Whose Enlightenment?
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Freemasonry and Civil Society: Reform of Manners and the Journal Fu¨R Freymaurer (1784-1786)
111 Freemasonry and civil society: reform of manners and the Journal fuÈr Freymaurer (1784-1786) ANDREAS OÈ NNERFORS Freemasonry as a tool of moral improvement In 1784 the Bohemian mineralogist Ignaz von Born, in his capacity as master of the Masonic lodge Zur wahren Eintracht [True Union] in Vienna, took the initiative to publish the ®rst successful Masonic period- ical in Europe, the Journal fuÈr Freymaurer.1 It was subsequently edited in twelve quarterly volumes, with an average of 250 pages, printed in 1000 copies and disseminated across the entire Habsburg Monarchy, a vast undertaking, bearing in mind the transport infrastructure of the eight- eenth century. The journal contained extensive treatments of religious traditions resembling Freemasonry, essays on Masonic virtues and values, reviews of Masonic literature, poetry and Masonic news from all parts of Europe. But a signi®cant number of the essays included in the journal also covered the impact of Freemasonry on society. The Masonic move- ment interpreted itself as a moral force with the potential to transform manners for the universal bene®t and improvement of society and mankind. Born wrote in his address to readers that, within the Order of Freemasons, freedom of thought and equality of all natural rights was a fundamental law. Hence, it was a right to communicate the results of such free deliberation to fellow brethren.2 Based upon a series of essays focusing on the moral aspects of Freemasonry, this article attempts to outline the content of these `free deliberations' that only a few years before the French Revolution read surprisingly radical, especially in the context of the Habsburg Monarchy. -
Mozart's Die Zauberflöte: a Kingdom of Notes and Numbers
MOZART’S DIE ZAUBERFLÖTE: A KINGDOM OF NOTES AND NUMBERS by Daemon Garafallo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Daemon Garafallo ii ACKNOWLEDGMENTS The author wishes to express his thanks to his committee members for their guidance, especially to his thesis advisor, Dr. Ken Keaton, for helping the author through a difficult time these past few years, and to Dr. Sandra McClain for going above and beyond in her dual role of committee member and academic advisor and for doing an excellent job at both. He also would like to acknowledge Dr. James Cunningham for his help and guidance throughout his degree. iv ABSTRACT Author: Daemon Garafallo Title: Mozart’s Die Zauberflöte: A Kingdom of Notes and Numbers Institution: Florida Atlantic University Thesis Advisor: Dr. Ken Keaton Degree: Master of Arts Year: 2016 Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera. -
The Influence of Ancient Esoteric Thought Through
THROUGH THE LENS OF FREEMASONRY: THE INFLUENCE OF ANCIENT ESOTERIC THOUGHT ON BEETHOVEN’S LATE WORKS BY BRIAN S. GAONA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Clinical Assistant Professor/Artist in Residence Brandon Vamos, Chair Professor William Kinderman, Director of Research Associate Professor Donna A. Buchanan Associate Professor Zack D. Browning ii ABSTRACT Scholarship on Ludwig van Beethoven has long addressed the composer’s affiliations with Freemasonry and other secret societies in an attempt to shed new light on his biography and works. Though Beethoven’s official membership remains unconfirmed, an examination of current scholarship and primary sources indicates a more ubiquitous Masonic presence in the composer’s life than is usually acknowledged. Whereas Mozart’s and Haydn’s Masonic status is well-known, Beethoven came of age at the historical moment when such secret societies began to be suppressed by the Habsburgs, and his Masonic associations are therefore much less transparent. Nevertheless, these connections surface through evidence such as letters, marginal notes, his Tagebuch, conversation books, books discovered in his personal library, and personal accounts from various acquaintances. This element in Beethoven’s life comes into greater relief when considered in its historical context. The “new path” in his art, as Beethoven himself called it, was bound up not only with his crisis over his incurable deafness, but with a dramatic shift in the development of social attitudes toward art and the artist. -
Mozart and the American Revolutionary Upsurge
