy!!!     

        This is strong Evidence that Meistermusik is Real - Authentic, and almost tantamount

        to Proof.

        IE, why go to all that work for the MFM if there was never a Vocal Version??

        It would seem like a waste of time.     

 

       In fact, an analysis of the MFM illustrates that it almost certainly had a

       PREDECESSOR, and we call that Piece Meistermusik.    

 

       There's much more to say about Both Pieces.

       Even The Masonic Funeral Music requires some Research.  

       For some reason (which we will analyze), the situation with The Masonic Funeral

       Music is a CONFUSING MESS, but usually flippantly "explained" with unfounded

       assertions, with no Evidence whatsoever, and with no investigations into what OTHER

       music Mozart wrote during and before that Timeframe, and what was happening in his

       Life and to those around him, During and Before that Timeframe.

       Sometimes Life is complicated, and simple "Explanations" don't Explain Anything!!

 

       And for people who are hoping to invoke "Occam's Razor" to simplify everything,

       forget it.

       Mr. Occam lived in the primitive 1300's, his "Razor" applied to Mathematical Formulas,

       it was just a Common Sense Suggestion to keep the formulas as simple as possible,

       it's not a Law, and it doesn't apply to 99 Percent of Modern Living, or even to Nature

       itself (Astronomy, Biology, DNA, Nuclear Physics, Psychology, etc) where we often

       find tremendous complexity.

       Or even to MUSIC, for that matter. 

       Occam was a Minimalist and WAY OFF BASE in most of his ideas. 

       He got Math right, and everything else WRONG. 

       Why??  Partly because they didn't have Telescopes or Microscopes back then.

       He didn't know about Galaxies such as the Milky Way and Andromeda, didn't know that

       there are BILLIONS of Galaxies, didn't know about Cells, Bacteria, Viruses, and DNA,

       didn't know about the Speed of Light or the size of the Universe, etc.

       Occam was CLUELESS about Nature.

       People who invoke Occam's Razor usually have no idea what they're talking about,

       and are mis-applying the Principle of the KISS method in Math Formulas

       (Keep It Simple Stupid, and don't make things more complicated than necessary).

       That's basically all he was saying.

       But he ALSO had NO CLUE about the complexity of Nature, and added that Nature

       did things in a Minimal Way, or a Simple Way when possible, etc.

       But that's the OPPOSITE of the way Nature often does things.     

       Sometimes things are Simple, sometimes they're Not.  It varies.

 

       By the same token, Mozart was often a complex Man, and 1785 was a Complex Year

       for Mozart and some others.  

 

       In the case of Meistermusik, things are definitely NOT simple.

       In fact, as a Pair, Meistermusik and The Masonic Funeral Music are VERY

       complex - if you care to study them. 

       But they are Understandable and Reasonable.  

   

   

 

       Criticism of this Meistermusik Page - Concepts, Style, etc.

       I don't mind Criticism at all. 

        But make it Reasonable and, where possible, Factual, as well. 

      *  "The article is too long."

          You're right.  Please send me a shorter version with all the Info.  Thanks.

 

     *  "There's no such Piece as Meistermusik."

          Prove it.  I think I proved my point, so you need to prove yours.

 

     *  "One can't prove a Negative ("No Meistermusik Piece").

          Yes you can - almost. You can come VERY close by disproving my "Evidence".

          If my claimed "Evidence" is faulty, and you can prove it, then Meistermusik

          loses its Basis for the claim that it's authentic. 

          At that point, with no Evidence, Meistermusik's existence would just be an

          Empty Claim like so many other Empty Claims.

 

          But how can you claim, for example, that the Words, Syllables, and Phrases

          of the "Tonus Lamentatorium" don't fit the Notes and Phrases of the Music??

          They DO fit!!

          And the Text makes sense for a Master Promotion Ceremony.

 

          How can you claim that MULTIPLE Words, Syllables, and Phrases (in Latin)

          will fit the Notes and Phrases of the Music - with or without Masonic meaning

          for a Master Promotion Ceremony??

          Meaning that Meistermusik is just a Simple and Lucky Fabrication, and has

          no special meaning, since DOZENS of Phrases would fit the Music??   

          Find one, and send me the Text aligned with the Notes, etc - and translate it

          into English, as well.

          Good Luck with THAT idea!!

 

          How can you claim that there was no Predecessor for the MFM when

          Michael Haydn himself wrote one for his own use, years earlier, using the

          same melody as found in Meistermusik?? 

          And Mozart heard it as a youth!!

 

          How can you claim that Queen Charlotte would have taken offense at the

          re-use of some recent music (for the MFM), when we don't know if she

          heard about the Memorial Service for her brother, she wouldn't know that

          the music wasn't Original, she had much more important things to worry

          about than the Originality of some music - MANY things, including a

          Husband who was apparently (probably) going INSANE AGAIN, and that

          the Vienna Freemason's tribute to her Brother might have been the ONLY

          tribute to him in Europe.

          Why would she look a Wonderful GIFT HORSE in the Mouth???

          This was a SILVER LINING in her Life - if she heard about it.  

       

   

          Note that Evidence can include many things including "Common Sense",

          although the "Common Sense" needs to take into account different Cultures,

          different Customs, different Eras, people in Stressful Situations, etc, etc.

          "Common Sense" can't be used as "Hard Evidence", but I think it's valid to

          use it as a Factor if many other Factors are taken into consideration.

          Weighting:  Perhaps a "2" or "3" on a 1-10 Scale.   

 

    *  "Your information on Nancy Storace is all wrong." 

          Perhaps.  What is your Source??  How reliable is it??  How do you know??

          Many details of Nancy Storace's Life are disputed or unknown.

          Some of the details don't matter at all for the purposes of this Paper.

          We do know that her husband beat her, that her Voice failed, that she lost

          a child in July 1785 named Josepha, that she and Mozart were friends, etc, etc.

          The identity of the Father of her child might affect the level of her grieving,

          but she had plenty of other things to grieve about.

          It's pure Speculation on my part that she could have been one of the reasons

          Mozart wrote the Dissonant Quartet Intro as he did, and may have also had

          her in mind when he wrote Meistermusik and even The Masonic Funeral Music.

          Of course, I want ALL the details listed here to be accurate, but some of them

          aren't as important as others, and may be unobtainable by ANY method.

          There's nothing I can do about it except to go with the best Sources, and use

          some Logic to try to fill in the Blanks.

          I detest Sloppiness, Falsehoods, and Speculation posing as "Informed Opinion".

          If it's labeled as Speculation, it's valid as Speculation. 

          Unfortunately, without a Time Machine, sometimes all we can do is Speculate

          and Guess.

          There's nothing wrong with doing it, as long as it's labeled. 

          Some Speculations and Guesses are better than others.

          I've done the best I could.     

 

    *  "Alfred Einstein can't be trusted." 

          I didn't realize it.  Live and Learn. 

 

    *  "You're doing a lot of Speculating in this Paper - such as Mozart's feelings of Guilt

          over his Mother's Death in 1778." 

          That's true, but he WAS partly guilty, and his Father hammered Mozart often,

          accusing him of killing his own Mother.

          Of course, Leopold was far MORE guilty than Wolfgang, and Bad Luck played a

          major role, contracting Typhus from some bug in a Hotel Room, possibly sickened

          by Mold, then or later in Paris, and receiving a Blood Letting in Paris.

          But Mozart KNEW he had dallied with the Weber's for a lengthy period of time,

          leaving her alone in the daytime for about 5 months, and alone ALL DAY AND

          ALL NIGHT for a while when he lived with the Weber's..... 

          It was a real Dilemma for Mozart!!  Almost like a Movie Plot with the theme of

          "A Cruel Hobson's Choice Like No Other".

          Between his Dallying with the Weber's, and his Mother's Suffering for

          TWO WEEKS (which he wrote about to a Friend), plus his Agony during her last

          Hours alive, and his Mother apparently receiving NO Funeral (just a Burial, witnessed

          by Mozart and a friend of his), he must have felt SOME Guilt!!

 

          Perhaps this: 

          "I left her alone for a long time while I played with the Weber Girls,

          she was Lonely, she got Sick, and Died. And she didn't even get a Funeral.

          I was FRANTIC!!  DESPERATE!!  I TRIED HARD to save her!! 

          No Friends stopped by so I could go out and find a Doctor, leaving her in their

          care for a little while!!

          I couldn't find a German Doctor right away!!

          I TOLD her not to get a Blood Letting!!  But she did it anyway!! 

          That was stupid Leopold's Influence.

          It's not ALL my Fault, but still.... I wish this pounding in my head would stop!!"     

 

          It's NORMAL, ORDINARY Psychology to feel SOME Guilt- not some Far Out

          Theorizing. 

          I find it hard to believe that Mozart felt NO GUILT for his Mother's Death.

          And let's face it:  He WAS partly Guilty for her Death!!

          He must have KNOWN IT!!  

          Complicated, Convoluted, Unfair, a Constant Pounding in his head, Sad, but True.   

          And that MIGHT have been one of his reasons for composing Meistermusik or

          The Masonic Funeral Music, or Both.

 

        Those Pieces MIGHT have been the "Funeral" she never received,

        and the Apology and Remorse from Mozart for her Death - as well

        as several other reasons.

        The Emotions in both Pieces run DEEP, in my opinion!!

        And they might be related to Mozart's feelings of Guilt and Remorse

        over being PARTLY responsible for his Mother's Death, and the

        lack of a Funeral for her.

        In 1785, he had a better OPPORTUNITY than in the previous

        7 years to express himself more fully over her Death, and Reality

        had caught up with him, more-so than in the past.

        I'm not Certain, but I think it's very possible and even Likely.          

 

 

       Mozart was a Composer AND a Psychologist. 

       To compose much of his music, he HAD to be a Psychologist - an Amateur Psychologist.

       He understood People quite well, was very empathetic, and was deeply affected

       by their Problems and Tribulations.

       Some of his music from 1785 (the year of Meistermusik and The Masonic Funeral 

       Music) exhibits a profound Sadness, Melancholy, and Confusion - partly related

       to other people, and sometimes related to himself, in my opinion.  

 

       Yet Mozart's own "Psychology" and the Events in his Life are often disregarded or

       minimized, with his music portrayed as Isolated Objects - Perfect Planets floating

       through Space, and many with exactly Four Continents, meaning nothing.

 

       Or Icebergs of Perfection, cold, passionless, unchangeable, immovable, and sometimes

       analyzed as if they were Icebergs, listing their Size, Weight, Temperature, Location,

       Date of Creation, etc.

 

       But Mozart was not a Planet, drifting through Space, or an Iceberg, floating and anchored

       to one spot in the uninhabited Ocean.

       He interacted with people constantly, and was affected by their problems and successes.

       And sometimes his Music showed it.      

 

       (A Website called "The Mozart Project" has done an Excellent job of producing a Chart,

       showing World Events, Mozartian Events, and Mozart's Compositions, as they relate

       to each other on a Chronological Basis.

       This Website (Meistermusik) delves even deeper, but mostly just for the year 1785 -

       not much beyond that.)

      

       Part of our objective here is to clear up this Mess surrounding The Masonic Funeral Music,

       and shed some light on what was occurring in Mozart's Life, and what had occurred

       in the Past, that might be related to the Piece. 

 

       Also, in my opinion, Meistermusik is a BETTER Piece than the Masonic Funeral Music.

       It's the way the Piece was intended to be heard.   

       The MFM is a beautiful Piece as well, but not Quite as good as Meistermusik.

 

       That's one of many pieces of evidence (or "Opinion", in this case) that Meistermusik

       is an authentic Piece by Mozart, and The Masonic Funeral Music was a derivative,

       rapidly composed from "Off the Shelf" music due to a sudden and unexpected need

       for it, with Available Time and Performability being 2 of the factors involved in its

       composition and usage, still an excellent and gorgeous Piece, but not QUITE as good

       as the Original Piece, which was Meistermusik.           

 

 

                                .................................................................

 

 

       Meistermusik is almost certainly a genuine Piece, and was composed

       by Mozart.

       It is not just a 20th Century Fabrication re-created from The Masonic

       Funeral Music plus some text, but was actually written by Mozart in 1785. 

       It's a short piece for Orchestra and a Male Chorus (Tenors and Basses),

       supposedly written for a Masonic Promotion Ceremony in 1785. 

 

       Ceremony:  Believed to be August 12th, 1785. 

 

       Reason for the Ceremony: 

              A Promotion to Master Mason (Meister Mason). 

 

       Reason for the Music: 

             Unknown.  However, the recipient had travelled all the way from Venice

             to Vienna for the Promotion after his Masonic Lodge in Venice had been

             closed by the Catholic Church. 

             Thus, the Freemasons were being oppressed (again) - at least in Italy, and

              the Freemasons of Vienna may have wanted to make a statement about

              their Oppression.

              Their inspiration, Jeremiah, was ALSO oppressed, and the Promotion

              Ceremony invokes the Name and Tribulations of Jeremiah (and Hiram

              Abiff - as I understand it). 

 

              Thus, there was DOUBLE Oppression involved in the Ceremony: 

              1. The oppression of the Candidate to be promoted, because Freemasonry

                  was being oppressed in Italy by the Catholic Church by closing the

                  Masonic Lodge in Venice ("La Fedelta"), requiring a trip to Vienna for

                  the Promotion.

              2. The oppression of Jeremiah - the ancient Prophet.

 

              Those 2 reasons may have been sufficient to ask Mozart to compose a

              Piece for the Promotion Ceremony.

 

              I think that Mozart had additional reasons for composing Meistermusik.

    

       Piece Composed:  Probably July 1785.     (Begun and Completed)

       Evidence:  There's a great deal of evidence for Meistermusik's existence.  

       (The Masonic Funeral Music was Composed in November 1785).

 

       It does not have a K Number (Kochel Catalog Number) or Anhang Number

       (Appendix), and has probably been relegated to the "deest" category: Unknown,

       Undefined, Possibly Authentic. 

       (This is a category for keeping track of Pieces which have not been officially

       accepted as "Authentic Mozart". Some of them might be moved to the

       Official List in the future, depending on the results of further research.)

 

       Some people have erroneously labeled Meistermusik as "K.477". 

       This is incorrect.   K.477 is The Masonic Funeral Music.

       Meistermusik does not yet have a K Number.

       While Meistermusik is very similar to The Masonic Funeral Music, it is not

        the same Piece.   

 

   A researcher, Philippe Autexier, reconstructed the piece from available

   evidence in the 1980s, producing a choral version of "The Masonic

   Funeral Music" with Tenors and Basses added to the score in the middle

   section of the piece, and theorized that it formed the foundation for The

   Masonic Funeral Music (K.477), with the two pieces being nearly

   identical.

 

   The Masonic Funeral Music is COMPLETELY DIFFERENT from Mozart's

   typical Masonic music, prompting one to wonder why that would be.

   Is it really a "Masonic" Piece??

   (Mozart himself called it the "Masonic Funeral Music".

   But it's very ATYPICAL Masonic music from Mozart, raising questions about

   its true purpose, or possibly Multiple purposes.) 

 

   The same is true for Meistermusik: Completely different from his other Masonic

   Pieces. Is Meistermusik really a "Masonic" Piece??

 

   Furthermore, the MFM is quite different from ALL the rest of Mozart's music.

   The MFM is "Mozartian", but there's nothing else like it from Mozart, making

   The Masonic Funeral Music is a UNIQUE Piece from Mozart. 

   Why is it so "Different" from all his other Pieces (with the exception of Meistermusik)??

   What compelled Mozart to make the MFM so Unique??    

 

 

   The Masonic Funeral Music is a UNIQUE Piece from Mozart.

    And it has a SOLEMN DEPTH to it - rare for Mozart, as well as DEEP PASSION. 

    Unique MUSIC, and Unique "MASONIC" Music.                                                        

 

   Most of Mozart's Masonic music is very PLAIN-VANILLA and rather boring.

   It's "Open, Clear, Plain, Direct, and Simple", with no Frills or Complexity. 

   The MFM is the OPPOSITE - rich, moving, more complex, and satisfying.

