Showing posts with label Mozart's Wife. Show all posts
Showing posts with label Mozart's Wife. Show all posts

Saturday, January 29, 2022

Joys in January

 

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Cold, tired, eyes full of blue, black and glitter--that for me was January after our family moved to upstate New York in the early 1950's. I arose in the dark,  ate oatmeal and the obligatory spoonful of cod liver oil chased with a shot glass of orange juice, and then got ready for the school bus--boots, leggings, coat, scarf and gloves plus whatever homework I had before trudging out into the sunrise over the snow banks. In those days, the snow had been piling up since October, and by now it was also well glazed with ice. I remember shivering, standing on our porch sheltering from the ever-present North wind and peering, eyes watering, into the gold and red of sun just cresting the stand of trees on the next ridge, anxious to see the bus in time to get down the long driveway in time to meet it. (Needless to say,  there was BIG TROUBLE if I didn't.) 

 

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I remember playing outside in that cold with friends on most Saturdays. There were sliding hills, of course, but there were also enormous drifts in every yard to exploit. We'd tunnel into them and then sit inside, pretending we were in caves or that we were Indians or Inuit, sheltering during a winter hunting expedition. I remember me and my friends bringing candles, throw rugs, dolls and matches along to better enjoy our pretend.

After we'd furnished our "igloo," we'd light the candles and apply the flame to the wall and ceiling of until it dripped. The melt would speedily refreeze, but after a great deal of this careful work, we achieved a shiny frozen shell that might endure, during a truly bad winter, well into March.  Mittens beaded with frozen pellets of snow, toes aching from the cold penetrating our boots, we'd enter child's fantasy land. I have no idea how we endured outside as long as we did, before the inevitable surrender and numb escape indoors for warmth and hot chocolate. Those physical experiences, even so long ago, helped me to imagine some pivotal scenes in "Fly Away Snow Goose."

There are many birthdays for me to celebrate in January--of the living and the dead. Two cousins were born in this month, but also two of grand-girls, the youngest of whom just turned twenty-one! They are all Capricorns, like my mother, whose birthday was also in this month.  (How many families, I wonder, have this aggregation of birthdays in a single month?) 

In the days when my Muse was visiting, I also celebrated the birthdays of two Dead White Men during the month. Alexander Hamilton's birthday is January 11, either in 1755 or 1757, as historians argue over the date. Paper records kept in tropical Nevis have not always survived.

Perhaps Hamilton himself muddied the waters on the date, wanting, rather like Mozart, to keep his hard-won status as a  prodigy for as long as possible.  Born in the West Indies into a family in constant financial distress, with the appellation "bastard" attached to his name, it was of monumental importance to Alexander that every possible strategy to assist his climb the social ladder be employed.   

   Young Hamilton as ADC to General Washington by Charles Wilson Peale                   

I never had birthday parties for Hammie, although I'd loved him the longest of all my dead white man crushes. Here I am in Nevis back when it barely had an airport, and the electricity only ran between 6 a.m. and 6 p.m. My mother took us there--intrepid travelers that we were--back in the mid-1950's. Here's a happy January picture of me on the lava sand beach near where the Hamilton home was once supposed to have been. 


And of course in the days of Mozart madness, I'd prepare for weeks before. I remember the first birthday party we had, it snowed heavily and I spent the morning digging parking places for my friends. Some cancelled, because the weather was truly nasty and the roads treacherous, but here are the intrepid few who came to that first party, all of them writers.


Mozart's birthday party was a thing for many years here. At one gathering, an entire poetry/writing group of perhaps twenty souls arrived, and our small house was warmed by all of those folks, by Mozart's music and much spirited conversation. I always made syllabub, which has to be started a few days before you intend to serve it. The centerpiece was always a glorious German bakery treat such as the one seen below, and we all laughed like children, riding on the sugar/wine high. Winter was outside the door and life was tough, but right now we could forget it all and just be happy.



The baker I talked to about the cake turned out to be not only a recent immigrant from Austria, but a huge Mozart fan as well! He beamed and told me how pleased he was to do this. You can see that he fulfilled my expectations and then some.






  

Friday, January 29, 2021

Mozart's Birthday, 2021


~~Juliet Waldron
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When I began Mozart's Wife, I was madly in love with the composer's music--which conflated to being in love with the man himself. His youthful music is so sensual, so bright and shiny, so full of optimism--it probably sounds like what the flowers must sing to lure the bees. it is green leaf and blue sky music--just the kind to accompany springtime and young love.