Click here for Full Issue of Fidelio Volume 1, Number 4, Winter 1992 Mozart and th by David Shavin n the summer of 1781,the 25-year-old musical genius Wolfgang Amadeus I Mozart was chosen by the Emperor Joseph II of Austria to set the opera The Abduction fr om the Seraglio, for the occa sion of a critical state visit to Vienna of the Russian Grand Duke Paul, son of Cather ine the Great. Mozart had recently arrived in Vienna, having broken with his father's employer, the Archbishop Colloredo of Salzburg. The Emperor Joseph had had sole possession of the throne of the Austro Hungarian Empire for less than a year,for his co -regent, his mother Maria Theresa, had died the past November. The fortunes of the upstart revolutionaries in the British colonies in America were still in doubt. And the Russian court was pressing Joseph to ignore the new developments in America and to join them in a colonial Bettmann Archive venture against the Turks, who were by that time no longer a serious threat to Europe, as they to obscure Mozart's very human, and very rigorous, had been in past centuries. compositional process. Even a beginning effort to situate Within a year, Mozart had pulled off a stunning the singular features of this revolutionary period will political and cultural victory,the Americans had shocked serve to completely undercut not only such puerile fanta the British Empire at Yorktown,and Joseph had derailed sies about Mozart, but also related fantasies regarding the war-party from Russia, winning several years of the actual birth of the modern republican form of gov critical time to attempt to base Austria upon his educa ernment. -
Band 156 Band
MITT.ÖSTERR.MINER.GES. 156 (2010) SOME CENTRAL EUROPEAN GEOSCIENTISTS OF THE 18TH CENTURY AND THEIR INFLUENCE ON MOZART´S MUSIC by Alfred Whittaker Honorary Research Associate Kingsley Dunham Centre, Keyworth Nottingham NG12 5GG, United Kingdom Abstract The lives and contributions of several geoscientists of the 18th Century are discussed, many of whom had close contact with the composer and musician Wolfgang Amadeus Mozart (1756-1791, Figure 1) by making contributions either directly or indirectly to some of his musical works, as well as making significant contributions to various aspects of geoscience and related technology which are still important today. Various individuals are discussed, plus the establishment of the Štiavnica Banska (Selmecbánya, Schem- nitz) Mining Academy and its important contri- bution to geoscience and relation to technical mining matters and its particular importance at the time of the Industrial Revolution. The discovery of the element tellurium and the relevance of the Academy to major scientific arguments of the day such as the position and status of the phlogiston theory and alchemy are also briefly discussed. Figure 1 Wolfgang Amadeus Mozart (1756-1791). Image incorpo- rating numerous masonic and alchemical symbols. 129 Rudolph Erich Raspe One of the many memorable and relevant names among geoscientists in the 18th Century, for various reasons discussed below, was Rudolph Erich Raspe (1736-94). His first major contribution to geoscience proper was a theory of the earth published in 1763, ultimately as a consequence of the great Lisbon earthquake of November 1st (All Saints Day, 1755), which not only triggered much explanatory thought by earth scientists, but also gave the opportunity for intellectuals and philosophers to rethink how this apparently previously inexplicable phenomenon fitted in with contemporary ideas on philosophy in general. -
A Chronology of Mozart and His Times
BYU Studies Quarterly Volume 43 Issue 3 Article 3 7-1-2004 A Chronology of Mozart and His Times Hans-Wilhelm Kelling Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Kelling, Hans-Wilhelm (2004) "A Chronology of Mozart and His Times," BYU Studies Quarterly: Vol. 43 : Iss. 3 , Article 3. Available at: https://scholarsarchive.byu.edu/byusq/vol43/iss3/3 This Preface is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Kelling: A Chronology of Mozart and His Times A Chronology of Mozart and His Times Hans-Wilhelm Kelling 1756 Wolfgang Amadeus Mozart is born on January 17 in a flat located at what is now Getreidegasse 9 in Salzburg, Austria. Leopold Mozart, the father of Wolfgang, publishes his Violin Method. This year sees the com mencement of the Seven Year War. When it ends in 1763, Prussia has defeated Austria, France, and Russia and has become the strongest military power in Europe. 1757 Domenico Scarlatti, the well-known Baroque Italian composer, dies in Madrid. 1759 Georg Friedrich Handel, composer of Messiah, dies in London on April 14. Mozart, who admired Handel's compositions, performs sev eral of them at the age of eight for King George III of England in 1764. Friedrich Schiller, Germany's foremost dramatist (Don Carlos, Wal- lenstein, Maria Stuart, Wilhelm Tell), who lectures and writes on history at the University of Jena (History of the Revolt of the Nether lands, History of the Thirty Years' War), is born. -
"Initiates of Isis Now, Come, Enter Into the Temple!": Masonic and Enlightenment Thought in the Magic Flute