   And Unique.

 

   (MEISTERMUSIK shares the same "Uniqueness" since the 2 Pieces are essentially the

   "Same Piece", with Meistermusik containing the Male Chorus, but with the same

   Notes as The Masonic Funeral Music.

   Musically, they're "Different Pieces with the Same Notes".

   So, the MFM and Meistermusik are "Unique Pieces", and essentially the Same Piece.

   I'm saying : "The Masonic Funeral Music is a Unique Piece" for Simplicity.)

 

   Therefore:  How "Masonic" is The Masonic Funeral Music which sounds nothing

    like Mozart's other Masonic Pieces?? 

   100 Percent Masonic??  80 Percent??  50 Percent??  10 Percent??

   Not Masonic at all?? 

   Why is The Masonic Funeral Music so DIFFERENT from Mozart's usual Masonic

   music??

   Did it originate from another Piece??

   Did it originate from another "Masonic" Piece that wasn't really very "Masonic"??

   Giving us:

         Piece 1:  Semi-Masonic.  Masonically Unusual.    (Meistermusik)

         Piece 2:  Semi-Masonic.  Masonically Unusual.    (The Masonic Funeral Music)  

         Pieces 1 and 2 (same notes):  Unique Music for Mozart.

                                                          Nothing else like it from Mozart.

                                                          Not like the Requiem - not like anything.

                                                          But containing actual "Church Music" related to

                                                          sadness, suffering, and rejection.        

 

   Then there's the possible issue of the text selected for use in Meistermusik. 

   Could the "Masonic Text" in Meistermusik apply more to CURRENT or RECENT

   Individuals (of that Era) than to Ancient Masonic Heroes?? 

   With their Sadness, Suffering, and Rejection being related to CURRENT or RECENT

   events?? 

 

   The text seems like extreme "lamenting" for things that supposedly happened

   thousands of years ago.

   How "Genuinely Sad" can one become over the deaths and tribulations of men

   who died thousands of years ago (Meistermusik)??

   And with The Masonic Funeral Music, written for 2 recently-deceased Aristocrats,

   how "Genuinely Sad" can one become over their deaths??

 

   Perhaps these 2 Pieces had different reasons  - secondary reasons - for their

   composition.

   That is, perhaps Mozart had Official and Masonically Public Reasons,

   and Stronger and Private Reasons for writing The Masonic Funeral Music

   and Meistermusik that way, with so much Depth and Passion.

   I really don't think Mozart wrote The Masonic Funeral Music IN THAT WAY for the

   Official (and Semi-Public) Reason that "Two Highly Placed Masonic Freemasons Died".

   It doesn't quite compute, and the Piece isn't very Funereal.

   The MFM is SAD, but not very "Funereal".       

 

       The Masonic Lodges in Vienna had one or more orchestras, and their members

       sang Masonic songs, as needed.

       Mozart's last composition was for a Masonic Lodge, for Orchestra and Male

       Chorus, as well as for vocal soloists.  

 

       Mozart probably wrote Meistermusik in July, 1785.

       It was the foundation for The Masonic Funeral Music.

       We don't have the Autograph score, and it's not listed in his Catalog - at

       least, not under the name of "Meistermusik", but it's apparently listed

       under the name of "The Masonic Funeral Music" for July.

       (The Masonic Funeral Music was actually written in November, 1785).    

 

       Both pieces are somewhat "Funereal", but only to SOME extent.

       Both are Intense and filled with Emotion.   

      The Masonic Funeral Music is very Emotional, but not very "Funereal". 

      The Masonic Funeral Music seems FAR too Emotional and Intense for the

      Deaths of two Aristocrats even though it's entitled "Masonic Funeral Music",

      "....for the deaths of Brothers Mecklenburg and Esterhazy" in Mozart's

      Catalog in his handwriting.  

 

      Mozart apparently did the same thing his friend Michael Haydn did:

      He composed a piece PARTLY in memory of a deceased child (or more than

      one child), and he used the same melody as Haydn to do it (the

     Tonus Lamentatorium). 

      This Piece was Meistermusik. 

      Thus, even Meistermusik had at least one predecessor, in a sense:

      Michael Haydn's music (a Requiem, MH155), which was probably composed

      in memory of his daughter who died on January 27th, 1771, and was composed

      in December 1771. 

 

      The Masonic Funeral Music probably had a predecessor, as can be seen

      in the Vocal Style of the central Melody, as well as the Name of the Melody

      which is the "tonus lamentatorium" - a Gregorian Chant, and a Melody

      codified by the Catholic Church in the 1500's.  

      The Latin words taken from "The Lamentations of Jeremiah" in the

      Old Testament of the Bible fit the notes in The Masonic Funeral Music

      perfectly.

      Jeremiah was an important figure for the Freemasons, and Mozart was a Freemason. 

 

      If we add the words to the Masonic Funeral Music, we have Meistermusik.

      If we remove the words from Meistermusik, we have The Masonic Funeral

      Music.   

      The 2 Pieces are nearly identical except for the words.

      Meistermusik includes words (sung text), and the Masonic Funeral Music

      does not.

 

      If Mozart composed The Masonic Funeral Music as a "New" piece, he used

      "Old Vocal Music" to do it (as well as using Michael Haydn's music).

      And he composed a "Vocal" Piece with no Voices, and with no Vocal

      predecessor or successor - a peculiar situation.

 

      He also wrote the MFM as a very Emotional Piece for 2 deceased Aristocrats

      (a somewhat odd decision), and a Piece that doesn't sound very "Funeral"

      compared with the Requiem and a short piece of Funeral Music.

      The Masonic Funeral Music is a beautiful Piece, but somewhat of a Misfit

      for the occasion. 

      The MFM feels sad, but AFFECTIONATE and TENDER as well - at least to

      some extent. 

     

      And Mozart admitted that he wrote The Masonic Funeral Music 4 months

      before the Aristocrats died by listing it in his Catalog with a Date 4 months early!!  

      (Actually, it was the Foundation that he wrote.) 

      That Piece was Meistermusik. 

 

      Mozart used some "Smoke and Mirrors" in his Catalog in 1785, but in the

      end, it all makes sense if we support his actions with known Facts, and keep

      speculation down to a minimum, using it only when we have to.  

 

      Meistermusik is actually a BETTER Piece than The Masonic Funeral Music.

      It's presumably the way the Piece was intended to be heard.   

 

 

      Ungrateful Foreign Queens??

      It is claimed that Mozart wrote The Masonic Funeral Music as a NEW Piece,

      and Meistermusik is fictitious because the Queen of England would take offense

      at the use of a derivative Piece at the Memorial Service for her little Brother

      (one of the deceased Aristocrats)  - this Generous, Kind, Honorable, Pro Bono

      gesture by the Vienna Freemasons and the Greatest Composer in the World

      (who she had met twice in England when Mozart was a child).

 

      This is an attempt at Mind Reading of 2 dead people.

      Speculation is fine (and often necessary), but drawing hard and fast conclusions based

      on the attempted Mind Reading of 2 dead people is not Scholarship.      

      The attempt at debunking Meistermusik by purely "Social" reasons, and the

      attempted Mind Reading of 2 dead people, one of whom is apparently deemed

      to be extremely Snoopy, Paranoid, Hostile, and Mysteriously Ungrateful (the Queen),

      and the other is afraid of what the dead Aristocrat's sister will think of a beautiful

      Piece presented at a wonderful Memorial Service (Mozart), that received a small,

      Private performance a few months earlier, in a Masonic Lodge, far, far away, or

      that she would even find out about it, is not exactly Logical or even Possible.

 

      Is it possible to do Mind Reading of Dead People??

      Why would the Queen be Ungrateful about The Masonic Funeral Music??  And Hostile??

      Why would Mozart think the Queen would be Ungrateful or Annoyed by a beautiful,

       derivative Piece??

       How would she HEAR it??

       Why would Mozart care what a Non-Freemason and Non-Austrian cares about

       his gorgeous musical Tribute, who wouldn't even HEAR the Piece and be able to

       Judge it?? 

       Why would this Foreign Queen, hundreds of miles away, even be on Mozart's

       Radar Screen??  He was writing The Masonic Funeral Music for the two deceased

       Freemasons (in their Memory), for the Freemasons of Vienna and Austria - his Lodge

       Brothers and other Freemasons. 

       (Some Friends and Relatives might have attended, but Mozart didn't write the Piece

       for them.)  

 

       The Masonic Funeral Music was performed in a Private Masonic Lodge (not in Public),

       was probably filled with Masonic Symbolism (which only Freemasons would understand),

       and that was his targeted Audience, unless someone can prove otherwise.      

       Mozart wasn't WRITING IT for the English Queen!!  

 

      (If she was annoyed that it was a Derivative Piece, she would have no right to voice

      her irritation because it was none of her business anyway, and Mozart didn't write it

      for her. He wrote it for the Austrian Freemasons and the deceased Brothers.) 

 

      The Masonic Funeral Music could easily have been a derivative Piece, and its

      predecessor could easily have been Meistermusik. 

      This was perfectly HONORABLE and RESPECTABLE Praise for 2 Freemasons -

      for 2 members of their organization, and could have been done entirely Privately,

      but with no intent to hide the 2 Performances. 

 

      If Queen Charlotte heard about the Service and the music, she probably would

      have been PROUD of her little Brother, and GRATEFUL to the Freemasons,

      as any NORMAL person would be - especially since it might have been the

      ONLY tribute in Europe given to the two Aristocrats.

 

     If she heard about the Memorial Service for her brother, and

      the performance of the beautiful Masonic Funeral Music, it

      might have been one of the few BRIGHT SPOTS in her life

      during the year 1785 when her brother died, and her husband

      (King George) may have been slowly sliding into madness, again,

      which temporarily, finally manifested itself in 1788 (terrifying her),

      and who eventually went permanently Insane!!  Mad!!

 

      King George had several bouts of Madness: 1765, 1788, and 1804. 

      The bout of Madness in 1804 was Permanent.  

      (Today's Doctors believe King George probably had Acute Porphyria,

      which can cause Psychosis in a small percentage of Victims.

      Due to a lack of certain Enzymes, Porphyrins can accumulate in

      the body, causing all sorts of problems - Acute Porphyria being

      one of the possible outcomes, and Madness being a possible outcome

      in a small percentage of Victims.

      The condition can be inherited.

      King George died Blind, Deaf, Lame, and Insane around 1820.)   

 

      Most of the audience hearing the Masonic Funeral Music would be unaware

      that the Piece was a derivative of an earlier Piece.

      The orchestra players would know (if the same orchestra was used), but they

      would probably be grateful that they wouldn't need to learn a New Piece with

      more rehearsals to make it sound polished. 

      MFM Rehearsals for the Orchestra:  Probably ONE Rehearsal. 

      They had just performed it 3 months before (in August) as Meistermusik. 

 

      It's doubtful that Mecklenburg's sister (the Queen of England) was even on

      the Radar Screen of the Vienna Freemasons for the performance of The

      Masonic Funeral Music.  

      The Queen wouldn't have the slightest idea that the MFM was a derivative

      Piece, nor would she necessarily even find out that the Vienna Freemasons held

      a Memorial Service for her little Brother (Mecklenburg) and another Aristocrat,

      where The Masonic Funeral Music was performed - and performed at a different

      Masonic Lodge than Meistermusik.

 

      The Queen had many more important concerns on her mind in 1785.

      *  Such as the fear that the Aristocracy might be under attack since TWO

          Aristocrats died in November, one day apart (November 6th and 7th). 

      *  Such as paying for the recent War against the American Colonies.

      *  Such as a husband who was going Insane, with his first bout of

          Insanity occurring in 1765.

      *  Such as making funeral and burial arrangements for her brother.

      *  Such as investigating the death of her brother to find out if he was

          murdered (he died at Age 37). 

      * And whatever "Normal" Duties she may have had as Queen.

 

      She was supposedly not aware of her husband's bout of Insanity in 1765, but it's

      hard to believe that for over 2 decades, she didn't pick up on any hints of it or

      his predisposition for it until he went temporarily Insane again in 1788.

      There was probably some kind of "background noise" which she would have

      subconsciously detected.

 

      The King's 2nd Bout of temporary Insanity of 1788 terrified the Queen.

      He gradually became Insane again beginning in 1804, and became fully and

      permanently Insane in 1811.

      (It was probably a medical condition (Acute Porphyria) that is known to

      sometimes result in "Madness". 

     That's the current theory from the Doctors, and it makes sense. 

      In the 1700's, no one knew the cause.)

 

      King of England:     George III.

      Queen of England:  Charlotte.   Sister of Duke Georg Mecklenburg.    

 

    Three Bouts of Madness (Insanity) for King George III

    of England, with the last one Permanent:

 

           1)  1765 

           2)  1788  

           3)  1804=>1811====>  Permanent

 

      CAUSE:  Probably Acute Porphyria which is known to cause Psychosis

      in some Victims (although the attacks are normally temporary).

      WIFE:  Queen Charlotte.

      QUEEN CHARLOTTE'S BROTHER:  Duke Mecklenburg, who died in 

      November 1785 at the age of 37.

 

      The King and Queen (both Music Lovers) met the Child Mozart twice in

      1764, before the King had suffered any bouts of Madness.

      Young Mozart entertained the Royal Couple for hours, playing the Piano, and

       he and the Queen also played some music together.     

 

      I doubt that in 1785, the year of The Masonic Funeral Music, she was

      completely at ease with her situation, and untroubled over the "Secret"

      information of the 1765 Bout, supposedly hidden from her by the Usual

      Suspects: The Meddlers. 

      Can you imagine living in the same Residence as a Spouse, and having no idea

      that they've gone Mad???   

 

      And it's easily possible that the King was SLOWLY going Insane over the years,

      which we know he WAS with the 1804-1811 Bout which culminated in Permanent

      Insanity from 1811 forward. 

      I don't know if the lapse into Insanity was Slow or Sudden for the 1788 Bout.

      But if King George was not Slowly lapsing into Insanity, certainly Queen Charlotte

      could have picked up hints that he had gone Insane once BEFORE.

 

      This theorizing is a bit heavy with Speculation, but people almost always fool

      themselves when they think that they've tricked a household member and

      hidden "The Big Secret" - whatever that might be.

      Most people are VERY Transparent, despite all their "cleverness".

      They become quite "Unnatural" and less Spontaneous, thinking about every

       answer to a question, giving strange explanations for activities, suddenly

       suggesting that they take a Trip, or throw a Big Party, or start on some major

       upgrade for the House with much Interior Decorating, etc. 

       It rapidly becomes clear that SOMETHING is being hidden, and it's EASY

       to detect.  

 

      Therefore, a tribute to the Queen's deceased brother would probably be

      viewed with some Relief that some Normal and Generous people saw fit to

      pay tribute to her brother, and the Undercurrent of "something" (A husband

      who went Insane 20 years earlier??  A husband going Insane again??) could be

      temporarily put aside - if she heard about the wonderful Memorial Service with

      its beautiful music by Mozart - the famous Composer.

 

      Mozart's tribute could have been a SILVER LINING in her cloud of

      Fear and Anguish, with multiple issues swirling around her.  

      A bit of Relief at last!!  Praise for a family member!!  Her brother was Highly

      Honored by his Peers!!  And even by Mozart, himself!!  The great MOZART!! 

      The Man who had entertained her years earlier as a Little Boy.  

      A Positive Valid Distraction from all that Stress!! 

      And a source of Peace and Contentment, knowing that her Brother was so well

      liked, admired, and valued by his Friends.  

      IF she heard about it.   

 

      Did she even HEAR about the Memorial Service and the music??  

           Who knows??

      How would she know that the music was DERIVATIVE?? 

           Who knows??

      WHO would tell her that a previous Version of the Piece was performed

           a few months earlier at a different Lodge?? 

           Who knows??

      WHY would she be offended that the beautiful MFM wasn't a New Piece??

            Who knows?? 

      What's "offensive" about 3-month-old music (August-November)??

            Who knows??   

