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mozart

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The author, Miles Mathis, argues that Wolfgang Amadeus Mozart’s death was faked. He claims that the traditional narrative, popularized by Peter Shaffer’s play and Milos Forman’s film Amadeus, is largely false. Mathis disputes the idea that Salieri was a mediocre composer who murdered Mozart, stating there’s no evidence for this. He also refutes the claims of Mozart’s poverty at death and burial in a communal grave, asserting Mozart was financially successful and not buried in such a manner. Mathis suggests that Mozart himself, like many artists, destroyed his drafts and notes to focus on his finished works, a practice he understands as an artist.

The author finds it suspicious that Mozart’s grave is unknown and unmaintained, given his fame. He posits that the Amadeus story serves as a cover for a larger deception, implying that “important people” have actively worked to hide the truth about Mozart. Mathis then delves into Mozart’s potential Jewish heritage, citing his physical appearance and the names of his ancestors, linking them to various Jewish families and suggesting his original name, Motzhart, might mean “Moses’ heart.” He draws parallels between Mozart and actor Jeffrey Jones, suggesting a familial connection and that Jones’s Jewish ancestry through his mother, Seely, points to Mozart’s own lineage. Mathis also suggests a link to Alyssa Milano through Mozart’s granddaughter marrying a Milano.

Further supporting his theory, Mathis questions the accuracy of Wikipedia’s claims about Mozart’s descendants, citing Geni.com as evidence that Mozart did have children and grandchildren who continued the family line, contradicting Wikipedia. He argues this is a deliberate attempt to obscure Mozart’s true ancestry. Mathis then explores the ancestry of Mozart’s sister, Maria Anna (Nannerl), and her husband, Johann von Berchtold zu Sonnenburg, also suggesting Jewish connections. He analyzes Mozart’s mother’s and father’s family names to reinforce the Jewish ancestry claim, linking them to known Jewish families and individuals in Hollywood.

The author examines Mozart’s wife, Constanze Weber, also suggesting she was Jewish and that her portrayal in Amadeus was inaccurate. He points to physical resemblances between Constanze and Helena Bonham Carter, and analyzes the names of Constanze’s relatives, finding further Jewish connections. He also investigates Mozart’s librettist Lorenzo da Ponte and Emanuel Schikaneder, the librettist of The Magic Flute, also concluding they were Jewish. Even Salieri’s mother, Scacchi, is presented as evidence of his Jewish heritage, contradicting his portrayal in Amadeus. Mathis also analyzes the ancestry of actors Tom Hulce and F. Murray Abraham, who played Mozart and Salieri respectively, claiming they too have Jewish roots, which explains their casting.

The central argument for Mozart faking his death stems from the lack of a funeral and Constanze not attending it, which Mathis claims was highly unusual. He then introduces the alias Georg Nicolaus von Nissen, suggesting this was Mozart living under a new identity after faking his death. Mathis analyzes a portrait of Nissen, disputing its authenticity and provenance to argue it was a later fabrication designed to cover for Mozart’s continued existence. He believes Mozart faked his death to escape the constraints of Emperor Joseph II and pursue better opportunities.

The author concludes that Mozart, as a Freemason, would have received assistance from his fellow Masons in faking his death. He criticizes David Roell’s theory that operas like Cosi Fan Tutti led to Mozart’s demise, as the Emperor commissioned these works. Mathis insists the true reason for the deception was the declining Holy Roman Empire and the rise of new, more centralized power structures controlled by “hidden fascists” and the “Phoenician Navy.” He argues that Mozart’s faked death was part of a larger scheme to consolidate power, discredit the notion that all famous people are Jewish, and to make ordinary people feel insignificant and less likely to revolt. He ends by suggesting Mozart’s potential homosexuality was not investigated.

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