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Wolfgang's “Angels”: Two New Publications on Maria Anna Von Berchtold Zu Sonnenburg (Née Mozart) and Constanze Nissen

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Wolfgang's “Angels”: Two New Publications on Maria Anna Von Berchtold Zu Sonnenburg (Née Mozart) and Constanze Nissen Wolfgang’s “Angels”: Two New Publications on Maria Anna von Berchtold zu Sonnenburg (née Mozart) and Constanze Nissen (Widowed Mozart) Elisabeth Hilscher All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 21/04/2020 Accepted: 05/08/2020 Institution (Elisabeth Hilscher): Austrian Academy of Sciences, Austrian Centre for Digital Humanities and Cultural Heritage, Department of Musicology Published: 05/11/2020 Last updated: 05/11/2020 How to cite: Elisabeth Hilscher, “Wolfgang’s “Angels”: Two New Publications on Maria Anna von Berchtold zu Sonnenburg (née Mozart) and Constanze Nissen (Widowed Mozart),” Musicologica Austriaca: Journal for Austrian Music Studies (November 05, 2020) Tags: 18th century; 19th century; Biographical studies; Denmark; Gender; Mozart, Constanze; Mozart, Maria Anna; Musical life; Salzburg; Society; Socio-cultural studies; Vienna; Women's musical history Maria Anna Mozart: Facetten einer Künstlerin ed. by Eva Neumayr Vienna: Hollitzer, 2019 (Schriftenreihe des Archivs der Erzdiözese Salzburg 20) 308 pp., € 45.00, ISBN 978-3-99012-561-8 http://www.hollitzer.at/wissenschaft/programm/produktdetail/programm/schriftenreihe-des-archiv s-der-erzdioezese-salzburg/produkt/maria-anna-mozart-facetten-einer-kuenstlerin.html Constanze Mozart: Eine Biographie by Viveca Servatius, trans. by Krister Hanne Vienna: Böhlau, 2018 653 pp., €39.99, ISBN 978-3-205-20596-8 https://www.vandenhoeck-ruprecht-verlage.com/themen-entdecken/literatur-sprach-und-kulturwi ssenschaften/sprach-und-literaturwissenschaften/literaturwissenschaft- komparatistik/38347/constanze-mozart Maria Anna Mozart: Facetten einer Künstlerin [1] For a long time, monographs of famous people were written without considering their immediate surroundings. But it was often precisely this environment that guaranteed the “great men” the freedom to create “milestones.” And not infrequently it was women who regulated everyday life, which could be quite arduous until well into the twentieth century; it was they who kept annoying visitors and fans away and often acted as secretaries and “psychotherapists.” The fact that many of these people in the background were female may have contributed to the fact that a historiography fixated on male protagonists was only too happy to forget them. And yet there is a saying, in English and in German, that “behind every great man is a strong woman” (“hinter jedem großen Mann steht eine starke Frau”). Anna Magdalena Bach or Celestine Truxa may be mentioned here as representative of many others who have been frequently marginalized, such as Einzi Stolz or Constanze Mozart. Maria Anna has thus remained the eternal child “Nannerl” and featureless “sister of ...,” whereas Constanze, about whom opinions differ until today, has been the subject of a more complex historiography. The anthology edited by Eva Neumayr is the result of three conferences on Maria Anna Berchtold zu Sonnenburg, née Mozart. The volume’s stated concern is to present Maria Anna as an adult woman and artist, as an independent personality, a committed and popular piano teacher, and an important mediator in the publication of her brother’s works. It was also important to do justice to the changing image of women in society between 1750 and 1820, to take into account their social status, and to shed light on the new opportunities that arose for the widowed Baroness von Berchtold in Salzburg from 1801—for the first time in this breadth, I think. But there are still many traps that tempt us either to play down the biography from the perspective of the nineteenth and early twentieth centuries as marginal compared to that of the men of the Mozart family, or to let the pendulum swing in the other direction. Eva Rieger, who has herself written a “Nannerl” biography,[1] devotes her contribution (13–22) to the various images that have been brought to bear on Maria Anna Mozart in research literature to date. Few authors had taken the trouble to deal with the prevailing images of women in the age of Enlightenment as they manifested in different social classes and social groups, which is why even in literature that is already very gender-sensitive, there have been relapses into old clichés in recent times. (Charlotte von Greiner, for example, describes very precisely in her memoirs the tendencies towards gender segregation, which, for her, who very much appreciated scholarly dialogue between men and women, caused her trouble from 1800 onwards.)