      What's "offensive" about a beautiful version of an earlier Piece?? 

            Who knows??  

      Why would she CARE very much what the Vienna Freemasons did for her

            little Brother??  

            Who knows??

            (Unless she was informed about the wonderful gesture by the Freemasons

             of Vienna).      

      Why would the Vienna Freemasons worry about the reaction of Mecklenburg's

            Sister (in England) to a beautiful Memorial Service??  

           Who knows??  

      Why would the Vienna Freemasons worry about the reaction of Esterhazy's

            relatives (in Hungary) to a beautiful Memorial Service??  

           Who knows??  

      Why would Esterhazy's relatives (in Hungary) worry about the Vienna

           Freemasons after he died??  

           Who knows??  

       What did the Vienna Freemasons owe Esterhazy and Mecklenburg??

            A Masonic "Lodge of Sorrow".

        Did Esterhazy and Mecklenburg receive a Masonic "Lodge of Sorrow"??

            Almost certainly.  It's automatic.

        What would such a Masonic "Lodge of Sorrow" consist of??

            Unknown.  Customs vary widely.  

            For a "Full" LOS, it could be a grand affair with Speeches, Food

            and Drink, and a Memorial Service, etc.

            For the 2 deceased Freemason Aristocrats, apparently they received

            a Memorial Service with Mozart's Masonic Funeral Music.

 

      Debunking:

      If you're going to debunk the existence of Meistermusik, one should have

      something stronger than Psychological Theories and Mind Reading.

      If that's not possible, at the very least, base such Theories on known information

      plus Normal Psychology.

 

      It's quite a REACH to claim that an Older-Sister Queen of one of the deceased

      Aristocrats (Queen Charlotte - sister of Mecklenburg) would take offense at

      the non-originality of the beautiful music, whose Spies informed her that the

      MFM Original (Meistermusik) had been performed 3 months earlier for a Private

      performance at a different Masonic Lodge in Vienna (for a Master Mason

      Promotion Ceremony), and therefore, Mozart wrote a New Piece for the 2 Dead Men,

      because he feared the reaction of one of the sisters living in England, hundreds

      of miles away - if she heard about the Memorial Service and the music.

      ("What's a Master Mason Promotion Ceremony....???") 

 

 

      This "New Piece with Musical Spies" notion reads more like a Fairy Tale:

      Once Upon a Time,

      in a Land far away, there was an Evil Queen who had secret Musical Spies

      spying on the Good Stone Cutters of Wienerschnitzel, because she had decreed

      that any Music used by them must be New and Original, for certain important

      occasions, such as something related to her Little Brother, even though she did

      not rule over Wienerschnitzel!!

      In fact, most of the good citizens in her Land thought she was Delusional, which

      is a big word for "Crazy".  

 

      Then, one Day, while she was polishing her Crown, her Chief Musical Spy

      named Bad Igor, dashed into the Palace!!

      "Your Great Enormous Huge Majesty!!", Bad Igor proclaimed. 

      "The Good Stone Cutters of  Wienerschnitzel  performed a Near-Duplicate

      Piece of Music!!   A 3-month old Derivative Piece!!

      Performed all the way back in August!!!  This past Summer!!   

      And they used it in a Ceremony for your Brother who just dropped dead

       a fortnight ago, against your Royal Decree!!"

 

      "What???" she declared, dropping her heavy Crown on her Foot. 

      "That sounds like an important occasion!!

      Those Impudent Dolts of Wienerschnitzel!!  Bring me an Aspirin!!

      And fetch my Croquet Mallets that I may pound their worthless Names into

      the ground!!"

 

      And the Queen pounded their Names into the ground so long, that she fell

      into the Hole she had created, and was never seen again.

      Then all the people of the Land Sang and Danced and Celebrated, and

      everyone lived happily ever after.

      The End    

         

      Of course, that supposedly DIDN'T happen, because Mozart supposedly wrote

      a New Piece for the Ceremony, terrified of the reaction of the Evil Queen,

      who was the sister of one of the men who dropped dead - according to one

      Theory.

 

      Then again, maybe it DIDN'T occur to him, and he wrote a Near Duplicate

      Piece anyway, and the Good Stone Cutters used it in their Ceremony to

      honor the 2 men who dropped dead, because the music was "off the shelf",

      recently performed by one of their orchestras, and should sound Polished,

      Beautiful, Moving, and Impressive for all the Stone Cutters and Relatives

      in attendance, and none of the Good Stone Cutters in Wienerschnitzel gave

      any thought to Evil Queens in Foreign Lands, or Royal Spies lurking about

      and reporting on the Music that was used.     

 

      "Music Analysis" and perhaps even "Normal Psychology"  work so much

      better in analyzing this situation.

 

      In short, it appears that The Masonic Funeral Music had a Vocal predecessor

      (based on an analysis of the Music and the possible Text of the predecessor), and

      was a derivative of that predecessor.

      We call that predecessor Piece "Meistermusik".

 

      If The Masonic Funeral Music was a New Piece (doubtful), it wasn't New because

      of Aristo-Phobia or Queenery-Phobia.  

      There was no reason for Mozart or the Lodge to fear a negative reaction to a

      wonderful, splendid, generous, orchestral tribute to two of its members, even if

      it was a derivative of a Piece performed 3 months earlier at a Private gathering,

      (August 1785), never heard before by most of the attendees, and not previously

      heard by Anyone in that orchestral format.   

      No negative reaction from the Aristocratic Lodge Members or the Queen would be

      expected or feared.

      If anything, their reactions should be the OPPOSITE, feeling proud of the organizers

      of the Memorial Service, proud of Mozart, and the Freemasons proud of their deceased

      Members that they rated this wonderful tribute.

 

      All explained further, below. 

  

 

 

 Introduction:

       This is an attempt to determine if the Piece known as "Meistermusik" is

       authentic Mozart or not. 

       Several other issues are investigated that are related to Meistermusik,

       such as The Masonic Funeral Music's history, etc. 

 

       Meistermusik (if it exists) and its Twin, The Masonic Funeral Music, involve

       significant  complexities, in some ways. 

       Some aspects are simple, some are not, and some are quite convoluted. 

 

       The good news is that once we accept the existence of Meistermusik, and evaluate

       some of the other Pieces (and Fragments) Mozart wrote in 1785, multiple issues

       are suddenly cleared up, and the Fog of 1785 and Mozart's Catalog, and certain

       actions taken by Mozart's wife and his friend Nancy Storace, make sense - or

       at least Possible and Plausible Sense.  

      (Accepting the existence of Meistermusik based mostly, or entirely, on Evidence,

      of course - Evidence from multiple sources and multiple KINDS of sources).

 

       Mozart apparently wrote Meistermusik BECAUSE of the stressful events of

       1785, and possibly for a few additional reasons.

       To some extent, we can progress from some confusion and perplexity involving

       the Year 1785, to greater clarity, as a side benefit of investigating the authenticity

       of Meistermusik.

 

       Let us also remember that just when we could have used some help from the

       great Mozart researcher Alan Tyson on these issues, Mr. Tyson merely labeled

       the "July" Catalog date for The Masonic Funeral Music as "Puzzling", and

       then began a severe mental decline due to some illness (I don't know what

       it was), and died.

       (Source for the Illness and Mental Decline:  Dan Leeson, who was a friend

       of Alan Tyson.)  

       If he was aware of the theorized Meistermusik Piece, he didn't take a stand

       on it.   

       Therefore, we're on our own - like it or not.

 

       I know why Mozart listed The Masonic Funeral Music in his Catalog under

       "July", even though he wrote the Piece in November.  

       The Puzzle has been solved.

       (And others probably solved it earlier, as well.  It wasn't that difficult.)

       (Note that some other aspects are difficult, and Philippe Autexier, Mozart

        Researcher and Author, did the initial Heavy Lifting for them.)     

 

 

       The reason for the "July" Date for The Masonic Funeral Music in Mozart's

       Catalog is that he wrote the Predecessor Piece in July.

       It was the "Original" music for The Masonic Funeral Music.

       It was the "Foundation" for The Masonic Funeral Music.

       We call that Piece "Meistermusik".

       Mozart wrote The Masonic Funeral Music in November, but re-used music

       written in July, and performed in August, to do it.

       It was a situation of Smoke and Mirrors since he was also hiding Meistermusik

       to some extent, never listing it by name in his Catalog.

       He had his reasons.

 

       He COULD have listed The Masonic Funeral Music under "November" but

       chose not to, probably (partly) because he never listed the same music

       twice, and always listed the date of the FIRST composition, if he re-used the

       music later. That date (the month) was July.

       In this case, he listed the date of the first (original) composition, but used the

       second Piece (The Masonic Funeral Music) as the name.

       He hid Meistermusik, and documented The Masonic Funeral Music. 

 

       It's all a bit bizarre, BUT it makes sense. 

       And we have plenty of EVIDENCE that that's exactly what he did.

       July was the right Month for composing Meistermusik, the MFM has a

       known vocal Melody, it's a Gregorian Chant for Male Voices, the words and

       phrases fit the notes of both Meistermusik and The Masonic Funeral Music,

       the Collection of Pieces from 1785 have emotional themes somewhat similar

       to Meistermusik (sadness, bitterness, etc), etc.   

 

       This (and more) is strong Evidence that Meistermusik exists, that it formed

       the Foundation of The Masonic Funeral Music, and that Mozart MIGHT

       want to HIDE Meistermusik in his Catalog, never listing it under that name,

       but (hopefully) listing it under some other name if the opportunity arose.     

 

       And hiding Meistermusik - but keeping some kind of entry for it in his Catalog,

       might explain his Primary Motivation for writing the MFM: To Hide

       Meistermusik, but not forget about it.  

 

       Yes, Mozart was hiding something, and some of the hiding worked for 200 years. 

       We probably owe the existence of the MFM to Meistermusik.

       The Evidence trumps all the Theories.

 

       The reason the MFM date was Puzzling, and that some people claimed that

       Mozart made a Mistake with the date in his Catalog in order to explain the

       Puzzle, is that the analysis was Superficial or ***NOT DONE AT ALL***. 

 

       A Kneejerk response of "Mistake" to the Catalog entry "In the month of July"

       is not Research. It's just an empty Claim.

       And it ignores the strange Format of the "Date"  ("In the Month of July").

       And it ignores 2 other Pieces which WERE listed under November, meaning

       that Mozart knew how to spell "November", and he listed 2 out of 3 "November"

       Pieces under November.  

 

       If he listed 2 other Pieces under November, why didn't he list the MFM under

       November??  Because he made a Mistake??  Because he mistakenly wrote

       "July" instead of "November" 1 out of 3 times?? 

       Because he FORGOT when he wrote the MFM - and forgot about all the other

       things required for "Putting a Piece into Production", such as making Copies

       of the Music for the Musicians??  

       I'm not buying it. 

 

       And it ignores the fact that he listed the MFM prior to a Piece written in July or

       October (K.478), making July a feasible date.

       (The Catalog says July, the Autograph says October for K.478). 

       Very strange, but claiming "Mistake" for the MFM Date doesn't make any sense.

       It's a HUGE "Mistake" of 4 months off (if it is one), and people are just "Grasping

       at Straws" to try to explain an Anomalous Pseudo Date - a Pseudo Date of a

       Month without a DAY of the month.

       For THIS Puzzle, we have to search wider and deeper to figure it out, or

       at least explain it more completely.  

 

       The Predecessor concept is easy to explain and grasp.

       But the more complete explanation takes a lot of work. 

 

       The Meistermusik/Masonic Funeral Music "Predecessor" concept is probably

       a "2" on a scale of 1-to-10.

 

       For a more COMPLETE explanation, the Meistermusik/Masonic Funeral Music

       Puzzle is probably a "10" on a scale of 1-to-10 in terms of research and analysis -

       and because of the Length of all the relevant details.

       And for ensuring Understanding and Belief that the explanation is correct.  

       This one is a tough one.

       

 

       WHY Did Mozart Write a Certain Piece:

       Dates of compositions and other lifeless details are sometimes a bit over-rated

       in terms of their value.  

       They don't involve unspoken motivations and other thoughts and events. 

       What's sometimes unknown, ignored, or glossed over, is WHY Mozart wrote

       a certain Piece, and what events were happening in his life. 

       Some of it involves speculation, some of it involves known facts.

       (Sometimes the information is stated by Mozart, sometimes not.) 

       We try to supply some possible or probable reasons for some Pieces, here, and

       examine some possibilities.

       We probably cannot know for certain why Mozart wrote a particular Piece, but

        reasonable possibilities and probabilities can be suggested.   

        (Sometimes the probable reason is very simple:  He needed the money.)

 

       (Mozart was probably not writing music for the benefit of Musicologists and

       Historians. He had his own reasons for writing every Piece.

       In some cases, perhaps All cases, music analysis should include an examination

       of Mozart's life at the time he wrote the Piece - or when he first made a Draft

       of the Piece (or a short Sketch), possibly setting it aside, and finishing it later.

       If we don't know WHY Mozart wrote a certain Piece, we don't fully understand

       it.)   

 

       We can't know for certain what Mozart was thinking or feeling, but by examining

        the events and other Pieces of that timeframe, we can arrive at some reasonable

        possibilities. 

        If one or more of those possibilities seems to be a near certainty, based on

        Normal human behavior, and not attempting to read Mozart's Mind for any

        uniquely Mozartian thoughts, we may have brought Meaning to the Piece and

        given it Life, in a sense.

 

        Click the Link below for further thoughts on Mozart's meanings in music and

        his depiction of emotions - especially in Opera, as well as in The Masonic Funeral

        Music and Meistermusik.

 

 

                                   Mozart: Meaning and Emotions

                                                   Click to read the Article.

 

                                           ...................................

 

 

      Description:

                                                                                                              

      The Masonic Funeral Music (and Meistermusik):                                                                                                                                         

      It's a BEAUTIFUL, SHORT, MAJESTIC, DIGNIFIED, NOBLE,                 

      ELEGANT, SERIOUS, SAD, SOMBER, SOLEMN, LONGING, INTENSE, 

      EMOTIONAL, MOVING, TENDER, PERSONAL, MELANCHOLY,         

      ACHING, DEEP, YEARNING, DESPAIRING, GRIEVING,                    

      ANGUISHED, STRIVING, LAMENTING, RESPECTFUL, PEACEFUL,       

      OTHER-WORLDLY, SOOTHING, SERENE, UNFORGETTABLE Piece.     

      There's nothing else like it (except for Meistermusik).                  

                                                                                                              

 

       Meistermusik is a short Piece for orchestra and Male Chorus (Tenors and

       Basses), about 6-7 minutes long, believed to have been composed by Mozart. 

       The source for the text is from "The Lamentations of Jeremiah" (from the Bible).

       It is theorized that Meistermusik was the predecessor and foundation for

       "The Masonic Funeral Music", K.477, with the 2 Pieces being very similar -

       almost identical.

 

       In my opinion, Meistermusik is actually a BETTER Piece than The Masonic

       Funeral Music, even though the 2 Pieces are nearly identical.

       It's the way the Piece was supposed to be heard. 

 

       They are BOTH beautiful, majestic, dignified, deep, etc, Pieces.

 

       Length:

       Meistermusik and The Masonic Funeral Music are 69 measures long, and

       take about 6-7 minutes to perform.  

       The Masonic Funeral Music feels "LENGTHY", but it's actually a SHORT Piece.

       Meistermusik is exactly the Same length as The Masonic Funeral Music, with

       the same number of Orchestral Notes and Measures.

       (Mozart later added a few instruments to The Masonic Funeral Music, but

       he didn't lengthen the Piece.)  

       Both Pieces are only 6-7 minutes long, but feel fairly "Lengthy" to me.

       The Masonic Funeral Music is thus "a Very Famous, Short Piece, well known

       to Mozart Fans".  

 

       Terms:

       The term "Meistermusik" is an invented term which means "Master Music".

       It was invented by Philippe Autexier.    

       We don't know what Mozart called it, but "Meistermusik" would apparently

       be a reasonable title. 

