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Missing Mozarts and Friends
---------------------------
by David E. Morton
Last revised: June 28, 2004
A Quick-Reference Guide To:
General Mozart Facts, Funeral Information, Memorial Services,
Tombs, Missing Bodies, Moved Bodies, Unknown Locations
and Related Information
The number of missing, moved, and unknown locations of people
connected with Mozart is peculiar. Additionally, there are a
number of ironies surrounding Mozart's death, and those of some
other friends and relatives which are included in this document.
This document is a quick-reference guide of the basic facts.
Email: Dmorton965@aol.com
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--- Summary ---
Name Current Burial Status and Location
-------------------- ----------------------------------
1. Wolfgang Mozart - Unknown/Recycled - Vienna
2. Anna Pertl Mozart - Unknown/Recycled - Paris
3. Franz X. Mozart - Moved - Possibly Missing - Karlsbad, Czechoslovakia
4. Nannerl Mozart - Possibly Missing - Salzburg
5. Lorenzo DaPonte - Moved/Unknown - Manhattan then Queens, New York
6. Josepha Weber - Unknown
7. Sophie Weber - Moved - Salzburg
8. Aloysia Weber - Moved - Salzburg
9. Franz d'Yppold - Moved/Unknown - Salzburg
10. Anna Walsegg - Moved - Stuppach then Schottwein
----------------------------------------------------------------------
1. Wolfgang Amadeus Mozart (Joannes Chrysostomus Wolfgangus Theophilus Mozart).
St. Marx Cemetery, Vienna. Location in cemetery unknown.
Born January 27, 1756, at Getreidegasse 9 (at home), in Salzburg,
Austria, at 8:00pm.
Died Monday, December 5, 1791, 12:55am (Sunday night), in Vienna,
Austria, at home, at "City 970 (Little Kaiserhaus) on
Rauhensteingasse" (now #8 Rauhensteingasse), at age 35, after living
for 13,096 days and 5 hours (314,309 hours).
Funeral held Tuesday, December 6, 1791.
Buried in St. Marx Cemetery (St. Marxer Friedhof), Vienna.
Precise burial location in cemetery unknown.
Summary of some relevant dates, December 1791 / January 1792.
Sun Dec 4 - Final hours awake - Some of the Requiem may have
been sung with Mozart and friends, at home,
in the afternoon (this is uncertain).
Mon Dec 5 - Died in his sleep (12:55am).
Mon Dec 5 - Funeral arrangements made.
Tue Dec 6 - Body taken from house to church in procession.
Tue Dec 6 - Funeral held at St. Stephens Cathedral, Vienna,
in the afternoon.
Tue Dec 6 - Body transported by hired hearse to St. Marx cemetery
after 6pm, and buried (possibly buried on Wednesday).
Wed Dec 7 - (If the 48-hour rule was followed, the body was held
at the church until Wednesday, then transported by
hired hearse and buried after 6pm on Wednesday).
Sat Dec 10 - Memorial service held at St. Michael's Church in
Vienna (not St. Michael's of Salzburg).
Part of Mozart's Requiem was probably performed.
Tue Dec 13 - Announcement of the expenses for the Dec 10th memorial
service and who paid them, in a Viennese journal,
the "Auszug aus aller europaischen Zeitungen".
Tue Dec 13 - Announcement in a Prague newspaper of a memorial
service to be held for Mozart the next day, in
Prague.
Wed Dec 14 - Memorial service held at St. Nicholas Church in
Prague. Huge turnout.
Fri Dec 16 - Newspaper report of the memorial service at St.
Michael's published in Der Heimliche Botschafter
(The Secret Ambassador).
Sat Dec 31 - Newspaper report of the memorial service at St.
Michael's published in the Berlin journal
Musikalisches Wochenblatt (Musical Weekly).
Sat Dec 31 - Epitaph published in the Wiener Zeitung
(Vienna Times) by "K".
Latin verse. We don't know who "K" was.
Tue Jan 3 - Epitaph published in the Grazer Burgerzeitung by "K".
Sat Jan 7 - Newspaper report of the memorial service at St.
Michael's published in the Salzburger
Intelligenzblatt.
Funeral:
St. Stephens Cathedral, Vienna. Tuesday, Dec 6, 1791.
(The service was not held in the Crucifix Chapel in St. Stephens,
as it was no longer used by 1791).
Mozart's funeral was one of 10 held that day in Vienna.
He received a 3rd class funeral - 2nd and 3rd class funerals being
the usual kind. A 2nd class funeral bought more pallbearers and
2 priests, but Mozart was a member of the "artists" class, which was
not generally considered to be socially worthy of a 2nd class
funeral (or the higher "noble / 1st class" funeral).
Thus, the 3rd class funeral.
However, 3rd class funerals were very common: Most Viennese received
3rd class funerals.
