THE NEW FEDERALIST

January 26, 1998

Page 4

Why We Should Remember Mozart as a Great

"American" Composer
by David Shavin

EIRNS/Carlos de Hoyos

A Mexico City performance of Mozart's Magic Flute, featuring children. The

great Austrianthe "great American"composer Wolfgang Amadeus
Mozart.

Tuesday, Jan. 27, is the birthday of a famous "American," Wolfgang

Amadeus Mozart. The composer never set foot in the Western Hemisphere,
and he died only two years into George Washington's Presidency. (In fact,
the day he diedDec. 5, 1791Alexander Hamilton gave birth to his
seminal strategic study, the Report on Manufactures.) However, Mozart
died fighting, quite literally, for the hearts and minds of the populationthe
population that was to be treated by the principle that "all men are created
equal."
Specifically, after the world was turned upside down on the British at
Yorktown in 1781, Mozart was the key strategic asset of the supporters of
the American Revolution in Europe, grouped around the League for Armed
Neutrality (see Fidelio magazine, Vol. I, No. 4). Success in defeating
usurious control and enforced feudal backwardness, and developing the
productive powers of the human population, depended vitally upon the
powers of poets of the mind, like Friedrich Schiller and Wolfgang Mozart.

As with today, that period was no time for posturing or for repeating the
politically correct formulae. The largely dormant creative capabilities of
ever more significant proportions of the population had to be accessedor
turmoil would break loose and, finding a population unprepared to deal with
it, would unleash a senseless bloodshed that would leave generations to
come crippled and backward.
In 1791, Mozart's opera, The Magic Flute, was gripping Vienna, the capital
of the Austro-Hungarian Empire, posing the core issue of the building of a
republic: whether, in fact, each human being is made in the image of God,
with real access to the quality of creativity, imaging the creativity with
which the Creator created the world. Mozart's opera presents the aristocracy
of a self-selected group of men, Sarastro's brotherhood, as a social institution
that is inherently limited. Knowledge can no longer be successfully preserved and transmitted by these men, whether they be thought of as monks
or Masons. Sarastro chooses to pass the mantle of leadership to a pair of
young lovers, Tamino and Pamina. For Mozart, knowledge must now live as
the fruit of the marriage of truth and beauty. The knowledge necessary to
govern springs from the same source as true loveand both are accessible
to any man or woman who is willing to appropriately orient his or her
emotions. So, the wellspring of human emotion, called in the New Testament agap, must be properly cultivated as the strategic reserve of the
human race.
The French Upheaval
At the same time, in France, Lafayette was still attempting to find a republican middle ground amidst the turmoil, including his personal intervention to
save Louis XVI and Marie Antoinette from mob action. Marie's brother in
Vienna, the Emperor Leopold, had taken the critical step of firing Count
Johann Anton Pergen, head of the Secret Police. Pergen was more powerful
than all of the other Cabinet ministers, and the key figure in organizing in
Europe for the destruction of the American Revolution. Pergen's "intelligence memo" to Emperor Leopold had assured him that the longstanding
Masonic organizations all had clean bill of health, even though their
materialist philosophies and gnostic practices were in fact central to the
organizing of mobs. However, Pergen's memo mentions a new group that
had to be destroyed:

