By Matt Rees
Award-winning writer Matt Rees takes readers to 18th centuryAustria, the place Mozart’s estranged sister Nannerl stumblesinto a global of ambition, conspiracy, and immortal track whereas trying touncover the reality approximately her brother’s suspicious dying. Did Mozart’s existence endin homicide? Nannerl needs to courageous dire situations tofind out, operating afoul of the key police, the freemasons, or even theAustrian Emperor himself as she delves right into a scandal more than she had everimagined. With pleasing old information, compelling characters, and areal-life secret upon which every little thing hinges, Rees—the award-winning authorof the the world over acclaimed Omar Yussefcrime series—writes within the culture of Irvin Yalom’sWhen Nietzsche Wept, Louis Bayard’s The light Blue Eye, andPhillip Sington’s The Einstein Girl to achievethe absolute best in ancient fiction with Mozart’s final Aria.
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I unfolded the page and pointed to the line that interested me most. ” I asked. ” Stadler pursed his lips, working them as though they gripped the reed of his instrument. They were supple and muscular from constant exercise with the clarinet, but they were firmly shut to me. “Surely you have some idea,” I said. “You were one of Wolfgang’s closest friends. Why don’t you complete his essay, as Constanze asked? He must’ve explained to you his vision for this Grotto. ” Stadler looked at me with the eyes of a tradesman caught cheating on a bill, fearful and brazen.
Could he have been so embarrassed by his debts that he became depressed? ” “It can’t be. The only men who even knew of his troubles were Prince Lichnowsky and poor Hofdemel. ” Constanze settled in an old damask chair. “Wolfgang often said that among the Masons there was no inequality. ” I understood the attraction to Wolfgang of such an egalitarian brotherhood. He had always hated rank. In the service of the prince archbishop of Salzburg, he had been treated as a lackey, dining with the valets and writing only the music his master considered suitable.
This room used to be like a busy workshop. At that table, his copyists would transcribe his scores. He’d pace between them and his composing desk and his piano, leaving traces of this perfume behind him. I used to cut the quill pens for the copyists. Sometimes I’d help copy Wolfgang’s pages for the orchestra. There was such energy here. When he completed The Magic Flute, we were all industrious and happy. ” Constanze’s speech was fast, overwrought, in a high, plaintive register. She had been like this on the only previous occasion we had met, when she had been anxious for the approval of my father.
Mozart's Last Aria by Matt Rees