Paid for by friend and benefactor, Baron Gottfried van Swieten.
11 florins, 56 kreuzer for Mozart (3rd class funeral plus hired
hearse for 3 gulden). A free hearse was available, but van
Swieten paid for a private one since the free one would have been
a "common" one, used to transport all the bodies for the day to
the graveyard. So Mozart's body traveled alone on a private
hearse, rather than a "common" hearse.
Note that Baron van Swieten, along with others on the music staff,
had just been let go from his official appointment 2 days earlier,
on December 5th - the day Mozart died.
Funeral Classes:
1st Class:
For the nobility.
Fees were double that of a 2nd class funeral.
Commemorative placque on graveyard wall permitted.
2nd Class:
37 gulden.
6 pallbearers, 2 priests.
Alterboys with candles - variable.
Reusable coffin.
Plain individual grave
Religious marker permitted.
Grave location guaranteed for 7-10 years.
Relative cost: Mozart's father was earning 400 gulden
per year around 1778, and was well paid. So 37
gulden would have been over 1 month's salary for a
2nd Class burial, using Leopold's salary as a guide.
* 3rd Class:
8 florins, 56 kreuzer.
Free hearse.
Note: Mozart's hearse was private, hired for 3 gulden.
Thus the total for his funeral: 11 fl, 56 kr.
4 pallbearers, 1 priest.
Fewer alterboys with candles - variable.
Reusable coffin.
Plain individual grave
Religious marker permitted.
Grave location guaranteed for 7-10 years.
66% to 85% of Viennese population received 3rd class.
Relative cost: Mozart set the fee for composing the
Requiem at 250 florins. Count Walsegg paid 3,000
florins for the tomb for his wife.
1 Requiem = approx 12 3rd Class funerals.
1 large tomb = approx 250 3rd Class funerals,
or 12 Requiems.
4th Class:
For the poor with no funds for a funeral (proof required).
Free.
Widow's Attendance: It was considered inappropriate for the widow to
attend her husband's funeral, as she should be at home in rags
with ashes in her hair, mourning her husband's death. Therefore,
Constanze MIGHT not have attended the funeral, and MIGHT have
remained at home (or with friends), per the social customs of
the time. This practice changed very slowly over the next 150 years.
Weather on Tuesday afternoon, Dec 6th, 1791: Cool, no rain, no snow, no wind.
Funeral Procession to Graveyard: In the winter, it was not to
occur before 6pm, according to an Imperial decree made on
July 17, 1790, and conscientously followed by the churches in
the area.
However, mourners never accompanied the hearse to the
graveyard, so any "procession" to the graveyard would have
consisted of very few people, with no friends or relatives
present.
Cemetery: St. Marx Cemetery (St. Marxer Friedhof). This was one of 5
suburban cemeteries in the Vienna area at that time.
10 kilometers from the church of the funeral, via narrow roads.
Round trip distance from church to cemetery: Approximately 9
miles (20 kilometers). There were no trees on the cemetery
grounds at that time.
Burial: Bodies were not to be buried for 48 hours following death
in order to prevent live burials, but the rule had fallen into
some disregard. If followed, Mozart's body would have been stored
in a small room at the side of St. Stephens near the Capistrano
pulpit after the funeral on Tuesday, and buried on Wednesday,
December 7th. Otherwise, he would have been buried on Tuesday,
after the funeral, after 6pm.
The coffin was reused and not placed in the grave, per the 3rd
class burial standards. Lime was added to the grave for all
"common grave" burials. But whether the burial took place on the
night of the 6th or sometime on the 7th, no friends or
relatives were present at the burial as this was not done during
that era.
Grave: From MSA article, January, 1998, by Walther Brauneis,
originally written in 1991: "Mozart was buried in a "common
individual grave" (allgemeines einfaches Grab), where the word
"common" (allgemein), in keeping with the usage in the Josephone
era [Emperor Joseph II], cannot be equated with "joint" or
"communal" (gemeinschaftlich)."
Allgemein (1987): adj. general, common, universal.
"Common" evidently meant "general/typical/usual" rather than
"shared/joint/communal" at this time, in this context.
Therefore, it can be said with some confidence that Mozart was
buried in a "typical, plain, individual grave", without a coffin,
as the only occupant - not a mass grave or multi-person grave.
Constance first visited the cemetery in 1808, in search of
Wolfgang's grave. The original gravedigger had died by then, and
she spoke with Joseph Rothmeyer, another gravedigger. He told
Constanze that he did not know the exact location of the grave.
But the grave had probably been recycled several years earlier,
anyway (by 1801).
Religious Markers/Crosses: Allowed, per MSA article, January, 1998.
