Mozart's bawdy canons, vulgarity and debauchery at the wiednertheater
Mozart's bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a personality given to crass expression.Moreover, his association with Emanuel Schikaneder's supposedly dissolute Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of his profligate tendencies. A review of the original source materials reveals that these views are apocryphal, originating afterMozart's death and embellished in nineteenth-century commentary and scholarship. Examples of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf der Wieden, provide new insight into the genre. An examination of surviving bawdy Viennese canons in their social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this period, that Mozart's use of scatalogical language was relatively mild for the time and that accounts of the composer's debauchery in his last years have little evidentiary basis.
Original Publication Date
DOI of published version
UNI ScholarWorks, Rod Library, University of Northern Iowa
Buch, David J., "Mozart's bawdy canons, vulgarity and debauchery at the wiednertheater" (2016). Faculty Publications. 1035.