 

       It is almost certainly authentic, composed by Mozart, and probably for

       multiple reasons. 

       The evidence for its existence is very strong - overwhelming, in fact.

       The exact date of the composition is unknown, but he apparently wrote it in

       July of 1785. 

 

       Some people dispute the existence of the Piece, and this paper is an attempt

       to determine if Meistermusik is "Authentic Mozart" or not, and if it was

       the foundation for "The Masonic Funeral Music", K.477 ..

 

       We will also try to make some sense of all of the strange "Oddities" surrounding

       the music and Mozart's life in 1785 - the year that both The Masonic Funeral Music

       and Meistermusik were composed.

       Instead of encountering fairly normal and ordinary events and music when

       investigating these questions, one finds mostly Odd, Unusual, Strange, Puzzling,

       Sad, Distressing, Troubling, Highly Emotional, Traumatic, Anguished, Lonely,

       Alienated, and even Bizarre music and events during that year, raising the

       additional question of whether some of these events had an impact on Meistermusik

       or The Masonic Funeral Music, or Both, beyond what is already known.  

 

       Did the events of 1785 prompt the composition of Meistermusik and The Masonic

       Funeral Music, beyond what is already known??  

 

       In that regard, one additional BASIC question needs to be asked, although

       I don't have an Answer for it. 

       The Question is: 

     Why did Mozart compose The Masonic Funeral Music??

       The traditional, Standard, "Obvious" answer is:  

       "Because 2 important Masonic Aristocrats died, and they died one day apart

       (November 6th and 7th, 1785)."  

       They were Georg Mecklenburg and Franz Esterhazy.

       Esterhazy was also the Lodge Master of a Vienna Masonic Lodge. 

       Mecklenburg was 37 years old when he died.

       He was an "International" figure, and died in Tyrnau, Hungary.

       Both men were highly placed on the Social Register of Europe.

       Mecklenburg's older sister was the Queen of England, as co-regent (later as

       full-time Queen after her husband, King George, went Permanently Insane).

 

       That "Standard Obvious Answer" is not completely satisfying when you examine

       Human Nature, time, effort, rationale, motivation, Mozart's workload, probable

       non-payment to Mozart for his work, Mozart's status in the Freemason

       organization (probably fairly high), Mozart's Masonic obligations (if any), the

       workload on the Masonic Orchestra, payment to the Copyists, the Lodge's

       budgets, what is a proper tribute for the men, etc. 

 

       The "Standard Obvious Answer" is Partially satisfying (Two Important Freemasons

       Died), but not Entirely.

       It feels a bit ODD that Mozart would go to all that work for the Occasion.   

 

       People Die ALL THE TIME!!  Important People!!

       Why did these two deserve a special Musical Tribute??    

 

 

     Why not hire a Detective Firm and Doctors to find out why

     the 2 men died??

       Especially for Mecklenburg, dying so young at Age 37??

       And the two men dying just 1 day apart?? 

       This is VERY suspicious - don't you think??  

 

     * TWO Top Citizens of Vienna died 1 day apart.

     * BOTH men were Aristocrats. 

     * BOTH men were Freemasons. 

     * Mecklenburg was only THIRTY SEVEN years old.

     * Mecklenburg was an "INTERNATIONAL" Type. 

     * PARIS was simmering, but had not yet erupted in violence

        (which occurred in 1789). 

        The large-scale Revolutionary violence never reached Austria

        or Hungary, and no small-scale violence occurred, as far as

        I know.

     * Mozart and the Vienna Freemasons might have been the

       ONLY people to Honor the 2 Men. 

 

 

     *   Why did they die??

 

     *   Did those Aristocrats have enemies??

 

     *   Are the Aristocrats under attack??

 

     *   Are the Freemasons under attack??

 

     *   Should the Vienna Freemasons start taking precautions

          against being poisoned, or whatever the cause of death

          was of the 2 Aristocrats??

 

     *   Has the simmering anger of Paris floated to Austria and

          Hungary, and some malcontents have begun to execute

          members of the Aristocracy 4 years before the Paris

          Peasants began building Guillotines in 1789??  

 

     *   Why is the response to have Mozart write music for a

          Memorial Service instead of investigating their deaths?? 

 

     *   If the Freemasons or the Freemason Aristocrats were

          sending a message to the possible killers of the 2 men

          (one of "Solidarity"), why didn't they hold the Memorial

          Service in a Church or a large Public Venue, rather than

          in a private or semi-private Masonic Lodge?? 

 

       It implies an Automatic, Knee-jerk response FOR Mozart or BY Mozart,

       seemingly lacking in Rationale and Common Sense, as well as lacking

       documentation for the exact reason that he wrote it. 

 

       And someone has claimed that Mozart would have composed New Music for

       the Memorial Service, when there's not much Rationale involved in holding

       an Orchestral Memorial Service, or writing *ANY* music in the first place.

 

       What would be appropriate for the 2 men??

 

              A Masonic "Lodge of Sorrow"?? 

                     Yes.  Definitely.  It's automatic.   

 

 

             A Memorial Service?? 

                    Probably reasonable and appropriate. 

                    Songs, Hymns, Speeches.

                    Possibly a Piano accompaniment by Mozart or someone else.

                    Note: The Lodge of Sorrow could be a big affair, including

                    a Memorial Service. 

 

 

            An Orchestral Memorial Service with known, revised 

         music?? 

                    Why??

                    Quite an effort for Mozart and the Orchestra. 

                    Did Mozart volunteer to write the music, pay the Copyists, etc,

                    so the Lodge wouldn't need to foot the Bill??

                    Did the Freemasons of Vienna ever do that for anyone else??

 

 

            An Orchestral Memorial Service with ALL NEW MUSIC?? 

                    Why??

                    A SUBSTANTIAL effort for Mozart and the Orchestra!!

                    Did Mozart volunteer to write the music, pay the Copyists, etc,

                    so the Lodge wouldn't need to foot the Bill??

                    Did the Orchestra players get a Vote, since they would need

                    to learn the Piece and rehearse it?? 

                    Did the Freemasons of Vienna ever do that for anyone else??

 

 

       Yet they supposedly ensured that orchestral music was performed, forced

       Mozart to write some Funeral Music, and made sure that it was NEW Music,

       when there were Bigger Fish To Fry, such as determining why the 2 men died

       1 day apart, and evaluating their safety as a group of Freemasons, and as a group

       of Aristocrats (which some of them were), and taking any necessary precautions???

 

       Apparently they didn't see fit to investigate the Deaths, as far as we know,

       but they insisted that the music for the Memorial Service had to be Brand

       New orchestral music (not hymns or songs), written by the Greatest Composer

       in the World, as a Pro Bono gesture, copied and ready to rehearse in about a

       week, and sounding polished when performed???  Really?? 

 

       This is not making any sense as New Music, and is also somewhat strange that

       the Freemasons might not have been investigating the Deaths.

       Reworking Old Music would at least make MORE sense.

       It would put less strain on the orchestra, and the performance should sound

       polished with minimal rehearsal time.

 

       Most of the members wouldn't know that the music had been performed 3 months

       earlier, and I doubt that any of them would care, except the orchestra players

       who would be GRATEFUL for already being acquainted with the music.

 

       Under the circumstances, holding an orchestral Memorial Service seems a bit

        silly and unnecessary (as opposed to something smaller), but at least they could

        make life easier for the orchestra by re-using Old Music (Meistermusik)

        re-worked as The Masonic Funeral Music.    

 

       We don't know if the Lodges investigated their deaths - something that probably

       should have been done, and would be FAR more important than holding a

       Memorial Service for them, or asking Mozart to write some funeral music.

       Handling both tasks simultaneously would be a strain, I think.

 

       If some of the Lodge members were investigating the Deaths, or acting as points

       of contact for investigators, the Lodges would probably want any Memorial

       Service to be as easy and uncomplicated as possible, adding to the logic of

       re-using Old Music for the Memorial Service.

       Investigating the Deaths of 2 of their members could be difficult, depressing,

       stressful, and time-consuming.

       But it SHOULD be done!!  

 

     If high-ranking Aristocrats are suddenly dying, they might

     ALL be in danger!!

 

     If high-ranking Freemasons are suddenly dying, they might

     ALL be in danger!!

 

 

       (Paris was simmering for several YEARS before the French Revolution in 1789,

       when the Common People started sending Aristocrats to the guillotine.

       1785 was just 4 years before Paris finally EXPLODED against the Aristocracy.)    

 

       Is the death of 2 important Masonic Aristocrats a REASON for composing

       Masonic funeral music or simply a statistic??

       Did the Lodges have agreements with the families to have someone compose

       funeral music if they died??  (Freemasons???)

       Was funeral music some kind of requirement at a Memorial Service??

       Why??

       Was Orchestral funeral music a requirement at a Memorial Service??

       Why??

 

 

       If they decided to hold a Memorial Service for the 2 men, why did it need to

       include music played by their ORCHESTRA?? 

       That's kind of a big production, but only the Freemasons would know about it,

       most likely.   

       Why not just sing a few Hymns??  Or some Masonic Songs??

       Or say a few Prayers??  And have a few Speeches??

       Why an Orchestra??

 

       We won't know if the answer is important or not until it's been answered.

       And it has not been answered.

 

       If there is a simple, mundane answer to the Question of why Mozart wrote

       The Masonic Funeral Music, so be it.

       (There's no need to make Mountains out of Molehills.

       BUT, is it a Molehill??)

      

       So, can the Question be answered in a satisfying way:       

       "Why did Mozart write The Masonic Funeral Music??". 

       If it's obvious, what's the obvious answer??

       Why did these two receive a major musical work of art, composed by the

       Greatest Composer in the World, and possibly the ONLY tribute in the entire

       World created for them, when others might have received nothing at all?? 

       What did other deceased Aristocrats receive from Mozart or others??

       What did other deceased Leaders receive from Mozart or others??

 

       (Mozart wrote Funeral Music for Emperor Joseph II for the Wax Museum,

       but only as a kind of gimmick, commissioned by the owner of the Museum

       as a money-making Enterprise - not as an "Official Honor" by the Government

       or any groups or individuals. Yet the Emperor was theoretically and officially

       more important than the 2 Aristocrats, being the Emperor of Austria.

       On the other hand, Joseph was not held in high esteem by Austrians towards

       the end of his life.

       He unintentionally ruined the Music scene and the economy in Vienna by

       assisting Russia in its war against the attacking muslums, not appreciated

       by the citizens of Vienna.)  

 

       Who decreed that it was Mozart's lot in life to be forced to write

       "Funeral Music" whenever high-ranking Masonic Aristocrats died??  

       The Vienna Lodge Masters??

       But this happened only once in about 7 years, with some kind of Masonic

       obligation?? 

       Maybe, but it's kind of odd....  A bit Strange.  

 

       Why didn't they ask Haydn to compose some Funeral Music??  

       Because Haydn wasn't a Freemason?? 

       Did Haydn or other composers offer to compose some Funeral Music for

       the 2 Aristocrats??  

 

       If they were that important as Aristocrats, why didn't OTHER people step

       forward and do something for them?? 

       Important people have LOTS of friends and Admirers, and plenty of people

       who know about them and admire them from a distance. 

       Yet, apparently, Mozart was the only person who did ANYTHING for the

       2 men.

       Mozart was apparently the only man in Europe and in the entire World

       who took action to commemorate the deaths of the 2 Aristocrats.  

       Kind of odd....

 

       So we could have: 

       "Two high-ranking Freemason Aristocrats died.

       Mozart, get to work!!   Compose some Funeral Music!!

       And make it SNAPPY!!  We want it by the end of the week!!

       And get it rehearsed.  Make it sound polished!!"  

       Doubtful. 

       He did it, but we don't exactly WHY he did it.

  

       Perhaps the Lodge Management, and Mozart, simply decided that they

       should do something appropriate for the men.

       But hiring a Detective Firm and some Doctors to investigate the deaths

       makes much more sense than holding a Memorial Service, complete with

       an Orchestra!!

       (Holding a Memorial Service without an Orchestra makes sense.)  

 

       The notion that it was Mozart's responsibility to write Orchestral Funeral

       Music for the 2 men, for a Memorial Service (New or Reworked music),

       filled with over-the-top Emotion, doesn't seem to have any strongly

       compelling Rationale behind it.      

 

       Did Mozart perhaps have a Hidden Motive for writing it, using the Deaths

       of the 2 Aristocrats as an excuse for writing it?? 

       Did Mozart volunteer to write the MFM??

       Did he volunteer to pay the Copyists??

       The answers may be Normal and Ordinary, or they might involve some

       intrigue and camouflaging - a very MASONIC kind of thing to do.  

 

       Thus, The Masonic Funeral Music is a bit mysterious, even without the

       odd Date entry in his Catalog.  

 

       Freemasonry had been hiding and keeping secrets for Centuries.

       To a certain extent, it had become a way of life for them.

       In Austria, Freemasonry was tolerated at times, but it was also suppressed

       at times, and secrecy was invoked again. 

 

  

       Meistermusik: 

       Mozart's reasons for composing Meistermusik are unclear, but considerable

       evidence hints at several possibilities.  

       It was the predecessor of The Masonic Funeral Music.

       Both pieces are "Funereal" and Masonic in nature (to some extent), dealing

       with Death and Resurrection (per Masonic ritual), while Meistermusik also

       deals with bitterness, sadness, and isolation in its choral text.   

 

       This paper presents evidence for Meistermusik's existence, and speculates on

       several possible reasons for its composition, as well as analyzing its successor,

       The Masonic Funeral Music, and other pieces and fragments composed in

       1785 to see if they might have any bearing on Mozart's state of mind during

       this timeframe, and to look for any commonalities in the music - completed

       or left incomplete.  

 

       The result is that 1785 appears to have been a very stressful year for Mozart,

       with commonalities in many of the Pieces (and Fragments) throughout half or

       more of the year.

 

       While that stress of 1785 might have had no effect on the composition of The

       Masonic Funeral Music, it evidently had an effect on many other pieces,

       probably including Meistermusik.  

       And older stress from 1778 might have been one of his motivators for creating

       The Masonic Funeral Music, possibly to deal with old guilt, basing it on the

       "heavy" and intense Meistermusik piece.

       And possibly even further back, using the Piece as a tribute to his friend

       Michael Haydn, who lost a child in 1771 on Mozart's Birthday.

       (Michael Haydn was devastated by the loss of his child.)  

 

       In other words, even The Masonic Funeral Music might have been written

       for more than 1 reason - especially since Meistermusik was mostly hidden

       from view, and to assist in hiding and camouflaging Meistermusik. 

 

       And with the huge over-delivery of passion in both pieces for their purported

       events (a Masonic promotion ceremony, and a Memorial Service for

       2 Aristocrats), it makes one wonder what Mozart was thinking. 

 

       Instead of being a relatively simple and straightforward situation of

       composing music for all the usual reasons (income, commissions, talented

       students, songs for the Masonic Lodges, etc), some of Mozart's compositions

       and Catalog entries in 1785 were quite unusual, perplexing, lost, troubled,

       stormy, sad, traumatic, grief-stricken, bitter, painful, longing, aching, deep,

       and intense.

 

       Meistermusik and The Masonic Funeral Music are 2 of those pieces with

       some of those emotions.   

 

       Even though both pieces are "heavy" and intense, they are easily accessible

       by anyone, and deeply satisfying.

       Although composed during Mozart's "middle" period when he was only

       29 years old, they have a very "mature" and "wise" sound to them, as if

       Mozart has found his voice, and we are listening to the Voice of Wisdom,

       Truth, Honesty, and Maturity, with no pretenses, no frills, no humor, no

       antics, and no showiness.

       Just direct music as solid as a tree trunk, but personal, and straight from

       the heart.  

       Mozart is telling us something important - probably about his own feelings.

       There's nothing else like them by Mozart.      

 

       So, what curious Pieces and Fragments do we find composed in 1785??

 

       *  In 1785:

          Who was Mozart referring to when he wrote a vocal musical Fragment

                which reads "I am lonely, my love..." ??  

                (Or "I'm so lonely, my love.")

