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Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(S): David J Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(s): David J. Buch Source: Acta Musicologica, [Vol.] 76, [Fasc.] 2 (2004), pp. 193-219 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/25071239 Accessed: 11/10/2010 08:38 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=inmuso. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica. http://www.jstor.org Die Zauberfl?te, Masonic Opera, and Other Fairy Tales* David J.Buch Cedar Falls, Iowa The term 'Masonic opera' isoften applied to Mozart's Die Zauberfl?te to indicate per vasive Masonic content in the form of a hidden coherent allegory with a complex representation of the order's symbols and initiation rituals. This view has been influential inmusicology and other scholarly writing,1 but a review of the primary sources reveals that it is speculative, with no compelling evidence to support its broad claims. Moreover, some evidence suggests that the 'Masonic opera' theory is an unlikely interpretation. Allegory - and symbolism function somewhat differently in opera at this time and no eighteenth century singspiel isknown to have communicated itsmeaning so indirectly, leaving essential and ubiquitous content to be deciphered by a small group possessing the code. The historical context for the opera, fairy-tale singspiel or M?rchenoper, has been ex plored only superficially; not a single scholarly study in the twentieth century has been devoted to this operatic tradition. Some modern writers have even derisively dismissed this aspect as unworthy of consideration. A review of fairy-tale opera will reveal that most musical and dramatic elements inDie Zauberfl?te are present in previous operas with no demonstrable Masonic content. These works situate Die Zauberfl?te in an ac curate theatrical context and provide much needed perspective on the question of Masonic symbolism. While the notion of a complex, coherent Masonic allegory does not withstand scrutiny, a few passages in the libretto appear to have been drawn from Masonic sources. Here Iwill suggest a plausible explanation for the presence of this material and review the reasons that one should not assume a more prevalent use of symbolic reference to Freemasonry. Itmight seem odd that some 210 years after the premiere of Die Zauberfl?te scholars continue to debate the most basic level of the opera's content. Unfortunately, distor * was as a An earlier version of this article given paper at the annual meeting of the American Society 2 for Eighteenth-century Studies, Notre Dame, IN, April 1998.1 wish to thank Michel Noiray, John Rice and Peter Branscombe for their comments and suggestions. 1. see For example, James Stevens Curl, The Art and Architecture of Freemasonry: An Introductory Study, Woodstock, N.Y., 1993,135-68, and Magnus Olausson, 'Freemasonry, Occultism and the Picturesque Garden towards the End of the Eighteenth Century', in: Art History, 8 (1985), 413-33. These authors on base their arguments the assumption that the decoration and imagery inDie Zauberfl?te dire almost entirely Masonic. 194 David J.Buch tion in early Mozart biographies, particularly in regard to Die Zauberfl?te, still influences modern scholarship. The lack of documentation about the commission and genesis of the opera was (and remains) problematic. The composer's deification in the pantheon of German 'masters' following his death, and his subsequent association with burgeon ingGerman national identity, led to hagiography. When the holes inMozart's biography needed plugging, rumor and imagination filled the gaps. High-minded commentators in the late eighteenth-century generally disapproved of the popularly styled Die Zauber fl?te.2 By the nineteenth century the prevailing idea of a 'genius's work of art' required serious and coherent 'masterpieces'. Thus many read into the libretto a sophistication and profundity to match their regard for Mozart's music, and allegorical interpretations of the libretto served this aim. Ignorance of concurrent repertory allowed for a myth of singularity and autonomy, both for the opera and for its composer. A variety of inter pretations still thrives in this vacuum, unhampered by the contradictions that would be raised by an examination of the theatrical context Masonic Opera Paul Nettl, the first modern scholar to advance a detailed scheme of the symbolic content of the libretto and score of Die Zauberfl?te, asserted that the opera