Mozart's Wife began like that, full of the romance that bloomed between Mozart and his Stanzi Marie. Pop songs from my own teen years filled my head while I wrote--songs which were likewise full of longing and desire, ones like "I think we're alone now" as the lovers seek a hiding place in which to express their body longings.  

"Little sister don't you do what your big sister done" was the song in Mozart's head, I'm sure, for he'd first loved Stanzi Marie's big sister, Aloysia. This pretty, talented young woman instead  had given herself to an aristocrat who obtained for her the prima donna's roles she craved.

Mozart's height of popularity is on the horizon. He and Stanzi marry, overcoming his father's objections. He composes operas for the court theater and is welcome at the soirees of the rich and famous. Stanzi, hitherto her family's Cinderella, shares in this--she has clothes, maids, lovely apartments, parties--all the perks of having a successful husband. 

Babies come, as they do. A "Blessed event" used to be the euphemism. In the 18th Century, however, childbirth was "travail," a danger through which women passed with trepidation. If she was both lucky and healthy, she might escape unscathed, but death in childbirth was a real hazard. (In my own experience, a gentle, kind family friend disappeared from my childhood when she died in hospital (1953) three days after an apparently uneventful childbirth.) Back in the 18th Century, which had no knowledge of hygiene or germ theory, midwives and doctors alike transmitted puerperal fever and other forms of sepsis from one new mother to another. 

Mozart concealed his acute, feminine sensitivity within his music, only expressing these culturally forbidden aspects of his personality through the female characters in his operas. Although the plots toe the patriarchal line-- i.e., his opera, Cosi fan Tutte--So do they all--these weak women--he certainly endows his female characters with engaging, memorable personalities. There are heroic women, conventional women, mad women, love-sick women, as well as power-hungry, manipulative women, women of wit, of humor and admirable gumption. 

Like his wickedest creation, the rake, Don Giovanni, Mozart knows and loves them all. Once I understood that about him, even the episodes where I conjecture infidelity on his part, have a certain inevitability about them. 

While writing Mozart's Wife, I discovered I did not want to take sides. I understood and loved both my leading characters. 

So Mozart does what men of his century were permitted, stabbing Stanzi to the heart. Being a woman of spirit, and comforted and advised by her cynical sister Aloysia, she hardens her heart and pursues an amour her own.  

In this section of the novel, I moved onto fictional ground, although plenty of rumors from which I drew my inspiration are recorded in letters and diaries of the contemporaries. Meanwhile, there are operas and orchestral pieces being written, some with no buyer in sight, created simply because Mozart's evolving genius compels him. At the same time, there was less recognition and they were falling headlong into debt; there was no stability for the little family. Despair over his faltering fortunes sends Mozart to the bottle.

Babies are born and die, famous and infamous real life characters pass through their lives--Lorenzo DaPonte, the renegade Italian priest and lyricist for Mozart's big three--Cosi fan Tutte, Don Giovanni, The Marriage of Figaro--as well as the real life Casanova. There is also a large cast of musicians, male and female, who sing or play his music. Some were friends, some were false. Some were lovers--of both his music and of the man. And all through these years immortal music was being written.  

While writing Mozart's Wife, I discovered I could not take sides. I understood and loved both my leading characters, despite their failures and flaws. I hope, if you read Mozart's Wife, you will too.

Here is a group of Mozart fans from twenty years ago, at the yearly birthday party I used to have for my hero. We drank syllabub and champagne and consumed all manner of party goodies. We swapped stories that we'd read about Mozart all while listening to his blissful music. Dear friends!




Happy Birthday, Wolfgang Amadeus!



~~Juliet Waldron

http://www.julietwaldron.com

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Monday, June 29, 2020

Housewives, Traditional Sex Roles & Mopping the Floor


Amazing how much time housewives spend pondering their floors. You may think that such a preoccupation is a sign of not much going on in that life, but from a "housemaid" view, the state of the floor is a re-occuring issue. Worn board floors, where cat fur accumulates in powdery drifts after a mere 3 days, or the kitchen linoleum which desperately needs waxing, they all cry out to me. I might fancy myself in an observatory, pondering the gravitational fields of Trans-Neptunian objects, but math always evaded me. --Or maybe I was just a typist at heart.

