Zaide, K. 344, Nur mutig, mein herze,

Nur mutig, mein herze

So why am I on such a Zaide kick? There are lots of reasons. Dig closely into my blurbs for some. But often, we go through artistic phases based on philosophical… existential… queries. One theme that seems quite prevalent is the dystopian future. Sure, they play on our fears. Even this troglodyte at heart has to tame my own ‘prepper’ lusts. My wife has insulted me numerous times for suggesting that it may be a good idea to store a stockpile of dried beans and bullets. Yet, the modern dystopic stories, deep in their core, lack moral dilemmas.

"Hey troglodyte, how do you mean?" Some may say.

Hunger Games? Divergent? 1984 (An oldie). Etc. They all center on protagonists’ wrestling with a society so terrible, they have no other choice but to act. To rebel. Their rebellion is their only chance at survival, their only chance for a slice of pleasure, even though a slim chance. Maybe, that is the appeal. Sometimes, I wonder if deep down we want to be put in a position where we are forced to act. Passive action.  In this same manner, one could say that Gomatz is in this type of position. He has nothing to lose. His escape could be his only survival.

But… He is not the one facing a real moral dilemma.

Lately, I’ve been wrestling in my writings. (I’ve yet to have a hint of success).  I’ve created works centered on a utopic society. But, this society is propped via a corrupt reality. The protagonists wrestle with whether taking a stand is worthwhile, if it means ruining their lives. And, even crumbling the culture.

Then I come to a work like Zaide.

I’ve done some research on Ottoman slavery during Mozart’s time. Of course, we all abhor slavery (or at least should) but Ottoman slavery was… interesting? Many of the most powerful advisors and politicians were slaves. Particularly European slaves. And, during a time when women were downgraded, the wives of the harem had considerable power. Some were the most powerful people in the land.  All this power, yet still a slave. Hence, enters the moral dilemmas of Zaide. Both Zaide and Allazim had a good lot. (Even Osmin acknowledges it in his mocking.) But, are they willing to give it all up for a greater purpose? One can see why Zaide would take a risk for love. But what about Allazim? Why would he risk his life? His prosperity… Love? Possibly a even deeper love?

Nur mutig, mein herze reflects Allazim’s struggle. He has caught young, forbidden love, mid dance. His job is to punish, but he offers mercy. A mercy that could get him killed. In this aria, he fights his fears, trying to psych himself up to do what is right. With a fist pump, he finishes the aria with the phrase, ‘often the weak beat the strong.’ Somehow, someway, he places his confidence in something bigger than himself or his situation.

And, this brings me back to Mozart. Yes. He had a lot of misery in his life at that point. But, as I think about it, in his time, misery was the norm. Having a slow internet connection is nothing compared to the crap 18^th century humans had to endure. Mozart would have had a better lot than most. I wonder if at times, Mozart looked at his life listening to the voices that said, “Suck it up, everyone is miserable,” and thought, “Yeah. They’re right. I have it pretty good.” He tried to convince himself that. Yet, he couldn’t. He would never be content in Salzburg. Thus, his own moral dilemma. Should he stand against his father? Against his employer? Against his city? Even if it led to his destruction?

Zaide, K. 344, Trostlos schluchzet philomele

Trostlos schluchzet philomele 

There are more literary references to a caged bird yearning for freedom than junk cars trapped in groves.  The reference has become cliché, but as with most clichés, they become cliché for a reason. They illustrate truths well. I wonder where the caged bird metaphors came from. Was it Zaide? I doubt it. If anyone knows for sure, let me know on my Facebook page. So, why does this metaphor resonate? In some way or another, we all feel trapped.  Mozart for sure. 

In Trostlos schluchzet philomele Zaide finds herself in a dungeon. She compares herself to a nightingale. Calling out day and night. Interesting fact about nightingales, they are known for singing at night (Duh). But, they do so in search of a mate. So, they cry out day and night until they find their love. Nice poetic happy hippy stuff. The nightingale has been fine fodder for fancy verse from its first flight. I’m sure Mozart was aware of all this. But, I am not out to accuse him of delving into the cliché.  

The music’s mood is that of seeking, searching, yet there a smidge of content. It has more peace than Ruhe Sanft. Not a peace that says, 'Things are going my way,' but one that says, 'Things are not, and I'm ok with that.'

The lyrics ‘Ach, wer könnte sie wohl strafen, Wenn sie findet, was sie sucht’ hold the key. (I hope I have them translated right. But if not… Well, what would you expect from a troglodyte.) In both the music and the lyrics, this is the work of a man searching, not the work of a man knowing. Mozart was seeking that thing (or things) that would bring him real, lasting joy. The song (the entire opera even) seems to elude that that joy-invoking element is love. Yet, why do so many, who write these lofty, beautiful songs about love, seem to have such trouble in the practical department? Have they idealized it too much? Or have the sought it in the wrong place? 