[2] Figure 1: Wolfang Amadeus Mozart making music with his father Leopold and his sister Maria Anna (lithograph by Eduard Friedrich Leybold after a painting by Johann Nepomuk della Croce); by courtesy of Österreichische Nationalbibliothek, Bildarchiv Austria In the following contributions, various aspects of Maria Anna Mozart and her life are singled out and even well-known sources are thoroughly reinterpreted through a very broad and comprehensive contextualization. It is exciting that in the course of reading the volume it becomes clear how one and the same source can have different facets and readings, and how a change of perspective can thus allow the familiar to appear in a new light. Eva Neumayr, who not only acts as editor, but is also one of the foremost experts on the sources of Maria Anna, devotes herself to Maria Anna the piano teacher and copyist (23–33 and 203–30). This is an aspect that has been studied scarcely, since for a long time the opinion prevailed in scholarship that Maria Anna, after her career as a child prodigy, had turned to the “female virtues,” managing the household for her father and in her free time only chatting with friends or attending mass. The fact that Maria Anna’s “friends” were first and foremost piano students and that she was mentioned in contemporary publications among the Salzburg Tonkünstler in the same breath as Michael Haydn (25–27) was readily overlooked. Monika Kammerlander also puts forth a similar argument (267–86), cautiously examining the teacher-pupil relationship between Margarethe Danzi-Marchant and Maria Anna and showing the differences between their artistic paths: on the one hand the “theatre child” Marchant, on the other Maria Anna Mozart, who is firmly anchored in the new “Second Society” (Zweite Gesellschaft), comprised of the emerging Bürgertum and the lower nobility. A number of music manuscripts from Maria Anna’s hand (Wolfgang Plath was able to clearly identify her handwriting as early as the 1960s)[3] also prove that she was a copyist (and orchestrator), supporting her brother and father, and demonstrating a high level of compositional technique. The Mozart edition at Breitkopf & Härtel would hardly have come about without Maria Anna’s expert work. In her contribution to Maria Anna’s musical notation, Eva Neumayr does not present any new findings, but reevaluates the well-known works in view of their historical context. Maria Anna seems, as this volume concludes, to have been much more a child of the Enlightenment philosopher Leopold Mozart than her brother: systematic and orderly in her work (as shown not least by her musical notation), attracted by the educational ideals of the Enlightenment or practicing them as a teacher and educator, and also interested in the natural sciences. Gerhard Ammerer (35–70) sheds light on this latter aspect, which would probably not have been suspected in “Frauenzimmer” (gentlewomen), by following up on two small references in Maria Anna’s diary, which alluded to public physics lectures at the University of Salzburg she attended. Four contributions are devoted to the construction of relationships within the family in the houses of Mozart and Berchtold zu Sonnenburg and show that even well-known documents allow changes in perspective through differentiated readings. Geneviève Geffray (71–88) attempts to reconstruct aspects of Maria Anna’s personality from the writings of the Mozart family. Anja Morgenstern (89–109) devotes herself to the relationship of the sisters-in-law Maria Anna von Berchtold zu Sonnenburg and Constanze Mozart/Nissen, which has been evaluated very differently so far, with a focus on their time together in Salzburg. Ulrike Kammerhofer- Aggermann’s contribution (111–41) leads to a re-evaluation of Maria Anna’s marriage with Johann Baptist von Berchtold zu Sonnenburg. Here it becomes clear that this marriage, although a traditional marriage of convenience, was a “good match” in many respects. Not only did it secure a living for Maria Anna even after the death of her father and, moreover, also after the death of her husband. In addition, she married beyond her state and, despite all her work and seclusion at Sankt Gilgen, she still had the opportunity to continue her artistic education. Compared to the biographies of other Salzburg women from around the Mozart family, Maria Anna had made a good choice—certainly more rational than emotional, but in keeping with the customs of the time and the social milieu of the rising Mozart family. Käthe Springer-Dissmann devotes herself (231–65) to the second underestimated woman in the Mozart family, the mother Anna Maria Mozart, who is usually marginalized in current Mozart literature in similar fashion. She shows how perfectly the Mozart couple worked together in the promotion of their children and presents a thoroughly modern couple, who communicated on almost the same level on many topics. The most comprehensive contribution in the volume is probably also the most exciting: Christoph Großpietsch conducts a criminological investigation (143–201) of all the supposed portraits of Maria Anna Mozart—with the sobering result that apart from the children’s portrait by (presumably) Lorenzoni, the large family portrait (probably by Johann Nepomuk Della Croce), and the small family portrait (Carmontelle/Delafosse) there is no authentic portrait of Maria Anna. All the others—this is demonstrated by Großpietsch with great meticulousness—represent other, anonymous ladies of the Second Society from the second half of the eighteenth century. Just as with pictures attributed to Wolfgang Amadé, the wish was often the father to the thought, so that despite their ill-suited appearance and questionable provenance, many other pictures were declared to be of Maria Anna.
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