Gravitational studies do have a small place in the field of housecleaning.  A bit of cat fluff falls at the same speed as the toast crumbs my husband sweeps absently from the table onto the floor. This practice of his used to make me see red. Sometimes he'd do it even while I, rag in hand, was on my way to tidy that exact surface. These days, however, I pick my battles. He doesn't seem to realize that things on the floor immediately become my problem. Or--more darkly--maybe he does.

Most likely, he doesn't think and then multiplies this by doesn't care, because really scratch the surface and most men don't think much about women's work, especially if they have a "proper" housewife in residence. 

This blog is from an elder's POV, one from the "baby bust" cohort. As a female of that era, I was trained to domesticity in the traditional mode by a mother who wasn't much for housework herself and maybe figured such a virtue would eventually help me out in the marriage market. Back then, the deal between the sexes was: The Man performs the work he does in field or office, factory or machine shop and in return, Woman cooked, cleaned and helped to tend the green square surrounding the house, as well as being MOM to the kids. If you were a farmer's wife, you had an extra task in the form of poultry. 

Prehistorical Digression:

Imagine a Cro-Magnon a.k.a. EEMH "European Early Modern Human" woman (perhaps an Aurignacian, the ones with the great wall "posters") cleaning out the clan cave. Gotta take out the garbage you know, or you'll attract all kinds of unwanted guests, like the cave bear who used to live here, the local wild dog pack or the saber toothed tiger, the old one who can't chase faster prey anymore.

This old tiger may be a bit lame, but he's fast enough the dine on you, monkey.


Better to get the tell-tale odors away from your front door. You could simply heave the gnawed bones over the edge of the cliff. If you weren't lucky enough to have such a handy disposal area, you had to laboriously dig a hole with an antler pick and bury the stuff. And just about the time you'd get the place cleaned out, I'd bet dollars to donuts that the men would be back with a new carcass and all jazzed on fermenting grapes or something vegetative and disorienting they'd eaten in the woods. They'll just want to barbecue and party. If that's the case, tomorrow will just be same another day of taking out the trash.

Thank heaven EEMH men did "bring home the bacon," because women were incredibly busy. Either pregnant or nursing, chewing great swathes of hide to soften it sufficiently to sew, or gathering firewood and water and scrounging about for roots, nuts and berries, while trying to keep the older children from falling over the edge of that room with a spectacular view.

Years ago, post climbing the ladders to the dwellings at Mesa Verde, my first question was  how did they raise any kids up there? Or did they tie up toddlers  like backyard dogs until they'd acquired complete balance skills and some judgment?

So now, considering what housecleaning used to be like, I don't consider my modern housework all that hard. When I wrote Mozart's Wife I imagined Constanze's trials when the money ran out--which it often did--and how often she'd find herself doing the chores. Hand-scrubbing those lace cuffs and cravats and undies in a world in which there was no decent hand-cream for winter cracked skin! Soothing ointments? Another item for which you'd have to track down the ingredients and then concoct a cure yourself. Worse would be dishes in a world with no indoor plumbing. The Mozart's, like many today, ate a lot of take-out when they could no longer afford an apartment with a kitchen and/or the requisite cook and scullery maid to staff it.



Personally, mopping floors has become a creative driver. Versions of this housewife's trance work often appear in my stories. The Cinderella-like tale of Genesee, where a Metis girl is demoted from beloved daughter to servant, or Elizabeth Hamilton's strategy in A Master Passion to "encourage" her husband to accept the gift of a housemaid from his in-laws, or  Angelica in Angel's Flightattempting to settle her nerves by scrubbing the steps at her Uncle's Hudson Valley house on the eve of a British terror campaign .



~Juliet Waldron

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"Thou dost appear beautiful on the horizon of heaven... "

(From the Hymn to Aton by Akhenaton "the Heretic")





   

Sunday, December 29, 2019

Harlots & Nightingales



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 Buried in the depths of Hulu is a series based on Harris's Guide to the Ladies of Covent Garden, an erotic guide book to the prostitutes who worked the area. This little magazine was issued every year, at a cost 2 shillings + in London during the period 1757-1795. As the charms and specialities of each woman were described in sometimes graphic detail, it was titillating reading in and of itself. 