Per Walter Brauneis (MSA article), a tombstone with epitaph was
probably erected for Mozart. An epitaph to Mozart signed only by
"K" was published in 2 Austrian newspapers (Vienna and Graz)
within 3 weeks of his death, titled "To Mozart: An Inscription
For His Grave". However, this does not prove that a tombstone
existed - especially for a 3rd class grave: It would have been
removed when the grave was recycled. No original tombstone or
marker has been discovered. Additionally, any religious markers
were only a few inches high on such graves. If there WAS a
tombstone or marker, it had evidently disappeared by the time
Constanze visited the cemetery, since no one there knew where
Mozart was buried. Based on all of the above, it seems very
unlikely that a tombstone was erected over the grave.
The epitaph published in 2 newspapers (The Wiener Zeitung,
Dec 31, 1791, and the Grazer Burgerzeitung, Jan 3, 1792),
translated from the original Latin:
TO MOZART
AN INSCRIPTION FOR HIS GRAVE
To Mozart, who rests here,
As a child, swelled the world's wonders
with the strings of his lyre;
As a man, he surpassed Orpheus himself.
Go hence! And pray earnestly for his soul!
[Signed] K.
Placques: Commemorative placques on the cemetery walls were allowed
only for the nobility, which Mozart did not belong to.
Therefore, there was no commemorative placque for Mozart placed
on the cemetery wall, and none have been found.
Max Number of Bodies in a Common Grave: 6. However, multiple bodies
per grave appears not to have been the practice in Vienna at
that time, and does not apparently apply to Mozart's burial.
Not applicable.
Grave Recycling: Done every 7-10 years for common graves, to create
new burial plots.
Reason for Cheap Funerals: Churches were charging large sums of
money for plots, leaving some families penniless from paying for
the burial and headstone. Also, health was an issue. Emperor
Joseph II implemented these and other changes in 1784.
Memorial Service on Sat, Dec 10th: 2nd class Mass given at St.
Michael's Church, Vienna. The expenses were paid by the two
theater directors Emanuel Schikaneder and Joseph von Bauernfeld.
The first 2 movements of Mozart's Requiem are believed to have
been performed (Introit and Kyrie), per newspaper accounts of the
day (Vienna, Salzburg, and Berlin) which varied in their details,
with the Vienna paper "Der Heimliche Botschafter" ("The Secret
Ambassador"), a short-lived, hand-written, unreliable news-sheet
possibly serving as the source for the rest with the first report
(on Dec. 16th) of the memorial service, implying that the entire
Requiem had been performed - an impossibility. Of the 2
movements possibly performed, the Introit was nearly complete
(perhaps 95-99% complete), and the Kyrie had been left less
complete (not all of the instrumental parts had been filled-in in
both cases) and might have been completed quickly prior to the
performance. This performance of the 2 sections of the Requiem
would have been in addition to the rest of the mass.
An organ accompaniment, found among Sussmayr's papers, which runs
from measure 21 of the Introit (starting with the soprano solo,
Te decet hymnus) to the end of the Kyrie, constitutes some
additional evidence that the Introit and Kyrie were performed
on December 10th. Mitigating in favor of "proof",
one could ask, "Why else would Sussmayr have music of an
instrumental part of the Requiem for only those 2 movements,
since the only possible partial performance would have consisted
of the Introit and Kyrie on December 10th (as far as we know)?"
Later performances were of the entire, completed Requiem.
Conversely, what happened to the organ accompaniment for measures
1-20 of the Introit? Why weren't they also found among Sussmayr's
papers? The bass accompaniment is marked "Violoncello, Basso ed
Organo", and notes for that part exist from measure 1. Perhaps
that portion was lost. We can assume, however, that any
performance of the Requiem - complete or partial - began at
measure 1, so the missing first 20 measures are not indicative of
another performance starting at measure 21...
Someone (probably Sussmayr) made a number of mistakes in the
basset horn parts when completing the Kyrie. With all the
mistakes made, the performance of the Kyrie would probably not
have sounded very good! Completion mistakes: There was really
only one, big, fundamental mistake which resulted in many wrong
notes being written: Sussmayr thought the basset horn part was to
be written in the key of C major - as if it were part of the
French Horn family - instead of A major for this movement (D
minor transposed for the basset horn), and added sharps and flats
where needed. This was incorrect, resulting in many wrong notes
for the basset horns in the Kyrie [at least 26 wrong notes],
until fixed at a later date. The autograph score survives with
these mistakes still viewable in the Kyrie. The point is that the
Kyrie would have sounded rather awful (cacophonous) played on
December 10th with those mistakes, and certainly not as Mozart
had intended.
2 placques commemorating the first playing of the 2 Requiem
sections were erected at St. Michael's Church in the early
1990s, after articles on this subject were published.
Note: The Mass was 2nd class, the burial was 3rd class.
