Wolfgang Amadeus Mozart was a celebrated 18th-century Austrian composer who is now widely considered to be one of the greatest and most influential musicians in the history of Western music. Mozart’s musical legacy is known throughout the world, and his compositions have influenced the evolution of all the musical genres of his age. Mozart was a prodigy from a young age, but there were many critical influences that led to the level of timeless eminence that his music has reached today. Mozart was heavily influenced by his interactions with Jews, most notably Lorenzo Da Ponte and Baron Raymond Wetzlar van Plakenstern, and because of these Jewish influences, he was an outspoken critic of anti-Semitism. The Jews in Mozart’s life ultimately played an important role in the success of his career, serving as valuable connections and close friends. After Mozart died in 1791, his music continued to be played by artists all over the world. One of the primary reasons that Mozart’s music has survived for so long is the popularization of his compositions by prominent Jewish musicians, including Felix Mendelssohn and Fritz Busch. Throughout Mozart’s life and continuing after his death, Jews had a significant influence on his musical legacy.
According to the historical record, Mozart had at least two prominent Jewish friends who played important roles in his life both personally and professionally. The first Jewish influence on Mozart was Baron Wetzlar van Plakenstern, a wealthy banker who served as Mozart’s landlord while he was struggling at the beginning of his career. Baron Wetzlar was a reliable and benevolent presence throughout Mozart’s life, providing encouragement when he was down on his luck and financial support when he was successful. In correspondence with his father, Mozart calls Wetzlar his “true and good friend,” and he would go on to prove this by asking the baron to be the godfather of his first son. Apart from being a close friend and beneficiary, Wetzlar significantly advanced Mozart’s career by introducing him to Lorenzo Da Ponte. Da Ponte was an Italian-born Jewish poet who served under Emperor Joseph II, and Baron Wetzlar connected him with Mozart with the goal of furthering both of their careers. Da Ponte proved to be a major influence in Mozart’s musical endeavors, as well as a close confidante and friend. Da Ponte and Mozart worked together to compose three operas that are now considered to be some of Mozart’s most prolific works. The first piece, “The Marriage of Figaro,” premiered in 1786, and it was so well received that their next piece came out only one year later. It was their second opera, “Don Giovanni,” which was most clearly influenced by Da Ponte’s Jewish identity; towards the end of the opera, a statue comes to life and seeks vengeance for a murder, which is highly reminiscent of Der Golem of Yiddish folktale. This reference to Jewish folklore was hugely popular when the play opened in Prague, which helped to solidify Mozart’s place as one of the most prolific composers of his age. Their final work, “Cosi Fan Tutte,” turned out to be Mozart’s final operatic piece. It premiered in 1790, and Mozart died just a year later. Both Da Ponte and Baron Wetzlar were consistent and influential friends to Mozart until his death.
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After Mozart died, one of the first musicians to regularly and enthusiastically conduct the late virtuoso’s music was Jewish composer Felix Mendelssohn, who was often called the “Mozart of the 19th century.” Mendelssohn forged a friendship with Wolfgang’s son, Carl Mozart, and through that friendship, he was able to acquire a plethora of the great composer’s musical manuscripts. In 1908, Mendelssohn’s nephew presented a huge collection of Mozart’s music to the German Emperor William II, including “Entfuhrung aus dam Seraile” and many other works. By introducing Mozart’s music into the German royal archive, Mendelssohn added to his fame and helped to preserve his legacy. Another Jewish composer who helped to cement Mozart as a timeless musical legend was Fritz Busch, who conducted the three operas which Mozart wrote with Da Ponte at the Glyndebourne Festival. Most of the musicians in this festival were Jews who had fled the Nazi regime in Europe, and it is largely credited with sparking the revival of Mozart’s music in Great Britain. One of the Jewish musicians who performed in the festival, Bruno Walter, wrote in his journal on the two hundredth anniversary of Mozart’s birth, “this should serve above all as a word of gratitude for the supreme joy with which Mozart’s compositions have brightened, blessed my life.” Jewish friends and artists played vital roles in Mozart’s musical and personal life, and after his death, Jewish musicians spearheaded the efforts to preserve his musical legacy.
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