Having spent a lot of time imagining exactly that time period in the course of working on various novels, I was instantly drawn in. As befits a British production, the costuming and the opening street scenes on the poor side of town were thrillingly authentic, full of piss, drunks, poverty and danger. I confess, I'm completely addicted to Harlots, which has more engaging characters and more twists, turns and heart-breaks in one episode than some series contain in an entire season. 

Way beyond the soft core flash, Harlots is genuine women's history, served straight up. (!) It's written by women and a stern female gaze informs every scene and every line of dialogue. It made me realize, so much more than the tepid statement: "women had no property rights," that these women were property/chattel, just like their client's carriage horses. 

A woman belonged to her father until she belonged to her husband. If she was married off to a gross rich old man or to a violent young one, she might still be lucky enough to become a widow. Only then would she have a chance to control her own life. In a terrific scene at the end of the first series, an aristocratic woman confides that she doesn't care who killed her husband, but if his whore knows who did, she only wants to say "thank-you."

The best a harlot could hope for was a rich and congenial "keeper," a man who would protect what belonged (often by contract) to him. During Georgian times, in London, one in five women was engaged in the sex trade. There were many sociological factors bringing this heart-breaking statistic about, but whatever was the cause, young women flooded into town from impoverished rural families looking for work as domestics. Even if they were fortunate enough to avoid being recruited or even kidnapped for sex work, they were utterly dependent and could easily be forced into sex with their masters. The practice survives today, in the form of workplace sexual harassment.  

If you think those bad old days are over, take a look at the headlines in the past few years about the trials of women working in the entertainment (and the infotainment) businesses. This also happens in the course of ordinary employment, in offices, in restaurants, where tipped workers are paid (in my state $2.83/hr.) and in factories where women, in ever increasing numbers, have gone to work.  One reason for the vulnerability of working women is because even college educated women are not paid what men are paid for producing exactly the same work. Moreover, the color of your skin decides exactly how much less than a man you will earn. Poor women discover that they can make a great deal more "on the game" than working at a minimum wage job, so, if they are young or need to make their own hours because their children are young and daycare impossible because of cost, sex work might still seem to be the only option. 



The Viennese novels I've written are about the morally sketchy entertainment business, true then as now. Singers, actresses, and dancers enjoy fame and a bit of fortune while their looks and physical abilities last, but in the 18th Century they were never considered "respectable." Glamour and charisma brought wealthy men routinely into a talented woman's orbit. In a time when rich men routinely took mistresses, (and I'm sure it's not any different today) these talented women were collected by gentlemen as objects that proved status and virility--a virility often lodged only in their bank accounts.

My heroines, born poor and talented, Maria Klara and Nanina Gottlieb, live in a world where they always walk a cliff path way, the kind with a crumbling edge and an abyss beneath. Men take them for harlots simply because of their profession. Maria Klara is, quite literally, the property of a dissolute music-loving aristocrat. Her career as well as her comfort depend upon her powerful Count's good will and her ability to please him--both on stage and in his bed. Escape from her gilded cage seems utterly impossible.

Nanina, her family impoverished by the death of her father, barely escapes being turned out by her own mother. Lost virginity was the end of respectability, and, with that went the only other option for a woman in the 18th Century--marriage. Wife or Prostitute were woman's choices, unless she had money of her own sufficient to survive upon.  Artists like Mozart lived on the edge of this fast and loose theatrical world; Papa Leopold Mozart's letters are full of exhortations and warnings to his precious, susceptible son on the subject of whores, who might also be talented prima donnas, the kind of women who have passed through the hands of many men.




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~~Juliet 

Thursday, August 29, 2019

The Intimate Mozart

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Sadly, the book with the perfect title, Mozart's Wife, has had to be issued with a new name, owing to shenanigans on the part of a monstrously large retailer whose name I shall not speak. I wrote this book quite some years ago, now in the last century.  

What began for me as a Mozart obsession soon became entangled with the story of the women who lived with a genius for nine short years, and who took his Viennese rocket ride to fame and fortune and crashed into poverty beside him. This little woman, who was even more diminutive than her vertically challenged husband, saw our hero at his best and at his worst. Her name was Constanze, or, using the German spelling: Konstanze. In his letters, Mozart often called her "Stanzi" or "Stanzerl" when he wasn't teasing her about her "Needle Nose."


