Tangled up in a vortex…

A vortex of time and space swirls around.  It is confusing and often loud, but not everyone can hear it.  It surrounds the Zauberflote…There are waves of energy coming through it continually…sometimes waves of shalom, other times waves of angst.  There is a dark angel in the vortex, trying to control the waves.  There are a few people in the vortex; some past, some present. Impressions of them filter through…There are influences…there is night and fog, a threat of oblivion, as the night angel tries to silence the living, but by the zauber they manage to escape…there are impressions of things to come, and odd coincidences that bring new things to life…it is magical, and at times frightening…we are all caught up in it…all the real-life characters of the opera…the Queen of the Night is gone now, but another — a paler version — tries to take her place.  Monostatos is not just one man, still spinning falsehoods and madly conducting a small orchestral group…but also a large orchestra of the same name, pulling the wool over the eyes of the citizens who support them…keeping secret what they know is happening…

The vortex stretches from Vienna to New York, and from there, to Minnesota…we are all tangled up it it, and right now things are not really making sense…we seem to be tumbling, falling apart, losing each other as the lies are unmasked and the truth comes to the light…and it seems that there may be someone else in the vortex…it’s hard to tell…sometimes seeming to send direction, at others appearing to try to ignite the vortex…around it all, in the sound of the flute, there is also is a voice…

Update March 25, 2021

I seem to keep bumping into someone in the vortex.  It is someone who is rather pushy.  Most of the influences in the vortex are quite subtle — from those who live on another plane.  But this — whatever it is — is noisy, and not a lot of fun. The energy seems to be most alive during the night, Central US time.  Sometimes there are visual impressions.  Sometimes there seems to be hints of music.  Whatever it is, if I could get away from it, I would.

But that may not be possible.

It may be some sort of thorn in the flesh.

Or it may have something to do with this mysterious connection that I am trying to decipher…

What if Wolf never believed the lie?

Wolf was surrounded by people who were attempting to deceive him. Some were family, some were ‘friends’, some were colleagues. They flattered him. They tried to gain access to his inner circle. They tried to gain his trust. Why? Let me explain.

Wolf had been given an unusual gift, one that none of them had. It was a gift of perfection in music. To make a musical analogy — his gift was like a perfect fourth or fifth, whereas there gifts were like major or minor intervals. That is what made Wolf’s music incomparable. They hated that, and they hated him for that.

None of this is really new — it was alluded to in the movie “Amadeus”. Salieri was, in essence, symbolic of all the treachery and deceit that surrounded Wolf. But Salieri may have known a secret that he tried to use to gain an advantage — that Wolf had been a victim of being caused bodily harm through the administering of small doses of toxic substances. This may have started when Wolf was living with his birth family. Perhaps it was the jealous Nannerl who was secretly doing this. Wolf’s mother, Maria Anna, was unable to protect him. She died in his arms in Paris. Leopold and Nannerl tried to blame her death on Wolf. This added a terrible burden to Wolf’s own grief.

The ongoing administration of toxic substances without Wolf’s knowledge or permission could have been done as a means of controlling both him and his extraordinary gift. As a result, Wolf was supposed to be little more than a mind-controlled zombie. When Wolf married Constanze, the same thing could have happened by her hand. The antipathy between Constanze and Nannerl, in fact, led to them being buried at opposite ends of Vienna.

Were Wolf’s continual moving from one place to another, as well as his being supposedly ‘not good with money’ in fact connected to this ongoing pogram against him? If so, was he supposed to believe that it was God’s will that he suffer the possibility of bodily harm by those who broke bread with him? If this were to be the case, would that not account for perhaps some of his frantic activity to compose as many pieces as possible as quickly as possible?

But, in a worse-case-scenario, surrounded by a brood of vipers, a vortex of the evil eye, in fact, is it possible that Wolf never believed this lie?

I offer to you Wolf’s last major opera, Die Zauberflote, which defines with some clarity this great gift that he was allowed to be steward of during his life on earth. If so, he knew this gift better than anyone. He believed in the power of this great gift — a gift of brilliance never again seen in music — and a gift of shalom, no matter how trying his earthly circumstances were.

Why not Mahler, Norman? (part one)

A while back music critic and arts lover Norman Lebrecht wrote a somewhat impudent and controversial book about Gustav Mahler, called ‘Why Mahler?’ Even though Mahler’s music was at last standard fare with most symphonies, his stated intent was to bring additional attention to the symphonies and lieder of Mahler. The central focus of the book was apparently to ask and answer the question of what value Maher and his music have for us today.

As curious as this book is, there may be wider and even more significant implications to Mahler and his life than anything Mr. Lebrecht has posited. In fact, Mr. Lebrecht might have deliberately slanted or eliminated significant facets of Mahler’s life, possibly even for some mysterious agenda of his own. Some of these significant issues may, in fact, have something to do with me and the Zauberflote.  And Mozart. And New York City.

Let me explain…

If I am correct, when Wolfgang Mozart died some sort of vortex of energy was created.  It was centered at the house where he died, on Rauhensteingasse, in Vienna.  It may have been created from the energy of the unusual and additional gift in Mozart’s music — something I call a ‘gift of shalom’. It is also the ‘Zauber’ in the Zauberflote. Something unique. Something overwhelmingly controversial. Something sublime. It has also been labeled “The Mozart Effect.” Exactly what happened to Wolf is another story, and one that I won’t go into now, but let me just say that it seems to me there is still a great mystery around Wolf and his death, and the existence of such a vortex just might be part of the explanation.

