Loving Mozart by Mary Montano

Reviewed by Chrisanthe E. Nicholaou, M.B.A., C.M.T., C.C.Ht., Reiki Master
In JRT Issue 13, 1995

 

Loving Mozart is not just another biography of the musical genius, composer of over 600 of the world’s greatest works. It is the author’s very personal past-life experience as Austrian composer Franz Xavier Sussmayr, the friend of Mozart. Much of what we think we know as history is challenged by Montano’s sensitive narrative of her past-life memories.

The story spans four centuries and four lives. There is an intricate interweaving of the 18th century relationship of Mozart and Sussmayr with the 20th century relationship of American pianist William Kappel and the author. Montano tells the story well, in narrative sequences that move us deftly from century to century. She balances the stories, giving each of the principles a chance to be presented and explored, beginning with a glimpse into their early childhoods and a shared experience with light. The childhood memories are brief and serve to show the bonds that music has on this one soul who was once Mozart, in two of its incarnations.

The book centers on Mozart’s last years, beginning with the meeting in Vienna of a mature Mozart, then 32, and Sussmayr, a young and impressionable 22. Sussmayr approached Mozart in hopes of being accepted as a student, but he soon became the friend, supporter, and final companion to the troubled and frustrated genius, giving up his own work to become Mozart’s copyist. It was a surrender to his inner awareness that his life was bound with Mozart’s; he must be with him, share with him, help him. But Mozart had already begun his descent into ill-health and poverty.

It is at this point that much of what is accepted as fact today begins to be challenged. It is known that Mozart died in poverty, but biographers disagree as to the level and cause of it. Although it is believed that Mozart’s father left the bulk of his estate (much of it earned by Mozart’s childhood concerts) to his sister Anna, the Montano memories blame Mozart’s financial problems on the extravagances of his wife. I must acknowledge a temptation to check related history. No matter; these are Montano’s direct memories of the soul shared, the experiences shared, the music shared, the fears shared, the loneliness shared, the cold and hunger shared, and the final scenes shared.

There is so much more to these memories than entertainment or information. The trials of the two musicians are terrible to read of and to visualize. That genius suffered so may be incomprehensible to us today. Mozart wrote of his fear of being poisoned: that is historical fact. But was he? Biographers differ: some say maybe, but others blame rheumatic fever, influenza, or chronic ill-health from the days of his childhood concerts with their constant traveling in bad conditions. But Montano was there as Sussmayr, a reporter traveled back in time to tell us the truth of this mystery. I won’t spoil it for you.

There is a reason for the music of Mozart, and that is another discovery awaiting the reader. When the soul of Mozart returns in our century as American pianist William Kappell, the memories and the relationship begin again, reaching across time. For although Kappell died when Montano was still a child, by then they had met, known each other, and acknowledged the bond between them. Kappell’s short life is full of coincidences and parallels with that of Mozart. His music, too, has its reasons. And he, too, died in his early thirties.

One might wish that Sussmayr/Montano had met Mozart earlier. There was so much music already composed by the time they met that could have been explored. Mozart is known to have had wit and humor but this is not evident during these last hard years. We do not see this side of him: but perhaps we see the truth, the despairing side shown only to a most trusted friend and companion. And perhaps, after all, Sussmayr met him when these two souls needed to meet.

This book is not intended as a researched biography of Mozart. Instead, it is Montano’s past-life memories that she shares with us. The path through past-life therapy that she took in order to explore those memories are part of her story. Some passages could have used the hand of a professional editor: none is credited. Transitions between story lines are generally clear but occasionally awkward. But these are very minor distractions to a personal record that gives much to the reader.

Loving Mozart is a book for everyone. While past-life regression is the medium for exploring the relationships, it does not overwhelm the story. For the professional therapist, the process itself is interesting to follow; for music lovers it is of course a “must read;” and for all of us the story itself is its own best recommendation.