It began with a romance, as this least favored of the Weber daughters married her big sister's erstwhile boyfriend, a young fellow who'd been a wunderkind and who was now attempting to be taken seriously as an adult musician. It appears that Mozart suffered from all the familiar problems of a child star attempting to bridge the gap. Accustomed as he had been to fame and adulation from his earliest years, this was made supremely difficult, not only because of Mozart’s own high opinion of himself, but because of the understandable resentment of older musicians who believed they had achieved official appointments “the hard way.”

I found that many of Mozart’s biographers had no love for Constanze. They either belittled her as someone who abandoned her man when the going got rough—as things certainly did in the later years in Vienna—or they dismissed her as a silly young woman from an insignificant family who’d married a genius she was ill-prepared to handle. I immediately doubted the “insignificant” part, at least in terms of the Weber family’s musicianship. Constanze’s two older sisters became famous singers, performing the most demanding vocal music of the day—some of it written specifically for them by their brilliant brother-in-law.

Mozart’s largest problem in finding financial security was that upon voluntarily leaving the Archbishop of Salzburg’s service, he became the first freelance musician (of any stature) in Europe. With an almost impenetrable class system in 18th Century Europe, he paid a high price for his daring. No nobleman could allow such an insult to pass, because in those days, "inferior"  was what musicians, no matter how brilliant, were. (Every great musician who came after him, even the fiercely proud and independent Beethoven, would carry the image of Mozart’s rebellion like a banner.)

It is a modern axiom that “anonymous was a woman,” and so it proved to be as I searched for facts about Constanze among a host of biographies. In the second volume of The Mozart Family Letters,* I found many written by Mozart himself, most sent from Vienna to his father in Salzburg. They make good reading, for Wolfgang was a witty observer. These letters may be the horse’s mouth in one sense, however, we must also bear in mind that they were also carefully tailored to soothe the recipient, the stern and possessive Leopold.

Leopold Mozart had not spent his life schooling and grooming Wolfgang for the pure pleasure of the exercise. He always hoped that his son would receive a good appointment at an important Court and would then be able to support his parents in high style. An early marriage—to anyone, much less to a penniless girl with no useful social connections—was not his plan.

When Mozart began to lodge with the Weber’s, tongues began to wag. Despite the expense, slowness, and difficulty of communication in the late 18th Century, Leopold Mozart seems to have had a network of informants who were only too happy to supply him with information that the proud old man would find disagreeable.  And by simply looking the other way, it was easy enough for the recently widowed Mama, Cecelia Weber, to allow Mozart to compromise Constanze. What amounts to a shotgun wedding was eventually forced with connivance between the widow and a court-appointed guardian.  

 But who is the object of my love? Again, do not be horrified, I beg of you! Not one of the Webers? Yes, eine Weberische—Constanze, the middle one...my dear good Constanze, she ….is the best of them all. She makes herself responsible for the whole household, and yet she can never do right! …One thing more I must tell you, which is that I was not in love at the time of my resignation. It was born of her tender care and service when I lodged in their house…” 

Stanzi wanted to escape her domineering and critical mother; Mozart hoped to take a wife and have a safe and comfortable home to return to after his battles with the world. He looked forward to having his supper fixed, his clothes cleaned, pressed and mended. He seems to have not thought much about the expenses of a family, nor about the inevitability of children nor any of the difficulties of marriage.

The Mozart’s union took a classic form—young people wanting to escape from restrictions and injustices at home. Wolfgang and his Constanze jumped out of the frying pan of parental domination into the fire.

 Another feature of Constanze’s life is rarely mentioned by Wolfgang’s biographers, one I came to believe that this was the key to her story. Frau Mozart was pregnant or convalescent from childbirth for six years out of the nine she was married to Wolfgang. The longest interval between pregnancies was seventeen months, the shortest (on two occasions) six months. In 1789 she was bedridden. Her legs swelled, she had intermittent fevers and a terrible pain in her legs and abdomen throughout the entire pregnancy. The daughter she bore that year died at birth and very nearly took her mother with her.

From the letters, and from what I’ve read to research the symptoms, it would appear that Constanze nearly died of puerperal fever on two separate occasions. Childbirth and the resulting illnesses brought doctors, midwives, wet-nurses, and prescriptions--and expense. It would be difficult, even today, to keep a woman with such an obstetrical record “in good general health.” 