St. Michael's Church is located next to the Hofburg where Walther
Brauneis has his office, which is located across the courtyard
from the old Imperial Chapel where the Vienna Boys Choir sing
Sunday Mass.
Memorial Service on Wed, Dec 14th: Huge memorial service held at St.
Nicholas Church in Prague, at 11am, with bell ringing starting at
10:30am. Over 4,000 people attended (the church was overflowing)
on 1 day's notice (the notice appeared in the newspaper on the
day before the service). A Requiem was performed, but we don't
know whose (it could not have been Mozart's as it wasn't
finished, etc).
Skull: The Mozarteum is in possession of a skull, supposedly
Mozart's. This is not the "Death Mask", but a real skull. They
claim it's not Mozart's, but refuse to do DNA testing.
The Mozarteum's position is that the skull is not Mozart's.
See Archeology Magazine, March/April 1991, pp. 38 ff, for a
picture and an article.
The skull has more teeth than Mozart's mouth at the time of
death, per Dan Leeson, per another Mozartian.
The skull has 27 teeth, Mozart's had 23, as counted after the
time of death, per a medical certificate discovered by
Walter Brauneis.
(Dan Leeson has held the skull in his hands.)
Therefore, if the tooth count of both skulls is correct, the
skull cannot be Mozart's, and the Mozarteum is correct.
Additionally, the "rescuer" of the skull was the same Joseph
Rothmeyer who told Constanze, when she came looking for Mozart's
grave, that he didn't know where it had been located. This also
casts doubt on the authenticity of the skull. Of course, the
grave had been recycled by the time Constanze visited the
cemetery, but the supposed "rescuer of the skull" should have
remembered approximately where he had rescued it from!
Hair: Geburtshaus - 1 lock. Authentic as far as is known.
(Salzburg) (I saw 1 lock of hair in a glass case in 1970 at
the Geburtshaus in Salzburg.
In 1988, I didn't see it on display.
It may be back on display again...)
Color of hair lock: Dark blond.
Mozarteum - 2 locks.
(Salzburg) a. 1 lock of Wolfgang's hair.
b. 1 lock of Wolfgang's hair and both son's hair.
Betramkahaus - 1 lock. Said to be verified as authentic.
(Prague) Hermetically sealed under glass.
Color of hair lock: Medium-light blond.
Ironies:
a. Mozart's funeral took place in St. Stephen's Cathedral.
He was also married in that church (August 4, 1782), and was
the assistant Kapellmeister at the time of his death.
b. Count Josef Deym von Stritetz (proprietor of Mueller's Wax
Museum and Art Gallery of Vienna) made Mozart's death mask.
Previously, he had employed Mozart to write a kind of memorial
piece for mechanical organ for General Field Marshall Gideon
Ernst Freiherr von Laudon, (K.594) completed in December of
1790), who had died on July 14th, 1790. Von Laudon was a major
military figure in Austria, having saved Austria in the
Turkish war in October, 1789, marked by the Viennese by a
huge, 3-day celebration. The Field Marshall's large, elaborate
tomb is located in the Vienna suburb of Hadersdorf, although
his tomb is not in a cemetery, and its location is not on any
tourist maps, nor well-known to taxi drivers.
Note: A drawing showing "an artist's conception of von
Laudon's tomb", available on the web and in some publications,
is NOT of von Laudon's tomb, and is considerably more
elaborate; rather, it is an etching of the mausoleum used in
Mueller's Wax Museum for von Laudon, but it is more elaborate
then the actual tomb. Photos of von Laudon's tomb illustrate
that it is different from the drawing. Nevertheless, von
Laudon's tomb IS rather large and elaborate, just less so (by
several statues and some architecture) than the "artist's
conception".
Franz Count Walsegg von Stuppach (age 27) commissioned a
Requiem from Mozart (for 250 florins) in the summer of 1791,
in memory of his recently deceased wife, Countess Anna Walsegg
(nee Maria Anna Theresa Prenner von Flammberg, born Sep 1770),
who had died on Valentine's Day, February 14, 1791 at the age
of 20, after 4 years of marriage, 7 months to the day after
Field Marshall Laudon died. Anna Walsegg's marble and granite
tomb, which was located on Count Walsegg's grounds at
Stuppach, Austria (in a field next to his castle) which cost
the Count 3,000 florins and was a copy of (or similar to) the
Field Marshall's tomb, was destroyed by French troops in the
1800s, during the Napoleonic wars. Her husband had her
re-buried in a niche in a church in Schottwein, 4 miles from
Stuppach, where he is also interred. They had no children.
Count Walsegg may have seen the Laudon-like mausoleum in
Mueller's Wax Museum in Vienna and heard Mozart's accompanying
music (K.594), thus ordering both tomb and funeral music based
on the same inspiration - the tomb from the architect of
von Laudon's tomb, and the Requiem from Mozart. (The Wax
Museum was a popular place to visit with its mechanical
organs and displays).