                His girlfriend?? 

                Did the married Mozart have a girlfriend in 1785??

                Why was he lonely - and when??  What month??

                (K.475a - Einsam bin ich - FRAG).

 

       *  In 1785:

          Who was Mozart referring to when he wrote a vocal musical Fragment

               which reads  "What was my Mistake??"  sung by 2 lovers??  

               (D.18 - Alexis und Naide - FRAG). 

               Anyone in particular??  No one in particular??     

               Two people in Vienna that he knew, who were having marital problems??

               Why would Mozart write music about it, even if the words were about

               real people whom he knew?? 

               Wouldn't one AVOID publicly mentioning such things, and not start

               writing a song (a duet) about it, unless one had some kind of personal

               reason for taking an interest in it?? 

 

              Two Pieces about women, two Fragments, two sad and desperate situations,

              in 1785.  

        

       *  Why did Constance Mozart wait 17 years before visiting Mozart's grave?

               (1808).

               Too busy??  Disinterested??  Jealousy??  Discovered love letters??

               Did Mozart get some of his mail at a Masonic Lodge, then bring it home

               and hide it - discovered by Constance after Mozart died?? 

               You would think that she would at least want to know where the

               Graveyard was located, and visit it, so she could tell her 2 boys where

               their Father was buried before 17 long years had passed, and the

               gravedigger might have died by then (he did), and any grave markers

               might have been removed by then, due to the 3rd Class Funeral (they

               were  - if they existed).  

 

               All the boys could have learned from their mother was the name of the

               Graveyard and the City, as a kind of Afterthought.  

               She even "accidentally" smashed Mozart's Death Mask, made shortly

               after he died. But Constance profited handsomely from selling her

               husband's music and giving concerts, dying a quite wealthy woman.

 

               It would appear that Constance might have been seeking REVENGE

               against Wolfgang after he died.

               If true, it might have been due to the discovery of "The Other Woman".

               (It might also have been due to all the debts Mozart left that she had to

               pay off.  At least she was able to get some help from the government in

               the form of a monthly check after Wolfgang died, and she received

               multiple Income Streams as time went on. )  

               Mozart and Nancy Storace might have been simply "close friends".

               But they might easily have been more than that.  

               Whatever Mozart's relationship was with Nancy Storace, it might have

               been "too close for comfort" as far as Constance was concerned.   

 

               Scholars have wondered for years about some odd aspects of Constance's

               behavior.  I don't recall all of their concerns, but is it possible that Some

               of her odd behavior was related to finding letters, musical fragments, and

               Pieces related to Nancy Storace, after Mozart died??

 

               For that matter, did she suspect that Mozart had a girlfriend in 1785

               and later (and possibly earlier) - WHILE HE WAS STILL ALIVE??   

               Hiding the existence of a Lover is almost impossible. 

               Perfume, Blond Hairs, Odd Behavior, peculiar attitudes, tiredness,

               running errands late at night, lack of eye contact, covering up "music"

               when someone comes into the room, etc, etc, are all giveaways that something

               strange is going on, and it might be related to having a Lover, if the proper

               clues are present.

               It doesn't take an Einstein to figure out that secret activities are taking

               place.  The only question is: What are the Activities??    

 

               How could Mozart hide it if he was having an Affair with Nancy Storace??

               The Young, Pretty, Talented, Fun, Funny, Teenager Nancy Storace??     

               He couldn't have hidden it.

               What would Constance do about it??  I don't know.

               But she would have done SOMETHING. 

 

               Perhaps she found ways to make Mozart jealous - and angry.  

               Perhaps with the "Calf Measuring" game shown in the movie Amadeus --

               a game that was actually more lewd than depicted.......!!

               Where strange men were permitted to measure her calves, and see more

               than London and France - something a Wife would not normally do.... 

               (Leopold was disgusted, although Wolfgang might not have been bothered

               by it, assuming it was all just in "erotic fun" for Adults.

               I've also read that Wolfgang was quite angry at her for doing that.) 

 

               Was her behavior "mysterious"??  Maybe not. 

               Maybe that was a clue that Constance had figured out what was going on

               between Wolfgang and Nancy Storace, and she decided to participate in

               the Game with other men, to turn the tables on him. It's a possibility.

               In any case, Mozart could not possibly have hidden an affair with Nancy

               while alive, and could not have hidden it after he died, since there were

               incriminating Song Fragments, a Catalog Entry (K.505), and possibly

               Letters.  Possibly even Perfumed Letters.  Oh oh.....

 

       *  Why did BOTH Nancy Storace and Constance Mozart burn a number of

               Letters before they died??

               Who were they from??

               Were they hiding "Normal" Private things that we don't want anyone to

               read, or "Very Sensitive" types of Private things - with Love or Great

               Interest for the WRONG person revealed in the letters??  

               Was Constance burning Perfumed Letters from you-know-who??

               I don't know, but it's possible and even probable.

 

               (It's claimed that the letters might not have existed and not burned.

               My SPECULATION:  They probably existed and were burned.

               We know that Mozart wrote a song Fragment in 1785 called

               "I am lonely, my love" (K.475a) .. 

               1785 was a Year of Tumult for both Mozart and Nancy Storace. 

               The Letters thus have a Musical Precedent or Secondary Evidence,

               adding weight to the claims that both women burned some Letters,

               some of which probably involved Mozart and Nancy Storace.) 

 

              The Probable Situation:

           His Songs fly up, his Letters to her they go.     

           Songs without Letters make little sense, you know.

                

                 

              If there were Songs, there were probably Letters.

                

                 Text of first Song Fragment mentioned above ("I am lonely, my love")

                 from 1785. 

              K.475a / Anhang 26 - Fragment, 8 Measures, d-minor:

 

                                           Einsam bin ich, meine Liebe, 

                                           Denke dein, und härme mich!

                                           Wie ist mir die Welt so trübe,

                                           Wie so traurig ohne dich!       [How sad I am without you!]

 

        Mozart was apparently "sad and lonely" without "his Love"

        (Meine Liebe) in June or July of 1785. 

        I wonder WHO that could have been.... 

        Who was "his Love"??  Nancy Storace, perhaps??

        Not Constance....

        Or was he just writing a song with words that had no bearing on his

        personal life??

       

        And if that SONG Exists (it does), some Letters existed before being

        burned (independently) by Constance and Nancy.   

      

        The Song remained an unfinished FRAGMENT, apparently never

        performed, and never sent to her.

        A very important Fragment, but less important than the Letters

        Mozart sent to her, and the Letters she sent to him.

        Certainly, I think we can assume that any Letters between them would

        have been Longer than the words to a Song....

        Multiply the average length of a Letter times the number of Letters,

        and we potentially have a HUGE amount of Information about these

        two People (and their Relationship - and Other Relationships) Lost

        forever.

 

        We know ONE thing - and possibly only ONE thing:

        Constance waited 17 Years before visiting Mozart's Grave, or more

        correctly, visiting his approximate Burial Location.

        Does it mean anything??  I think it probably does.

        It was a Long Drive out to St. Marx and its Cemetery.

        But still, she could have gone with her (older) boys, or her Second

        Husband (when they lived in Vienna), or a Girlfriend, or one of her

        Sisters (Webers), or a Friend of Mozart (Salieri, etc).

        But she didn't.

 

        I think it's possible that she became quite Angry with Wolfgang and

        whatever relationship he had with Nancy Storace, after reading some

        or ALL of the Letters she found after he died.

 

        Whatever that relationship was, the "Einsam bin ich" Song revealed

        that he was IN LOVE with Nancy Storace (!!) or SOMEONE in

        1785.  It might not have been sexual, but he LOVED some other

        Woman.  Who?? I think we can figure out who it was.

        The Good Looking, Sparkling, Feisty, Suffering, Singing, Teenager,

        Anna Selina Storace.

        If she asked for his help, or even just a Sympathetic Ear, how could

        he refuse??

        And Constance found out.

        Mozart was in a difficult position, but I doubt that Constance cared

        how difficult it was.

        17 years after Mozart died, Constance finally got around to visiting

        his "Grave".

        And that situation is probably related to Letters and Songs discovered,

        with the Letters subsequently BURNED.

        (She might not have discovered the Song Fragment. It might have been

         taken by Sussmayr or someone else.) 

                             

                             

                Anna Selina Storace (Nancy Storace or "Signora Storacce").

                Pronunciation:  Variable, depending on the spelling, and the

                nationality of the speaker.  

 

       Why would Mozart be attracted to Nancy Storace??

       Multiple reasons.  

       *  Partly because of her good looks.

       *  Partly because of her sparkling and feisty personality.

       *  Partly because her Voice failed.

           She suffered when her voice completely failed in June of 1785 - not

           surprising that it failed since she was singing leading roles at young

           ages and straining her voice for years. 

           (NOTE: Her voice may also have failed because of strangulations by

           her "Husband", John Fisher.  A possibility, but not a proven fact.

           Evidence:  Reasonably good.)

       *  Horrible marriage. 

           She was also SUFFERING in a Marriage Made in Hell (an arranged

           Marriage, arranged by her mother), and Mozart's compassionate nature

           drew him to her.

 

       To some extent, Mozart also ended up being victimized by this Insane

       situation in 1784 and 1785.

       Nancy Storace was a flirt and a tease, and had been fired from an opera

       for failing to take reasonable orders from the Director.

       (She was upstaging the Principle Castrato, who threatened to quit, and

       she refused to stop doing it, claiming that she had the "Right" to do it

       (Gag Me), so the Director fired her.

       I agree with the Director.  He fired the little Snot who was in the process

       of wrecking the Opera, and possibly the Opera Company.   

       She was, to an extent, "The New Kid in the Block", but refused to show

       Respect and Common Courtesy to the singer who had INVENTED the

       special Vocal Display of talent.

       Mozart might not have known the real story. 

       She was a Teenaged Girl, about 18 or 19, and had been treated like a

       Prima Donna from an early age.)   

 

       Mozart might not have been aware of all these complications, and may

        have seen her as "The Victim" - which was PARTLY true, but not

        entirely true.

        (She was also a rude and self-centered Prima Donna, but Mozart might

        not have realized it.)

        Meistermusik might be partly related to Nancy Storace's problems

        in 1785 and 1784, some of which were not her fault.

        To some extent, she was a Victim - a Victim of bad luck with her voice,

        bad luck that her young daughter died, and bad luck that her mother

        apparently forced her to marry John Fisher - 22 years older than she was,

        and a match made in Hell.

        And bad luck that she had such a Controlling Stage Mother.  

        ===

 

        And lastly:

        "Does it matter??" (in terms of the music, the history of the music, the

        actions taken by Constance, etc)??

        It might matter a lot!!

        I rate it as a 5 on a scale of 1 to 10, but it might merit a higher rating. 

 

        If The Masonic Funeral Music was a derivative of an intensely personal

        predecessor (Meistermusik), we owe the MFM to the existence of

        Meistermusik.  THAT is worth knowing. And learning more about

        Meistermusik is ALSO worth knowing.

 

        What IS this Meistermusik piece??  And why was it composed??

        And.... Who WERE those Masonic-Funeral-Music Aristocrats?? 

 

 

    If Meistermusik is an authentic Piece, the intensity and

     passion in Meistermusik ended up in the Masonic

     Funeral Music because Mozart took a shortcut and

     re-used the Meistermusik music in The Masonic

     Funeral Music.

 

 

     That's probably why The Masonic Funeral Music is so

     popular and well-known -- NOT because a couple of

     Aristocrats died, and Mozart commemorated their

     deaths with some Over-The-Top, Fantastic, Intense,

     Passionate, Tender, Aching, Longing, Yearning music.

     But because he put all of those efforts and feelings into

     Meistermusik, and The Masonic Funeral Music Inherited

     them when Meistermusik was converted into The Masonic

     Funeral Music.

 

     

 

 

   All this Passion and Emotion for a

   couple of Aristocrats???

 

 

   The Intense Passion in The Masonic

   Funeral Music probably came from

   Meistermusik. 

 

 

   And the Intense Passion in Meistermusik

   probably came from non-Masonic

   sources, such as the deaths of children,

   and possibly even the death of Mozart's

   Mother, who never received a funeral

   when she died. 

 

 

   It's hard to imagine that an ancient

   Masonic Hero would generate that much

   emotion (Meistermusik - Hiram Abiff),

   or that 2 Aristocrats would do the same

   (The Masonic Funeral Music - Esterhazy

   and Mecklenburg).  

 

 

   Hiram Abiff??

   And Two Aristocrats??

   (Two Good Guys, but not Girlfriends, or

   Children, or Mothers.)        

 

 

 

   Has anyone in History become sad and

   sentimental over Hiram Abiff?? 

   With a Name like that??? 

   Who lived thousands of years ago??

 

 

   Has anyone deeply grieved with a

   Yearning Soul and an Aching Heart over

   the deaths of a couple of Rich Swells??

 

 

     Wouldn't it be more appropriate to say:

 

     "Dear Mr. Abiff,

      We're sorry you died.

      Sincerely,

          The Masonic Lodges"

 

 

      "Dear Swell Aristos,

      We're sorry you died.

      We know you were good guys, and it's not Fair,

      but that's the way it goes, sometimes. 

      Sincerely,

          The Masonic Lodges"

 

 

     But NEITHER Piece is making much sense!!

     Why did Mozart put so much passion into both of them --

     Meistermusik and The Masonic Funeral Music??

 

     Or more correctly, why did Mozart put so much passion

     into Meistermusik (since the MFM evidently came from

     Meistermusik, and we're really dealing with ONE Piece)??

 

     Meistermusik is a choral piece (male chorus and

     orchestra), and The Masonic Funeral Music shows

     strong evidence of a Vocal Predecessor.  

     And whatever passion Meistermusik had was

     automatically inherited by The Masonic Funeral Music. 

 

     Thus, the strong popularity of the MFM.

     It's filled with intense passion, derived from

     Meistermusik, and connects well with listeners at a

     deep level. 

 

        And we might owe the existence of Meistermusik PARTLY or MOSTLY to

        Nancy Storace's many problems. 

 

       These are just SOME of the background items involving the year 1785, and

       the lives of his wife and friend after he died.  Significant items that shouldn't

       be brushed off as being trivial or immaterial. 

       If a towering figure like Mozart, who was full of passion and easily hurt,

       writes anything about his feelings, (which he did), it's important!!  

       And if his feelings involved Nancy Storace ("I am lonely, my love..."), his

       feelings would be even stronger.  

 

       And if wives and female friends are burning letters and not visiting graves

       for 17 years, you can be certain that something very peculiar was going on,

       and apparently HAD been going on, years earlier. 

       In 1785??  Yes.  In other years as well??  Possibly.

 

       None of this was fair to Constance, but neither was it fair to Mozart, or

       Nancy Storace, or John Fisher.  (Or Aloysia Weber, earlier.)

       *  Aloysia Weber was forced to abandon Mozart,   

       *  Mozart was Lied to, 

       *  Mozart was empathetic,

       *  Nancy Storace was forced into a loveless marriage,

       *  England was kept in the dark,  

       *  John Fisher was apparently lied to,

       *  Nancy Storace was forced into starring roles at too young an age, and

       *  Constance was caught in the middle. 

 

       What a Mess!!

       It was yet another example of Moronic Meddlers causing trouble for everyone,

       operating partly in Secret in 1777, 1784, 1785, and probably other times,

       as well.    

 

       The same thing happened to John Kennedy with his Meddling Father and his

       annoying, disliked, naive, Meddling Brother, McBooby Kennedy, plus

       McGeorge McBungle (McGeorge Bundy) - all of whom, caused MASSIVE

       problems for the Kennedy Administration.

       Incredible. 

       It appears that many people in Mozart's life suffered, and Everyone involved

       had a lot of Bad Luck.

       And it shows how much havoc a MEDDLER can cause. 

      

       And, of course, it was 1785 when both The Masonic Funeral Music and

       Meistermusik were written. 

       And 1785 when the bizarre Dissonant Quartet was written.

       And the year when the stormy D-Minor Piano Concerto was written.