All large European cities were dirty. There were backhouses behind crowded apartment buildings. What this meant for the summer water supply is not hard to guess. The brief life of four of Mozart’s children and the illnesses of the parents were not unusual. However, it can only be imagined how difficult the birth and death of four infants in such a short space of time was for a young mother.

My dear wife….will make a full recovery from her confinement. From the condition of her breasts I am rather afraid of milk-fever. And now the child has been given to a foster-nurse against my will, or rather, at my wish! For I was quite determined that whether she should be able to do so or not, my wife was never to feed her child. Yet I was equally determined that my child was never to take the milk of a stranger! I wanted the child to be brought up on water, like my sister and myself. However, the midwife, my mother-in-law ... have begged and implored me not to allow it, if only for the reason that most children here who are brought up on water do not survive as the people here don’t know how to give it properly. That induced me to give in, for I should not like to have anything to reproach myself with.”

It was a good thing that Mama Cecelia, tactful for once, managed to persuade Mozart that babies cannot live on sugar water, whatever wicked nonsense Leopold had retailed! The wet nurse system being what it was, women took on more babies than they could feed in return for the pittance they were paid. The more I learned, the less surprised I was that only two of the six Mozart babies Stanzi bore in the nine years of their marriage survived to adulthood. 

This letter changed my focus once and for all. All I could see was Stanzi, no doubt ill-prepared and injured by the rigors of childbirth, now ordered not to nurse her child--and being sickened with milk fever as a result--by a man who apparently lived in a dream world. Genius or not, my musical hero had feet of clay. Sisterhood is Powerful!

The emotional toll of so many births and deaths had to be great.  I cannot imagine that Constanze ever felt very well—or was able to function efficiently on any level—while her husband’s moods swung from despair to elation and back again. Their sixth child, Franz Wolfgang, was born at the very nadir of Mozart’s fortune. He survived—perhaps, as I wrote, because the family was now so destitute that his mother was forced to feed him herself. 

After Leopold Mozart, a demanding correspondent, died, the picture of the Mozart’s family life becomes less clear. The other reason we know less is because Constanze, like other wives of famous men,* destroyed many letters written by her to Mozart and most of the letters he wrote to her when she was at the spa or times when he was touring. Those that survive are filled with names that she carefully blacked out during the long years that remained to her after Mozart’s death.

Was she protecting her own reputation? Or was she protecting the reputations of people who were then still alive—and still powerful? Was she covering up something? A few bits of gossip remain.

 Mozart,” it was said, loved his wife tenderly, although he was sometimes unfaithful to her. His fancies had such a hold over him that he could not resist them.”*

While Mozart was probably no Don Giovanni, he was a profoundly talented man working in a profession full of beautiful, talented women. These artists shone the glory of his creation back upon him—a most seductive mirror. Or, perhaps, as has been suggested: “Mozart disguised his own hyper sensitivity by expressing himself through women.”*

The end of the story, culminating in the mystery of Mozart’s death, was created from hints in a multitude of diaries and letters. In the end, I was forced to trust the characters to tell me what had taken place. Whether it is fact or fiction, I allowed the last few chapters of The Intimate Mozart to unfold exactly as my characters explained. 

We women know how much we bring to the table and yet how little we are still regarded. I began by wanting to write a novel which would center on a great man. I ended by depicting an 18th Century wife's world, complete with all the challenges, the successes and failures, the light and joy as well as the sorrows and shadows.

~~Juliet Waldron




*Mozart, by Marcia Davenport, 
*The Mozart Family Letters, translated by Emily Anderson
*Jean-Baptiste-Antione Suard in his Anecdotes of Mozart, 1804
*Martha Washington and Elizabeth Hamilton are known to have destroyed letters "too personal"
* The Mozart Brothers, Swedish film, 1986

Thursday, March 29, 2018

OB/GYN and the historical


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For women's history month, I thought I'd check into a topic that isn't exactly hearts and flowers, but which (perversely, maybe), drew my searching feminist interest. After all, what did our fore-mothers' experience in their real lives? Inevitably, after the romance comes the babies. It's Mother Nature's plan to trick us that way.) Women then had to cope with their bodies as well as their emotions when caught up in an amorous physical relationship. Exactly what, in the 18th Century, did that mean? 