Do Zaide’s words “Oh, who could ever punish her, when she finds what she is looking for,” suggest a love no one can ever steal. A love that can endure anything. Do her words reflect Mozart’s desires? His struggles? Is such a love possible? If so, did Mozart ever find what he was seeking?

Zaide, K. 344, Tiger! wetze nur die klauen

Tiger! wetze nur die klauen

If people didn’t fight for what is wrong, would anyone need to fight for what is right?

I wonder if Mozart ever got sick of it.  The voices, pushing, pulling. His father. Colloredo. His fans. His critics. Sulzberger’s. The Viennese.  Fighting their wills, in order to pursue his own.

I don’t see Mozart as a fighter. By fighting, I don’t mean physical alone. We can fight in all sorts of ways. Both peaceful and violent. In fact, I’m often haunted by this reoccurring theme: ‘Stand up for what you believe.’ Sounds great, in principle. Until, as a youth counselor, I have to clash heads with teens who fight me over the slightest instruction, all the while they’re implicitly (and even at time explicitly) standing up for what they believe. Like a chain between two tugging tractors, I have to adhere to the values of my employer—even if I may think the kids have a point. Who am I decide either way? I don’t want to fight. I have to. (By fight, I mean hold kids accountable.)

The world is full of people fighting for what they believe is right. Much of the time that means, in reality, they are fighting for what they want. ‘Ok? Sound good to me,’ some might say. ‘Shouldn’t we fight for what we want?’ I don’t know… Then, am I to drop my ears back, gnaw, claw and kick until I become the alpha stallion? In spite of all the great things people have done by standing strong (and I’m not at all saying they shouldn’t have), I ask myself how many more atrocities were caused by those who stood up for what they believed, or wanted.  Who knows what would have happened had Hitler not been so perseverant? Even peaceful protests are not as peaceful as some would claim. The have a cost.

And…

Oh, how I hate the way people fight to get others’ attention. Maybe, that is part of my problem. I want recognition, but I don’t want to fight with those willing to pull down their pants just to get others to look at them. Or, those who lay guilt trips.  Or, those willing to spend thousands on marketing.  I assume, if people don’t recognize my work, it’s because it’s not quality. (Part of me still hopes I’m wrong.)

Now, I’m not making grand claims saying that we should never stand up for anything, I just wonder if it would behoove us to reflect more over why were fighting, and what standards we use to determine what’s worth standing up for, before assuming we’re right.

Yet, sometimes we are placed in a position where we have to take a stand. One side or the other. Tiger! wetze nur die klauen is a song that reflects such a dilemma. A powerful song of fist-shaking defiance, Tiger! wetze nur die klauen starts right off saying, ‘this is enough.’ She’d lived in luxury, but at a price. A sexual slave to a powerful man. Likely, she could have been beating her brows with guilt, saying, ‘I deserve this. Look at all the other slaves below me. I have it good compared to them.’ Then, she meets Gomatz and everything changes. She tries to escape, and is caught.

Then, enters Sultan Soliman. A man who is fighting for what he wants. The love of Zaide. As a man, I can identify. Who hasn’t had a crush so strong, that he thought he’d do anything to conjure romantic feelings? But, how far should one take that? This is not a battle Zaide wanted. The slower, sadder middle section of the aria laments with regret, but it transitions back to fist-shaking defiance. ‘Let’s do this.’ It seems to sing, ‘The only pleasure, you’ll willingly get from me is my death.’

I wonder if at the Zaide period of Mozart’s life, he believed a fight was inevitable. A fight with his father? Colloredo? Did he daydream about the eloquent words he would use that would put either in his place? What would it take to get Mozart to stand up for what he wanted? Either way, it was not a battle he wanted to fight.

Sometimes, people like to push others, to try to get them to fight back. I’m not sure what I think about the principle. I can see merit, but it still bothers me. Henry Ford was a jerk to his son. His son never stood up for himself, and eventually, died. Ford was devastated, and said something akin to, ‘I loved him. I just wanted him to stand up for himself.’ Who wants to be that person? I don’t get it. And, if there weren’t any people like that, would we need people like that to train others to stand up for themselves? My brain hurts just now. I don’t know… Maybe I have to live in the ‘real world.’

I still can’t shake the feeling that Colloredo had the same mentality. Read my blurb on Colloredo if you want to see why I think so. http://tonedeaftroglodyte.blogspot.com/2013/04/a-radical-theory-about-archbishop.html   Colloredo goaded Mozart’s Tiger! wetze nur die klauen fight. It was his actions that brought Mozart to Vienna, weaning him from his father. Was that good for Mozart?   ???   Or, was it simply good for us? We’re the ones that get to enjoy the music.