contains a pervasive allegorical subtext depicting various Masonic rituals and symbols.3 Jacques Chailley expanded this view, finding indications of Masonic symbolism in almost every scene and musical number, and suggesting that these form a coherent whole.4 Yet neither Nettl nor Chailley demonstrated a narrative allegory; rather they suggested a symbolic complex of language, image, and music without a discernable linear plot. A number of scholars appear to have accepted the general thrust of the Masonic read ing. For example, Julian Rushton in The New Grove Dictionary of Opera5 writes that while 'different significations' of the opera coexist simultaneously, the libretto is basically an allegory, intended by the librettist, Emanuel Schikaneder, and Mozart as a 'coded 2. Examples are given in Otto Erich Deutsch, "Mozart: Die Dokumente seines Lebens", in: Neue Ausgabe s?mtlicher Werke [NMA] Serie 10, Werkgruppe 34 (Kassel, 1961), including a 1791 review inthe MusikalischesWochenblatt (page 358) and comments of Karl von Zinzendorf (page 360). Also an see the deprecatory review (1793) discussed in Manfred Schuler, 'Eine zeitgen?ssische Kritik der "Zauberfl?te"', Mitteilungen der Internationalen Stiftung Mozarteum, 39/1-4 (1991), 125-31. 3. See Paul Nettl, Mozart und die k?nigliche Kunst. Die freimaurerischen Grundlagen der <Zauberfl?te>, Berlin, 1932; '<Sethos> und die freimaurerische Grundlage der <Zauberf1?te>', Bericht ?ber die musikwissenschaftliche Tagung der Interntionalen Stiftung Mozarteum in Salzburg, Leipzig, 1932, 142-9; a. 'Die k?nigliche Kunst. Die Freimaurerie und Freimaurermusik', in:W. A. Mozart, Frankfurt M, 1955, 145-54; 'Masonry and the Magic Flute', in: Opera News, 20/17 (1956), 8-10; and Musik und Freimaurerei, Esslingen, 1956, trans., Mozart and Masonry, New York, 1957. 4. Jacques Chailley, La Fl?te enchant?e: Op?ra ma?onnique. Essai d'explication du livret et de la musique, see Paris, 1968, 2/1983; English trans. Herbert Weinstock, 1972. Also Chailley's, "Die Symbolik in der Zauberfl?te", in:Mozart-Jahrbuch i?6y, 100-10 ;and "La Fl?te enchant?e, opera ma?onnique", in: LAvant 1 sc?ne Op?ra, (1976), 82-9. 5. Julian Rushton, "Die Zauberfl?te", in: NGroveDO, ed. Stanley Sadie, 4 vols. (London and New York, 1992), IV 1215-18, and "Mozart", in: NGroveDO, III,489-503. Die Zauberfl?te, Masonic Opera, and Other FairyTales 195 representation of Freemasonry.' Rushton asserts that the composer made a significant contribution in this regard: 'Mozart transformed the Singspiel into an allegory of his own quasi-religious commitment to Freemasonry'. In another article in the same dictionary, Cecil Hill describes Die Zauberfl?te as representing but one example of Masonic opera, suggesting that others existed in the eighteenth century.6 But the author provides no evidence to support this assertion. All these claims are presented as facts rather than as speculation. Both Nettl and Chailley base their theory on the wording of a few dialogues inthe libretto and the presence of Egyptian and Masonic images on the frontispiece of the opera's original libretto. The dialogues do have similarities to Masonic writings, specifically the pseudo-Egyption French novel Sethos by Jean Terrasson7 and Ignaz von Bom's essay, ?ber die Mysterien der ?gyptier (1784) .8The strongest similarity to Terrasson's material is found in act 2, scene 1, the dialogue and aria with chorus (n?. 11 inMozart's autograph score), "O Isis und Osiris," which bears a resemblance to Hymn 1 in Book 1 and the hymn in Book 3. Let us compare these texts, first Schikaneder's act 2, scene 1 : Zweiter Aufzug Erste Auftritt Das Theater ist ein Palmenwald; Alle B?ume sind silberartig, die Bl?tter von Gold, 18 Sitze von Bl?ttern. Auf einem jeden Sitze steht eine Pyramide und ein gro?es, schwarzes Horn mit Gold gefa?t In der Mitte die gr??te Pyramide, auch die gr??ten B?ume. Sarasto nebst anderen Priestern kommen in feierlichen Schritten, jeder mit einem Palmenzweige in der Hand. Ein Marsch mit blasenden Instrumenten begleitet den Zug. [Nr. 9. Marsch der Priester] [Sarasto, Sprecher, Priester]. Sarasto (nach einer Pause). Ihr, in dem Weisheitstempel eingeweihten Diener der gro?en G?ttin Osiris und Isis!Mit reiner Seele erkl?r ich euch, da? unsere heutige Versammlung eine der wichtigsten unserer Zeit ist. Tamino, ein K?nigssohn, zwanzig Jahre seines Alters, wandelt an der n?rdlichen Pforte unseres Tempels und seufzet mit tugendvollem Herzen nach einem Gegenstande, den wir 6.
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