The story of Wolfgang Amadeus Mozart is similar to that of Rembrandt, perhaps loosely
parallel with Elvis. It’s the ages-old conflict, talent versus prudery, and "that was the
reason, as all men know in this kingdom . . ." ("Annabel Lee") of Land Salzburg that the
composer’s reception was cold, the reason he spent so much time away in Vienna and
Prague, and, some say, the reason he died so young (36), was buried in a pauper’s grave,
and then his body lost. That was 1791; today his memory and music are in good hands in
Salzburg.
The bus from the rail station deposited us on Makartplatz across from
Wohnhaus. As we approached the residence of the romantic composer, I was
immediately disappointed by the front lawn--or lack of it. I had thought to see an outdoor
space where the frollicksome Mozart had romped with his family as he had in the film
Amadeus. Instead, the house was on the sidewalk, and what I supposed was the
large lawn always seen in pictures was a narrow strip of median surrounded by curb in the
middle of the street. Those tricky cameramen!
Part of the residence was ravaged by a bomb in WWII. I knew this, so I wasn’t expecting
the original. The part not destroyed has been owned by International Mozarteum
Foundation with small museum on site since 1955; the other portion was re-created by the
Foundation after they purchased an office building built here after the war and tore it
down. Now the residence, at least, is the correct size. Another contribution to Salzburg’s
culture is the many concerts the Mozarteum schedules throughout the year with a
preponderance at the end of January for the composer’s birthday (Jan. 27, 1756). During
this yearly festival, Mozart Week or Mozartwoche, every piece of Wolfgang’s
music gets played. That’s a huge stack of sheet music, over 36 volumes--and many
concerts!
The house is set up more as museum and sound library than home. We got audio
programs and went to second floor. Displays were numbered, and we entered the
numbers to hear commentary, well-produced with musical interludes. Passages from
"Jupiter" symphony had me paying attention, while "Eine Kleine Nachtmusic" almost put
to sleep these weary travelers. Displays included "Getting to Know the Instruments," a
good one for children. Rooms included statuary, paintings, and Mozart’s instruments,
including his clavichord. The design was similar to that of the Bach Museum in Leipzig,
which we enjoyed more because every room had chairs to sit and listen. I learned chasing
musical ghosts that visitors to homes of composers shouldn’t be tired or in a hurry, since
the purpose is to relish the chance to listen in the musician’s surroundings, not to
follow a tour guide. In 3 composers’ homes, we learned little about their lives, but relished the chance.
We enjoyed coffee at Mozart Cafe on the sidewalk, prolonging our visit.
Admission is 5.5 euros adults; 1.5 euros children.