So, Mozart wrote 2 memorial pieces for people buried in tombs
of the same design: The Field Marshall and Countess Anna
Walsegg. The first was K.594, and the second was K.626. And
the man who had commissioned the first piece, made Mozart's
death mask, while the unfinished Requiem lay nearby. Mozart's
grave and Countess Walsegg's grave were both either recycled
(Mozart) or destroyed (Anna Walsegg).
c. Mozart's death mask - like all such masks of their time - was
made mostly of gypsum. The gypsum was probably supplied by the
only gypsum supplier in the area: Count Walsegg's gypsum
factory. Thus, the man who commissioned the Requiem probably
supplied the raw materials for the composer's death mask.
So, Count Deym (K.594) made the death mask, and Count Walsegg
(K.626) probably supplied the gypsum for it.
d. Mozart's Requiem was NOT played at Count Walsegg's funeral,
many years later (as far as we know), since it was not
generally known even then that he had commissioned it.
However, the lack of knowledge of his being the commissioner
was due to his secrecy about the commission.
(If the Requiem was played at his funeral or for a memorial
service, that information was never published or made publicly
known).
So, the man who commissioned the Requiem didn't even have
the honor of having it performed at his own funeral.
e. Joseph Eybler, Mozart's composition pupil who added some
finishing touches to the Requiem (prior to Sussmayr's
involvement), suffered a non-fatal stroke while conducting the
Requiem in 1833. However, the stroke ended his career. He
died in 1846. Eybler composed a Requiem in C minor in 1803.
f. Mozart's Requiem was performed for both of his sons when they
died (Carl - 1784-1858, and Franz - 1791-1844).
g. Emperor Leopold set about reducing the staff of his "music
department" in 1791 from what Joseph II had built up,
dismissing such notables as Lorenzo daPonte, Salieri, and
Gottfried van Swieten, as well as others. Van Swieten's
dismissal notice arrived on December 5, 1791 - the same day
Mozart died.
h. Mozart's Requiem was performed in memory of Napolean
Bonaparte, in Paris, at the church of Saint-Louis de
Invalides, on December 15, 1840, when his body was transferred
from Saint Helene Island to the church and re-interred. (It
has been proven that Napolean was poisoned with arsenic).
This performance was done in memory of the same man whose
troops had destroyed the tomb of the very person it had been
commissioned for (Anna Walsegg).
i. Also buried in St. Marx Cemetery besides Wolfgang Mozart:
1. Franz Sussmayr (primary completer of the Requiem).
2. Maximilian Stadler (student and completer of some Mozart
pieces).
3. Anna Gottlieb (sang in Figaro and the Magic Flute).
4. Franz Niemetshek.
5. Albrechtsberger.
6. Thomas Leopold Mozart (infant son of Wolfgang and Constanze).
7. Probably 1 of the 3 other Mozart children who died in infancy
(children of WAM and CM).
8. Joseph Rothmeyer (a gravedigger at St. Marx who "rescued"
Mozart's skull, supposedly. We know exactly where Herr
Rothmeyer is buried.)
j. There is a cenotaph for Mozart located in the Zentralfriedhof
(Central Cemetery) in Vienna. Other burials in this cemetery
include:
1. Antonio Salieri
2. Ludwig van Beetoven (moved from the Wahringer Cemetery)
3. Johannes Brahms
4. Carl Czerny
5. Christoph Gluck
6. Arnold Schoenberg
7. Franz Schubert (moved from the Wahringer Cemetery)
8. Johann Strauss, Jr
9. Johann Strauss, Sr
10. Josef Strauss
11. Franz von Suppe
k. Vienna bomb damage:
Vienna received some bomb damage during WW2.
Among the buildings damaged were:
1. One of the homes Mozart had lived in.
2. St. Stephen's Cathedral (marriage and funeral).
3. St. Marx Cemetery (burial).
l. Salzburg bomb damage:
A few bombs were dropped on Salzburg during WW2.
Among the buildings damaged on Oct 16, 1944 were:
One of the homes the Mozart family lived in (Leopold,
his wife, Wolfgang, and Nannerl). This was the Tanzmeisterhaus,
Makartplatz 8, which was 2/3 destroyed.
Reconstruction on the house began in 1994, directed
and owned by the Mozarteum.
Before the Mozart's moved in, it was known as the famous
Tanzmeisterhaus, where dancing lessons and court ceremony
procedures for aristocrats were given.
Total Mozartian bomb damage (Vienna and Salzburg):
4 locations.
m. One reason for Mozart's debts in later life was due to a
gambling debt owed to the scoundrel Prince Lichnowsky.