The first operation of this secret ruling elite . . . [was] the loss of the
English colonies in America. . . . From there they sought to spread
their influence further.
Pergen's eyes were focussed on Mozart's friends; he cited the troubles in
France as being most directly tied to Mozart's ("New-Crowned Hope")
lodge. His Secret Police possessed a copy of a provocative letter addressed
to Mozart's lodge, ostensibly from French radicals, equating the cause of the
French Revolution to the cause of all Masons. Pergen was waiting to
pounce on Mozart et al. However, Mozart's group saw through the charade,
and wisely turned the letter over to Pergen themselves, disavowing any
connection with such nonsense. Pergen was reduced to making an
embarrassed explanation to the Emperor:
I presume that [they] have become suspicious; and in their apprehension that their continued silence could result in trouble from the
police, because the letter contains inflammatory statements, they have
sent me the original letter along with their comment that they had no
intention of responding to it.
Leopold not only fired Pergen; he also reopened the most infamous judicial
abuses of the previous 10 years (including the 1782 "Eskeles" case, which
had frozen Mozart out of the direct collaboration he had established with the
Emperor Joseph). Pergen had made a career of manipulating emperors,
playing Venetian tricks by controlling key agents on both sides of a phony
issue. His long-time opponents, Joseph von Sonnenfels and Ignaz von Born,
were the "secret ruling elite" of American revolutionaries. The latter, von
Born, the "Benjamin Franklin" of Vienna, was thought to be the model for
the Sarastro of The Magic Flute. Given von Born's death weeks before the
premiere of the opera, the audience must have been stunned at Mozart's
boldness in having the heroine, Pamina, address Papageno's irrational fear at
the imminent arrival of the slandered Sarastro. Pamina's incisive outcry in
the face of the spreading nameless fear (spreading among the audience, too)
was that one must cling to "the Truth!"that is, in German, "Wahrheit!"
the name of von Born's last group.
Death and Imprisonment
Whatever Pergen thought of this, Mozart was dead before winter, the
Emperor Leopold before spring. Count Pergen was back in the saddle in
1792, riding the next Emperor, Franz. Lafayette was arrested and

imprisoned in Austria's dungeons. While he was in prison, the Terror was

unleashed in France; the King and Queen were executed, the scientists and
intelligentsia, and then even the leaders of the mob. Lafayette's wife,
Adrienne, was imprisoned in France. Her family, the de Noailles, had been
instrumental in the League of Armed Neutrality, and in French support for
the American Revolution. (Also, in 1778, as their son-in-law Lafayette was
fighting the British near Philadelphia, they had hosted Mozart near Paris.)
Adrienne was released from prison by intervention from Washingtonbut
not until she had had to endure seeing her sister, her mother, and her
grandmother depart together for the scaffold, and their executions.
Immediately upon her release, Adrienne went to Vienna to confront Pergen's
prisons. When given a choice between quiet retirement and a prison cell
from which to pursue her husband's cause, she volunteered to go back into
jail. Her relentless pursuit of truth from her new cell was the key factor in
winning her husband's release, and her story formed the basis for Beethoven's sole opera, Fidelio. (See Donald Phau, "Fidelio: Beethoven's
Celebration of the American Revolution," Campaigner magazine Vol. XI,
No. 6, August 1978.)
(The young Beethoven had been sent to Vienna to attempt to fill Mozart's
shoes in 1792, and his first five years there were dominated by the government that was holding Lafayette prisoner, and was conducting sham trials
against the leading American-style republicans. Mozart's friends from the
previous governments, including the constitutional legal scholar and
strategist Karl Anton Martini, received sentences of 20-60 yearswith one
of them being put to death.)
American Birthright
No difficulties the early American administrations encountered in carrying
out Alexander Hamilton's program, can be understood in isolation from
these 1792-97 "Venetian"-style operations carried out in Europe and in the
new United States (for example, the "Citizen Genet" case or, in this country,
the Whiskey Rebellion). In fact, in 1797, Pergen's specific operation against
Mozart's group was aped by one John Robison, the hero of today's John
Birch Society. Robison studied Pergen's operations and created for British
Intelligence a re-warmed, English-language version of the Pergen report,
using Pergen's template with one glaring substitution: all Masonic activity is
useful and should be kept secret, unless it be directed against the interests of

the British Empire. This tract was circulated publicly in the United States no
later than 1798, to sow maximum confusion and factionalization.
The "magic" of Mozart's flute-opera was clearly displayed in the opera as
the godly power, gracefully bestowed upon mankind, of music and of beauty
to steer mankind along the sometimes thorny path of Truth. Mozart
researched this matter in his intense re-working of Bach's science, and knew
it to be true from his courage in examining the seemingly "magical" qualities
of his own "innate" genius. In fighting to master his own creativity, he well
knew the difficulty, the accessibility, and the joy of this path.
May his birthday find Americans working to discover their own birthright.
A fuller treatment of The Magic Flute and of the way in which Mozart
proposed to build a republic, can be found in New Federalist Vol. V, No.
9 (March 4, 1991).