BYU Studies Quarterly Volume 43 Issue 3 Article 9 7-1-2004 "Initiates of Isis Now, Come, Enter into the Temple!": Masonic and Enlightenment Thought in The Magic Flute Paul E. Kerry Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Kerry, Paul E. (2004) ""Initiates of Isis Now, Come, Enter into the Temple!": Masonic and Enlightenment Thought in The Magic Flute," BYU Studies Quarterly: Vol. 43 : Iss. 3 , Article 9. Available at: https://scholarsarchive.byu.edu/byusq/vol43/iss3/9 This Themes is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Kerry: "Initiates of Isis Now, Come, Enter into the Temple!": Masonic an Frontispiece of the first edition of The Magic Flute libretto. Engraving by Mozart's lodge brother Ignaz Alberti, 1791, Vienna. The Magic Flute was associated with Freemasonry from its inception. The frontispiece "shows a Hermes column and an ibis—the sacred bird of Hermes or Mercury: the sym bols of Hermeticism. The print depicts a temple, and in the foreground, beside the tools of the operative masons' craft, can be seen the head and shoulders of a dead man: presumably the murdered temple builder Hiram/Adoniram, the Rosicrucian symbol for Christ. (Mozart himself is three times referred to as Adoniram in the masonic funeral oration presented at his lodge after his death.) From the arch of the temple itself hangs a chain with a five pointed star—the emblem of Rosicrucian- ism." Till, Mozart and the Enlightenment, 298. -
The Culture of the Aristocracy in the Habsburg Monarchy 1750–1820
The Culture of the Aristocracy in the Habsburg Monarchy 1750–1820 International Conference, Keszthely, 30 May – 1 June 2019 The Culture of the Aristocracy in the Habsburg Monarchy 1750–1820 International Conference Keszthely, May 30 – June 1, 2019 PROGRAM 30 May 2019 (Thursday) Helikon Palace Museum (8360 Keszthely, Kastély u. 1.) 13:00 Opening: Prince György Festetics, Gábor Vader na MODUL 1 – Aristocracy in the Habsburg Empire Chair: Gábor Vader na Keynote Lecture 13:30 László Kontler (Budapest) Hungary’s Noble and Educated Elite, the Question of Ethnic Origins, and the Enlightenment Social Imaginary Session 1 14:00 Suzana Coha – Nikola Vukobratović (Zagreb) “Ban, Our Only Hope”: Some Remarks on the National Aspirations of the Croatian Nobility in the Late Eighteenth Century 14:20 Sándor Hites (Budapest) Gift Economies of Patriotism 14:40 Zsuzsanna Peres (Budapest) The Establishment of the Festetics Fideicommissum in the Eighteenth Century 15:00 Discussion 15:20 Coffee Break Session 2 15:40 György Kurucz (Budapest) “In the Interest of the Homeland and His Lordship’s Domains”: The Study Tours of Hungary’s First College of Farming in Western Europe, 1820–1825 16:00 Réka Lengyel (Budapest) The Masonic Network of Count György Festetics 16:20 Teodora Shek Brnardić (Zagreb) Aristocrats as Enlightened Fathers: The Paternal Authority of the Bohemian Count Franz Joseph Kinsky (1739–1805) and the Croatian Count Ivan Nepomuk Drašković (1740–1787) 16:40 János Hóvári (Budapest) István Sárközy, a Calvinist Nobleman Protégé of Count György Festetics -
Disruption of Old Structures
Chapter 7 Disruption of Old Structures After a seven-month stay in Copenhagen, on May 22, 1770 Hell and Sajnovics finally left for Vienna, which they reached on August 12. The route they took was different from the outward journey. Instead of a sea voyage to Travemünde, they traveled overland in a southwestern direction, visiting first of all the Acad- emy for Nobles at Sorø, where they met the likes of Gerhard Schøning (1722– 80), a historian specializing in Norway and the ethnographic history of far northern peoples.1 Thereafter, they passed through Funen, southern Jutland, Schleswig, and Holstein to Hamburg. From Hamburg, they again chose a more westerly route, this time visiting Göttingen and Kassel before turning straight westward to Düsseldorf and then south through Cologne to Mannheim and Schwetzingen. They then headed east, via Würzburg, Ingolstadt, and Passau to reach Linz, Kremsmünster, Graz, and finally Vienna. The record of encounters with fellow astronomers or other scholars (apart from passing references to whom they met and where) is meager, but a desire to visit as many residences of Jesuit missionaries as possible, as well as observatories and other secular research institutions, appears to have been the reason behind this winding track. Hell’s grandiose dream of a long publicity tour of virtually all Western Eu- rope, as outlined in his letter to the pope before the expedition, thus did not materialize.2 Yet, he had no reason for disappointment. He and his companion were elected members of the academies of Trondheim and Copenhagen, and treated in the Danish capital as celebrities. -
Mozart, Music and Masonry by William K