According to one report, all of Lichnowsky's papers were lost
in a fire in Prague during WW2, in his Prague residence where
his papers were kept.
Prague was the site of some of Mozart's greatest musical
successes. Even Lichnowsky was a pupil of Mozart's.
2. Anna Maria Walburga Pertl Mozart (Mozart's mother).
Location unknown.
Father: Wolfgang Nikolaus Pertl.
Mother: Euphrosina Pertl.
Christened December 25, 1720, St. Gilgen, Austria, located on
Lake Wolfgangsee.
Died July 3, 1778, Paris, age 57.
Funeral July 4, 1778, Saint-Eustache Church, Paris.
Buried in Paris, France.
The death registrations for that era (and birth and marriage
registrations) were consumed by fire in May, 1871, when the City
Hall (and another building which held the backup copies of
documents) were intentionally burned down by insurrectionists
(Communards). The location of Mrs. Mozart's grave is therefore
unknown. However, at that time in Paris, headstones were rare,
communal graves were the norm, and graves were recycled every 9 to
20 years. Ie, there probably never WAS a "Mrs. Mozart's Grave" with
her, alone, in it. Her grave therefore is not only unknown, it
almost certainly doesn't exist anymore, and was probably recycled
over 200 years ago. After recycling, the bones were placed in
ossuaries, such as the catacombs under the streets of Paris, which
tourists can visit. These methods were a kind of primitive form of
cremation, where the body held little or no value after death, and
the headstone would have to consist of the memories of friends and
relatives.
A memorial tablet bearing her name is located in the church of
Saint-Eustache in the St. Caecelia chapel. Saint-Eustache is a
large, impressive church with a high (3-story?), vaulted ceiling,
and a huge, 5-manual pipe organ.
Leopold, Wolfgang's "agent" who kept most of the proceeds of the
tours, and had sent him and his mother on this tour, blamed Wolfgang
for his mother's death and said so more than once to the son.
3. Franz Xaver Mozart, aka, Wolfgang Jr. (Mozart's son - 1 of 2).
Moved - Possibly Missing. Karlsbad?
Born July 26, 1791, Vienna.
Died July 29, 1844, in Karlsbad (Karlove Vary), Czechoslovakia.
Buried in one cemetery in Karlsbad, then moved years later to
to a different cemetery nearby, in Karlsbad.
It has been reported that the body is now missing, but this has
not been confirmed.
4. Maria Anna Walburga Ignatia "Nannerl/Marianne" (Mozart) zu Sonnenburg
(Mozart's sister). Also spelled "von Sonnenburg".
Possibly Missing. St. Peter's?
Born July 30, 1751, Salzburg.
Died October 29, 1829, Salzburg, age 79.
Was buried in St. Peter's Cemetery, Salzburg, Austria.
The crypt is said to be empty, but this has not been confirmed by
a second source.
The crypt was supposedly emptied in the 1960s, per Ms. Geffray of
the Mozarteum (1992), per Agnes Selby, although it was not done at
the behest of the Mozarteum. (Awaiting confirmation from St. Peter's
at this time).
The crypt is called the "Michael Haydn Crypt" as he was the first to
be buried in it, followed by many prominent Salzburg citizens.
(Michael Haydn also died while writing an unfinished Requiem. He and
Mozart were good friends.)
As Mozart reached adolescence and beyond, Nannerl became Leopold's
favorite child, as opposed to Wolfgang, who was attempting to assert
his independence. But Nannerl was NOT buried in the same grave as
her father, while Constanze (detested by Leopold) WAS buried in the
same grave as Leo.
In a codicil to her will, Nannerl requested that she be buried in
St. Peter's, which was the cemetery of dignitaries.
However, her selection of the graveyard was at least partially
dictated by law: She could not be buried in the "Leopold Mozart"
family grave at St. Sebastian's Cemetery until 7 years had passed
since the last burial.
Georg Nissen had recently died and was buried in the family grave,
preventing her interment there. She could have legally been buried
elsewhere in St. Sebastian's, however that decision would have been
up to St. Sebastian's Church.
5. Lorenzo "Abbe" DaPonte (Mozart's librettist for 3 operas).
Moved/Unknown. Calvary Cemetery, location in cemetery unknown.
Named "Emanuele Conigliano" at birth.
Born March 10, 1749, near Venice, Italy.
Died August 17, 1838, in New York City.
Originally he was buried in a Catholic cemetery on 11th Street
between First Avenue and Avenue A in Manhattan, but they dug him up
in 1909 and replanted him, paving over the old cemetery at the same
time.
Lorenzo DaPonte is now buried in Queens, NY (Long Island),
specifically Calvary Catholic Cemetery, 4902 Laurel Hill Blvd.,
Woodside, New York 11377. Phone: (718) 786-8000.