       It was a very strange and troubling year for Mozart. 

 

       We are therefore COMPELLED to ask the question:

        "Is this strangeness and stress reflected in Meistermusik and the MFM?? 

        Are there any signals in his Catalog of some kind of strangeness??

        Did Mozart even Write a piece we call Meistermusik?? 

        If so, did he hide it or camouflage its meaning?? 

        Or both?? 

 

      Was there something unusual about 1785 that would

      cause Mozart to write a piece like the theorized

      Meistermusik?? 

      Multiple things, perhaps??  What things?? 

      Why the words of Sadness, Bitterness, and Isolation

       in Meistermusik?? 

      And of being cast out - Evicted??

      All done for a Masonic promotion to Master Mason??

      On a grand scale??

      Possibly never done before at any of the Vienna Lodges

      on this scale?? 

 

        It's kind of odd. And it's complex. 

        We have plenty of hints (more than listed above) that we've been presented

        with a large JIGSAW PUZZLE, unseen until the oddities began to emerge

        from Mozart's Catalog, documented behavior, biographical files, scraps of

        paper, and so forth.  

 

        It's only when we start to EXAMINE the History and related information,

        that the Year 1785, The Masonic Funeral Music, and the possible existence

        of a Predecessor, suddenly changes from a fairly ordinary year and an ordinary

        investigation into a popular Piece (The Masonic Funeral Music) into a

        Large, Complicated Jigsaw Puzzle.      

 

        And, of course, these things all reside as Layers of an Onion.

        Peel back one layer, and we get another layer and another piece of the Puzzle.

 

        The question is:  Can we make sense out of it??  Can we assemble a coherent

        picture of what these oddities mean?? 

 

        And, of course, can we determine if the Piece "Meistermusik" ever existed??

        Is it an authentic Mozart composition?? 

        Was it the foundation of The Masonic Funeral Music??

        Can we answer the "foundation" question on purely technical grounds --

        not on "social" grounds?? 

 

        The answer is "Yes" to all the Questions.

        Mozart composed Meistermusik, it was the foundation for The Masonic

        Funeral Music, Nancy Storace was involved in Mozart's music in 1785,

        Mozart's Mother MIGHT have been involved in some of his music, various

        deceased children probably played a role in his music that year, and a few

        other factors were probably involved in this complicated situation, including

        Freemasonry (of course) and possibly even a visit from his father, which

        served to remind Mozart again that his Mother had died a few years earlier -

        an event that Leopold blamed Wolfgang for, and for which Wolfgang might

        have begun to more fully accept partial responsibility for her death, perhaps

        including his emotions over the issue in Meistermusik or The Masonic

        Funeral Music, or both pieces.

 

        The number of possible factors involved in both pieces might be why they are

        so rich and intense, with Mozart driven as never before, to produce such 

        deep, profound, and emotional music. 

 

        Even if Meistermusik never existed, we can easily grasp the fact that The

        Masonic Funeral Music is like no other piece that Mozart had written, and

        has a solemn depth to it, rare for Mozart.  Why?? 

 

        We will try to shine a light on this complex situation. 

 

 

 

    ========================================================

    ========================================================

 

 

 

    Mozart and Freemasonry:

       Mozart was admitted as an Apprentice (1st Degree) to the Masonic Order

       at the Beneficence Masonic Lodge in Vienna on December 14th, 1784.

       He was promoted to Journeyman (2nd Degree) at the True Concord

       Lodge on January 7th, 1785 - the most Aristocratic Lodge. 

       The promotion came just 3 weeks after joining the Freemasons.   

 

       It's unclear when Mozart was promoted to Master Mason (3rd Degree),

       but it may have occurred in 1785 or the following year, in 1786.

       The documentation is vague on that point. 

       He composed a number of Masonic pieces, most of them short songs, from

       1785 forward. 

       Mozart remained a Freemason for the rest of his life. 

 

 

                            ------------------Mozart------------------

             1st Degree:    December 14th, 1784.        (New member)   Beneficence.   

             2nd Degree:  January 7th, 1785.              (Promotion)       True Concord. 

             3rd Degree:  Unknown - possibly 1785.   (Promotion) 

                                    (Most likely promoted in 1785 rather than 1786,

                                    considering his rapid progress from 1st to 2nd

                                    Degree in only 3 weeks.

                                    It appears that Mozart was being "Fast Tracked".  

                                    Therefore, he probably achieved "3rd Degree"

                                    (Master Mason) sometime in 1785.)

 

       Joseph Haydn attended one meeting at Mozart's suggestion, but never

       returned.

 

       For that matter, it seems a little odd that Mozart was so attracted to

       Freemasonry. Perhaps it was their core principles of benevolence,

       compassion for others, etc.

       Perhaps he was also attracted to their Symbolism, since Mozart was a

       creature of Symbolism, with Music itself being an entirely symbolic medium.  

       Mozart was also a "people person" - not a loner. The Masonic Lodges

       may have helped to satisfy that need.

 

       Mozart's father became a Freemason in 1785 at Wolfgang's suggestion,

       while the father was in Vienna.

       He passed through the Masonic levels very rapidly, and became a Master

       Mason in April of 1785, in Vienna, probably before Wolfgang did, probably

       being "penciled through" due to his age and status as a violin teacher and

       book author (of the Art of Playing the Violin).  

 

       Leopold's extremely rapid progress might also have been done to get rid

       of him --  at the Lodge's behest. (Pure speculation).

       He didn't have Wolfgang's pleasant personality, was not exactly cosmopolitan,

       and was certainly no Aristocrat.

       (Technically, Wolfgang wasn't an Aristocrat, either, but he apparently fit in

       comfortably, and was welcome at all the Lodges, including the most

       Aristocratic one, the "True Concord" Lodge.)  

 

       It seems unlikely that Leopold would have been attracted to Freemasonry,

       for multiple reasons. For one thing, Leopold was a Control Freak, and there

       was no one to control as a Freemason. Even as a Master Mason, he couldn't

       order anyone around as if he were a General in the Army.

 

       For Wolfgang, one of the attractions of Freemasonry might have been the

       social aspect, with many interesting and important people to meet and talk to

       at the Lodges, in the same way that people do today on Social Media on the

       Web.     

       And a Lodge was a "place to go to" - a Men's Club, and not a Bar. 

 

       The last piece Mozart completed, and the last work entered in his Catalog,

       was a Masonic Cantata, K.623 for orchestra and male voices, on

       15 Nov 1791: 

       "Laut verkünde unsre Freude".   

     ____________________________________________

 

 

     Purpose:

       *  The primary purpose of this paper is to determine if "Meistermusik" is an

       authentic piece, composed by Wolfgang Mozart in the Summer of 1785

       (most likely in July) , or if it's just an unsupported claim that this Reconstructed,

       "Lost" piece was ever created by Mozart. 

       (The Autograph Score is lost, if it existed, and no printed copies have turned up.

       There is also no clear and unambiguous entry in Mozart's Catalog for this piece.

       Exception: One Page of the Autograph Score of Meistermusik might exist as

       a page in the Masonic Funeral Music for the Basset Horn(s) part.

       We do have the entire Autograph Score of The Masonic Funeral Music.)

 

       *  The secondary purpose is to investigate the theory that Meistermusik was the

       foundation and predecessor of The Masonic Funeral Music, which was written

       in November of 1785. 

 

       *  A third purpose, created as a byproduct of the research, is to try to determine

       Mozart's state of mind and evaluate his activities in the Year 1785 by examining

       other pieces written (including Fragments), and examining documented events

       that involved Mozart and some of his friends and relatives.

       Doing so might also add some meaning to known pieces, and possibly add

       justification to the existence of Meistermusik.

 

 

       Audience:

       Anyone who has an interest in the subjects of "Meistermusik" and

       "The Masonic Funeral Music", as well as the Dissonant Quartet, and various

       pieces and fragments of music composed by Mozart in 1785.

 

 

       Short History of the Investigation:

       When the investigation began, there were just 2 issues:

       1. Did Mozart compose a Piece known as Meistermusik - a Piece for

           male chorus and orchestra, very similar to The Masonic Funeral Music?? 

       2. If authentic, did it form the foundation of The Masonic Funeral Music??

 

       Mozart did not list "Meistermusik" (or something similar) in his Catalog,

       and we don't have an Autograph score or early printed score for the Piece. 

 

       Additional issues have arisen and been pursued as a byproduct of the

       Investigation, such as the mysterious date for The Masonic Funeral Music

       in his Catalog, his life in 1785, his relationship with Nancy Storace (which

       is only partially known, but more fully illuminated), the question of Why the

       Dissonant Quartet Intro was written the way it was, various unusual pieces

       written in 1785, etc.   

 

       All of these issues, and more, probably have a bearing on the existence of

       Meistermusik, and the history of The Masonic Funeral Music.

       Avoiding complexity in this matter, while highly desirable, does not seem to be

       possible due to the many interacting relationships.    

 

 

 

       Primary Evidence for Meistermusik:

       The Primary Evidence that Meistermusik exists, and is a Vocal Version

       of The Masonic Funeral Music, constituting a Predecessor for it, comes from

       The Masonic Funeral Music itself, as well as the postulated text for

       Meistermusik.

       Evidence also comes from Mozart's Catalog: It says that he wrote The Masonic

       Funeral Music "In the month of July" - not November.  

 

       Analyzing The Masonic Funeral Music:

       It appears that:                                         

       *  The MFM was a Vocal Piece in its original incarnation.                 

       *  The postulated sung text for Meistermusik fits the notes, syllables,

           and phrases of The Masonic Funeral Music perfectly.

                                                                                                      

       Analyzing Mozart's Catalog, it appears that:                   

       *  Mozart wrote The Masonic Funeral Music in July.     

           Perhaps the true situation is that he wrote the Predecessor in July.

 

       We are not theorizing about Meistermusik from "Nothing".

       We are using The Masonic Funeral Music as the Basis for theorizing that

       Meistermusik exists.

       And we DO have the Autograph Score of The Masonic Funeral Music, plus

       an entry in Mozart's Thematic Catalog.  

 

       What we end up with is STRONG EVIDENCE that Meistermusik exists:

       Musical evidence and Textual/Musical evidence. 

 

       Thus, The Masonic Funeral Music is a perfect template for Meistermusik.

 

       (Secondary evidence for Meistermusik would include the fact that the postulated,

       Biblical text is Masonically significant, of course, and would appear to fit a

       Masonic Promotion Ceremony, which was the claim made for its existence.

       Just more evidence to add to the pile.)       

 

       Even the Tenor and Bass lines of Meistermusik could be sung by reading the

       instrumental lines in The Masonic Funeral Music.   

 

       An instrumental line in the middle section of The Masonic Funeral Music

       contains a melody known as the "tonus lamentatorium" which is a Vocal piece

       in Latin, developed by the Catholic Church in the 1500's for singing during

       Holy Week (Easter Week).  

       It begins at bar 25, continuing to the end of the Piece, and is played by an Oboe

       and a Clarinet. 

       It appears in a Vocal Style (Gregorian Chant / Cantus Firmus).  

       The postulated text for the "tonus lamentatorium" line fits the notes perfectly,

       and is phrased like the music - line for line, and phrase for phrase.  

       There are 38 notes in the TL melody, and 38 Syllables in the text, with pauses

       in the music matching pauses in the text.  

 

       The text comes from "The Lamentations of Jeremiah" in the Old Testament,

       and speaks of bitterness and being cut off or lost, as you might expect a

       lamenting person to say. That is, the words match the description of the melody.

       Mozart owned a copy of the Latin Bible containing that text. 

       The text was also used by the Freemasons, making it likely that eventually, a

        Freemason (or a hired composer) would set some of the verses to music, since

        the Vienna Freemasons used music in their meetings (evidently "songs"). 

 

        Apparently, Mozart did exactly that, setting verse 3:15 and 3:54 to music,

        as an easy-to-sing Gregorian Chant. 

        The occasion was a promotion to Master Mason which involves invoking

        thoughts of the Prophet Jeremiah.

        We call that composition "Meistermusik". 

 

       Thus, using Reverse Engineering, Meistermusik can largely be created from

       The Masonic Funeral Music.

 

       One additional step is necessary and that is to create separate Tenor and Bass

       lines using the TL melody and the Lamentations text.

       Using 2 additional staffs, the Tenor line and the Bass line can be created, with

       the Tenors and Basses singing the same notes (except for a few notes at the end),

       placing all notes in a comfortable range, beginning with the Eb below Middle-C

       in the Bass Clef.   

 

       The result is a short piece for a male chorus and orchestra, easily sung by

       amateur singers singing a SIMPLE, Gregorian Chant melody, and moderately

       difficult for an orchestra, but with nothing too demanding. 

 

       Thus, Mozart probably wrote a Vocal Version of the piece prior to writing

       The Masonic Funeral Music since the Vocal ingredients are present in

       the MFM.  

       While that doesn't constitute proof of Meistermusik's existence, it comes

       very close.

 

       If Meistermusik doesn't exist, Mozart composed an instrumental Piece

       (The Masonic Funeral Music) with a known Vocal melody and a Vocal style

       containing a section with 38 notes that match the 38 syllables of an appropriate

       Masonic text, with the Vocal Style being an easy-to-sing Gregorian Chant, suited

       to amateur Male voices, but didn't create a Vocal version of the Piece. 

 

       This would be like saying that Shakespeare wrote many Plays, but never

       presented them to any audiences.   

       Not likely.  Why did Shakespeare write them??

       And why did Mozart write an Instrumental Piece (the MFM) that could easily

       have been a Vocal Piece in an earlier incarnation, but failed to write a Vocal

       Version of the Piece??  Or did he??

        Perhaps he DID write such a Piece.

        It would make sense that he DID write such a Piece, and a strange situation if

        he DID NOT write such a Piece.    

        The Logic of it is compelling.

 

        The problem is in finding more Evidence that he DID write such a Piece. 

        The musical and textual evidence comprise strong Evidence that Mozart DID

        write such a Piece.

        But is that enough evidence to constitute Proof that he wrote a Vocal Version?? 

        Probably not.

        What's lacking is the PROOF that Mozart wrote a Vocal Version of the MFM. 

        We will search for more Evidence to assemble Proof that Mozart wrote a

        Vocal Version of the Piece, namely what we call "Meistermusik".

 

        What we have, so far, comes VERY close to Proof.

 

 

       Motivation, Developments, etc:

       Wouldn't Mozart use the opportunity of a somewhat "Special" Masonic

       Promotion Ceremony to create a Vocal Version of a piece for some Masonic

       function, with Masonic text appropriate to the function, easily performable

       by an amateur men's chorus available at the Lodges if someone asked him

       to do it?? 

       Or, if he wanted to make a significant contribution to the Freemason

       Movement as a New Member of Freemasonry??   

       With all of the elements fitting together like a hand in a glove??

       And that it was Mozart and Freemasonry who made sure that all the elements

       fit together - not some incredibly lucky fluke?? 

       And that this could easily have been the first Version of the piece (the

       predecessor to The Masonic Funeral Music)??

 

       And that Mozart simply re-used the music for the Memorial Service for two

       Aristocrats a few months later, omitting the chorus since the words were not

       very appropriate for a Memorial Service??

       And that the performance should be polished if the same orchestra players

       were used - probably needing only one rehearsal??  

       And that any Freemason and Non-Freemason friends and relatives of the

       deceased, in attendance at the Memorial Service, would be very touched by

       the wonderful gesture and beautiful music presented by the Lodge for the

       Dearly Departed??   

       A generous act of Friendship and Honor??

 

       One would think so.

       The logic of it is straightforward and compelling.

       The postulated basis involves well known music, musical styles, and plain,

        ordinary human behavior - reasonable and possible behavior, and Normal

        behavior, with some Masonic symbolism involved, but with no Hidden

       Agendas,  no secrets, no Ulterior Motives, etc.

 

        In my opinion, Hidden Agendas were ALSO involved, but they were

        ADDITIONAL and completely INVISIBLE to Mozart's fellow Freemasons,

        and to any outsiders who might have been invited to attend the Memorial Service

        for Esterhazy and Mecklenburg in November, 1785, after the sudden deaths of

        the two Aristocrats.