Mahler found his passion for composing in Vienna and spent much of his life there.  Did he sense the vortex connected to Mozart and his music?  Did he step into the mystery of what happened to Mozart and why, as, for example, I think Beethoven did? Or could he have been unsuspectedly pulled into this vortex of powerful energy?  I ask this question because of what he decided to do at a critical point in his life.

When working with the Vienna Opera became unbearably painful, Gustav Mahler set his sights on America.  New York City, to be specific.  He became the first globe-trotting conductor of great stature.  In fact, for the last five years of his life he traveled back and forth between Europe and America, conducting with the newly-funded New York Philharmonic.

All right, you might say.  A couple of interesting coincidences…

But there is more.  Mr. Lebrecht fails to include any mention of what Gustav’s wife, Alma, said about her husband’s last words.  What were they?

“Mozart!  Mozart!  Mozart!”

I boldly proclaim that this exhortation puts dear Mahler in the center of the Mozart vortex.  Not only that, but Alma actually moved to New York City after his death, living at 120 E. 72nd street.  She died there in 1964.  So was she aware of his possible connection to the vortex?

Mr. Lebrecht knows of me from my posting on his popular Slipped Disc blog during the lockout of the Minnesota Orchestra players.  I hoped, as a fellow Mahlerian (for I am indeed also obsessed with Mahler and his music) that he might listen to what I had to say.  I explained that I felt I  had an unusual and tangential connection to the lockout, in that previously some of the players, whom I have no choice but to call “Monostatos” used the stage at Orchestra Hall as a device to threaten and discourage me and, in effect, lock me out.  I had hoped for at least a sympathetic ear.  But, instead, Mr. Lebrecht allowed a music critic from Chicago (where I was born, incidentally) to attempt to slander me on that blog. That attempt was not successful and, ironically, Andrew Patner collapsed and died unexpectedly a few months later.  So it was at this point I accepted that I had not won over Mr. Lebrecht, who boasts of 1 million viewers a month on his blog.

Let me finish by stating that because of my Father’s job as a metallurgical engineer, our family moved from Chicago to the New York City metro area when I was three and I grew up in a nearby town in Connecticut.  Later I moved to New York City, living not far from where Alma had lived.  My dear husband Donner, who passed away tragically and unexpectedly this spring, grew up in the same neighborhood.

And so I ask you, and Mr. Lebrecht, to consider the possibility that the importance of Gustav Mahler has yet another dimension, one certainly mysterious but perhaps even more profound than of those we already know.

Did Mahler bring the Mozart vortex from Vienna to New York City? And, if so, what are the implications?

Insights from the Salzburg Salt Mine…M4B*

Lake in the Salzburg Salt Mine

When I was speaking with a family member about the Salzburg Salt Mine yesterday I had an insight — that it works well imo as a symbol of what Wolf was supposed to have been all about and how that got twisted around.

Wolf was born in Salzburg, Austria.  Everyone knows this. His birth house is something of a shrine.  Salzburg is named for the salt mine outside of town.  Jesus spoke of the people as the ‘salt of the earth’, meaning the common people.  What use is salt, He asked, if it loses its flavor?  What does this have to do with Wolf?

When Wolf was a child, beginning to exhibit his extraordinary talents, his father, Leopold, quickly assessed the situation.  He also had begotten another prodigy, Wolf’s older sister, Nannerl.  He did not want their talents to languish in the outpost of Salzburg.  He did not want them to die in anonymity because of the callous indifference and lack of sophistication of the common people of Salzburg.  So he decided to take the show on the road and instead court the crown heads of Europe.

The rest is history — we all know that Wolf played with Marie Antoinette at court, that the Mozart family, while given audience to perform, were treated as little more than servants, eating in the quarters of the help and being tossed trinkets instead of being given cold hard cash for their efforts.  We know of Leopold’s frustration at not being able to find a secure place for Wolf in one of the courts.  This failed effort contributed to the death of Wolf’s mother in Paris, for she had accompanied him when Leopold was no longer allowed by the Archbishop to leave Salzburg.

But how many of us have bothered to question Leopold’s mission?  I would certainly hope in this day and age that any parent who exploited their children at a young age and to such a great extent as to even move them overseas for a few years would come under severe scrutiny and have to take responsibility for spoiling their chances for life as an adult.

What could have happened if Wolf had been allowed to have a ‘normal’ childhood? Would people have flocked to Salzburg to hear him perform — at least during the summer months? Might Nannerl have been allowed to find her own successful path in music, instead of having her character stunted by the almost supernatural brilliance of her younger brother?

The Mozart family was part of the salt of the earth.  They were not nobility.  They were working class people. What if they had stuck to their roots, and plumbed the depths of God’s will for them, instead of running around chasing after the whims of royalty? Would Wolf have lived longer? Might he not have ended up being, in effect, mind-controlled by his father? Or worse?  Was their a terrible secret in the Mozart family that contributed to his untimely death later on?

*M4B=Mozart For Believers

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