A 4-foot stone in his memory was erected in 1987 by:
The Italian Heritage and Culture Committee of New York
The Native New Yorkers Historical Association
Councilman Morton Povman of Queens, New York
Calvary Cemetery
Woodlawn Cemetery
There are 4 Calvary cemeteries: First, Second, Third and Fourth
Calvary. DaPonte's stone (cenotaph) is located in section 4B in
First Calvary (aka, "Cemetery 1") which is about 2 miles down the
road from the main cemetery. You will need a map to find both First
Calvary and the stone. Call the office first, then stop in to get
detailed directions. No one knows exactly where the grave is, but at
least the stone is in the same cemetery where he is buried. A photo
of his gravestone (cenotaph) can be found at: www.findagrave.com (it
really exists, even if it's hard to find). To clarify: The memorial
stone is not easy to find but is present, whereas the location of
the grave in the cemetery is now unknown, and has apparently been
lost to posterity.
Had it not burned to the ground in the 1800s, the Italian Opera
House which daPonte founded in New York City in 1833, might still be
playing Figaro, Don Giovanni, Cosi, and other Italian operas.
DaPonte's final adventure was as a Professor of Italian at Columbia
University, procured for him by his friend Clement Moore, who is
perhaps best known for writing the poem "A Visit from St. Nicholas",
better known as "The Night Before Christmas".
6. Josepha (Weber) Mayer (Mozart's sister-in-law).
Location unknown.
Died December 19, 1819, Vienna.
Grave location unknown.
Performed the Queen of the Night role in the Magic Flute over 200
times, and was performing it the night Mozart died in 1791.
7. Sophie (Weber) Haibl (Mozart's sister-in-law).
Moved.
Died in Salzburg.
Originally buried in the St. Sebastian Cemetery in Salzburg.
Later moved to the Communal Cemetery in Salzburg.
Was present with Mozart and Constanze the night Mozart died, and
wrote an account of it.
8. Aloysia (Weber) Lange (Mozart's sister-in-law and first serious love).
Moved.
Died June 8, 1839, in Salzburg.
Originally buried in the St. Sebastian Cemetery in Salzburg.
Later moved to the Communal Cemetery in Salzburg.
Joseph Lange, Aloysia's husband, painted Mozart's unfinished
portrait in 1782, as well as a portrait of Constanze.
Aloysia founded an institute in Switzerland for the study of the
music of Mozart and Haydn.
9. Franz d'Yppold (a close friend and love of Nannerl's).
Moved/unknown.
Recent visitors to St. Peter's Cemetery (2008) have been unable to
locate Franz' tombstone. Therefore his location has been set to "unknown".
Franz was re-interred in St. Peter's Cemetery in Salzburg - the same
cemetery as Nannerl was later buried in, per her will.
Leopold kept Franz and Nannerl apart while Leo was still alive,
although Franz and Leopold remained life-long friends.
It's thought that Nannerl wanted to be buried in the same cemetery as
Franz - the one she *really* loved. Ultimately, Leopold was unable
to keep them apart.
Franz was quite older than Nannerl - only 11 years younger than Leopold.
10. Countess Anna Walsegg (Count Walsegg's wife)
Moved.
Died February 14, 1791. Age 20.
She was buried in a marble and granite tomb, which was located on
Count Walsegg's grounds at Stuppach, Austria, in a field next to his
castle. It was destroyed by French troops in the 1800s, during the
Napoleonic wars. Her husband had her re-buried in a niche in a church
in Schottwein, 4 miles from Stuppach, where he is also interred.
Count Walsegg von Stuppach was the mysterious commissioner of Mozart's
Requiem, which he ordered for performing in memory of Anna.
Anna's death is the what prompted Mozart's Requiem to be written.
......................................................................
Not Moved, Missing or Unknown...
L. Mozart (Mozart's father).
d. 1787, age 68.
Buried in St. Sebastian's Cemetery in Salzburg.
Buried with L. Mozart are:
Constanze Weber Mozart Nissen - Wolfgang's wife.
1751-1829.
Leopold couldn't stand her, but then, some people couldn't
stand Leopold, either.
First name spelled "Constantia" on the headstone.
Her place and date of death are listed incorrectly on the
headstone.
Georg Nicolaus von Nissen - Constanze's 2nd husband
Details on the headstone are incorrect.
Euphrosina (Eva Rosina) Babara Altmann Pertl - mother of
Anna Pertl Mozart. Wolfgang's maternal grandmother.
Johanna (Jeanette) Berchthold von Sonnenburg - Nannerl's
daughter (1 of 2 children); 1789-1805, age 16.
Genovefa Weber - Carl Maria von Weber's mother, related to
Constanze
The original headstone had crumbled, and a new one was erected
in 1855 in time for the 1856 Mozart anniversary celebration.