 

        Hidden Agendas are not required for Meistermusik's existence, nor for its

        use as a predecessor to The Masonic Funeral Music.

       The situation with the two Pieces can be viewed in a Normal, Ordinary way,

       or in a deeper way, with more information, such as information gleaned

       from Mozart's Catalog and other sources.

       There are no Skeletons in the Closet, and no Shocking Information (except,

       perhaps, some information about Leopold Mozart's behavior in later life).

       Just interesting information and some Analysis.  

       This Paper presents the deeper information, for those who want it.  

 

       The two deceased Masonic Aristocrats were Well Honored by their fellow

       Freemasons.  

       Any further complexities, with private meanings for Mozart, were invisible to

       the attendees at both functions, and nothing got in the way of the generous and

       official tribute to these 2 men - even if it was more generous than the

       Freemason philosophy taught, in which all men begin as Equals, and Royalty

       and Aristocrats don't get special treatment from the Great Architect of the

       Universe - unless they deserve it. 

 

       They didn't deserve more than average due to their high births, or the social

       positions of their friends and relatives, according to Masonic Philosophy.  

 

       Social rank by virtue of high birth is anathema to the Freemasons, apparently

       because it involves having nothing more than Good Luck - not virtuous

       behavior and hard work. 

 

       It would appear that the Vienna Freemasons might have slipped up a bit

       with their beautiful Memorial Service for Esterhazy and Mecklenburg,

       when all the 2 men deserved, Masonically speaking,  was what everyone else

       got - whatever that was, unless it was felt that they deserved more than

       average if they had EARNED more than average.

       Evidently, that was the consensus, if they were true to their Masonic

       principles, they were given a Memorial Service, and Mozart wrote the music

       for it. 

 

       We don't know exactly what they were thinking.

 

       In any event, Meistermusik research is the primary purpose of this paper.   

       It turns out to be an interesting and rather complicated subject. 

 

 

       The Themes of this Paper:

     * Authentic.

          Meistermusik is almost certainly authentic, composed by Mozart in July

          of 1785.  The exact date of the composition is unknown.  

 

 

      *  Foundation/Predecessor.

          Meistermusik was the Foundation and Predecessor (and near duplicate) of

          The Masonic Funeral Music.

          There's a great deal of evidence for it.

          Some of it is basic, but some is complex. 

 

 

       * Masonic Promotion.

          Meistermusik is believed to have been written for the promotion of a

          Freemason, Carl von Kõnig, to the level of Master Mason, which took place

          on August 12th, 1785, in Vienna. 

          The Catholic Church had closed his Lodge in Venice, as part of its

          Inquisition activities in May, 1785, and he travelled to Vienna for the

          promotion Ceremony. 

          The Ceremony was the "Official" reason for its composition.   

          Mozart probably had additional reasons for writing it.

          "Master Mason" is the Third  and highest Level in Freemasonry.

          (There may be additional awards, descriptions, positions, Titles, Honors, etc,

          which may elevate a Freemason to a higher status (such as "Lodge

          Master"), but Master Mason is the highest Official Level in Freemasonry.

          Higher degrees can exist, but these are administered locally, vary widely,

          and are not part of the "Standard" Freemason system. 

          Mozart himself achieved the level of Master Mason at some point, probably

          during 1785 or the next year (1786), but the history is vague on that point.)  

 

         

       * Vocal Music and Vocal Style in the Masonic Funeral Music.

          Meistermusik is a Vocal Piece (and Instrumental) for a chorus and an

          orchestra, while The Masonic Funeral Music is purely an Instrumental

          Piece for orchestra only.  

 

          But The Masonic Funeral Music was probably a Vocal Piece in its original

          incarnation, with the Original Vocal Music in it (as Instrumental Music),

          and traces of the Original Vocal STYLE remaining in it.

          Thus, a Vocal Predecessor for the MFM is implied.

          We call that piece Meistermusik.

 

                         Meistermusik:                   Orchestra + Chorus.

                         Meistermusik:                   Vocal  Music (in the middle section). 

                         Meistermusik:                   Vocal Style in the middle section.  

 

 

                         Masonic Funeral Music:  Orchestra. 

                         Masonic Funeral Music:  Vocal Style in the middle section, plus

                                                                     the ability of Masonic text to fit the notes.   

 

 

          If The Masonic Funeral Music is authentic (it is), then a nearly identical

          predecessor would also be authentic (genuine and written by Mozart - not

          an imaginary piece).

          We are making the perfectly valid assumption that The Masonic Funeral

          Music is not a copy and version of someone else's composition.  IE, it had

          to be Mozart who wrote the Predecessor - not some other composer such

          as Haydn. 

          It was written by an extremely talented Masonic composer, probably living

          in Vienna. That would be Mozart and ONLY Mozart.

 

 

       * Partly For Nancy Storace.

          Hidden and Camouflaged.

          Meistermusik was partly written for Nancy Storace and the death of her

          child (Josepha Fisher) on July 17th, 1785, but it was hidden and

          camouflaged by Mozart to protect her and her partly Secret Marriage, as

          she wanted, and he used the Masonic Promotion Ceremony and The

          Masonic Funeral Music to do it. 

         The name "Nancy Fisher" (her married name) has either been erased from

          history, or never publicly materialized, as she wanted.

          (Have you ever heard of Mozart's friend "Nancy Fisher"?)

          Legally named "Fisher", but apparently always known as "Storace" - and

          not necessarily for "Show Business" reasons.  

          Her marriage to John Fisher (an arranged marriage) was known to some

          people, but hidden from others, and never publicized.

 

          Similarly, Meistermusik by Mozart, which may have been written partly in

          memory of Nancy Storace's child who died in July 1785, was camouflaged

          and partially hidden by Mozart to protect one of the meanings of the piece,

          and to protect the knowledge of her marriage from spreading beyond

         Vienna and a limited number of people who knew about it. 

 

          And if John Fisher wasn't the father of the child, the meaning of the piece

          and any linkages to Nancy Storace and the real father had to be completely

          obscured in order to protect ALL the parties involved, whoever they might

          be. 

          One of those parties MIGHT have been the Emperor himself - Joseph II.     

 

 

       * Similar Piece Needed.

          Meistermusik needed a second, similar piece in order to hide it and change

          its meaning, and in order to salvage the beautiful music, rather than

          relegating it to the wastebasket, or to a pile of "Miscellaneous but

          Unpublished Music". 

          That piece was The Masonic Funeral Music, nearly identical to

          Meistermusik, with the opportunity provided by the deaths of two important

          Freemasons, 3 months later.   

 

          If the two important Freemason Aristocrats hadn't died when they did,

          Mozart would probably have found some other occasion to use it - Masonic

          or not, but probably Funereal since the music is so sad. 

          With all the Masonic Lodges in Vienna (8 Lodges at one time), you would

          think that SOMEONE important would eventually die, or a Memorial

          Service could have been held for an important Freemason who had died a

          few years earlier. 

          Or it could have been used as music for an important citizen of Vienna - or

          some other city in Europe.

          Mecklenburg himself died in Hungary - not Vienna or Austria. 

          Freemasonry is International, and opportunities for composing "Funeral"

          music for a Freemason would abound. 

 

 

       * Catalog Entry Delay.

          Mozart delayed making the entry for The Masonic Funeral Music in his

          Catalog for several months - at least 3 months (November-xxxx??).

          Why?? 

          It may have been due to simple procrastination, due to being busy, due to being

          occupied with non-musical issues, or it may have been due to waiting for an

          Opportunity to camouflage Meistermusik. 

          (It sounds like quite a stretch, but Nancy Storace was VERY important to

          Mozart, and it didn't take any effort at all to hold off on making entries in

          his Catalog until the right opportunity came along - the deaths of two

          Freemason Aristocrats, and of course, composing The Masonic Funeral

          Music, which he had essentially already done in July, in the form of

          Meistermusik, creating almost a note-for-note copy.)

 

 

       * The MFM is Somewhat Mystifying.

          The documentation and music for The Masonic Funeral Music is

          NOT clear and normal. It's bizarre.  

          Mozart listed a puzzling Date for its composition, and the music seems like a

          huge Over-Delivery of emotion for 2 deceased Aristocrats. 

          Even the motivation for writing it is a bit mysterious, with the 2 Aristocrats

          receiving a Magnificent Send-off, possibly not given to other Freemasons, and

          possibly the ONLY tribute in Europe given to these 2 men. 

          It's as if Mozart MIGHT have had additional reasons for writing it.

          Official reasons and Private reasons.

          And that opens the door to researching the true situation.

 

 

       * The MFM Needs A Predecessor.

          The Masonic Funeral Music is not a piece that can be explained without 

          the existence of a Predecessor: Namely, Meistermusik  (as well as other issues). 

          A Predecessor can be shown to exist based on the issues with The Masonic

          Funeral Music (emotional over-delivery, etc).  

 

 

       * Same Behavior.

          Michael Haydn and Nancy Storace.

          The problem for some people evaluating the evidence and the situation

          with Meistermusik and the Masonic Funeral Music, might involve

          Believing and Accepting the idea that Mozart would Hide or

          Camouflage a piece, despite weighty evidence that he did exactly that.

 

          One aspect to keep in mind, however, is that Michael Haydn and Nancy

          Storace did the same thing. It's theorized by scholars that Michael Haydn's

          Requiem, MH155, was actually written partly in memory of his daughter

          who died at the age of 1 Year, and we know that Nancy Storace kept her

          marriage a secret from England, hiding both the marriage and her

          daughter's early death in July of 1785.   

          Both individuals were noted musicians.

 

          Mozart was clearly not the only musician in Europe who might have been

          hiding or camouflaging music, and might have been hiding some events

          and feelings as well - possibly including love, lust, sadness, regret, guilt,

          empathy, compassion, stimulation, honor, shame, contrition, longing, etc.

          It's not "preposterous" or "completely out of character" at all.

          If anything, it's very likely.  Mozart was a human being like all of us, as well

          as being a musical genius, with the same foibles and desires that we probably

          all have, from time to time - emotionally and intellectually.

 

          Mozart and his friends hid some things, including "meanings", when the

          situation required it, and Constance and Nancy Storace finished the job

          before they died by burning some letters.

          Some things needed to be hidden, and they all did it.   

          (And it's not imaginary Mind Reading on my part when people burn letters,

          to understand their motives.

          You don't need to be a Mind Reader to know that they didn't burn those

          Letters to save money on their heating bills. They had other reasons involving

          secrecy.)

 

 

       * Mind-Reading.

          Mind-Reading of people long deceased is tricky, unreliable, and often nearly

          impossible, unless there's strong evidence to support the assertions. 

 

 

       * Mistake-ology.

          "Mistake-ology" is not a recognized scientific discipline. 

          Sometimes people are correct, sometimes they're just guessing or assuming

          when they claim that something is a Mistake.

 

          A "Mistake" is a claim of Fact.

          A "Mistake" often changes the meaning of the story, creating a new Story.

          A claim of a Mistake requires supporting evidence like any other claim. 

          People making the claim that Mozart made a Mistake somewhere don't

          always supply their evidence, begging the question: "Do they HAVE any

          evidence??"

          If they don't supply their evidence, it effectively DOESN'T EXIST.

          This is not a Quiz Show or a Guessing Game such as "I've Got a Secret". 

          I'm not going to waste my time trying to guess their secret about the

          claim of a Mistake, nor will I take their claim seriously.  

          It's just useless, empty blather.  A 3rd Grader could make the same claim.

          One needs to have Evidence to support the new Story just as with the

          original Story.  

 

          If someone claims that a piece contains wrong notes by Mistake, or that

          an entry in Mozart's Catalog is a Mistake, they need to supply their

          evidence that they know what Mozart intended to write, what he should

          have written, and why it should have been written that way.

          They need to explain Mozart's intentions - his objectives, and prove it.  

          It's their job to supply the Evidence, not our job to figure out if they have

          any, and if it's solid. 

 

          Some minor Mistakes are actually obvious, and don't require a lengthy

          explanation.  "In the month of July" is not one of them. 

 

       * July.

          1785 was apparently a very tough year for Mozart, and the month of July

          was a difficult month (and neighboring months) - in 1785 and also in 1778. 

          Thus, the word "JULY" may have some special meaning to Mozart. 

 

 

       * Endless Problems.

          Mozart's problems and entanglements in 1785 might have followed him all

          the way to the grave, and for years beyond that.

 

 

       * Musical Mismatches.

          Meistermusik and The Masonic Funeral Music express more emotions and

          have additional reasons and purposes than their Official purposes.  

          The music for both pieces seems like a mismatch. 

          Mozart may have had hidden agendas and secret purposes behind these two

          compositions, but they weren't malicious (as is usually the case). 

          They were Private, Personal, Sorrowful, and Compassionate, and the results

          were extraordinarily beautiful. 

 

 

      * Notes and Words Match.

         A careful analysis of the Masonic Funeral Music notes and some appropriate

         Masonic text, demonstrates that the notes match the words, syllables, and

         phrases of the text exactly, proving that a Vocal Predecessor utilizing 38 notes

         and syllables, easily sung by an amateur chorus, could have existed.   

         We call the piece with that text "Meistermusik".

 

         We could be conservative and call the Piece "Theoretical Meistermusik" - a fair

         description, but it's as theoretical as saying that "A description of the Suspect's

         height, weight, color hair, color eyes, voice, Age, clothing, home address, profession,

         make of car, color of car, and noisy muffler, all match the man we have in custody,

         but it's only a Theory that we have the right man, so we let him go since we didn't

         have his Fingerprints or a signed and Notarized Confession."       

 

 

      * Old Music in the MFM.

         Some of the music in The Masonic Funeral Music was 200 years old and well-

         known to Catholic churchgoers when he wrote the piece.

         Therefore, the MFM was never Entirely a New Piece.

 

 

      * "New" is not Always Better.

         "Old Things" and "Used Things" are not necessarily inferior, less valuable,

         undesirable, dishonorable, disrespected, tawdry, unwanted, or insulting,

         and are sometimes much sought after and even expensive. 

         Old paintings, old wine, old music, old traditions, old Antiques, used Antiques,

         and old Grandparents are normally valued.

         The "Old and Used Music" of Mozart - even the Requiem, "modified" and

         completed by Sussmayr, familiar to millions, highly valued Centuries later,

         and even performed at the Memorial Services of the Great and Famous, is one

         of many such Proofs of that concept.

         It's not always necessary to give New things as gifts, and sometimes it's better

         and safer to give high-quality, familiar, or cherished Old Things. 

         The notion that "New is always Better" is nonsense.

         If that were true, we probably wouldn't listen to Mozart's old music from

         2 Centuries ago, we wouldn't perform Mozart's Requiem at Memorial Services,

         or give someone tickets to an old Mozart Opera or Symphony, or pay for an

         old chair, or buy an old house, or donate an old Classic Car,  or value the old

         "Mona Lisa" painting from 500 years ago, or admire the old Roman and Greek

         Temples from thousands of years ago, preferring John Cage, Charles Ives, and

         Picasso.  

         Old Things are usually KNOWN Quantities, often valued.

         New Things are usually UNKNOWN Quantities. 

         "Old Things" are often much better - and Safer to give - than "New Things".

         It all depends on the situation.      

 

 

      * Thin Evidence.

         People who say that Meistermusik is Fictitious and never existed, might be

         right, but they're basing their claim on the thinnest of evidence, such as

         Mozart's Catalog or Mind-Reading of dead people.

         Like saying that Dinosaurs never existed because there aren't any at the Zoo. 

         Or that a certain person doesn't exist because he's not listed in the Phone

         Book.

         Pretty weak....

 

 

      * Where's the Investigation into the Deaths

         of the 2 Aristocrats??

         Why didn't the Vienna Freemasons hire a Detective Firm and a couple of

         Doctors to investigate the cause of Death of the 2 Aristocrats??

         Or did they??