The very first historical novel I wrote, Mozart's Wife, got me researching a kind of social history that has, until lately, been little regarded.  Back in the 1980's when I began to write a novel from the POV of a young Viennese woman  who had the fortune/misfortune to marry the Rock Star of her day, I had to do some serious digging to unearth information about these female rites of passage, from birthing customs, feminine hygiene to contraception. It's top secret info into caring for what--believe it or not--one of our modern (?) politicians is still referring to as "lady parts." 

A good part of Constanze’s life, and rarely mentioned by Wolfgang’s biographers--who, for many years, loved to pile on her for not being the same sort of caretaker of genius that his father had been--the poor girl was pregnant or convalescent from childbirth. For six  out of the nine years their marriage lasted, she was expecting. The longest interval between her pregnancies was seventeen months, the shortest (on two occasions) six months. In 1789 she was bedridden for months. Her legs swelled, she had intermittent fevers and racking pains in her legs and abdomen throughout the entire pregnancy. The daughter she bore that year died at birth and very nearly took Constanze with her. No wonder the poor creature was often distracted. Not only was she struggling to manage a household with an income that came in and went out like some kind of wildly irregular tide; her energies were concentrated upon staying alive.



From the Mozart Family Letters, and from what I’ve read to research her symptoms, it would appear that Constanze nearly died of puerperal fever on two separate occasions. Childbirth and the resulting illnesses brought doctors, midwives, wet-nurses, and prescriptions--and attendant expense. It would be difficult, even today, to keep a woman with such an obstetrical record “in good general health.” And the cure for her ailments? Trips to the spa to bathe in the hot water--and who knows what microbes lurked in those pools, in continual use since Roman Times--and, of course, leeches. The leeches actually might have helped, as they draw blood through areas where swelling or infection has caused circulation to stagnate. They are so used in hospitals today. There is also an anesthetic the critters secrete when they latch on which may have a welcome local effect.



All large European cities were dirty. There were backhouses behind the apartment buildings. If the latrines were inside, this meant a collection point at the bottom of the house which was occasionally scooped out. What this meant for the summer water supply is not hard to guess. The brief life of four of Mozart’s children and the illnesses of the parents are not unusual for the 18th Century. However, it can only be imagined how difficult the birth and death of four infants in such a short space of time was upon the mother.



Congratulations, you are a grandpapa! Yesterday, at half past six in the morning, my dear wife was safely delivered of a fine sturdy boy, as round as a ball. Her pains began at half past one in the morning so that night we both lost our rest and sleep. At four o’clock I sent for my mother-in-law and then for the midwife. At six o’clock the child began to appear and at half past six the trouble was all over. My mother-in-law by her great kindness to her daughter has made full amends for all the harm she did her before her marriage. She spends the whole day with her.”

Raimund Leopold, as he was named, was born strong and healthy, but what the proud father originally wrote to his father is an 18th Century tale, one that today sounds totally crazy. 

“My dear wife….will make a full recovery from her confinement. From the condition of her breasts I am rather afraid of milk-fever. And now the child has been given to a foster-nurse against my will, or rather, at my wish! For I was quite determined that whether she should be able to do so or not, my wife was never to feed her child. Yet I was equally determined that my child was never to take the milk of a stranger! I wanted the child to be brought up on water, like my sister and myself. However, the midwife, my mother-in-law and most people here have begged and implored me not to allow it, if only for the reason that most children here who are brought up on water do not survive as the people here don’t know how to give it properly. That induced me to give in, for I should not like to have anything to reproach myself with.”

It was a good thing that Grandma Cecelia, tactful for once, managed to persuade Mozart that babies do not live long on sugar water! And, certainly, Constanze doubtless did have milk fever more than once, because while they had money, Mozart, that 18th Century husband-whose-word-must-be-obeyed, never allowed her to nurse. Of their six children, only two survived to adulthood. Her last baby, Franz Wolfgang, was probably nursed by his mother, but this was only because that final summer of 1791, the couple were stony broke. In Mozart's mind, breast feeding was "lower class," a stigma that, if you think about it, has lasted for a very long time in our western "civilized" society.  

After Mozart died, Constanze never bore another baby, though she did marry again. I had to assume that such a fertile woman had at last learned the unholy secret of contraception. When I did a little research into that veiled subject, I learned that there weren't a whole lot of options for a "decent" married couple in the late 18th Century. Perhaps she'd learned the trick with the natural sponge and lemon juice or vinegar douche. Perhaps her new husband used a sheep gut condom--there are images of these quaint relics online--complete with a red ribbon to keep it snugly fitted.