All the names of the deceased are listed on the new headstone and
were also listed on the old headstone (per Vincent and Mary
Novello), contrary to what some older books state. However, not
all of the information listed is correct.
......................................................................
Note: As to a body being placed in a crypt, a decree issued by
Emperor Joseph II on September 6, 1787, stated that on no condition
could a body be buried in a crypt unless it had first been embalmed.
......................................................................
Shocking Information on Leopold Mozart
Johann Georg Leopold Mozart
Died 1787, age 68.
Buried in St. Sebastian's Cemetery in Salzburg.
Viewed Wolfgang as his "entertainment property", ie, as a
money-making employee under contract.
Kept most of the money and gifts earned by Wolfgang and Nannerl
on their tours.
While on tour, wrote "coded" letters complaining about his boss
and others, which were easily intercepted and probably
decoded by the Archbishop's staff (it took Georg von Nissen
only 30 minutes to figure out the code, several decades
later).
Blamed Wolfgang for his mother's death in Paris which occurred
on a tour he had sent them on.
Refused to provide Wolfgang with his christening records (the
equivalent of a birth certificate) so that Wolfgang could be
admitted to a musical sociey.
Refused to approve of Wolfgang's marriage to Constanze (except
under pressure).
Refused to approve of Nannerl's love, Franz d'Yppold.
Franz was musical, but considered to be too poor.
Nannerl was prevented from marrying him, and finally,
even seeing him.
Demanded that Nannerl hand over her first born to him (the
"famous" Leopold von Sonnenburg) so that he could raise
another musical prodigy. Nannerl did so, and left him with
Leopold for 2 years. Amazing but true.
Refused to babysit Wolfgang's child for a few months so that he
and Constanze could explore job opportunities in England,
even though he was well off and employed maids and nannies.
Financially well off when he died, and had been for the
previous 25 years or more.
Cut Wolfgang almost entirely out of his will, willing the bulk
of it to Nannerl.
......................................................................
Mozart's Siblings Who Died in Infancy
(2 children survived, 5 died)
(All born and died before Wolfgang was born)
b. 1748 - Johann Leopold Joachim
b. 1749 - Maria Anna Cordula
b. 1750 - Maria Anna Nepomucena Walpurgis
b. 1752 - Johann Karl Amadeus
b. 1754 - Maria Crescentia Francisca de Paula
Wolfgang Mozart's/Constanze's Children Who Died in Infancy
(2 children survived, 4 died)
b. 1783 - Raimund Leopold
b. 1786 - Johann Thomas Leopold
b. 1787 - Theresia Constanzia Adelheid Friedericke Maria Anna
b. 1789 - Anna
Nannerl's Children Who Died in Infancy
(2 children survived, 1 died)
b. 1790 - Maria Babette
......................................................................
(From the movie "Amadeus")
OLD SALIERI
His funeral - imagine it! The Cathedral, all Vienna sitting there.
His coffin, Mozart's little coffin in the middle.
And suddenly in that silence....music. A divine music bursts out over
them all, a great Mass of Death: A Requiem Mass for Wolfgang Mozart,
composed by his devoted friend, Antonio Salieri. What sublimity! What
depth! What passion in the music! Salieri has been touched by God at
last. And God, forced to listen. Powerless - powerless to stop it. I
at the end, for once, am laughing at Him. Do you understand? Do you?
(Note: Salieri did not poison Mozart, but it's a rather good film, in
some respects. Although historically inaccurate in many ways, this scene
is particularly dramatic.)
......................................................................
Acknowledgements:
All individuals are Mozart researchers, historians, and/or authors,
and made significant contributions, directly or indirectly, to this
paper. Any errors are mine.
1. Open Mozart Net (Mozart Discussion Board) - *main source* -
http://www.openmozart.net/index.jsp
a. Neal Zaslaw - "The Compleat Mozart"
b. Daniel Leeson
c. Brendan Cormican
d. Emmanuelle Sayaq-Pesque
e. Gary Smith
f. Steve Ralsten
g. Dennis
h. Joe Dorazio
i. Others
2. Walther Brauneis
3. The Mozart Society of America (MSA)
4. Alfred Einstein - "Mozart - His Character and His Work"
5. Robbins Landon - "Mozart's Last Year"
6. Erich Valentin - "Mozart and His World", 1959
7. Record/CD liner notes and booklets
8. http://www.findagrave.com
9. Script of the movie "Amadeus"
10. Miscellaneous others
See Brendan Cormican's site - http://www.angelfire.com/bc2/mozart/index.html
for excellent additional information in greater depth, and photographs on the funeral, etc.
For day-of-week determinations, see the calendar website:
http://personal.ecu.edu/mccartyr/MyCalendar.html
For date calculations, see the website:
http://cgi.cs.duke.edu/~des/datecalc/datecalc.cgi
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