         Holding a Memorial Service with a Freemason Orchestra to perform The

         Masonic Funeral Music seems like a rather weak response to the situation,

         when the 2 men might have been murdered, and all the Vienna Freemasons

         and Aristocrats might have been future targets.

         It's a bit strange. 

 

 

      * Mind-Reading, Assuming,

              Generosity, Ingratitude,

              Extra Work, Additional Cost. 

         People who say that Meistermusik is Fictitious because Mozart would have

         composed a New Piece for the Memorial Service for the 2 Freemason

         Aristocrats are trying to do Mind-Reading, and assuming that a recent,

         beautiful, reworked piece of Funeral music, written by the Greatest

         Composer in the World, would somehow not be Good Enough for a Private,

         or Semi-Private Service, done as a Pro-Bono gesture of Generosity for the

         esteemed men, with most of the audience not even aware that a previous

         version of the piece had been performed a few months earlier for a Private,

         Masonic Ceremony. 

         Talk about looking a Gift Horse in the Mouth!!

         What monumental ingratitude!!

         What Pettiness!!  What a demanding attitude!!  

         And a further burden on their orchestra to LEARN a New Piece!!

         And REHEARSE it!! 

         And have the Copyists COPY the parts!!  And PAY the Copyists!!

         And PROOFREAD the Copied Parts!! 

         If it occurred. 

 

         (Did Mozart re-use the parts from Meistermusik in the MFM, so that no

         copying of music was involved??  Possibly.

         It would have made the Memorial Service easier and cheaper.)

 

         I seriously doubt that any of the attendees had such sniveling thoughts, marking

         them as carping "Little People", non-Freemasons, non-Aristocrats, and not

         worthy to rub shoulders with the friends and acquaintances of Esterhazy and

         Mecklenburg.

 

         If any of the attendees at the Memorial Service were offended by the re-use

         of beautiful, polished, 3-month old Funeral music, written by the Greatest

         Composer in the World, they were free to leave, and free to compose their

         OWN Funeral music for the men, and hold their OWN Memorial Service,

         with their OWN orchestra performing the music, sending out invitations to

         their OWN group of friends, to correct this inadequate tribute. 

         And make it Snappy!!  The men died in early November. Their Memorial

         Service shouldn't be pushed out to the Spring.

         Mozart and the other Freemasons got it done in about 10 days.

         If they did it, the music must have been forgettable, since I don't think we

         have a piece called:

         "New and Better Funeral Music for Esterhazy and Mecklenburg, Composed

         by People Upset With Mozart's Re-Use of  a Recently Composed Piece"

         in the Classical Music Literature.  

         Where's the music?? Where's the uproar??  Where's the musical response??

         Where's the Miffed response from the Queen of England??

         Where are the private letters complaining about it, reviewed by Historians??

         What right would people have to complain about the use of beautiful, recycled

          music if they themselves did nothing better, or nothing at all??

 

         (Please also keep in mind that this group of Men probably gave no thought

         at all to the reaction of the Queen of England regarding the Memorial Service.

         This was a group of Men, belonging to a Private Men's Club (Freemasonry),

         in a country hundreds of miles away from England, not worried or thinking

         about some Foreign Queen, regardless of her sibling status.

         So she was the sister of one of the deceased Aristocrats.  So what??

         If she finds out about the Memorial Service with music by Maestro Mozart,

         she would probably be proud of her little brother that he was so well

         honored.)  

        

         And if The Masonic Funeral Music was a New Piece, there's a lot of explaining

         to be done about Catalog dates, Vocal Music styles, the effort of learning

         a new piece rather than the simplicity of re-using some recent music, the use

         of 200-year old music in a "New Piece" turning it partially into an "Old Piece",

         the partial copying of Michael Haydn's Requiem - a Predecessor, etc, etc.  

         Good luck with that "New Piece Theory".

 

         A New Piece written in November??

         Why did Mozart list this so-called "New Piece" in JULY (in his Catalog), under

         the heading of  "In the month of July" with no exact date, such as "July 25th"??  

         (The Aristocrats died in November). 

         Why does this Instrumental piece use a Vocal Melody and Vocal Styles??  Etc.

         If you say:  "July was obviously a Mistake." you need to supply your evidence,

         and handle the other two issues dealing with July - as well as explaining how

         Mozart, or anyone else, could be 4 months off, with all the "November" Date

         Triggers fresh in his mind, the Catalog "Month" entry staring him in the face,

         and why he never corrected it over the next 6 years!!    

         Why is it listed ahead of a piece completed in October??     

         Why the strange "Date"  ("In the month of July")??

         Why did he list other pieces with November dates, but not the MFM?? 

 

         No one has even attempted to do this, to my knowledge - and for a good reason:

         It can't be done without acknowledging Meistermusik and other issues, thus

         negating the New Piece theory for The Masonic Funeral Music.   

 

         The Masonic Funeral Music is not a piece that can be explained without the

          existence of a Predecessor  (as well as other issues).                                         

          A Predecessor can be shown to exist based on the oddities with                    

          The Masonic Funeral Music.                                                                              

          We have the "July" date in Mozart's Catalog preceding the MFM by 4      

          months, the Vocal Style, the fit of Masonic text to the music, the huge over-

         delivery of pathos for 2 Aristocrats as if the Piece had been written for some

         other occasion of greater emotional significance - perhaps Personal              

         significance, etc.                                                                                                    

 

 

         I'll stick with Mozart's decision: Re-use Meistermusik, but drop the Chorus.

         It should sound polished, there should be no complaints from the attendees,

         most of the attendees had probably not heard Meistermusik performed,

         Meistermusik could be camouflaged in his Catalog, the music could be salvaged

         and listed under a different name, Meistermusik could easily be recreated, if

         necessary, and all would be well. 

 

         If there were any complaints about re-using some recent music (very doubtful),

         they would be from a small number of people who had heard it before, and

         whose complaints could be ignored as being silly, demanding, and petty, with

         questions put to them, such as: "Since we didn't do enough for those two

         deceased men, what have YOU done to honor them??  More than we did??"  

         Clearly not Management Material where you sometimes have to balance

         Value and Necessity against cost, time, effort, and Common Sense. 

 

         Would a New Piece have been a better idea?? No.

         Risky and difficult, unnecessary, and too time-consuming.  

         Mozart and the Lodge Orchestra members were not Employees of the Lodges,

         nor were they Indentured Servants. 

         Using beautiful, appropriate, recently-performed, Off-The-Shelf music was

         smart and practical. 

 

         I suppose Mozart could have written a lengthy Symphony for the men...

         And the Lodges could have given them a Parade...

         Austria and Hungary could have given Esterhazy a posthumous award...

         Or held a 3-day Celebration of their lives.....

         England could have knighted Mecklenburg.... 

         Apparently, they didn't do any of those things. 

         Why not??

         But the Vienna Lodges gave them a Memorial Service, and Mozart supplied

         some beautiful music.

 

            (What did YOU do when 1 or 2 Important and Wealthy men from your Club died??

             Did you write a New Piece for Orchestra, get copies made, rehearse it, and perform it??) 

 

        The deceased Aristocrats were not cheated or given a "Cheap" or Cut-Rate

        Memorial Service in the Music arena.  Mozart and the Lodges were very

        GENEROUS, doing far more than any imaginary obligations would have

        required them to do.  

 

        The only "obligation" they would have had would be to ensure that the men

        were treated with respect, as any normal person would do. 

        They did that - and more. 

        Mozart and the Lodges had nothing to apologize for.

        The Masonic Funeral Music is a Gorgeous Piece.

        And it doesn't matter that it was a version of a piece, written 4 months earlier,

        performed 3 months earlier, which most people probably hadn't heard, anyway.

 

       And the previous version is related to none other than Hiram Abiff - a Masonic

        Hero, as a central part of the Masonic Promotion Ceremony!! 

        Symbolically, their Hero was honoring the deceased Aristocrats.  

 

        The Hero of Meistermusik honored the two men through the music of The

        Masonic Funeral Music.

        Through the power of music (The Masonic Funeral Music - a version of

        Meistermusik), Hiram Abiff, the Masonic Hero, architect, and chief builder of

        Solomon's Temple in Jerusalem, who was murdered in that temple by 3 envious

        workers seeking higher wages by trying to learn Hiram's secret Password of his

        craft - a Master Mason's Secret Password, and whose legend forms the symbology

        for the promotion to Master Mason, was perhaps symbolically saying something

        like this to the two deceased Aristocrats: 

 

      "Farewell, my two Brothers. 

      There is great sadness and bitterness here, today, just as

      Jeremiah suffered and wrote about, many years ago, as

      he saw the destruction of Solomon's Temple - the temple

      I was in charge of designing and building, as well as seeing

      the destruction of Jerusalem.  

      Today, you are Lost and cut off from Life.  

      But tomorrow, you will be Resurrected, and we will meet

      in the Peace of the Afterlife, designed by the Great Architect

      of the Universe.

      Mozart's Meistermusik and Masonic Funeral Music describe

      the situation well." 

 

        And the music was written by the Greatest Composer in the World, who also

        arranged the symbology - on purpose or by accident - the symbology of Hiram

        Abiff's presence through the music of a reworked Meistermusik.  

        They got Hiram Abiff (symbolically) and Mozart (in real life).

        Hiram Abiff was THEIR Hero.

        And Mozart was a fellow Freemason. 

        It doesn't get much better than that for a Freemason.  

 

      They received the Nobel Prize of Freemasonry - the

      Gold Medal of the Masonic Funeral Olympics: Beautiful

      music by Mozart, and the symbolic presence of Hiram

      Abiff, the architect of Solomon's Temple and hero of

      Freemasonry, through the predecessor music,

      Meistermusik. 

 

        The men were VERY WELL-HONORED and WELL-RESPECTED!! 

        May we all be so honored!!

 

                                            ........................

 

       It involved death and resurrection without the need for Jesus and the Church,

       which might be one of the reasons the Catholic Church felt so threatened by

       the Freemasons, and tried to shut them down.

       And the story of the resurrection of Hiram Abiff is apparently Fictitious, used

       only as an allegorical teaching tool by the Freemasons, and not necessarily

       believed by them.  

       But the Church may have thought that the Resurrection legend of Hiram Abiff

       was believed by the Freemasons (and some MIGHT believe it).  

       Hiram Abiff serves as either a SAVIOR and substitute character for Jesus, or

       at least an Earlier character, among Freemasons.

       (We don't even know if it's true or not. But the story of Lazarus is said to be

       true, so who knows??)   

       Without the need for the Church for Salvation, attendance might drop off, and

       the income - and Control - of the Church would be diminished.

 

       The secrecy of the Freemasons also made people wary of the organization, feeling

       that a benevolent organization would not need to hide its secrets.  

       The royal governments also felt threatened by the Freemasons, but for different

       reasons.

      At one point in Spain, and possibly in some other countries, it was ILLEGAL to

      be a Freemason!!

      But the pragmatic tenets of Freemasonry are very honorable and benevolent,

      and Mozart had nothing at all to be ashamed of, in being a member.

      It matched his good, honorable, decent, helpful, kindly, and generous personality.

 

      And the whole point of the ritual of the Promotion Ceremony to Master Mason is

      "Death followed by Eternal Life in that Celestial, Grand Lodge in the Sky",

      whether Hiram Abiff physically achieved it, or not.  

 

      Thus, there is a dual focus in the Master Ceremony:  Death and Life.

      *  Death with its sad and tired Sighing.

      *  Eternal Life with its Peacefulness. 

 

      These Masonic ideas (Death and Eternal Life) would be fitting for a Master

      Promotion Ceremony (as with Hiram Abiff - who is PART of the Ceremony),

      or a Masonic Funeral or Memorial Service. 

      They fit Meistermusik and The Masonic Funeral Music perfectly. 

 

                                            ........................

 

        But don't give your Friends any MOZART recordings as a Gift!!

        They might be offended that the music is so OLD!!

        Today, it's over 200 YEARS OLD!!

        And some of it was added-to by Sussmayr!! 

        It's not even Original!!  

 

        And don't give them any recordings of Bach!!

        That music is even OLDER!!!

 

 

                                    Bach-Prelude-With-Fugue   (MIDI)

                                            (Click to play)

                                                   3:41

 

                             Bach-Brandenburg-Concerto-4-2S   (MIDI)

                                            (Click to play)

                                                   3:43

 

   ____________________________________________

 

       Meistermusik:

       The Issue and the Importance of Meistermusik:

 

       Meistermusik was a Missing Link.

       It's now been found.  

       (Philippe Autexier found it.) 

 

       And it's now understood - as well as we can understand something 200 years

       after the fact. 

       Not perfectly understood, but probably mostly understood. 

 

       It's a Doorway to uncovering some interesting information from 1785.

       It's a Rosetta Stone for understanding several Pieces and Behaviors - from

       1785 and Beyond.   

 

       A previously Missing Link, a Doorway, and a Rosetta Stone.

       It's an important Piece. 

 

       Failing to include Meistermusik on a list of authentic Mozart compositions

       deletes an important part of our understanding of who Mozart was, what he

       was going through in 1785 and possibly earlier, his feelings about certain issues,

       his feelings about certain people, an explanation for a mysterious Catalog entry,

       an explanation of some anomalies in The Masonic Funeral Music, etc.

 

       It's a key piece for unraveling some Mozart mysteries about the man and his

       music, and is related to The Masonic Funeral Music and a Collection of Pieces

       written in 1785. 

 

       Similarly, stating that The Masonic Funeral Music was an All-New Piece with

       no predecessor, deletes Meistermusik as a valid piece and all that goes with it,

       subverts the value and simplicity of utilizing known and proven music, leaving

       puzzling Strangeness in its wake (such as an Instrumental piece done in a

       Vocal style, a bizarre entry in his Catalog, etc), instead of a coherent entity of

       Pieces, events, strong emotions, musical styles, additions, Masonic text, matching

       notes and words, and documentation.  

 

       (Not only is Meistermusik deleted with that claim, but Michael Haydn's

       Requiem, MH155, also vanishes from history, to some extent, since it too was

       a partial predecessor of The Masonic Funeral Music, utilizing some of the same

       music years earlier.

       I don't think Michael Haydn would be too happy about that.) 

 

       Without Meistermusik, our understanding of Mozart is partially blinded,

       blurred, dulled, fragmented, narrowed, and slightly twisted for the year 1785

       and beyond.  

 

       Thus, it's an important Piece by itself, and serves as a gateway to another Piece 

       and to an important, related Concept - the concept of Mozart's stress in 1785,

       the reasons for that stress, and related issues - issues that extend from years

       before its composition, to 1785, and beyond his death, into the 1800's.   

 

 

       Meistermusik Importance Rating (on a 1-10 Scale):

       Probably a 5.  Possibly higher.

       Related Elements:

          1. The Masonic Funeral Music.

          2. A Collection of pieces composed in 1785. 

          3. Deaths of children.

          4. Deaths of careers (temporarily).

          5. Deaths of marriages. 

          6. Other deaths (possibly even Mozart's Mother).

          7. Mozart's feelings in 1785 - some of them very sad.

          8. Mozart's girlfriend???

          9. It's a nice version of The Masonic Funeral Music - probably better.

              Worth hearing. 

              Meistermusik is the way the piece was Supposed to be heard - the

              Original Version and predecessor of The Masonic Funeral Music. 

              The MFM is excellent!!  But Meistermusik is even better, even though

              the two pieces are nearly identical. 

 

       Reason for the Rating: 

       Meistermusik and The Masonic Funeral Music may be related to issues

       that affected Mozart for much of his life, possibly from 1778 forward, and

       possibly from about 1785 forward.

       It may be related to Nancy Storace and the death of Mozart's mother, as well

       as other, related issues.

       Meistermusik and the MFM are also part of a Collection of pieces composed

       in 1785 that shine a light, possibly for the First Time, on what Mozart was     

       experiencing that year and some other years.    

       The 1785 Collection of pieces, and possibly some letters discovered by Constance,

        may partially explain why she waited 17 years to visit Mozart's grave (visit

        the graveyard).  

        Everything added together is explanatory.