Mozart, Music and Masonry By William K. Bissey, MPS (Johann Chrysostom) Wolfgang Amadeus Mozart was born in Salzburg, Austria on January 27, 1756 and died in Vienna on December 5, 1791. He was the seventh and last child of Leopold Mozart and his wife Anna Maria, nee Pertl. Mozart was baptized the day after his birth on the feast day of St. John Chrysostom; thus, his first two names. Of the seven children born to Leopold and Anna Maria, only Wolfgang and his older sister Nannerl (Maria Anna) survived infancy. Nannerl was four and one-half years older than her famous brother. Leopold was a violinist and later organist and Assistant Conductor at the Court of the Prince-Archbishop of Salzburg, Austria. Among Wolfgang's paternal ancestors were several operative master masons (i. e., architects) including his great-grandfather David. By watching his sister at her piano studies, Mozart was playing simple pieces on the Clavier at age four. He gave a public concert at age five and one-half. Over the succeeding year, Mozart played at the Royal Courts of Munich, Vienna, Paris, and London. He composed his first opera before he was fourteen (Mitridate K.87) and directed it for twenty performances in Milan, Italy. Mozart and his father Leopold made several musical journeys throughout western Europe. Most of these journeys were made possible by the generosity of Archbishop Schrattenbach who recognized Wolfgang's genius and did not object to the projects. Schrattenbach's successor, Hieronymus von Collordeo, was a dull and unartistic individual who did not approve of the various projects. -
Die Zauberflöte and the Moral Law of Opposing Forces
©Copyright 2012 Denice Raymundo Grant Die Zauberflöte and the Moral Law of Opposing Forces Denice Raymundo Grant A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2012 Reading Committee: Craig Sheppard, Co-Chair Stephen C. Rumph, Co-Chair George S. Bozarth Program Authorized to Offer Degree: School of Music University of Washington Abstract Die Zauberflöte and the Moral Law of Opposing Forces Denice Raymundo Grant Chair of the Supervisory Committee: Professor Craig Sheppard, Co-Chair Professor Stephen C. Rumph, Co-Chair School of Music Wolfgang Amadeus Mozart’s Die Zauberflöte, set to Schikaneder’s libretto, brings to the forefront the Enlightenment models of light and darkness, good and evil. The traditional understanding of these concepts pits light against darkness, and good against evil. This thesis contends that Die Zauberflöte is a work which portrays a system that contains both good and evil, rather than one that depicts the clash of good against evil. The ancient Pythagorean Monad and Dyad explain this concept. The Monad, a single number, represented an indivisible principle said to belong to the Olympian Creator Gods, while the Dyad, a dual, divisible law, represented a principle which contained two opposing forces. This principle was the property of the demiurges, who, according to the ancients, rule the earth. The main purpose of the law of contrary forces is to enforce order, and it accomplishes this goal through a system of merit and demerit, rewards and punishments. In this paradigm, Sarastro and the Queen of the Night are symbols of Osiris and Isis, the Egyptian gods who formed a unified godhead operating by the law of opposing forces. -
Egyptian Mysteries and Secret Societies in the Age of Enlightenment. a ‘Mnemo-Historical’ Study
Aegyptiaca. Journal of the History of Reception of Ancient Egypt Egyptian Mysteries and Secret Societies in the Age of Enlightenment. A ‘mnemo-historical’ study Jan Assmann University of Heidelberg There are two modes of access to the past, one ‘historical’ and one ‘mnemo- historical’. The historical way aims at investigating and reconstructing past events, conditions, situations as they “really” were or happened exploring all kinds of contemporary sources. The ‘mnemohistorical’ approach, on the other hand, asks for the past, not ‘as it really happened’ but as it was and is remembered, addressing the same questions to tradition that Cicero put in a famous hexameter:1 Quís, quid, ubí, quibus aúxiliís, cur, quómodo, quándo? Who?, what?, where?, by what means?, why?, how? and when? Who, when, why, for whom, remembers the past and by what means? When I first applied the ‘mnemohistorical’ method, I was dealing with apocryphal traditions about the Exodus of Israel from Egypt. In this case, there are no sources that would give an access to the event “as it really happened”. All we are left with are codifications of memory. Outside the Bible, these come – to name only the most important sources – from the Egyptian historiographer Manetho (third century BCE) and his Jewish excerptor Josephus Flavius (first century): two historians, who ‘remembered’ the event for completely different reasons, in different form, at different times. Manetho wrote for the Greek court to introduce the new rulers of Egypt into the history and culture of their kingdom, Josephus wrote for the Greek-speaking intellectual class with the apologetic interest to defend the Jews against the calumnies about Jewish history circulating in Hellenistic historiography.