~~Juliet Waldron


Wednesday, November 29, 2017

Syllabub & Candy Memories



  http://amzn.to/1YQziX0  A Master Passion   ISBN: 1771456744
Alexander and his Betsy


A delicious 18th Century treat with which our Founders--and their wives--were entirely familiar.  I'm sure the Hamiltons served this at their dinner parties, especially during the spring, when the cows have freshened and the cream is at its thickest.

Here's a recipe, a variant of many to be found on the web or, yesterday, in what are now historic cookbooks. 


1/4 cup sweet white wine such as Riesling or Gewurztraminer, or, if you want it less sweet, Chablis
2 TBS Brandy (Golden Brandy gives a paler color)
1/2 cup of sugar
1/2 vanilla bean seeded
1 cup heavy whipping cream
1 tsp. lemon zest


4 wine glasses

In a small nonreactive bowl, mix wine, sugar, zest from lemon and the vanilla bean. Let this stand over night in the fridge.

12 hours later, remove the vanilla bean. Using another chilled bowl, take the heavy cream and  using a whisk + elbow grease or an electric mixer, whip 'till it forms soft peaks. (Take care not to over work it and turn the cream into butter.)  When the peaks form, spoon into glasses and let stand.

As the picture above, I use wine glasses (these look like Colonial Williamsburg glasses to me) filled 1/2 to 3/4 full, then covered with plastic film and stored in the fridge. After an overnight, the mixture will separate, leaving a layer of cream on top of a liquid. The longer it stands, the more separation you get. The bottom liquid will show the color of whatever wine + brandy was used. Use any brandy you like.





This is a modern recipe. No fridge or plastic film in the 18th Century. They simply stood the glasses on a table, covering them with a clean cloth to keep would-be buggy diners from drowning themselves. The acidic nature of the dessert would preserve it at room temperature for some days. I've seen some 18th Century sieve gizmos which they used to lift the head of cream from the glass, then they'd serve the syllabub as a two-parter, using the wine/brandy liquid for a chaser.  (I prefer to spoon a little of both out of a wine glass, and then, child-like, slap the cream straight down on my tongue. (Many years ago I knew a little girl who turned her jelly sandwiches jelly side down each time she took a bite. I think I got the idea of eating Syllabub that way from her.) Another method was to use the cream as a topper for fresh fruit, while enjoying the liquid in a separate glass.
***
A Sugary Digression:  

In my grade school days, I lived in Skaneateles, NY, where we were snowed in for what felt like eons. Sometimes I entertained myself with a candy recipe book that had been written before World War One; it had my Grandma Liddle's name inside the front flap. 

The directions said things like: "Take a piece of butter about the size of your thumb..." (My thumb? Your thumb? All of my thumb? To the first joint?") I'd just have to guess. This was, in a way, a great cook book for a kid in a way because it made me think and also try to learn more about ingredients. I'd also ask my adults questions, something that my parents thought was mostly a good thing.

What I created sometimes worked--consistency is a hob-goblin of mine--but sometimes I'd end up with chocolate cement or--if you yanked it off the fire prematurely-- syrup. The last could be poured over ice cream, which wasn't a bad option, but let's face it, a lump of sugar + cocoa makes a great
 "gateway" drug for most kids. It wasn't a bad way to spend some of a snowy Sunday.
                                                              ***

Syllabub is very sweet, so something plain, like crackers or tinned biscuits or good homemade rolls may be served with it.  You'll often see plates of these items in period pictures of Syllabub parties.


The excerpt which follows is taken from Hannah Wooley's "The Queen-like Closet" recipe book, (London; 1674)


Take one Quart of cream, one Pint and an half of Wine or Sack, the Juice of two Limons with some of the Pill, and a Branch of Rosemary, sweeten it very well, then put a little of this Liquor and alittel of the Cream into a Basin and beat them till it froth, put that Froth into the Sillibub pot and so do till the Cream and Wine be done, then cover it close and set it in a cool Cellar for twelve hours, then eat it.


This lady appears to be having her arm yanked right out of her sleeve in this  
scene depicting events in Richardson's 1740 novel, "Pamela." 


I do approve of this recipe's final instruction. 


~~Juliet Waldron

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