Mozart - Freemason
Is The Magic Flute a Masonic Work?
Freemasonry is open to men from any background or creed, the only proviso being that candidates believe in a supreme being. It has proven attractive to a range of creative individuals such as writers, artists, architects and musicians.
The celebration of the Seven Liberal Arts and Sciences creates an environment that encourages individuals to pursue their work. Perhaps one of the most well known Masons in classical music is Wolfgang Amadeus Mozart (1756-1791).
Mozart the Freemason
Mozart was initiated in the Viennese Zur Wohltätigkeit (Benevolence) Masonic Lodge in December 1784. He became a Master Mason in 1785. His Cantata for tenor and male chorus, Die Maurerfreude K471 (The Mason’s Joy) was written in 1785. This was one of a string of specifically named works that leave no doubt as to their intention for use within Masonic ceremonies and rituals. Later in the same year, on the death of Duke Georg August of Mecklenburg-Strelitz and Count Franz Esterhazy, he wrote Maurerische Trauermusik K477/479a, which was played for the first time in November in Lodge New Crowned Hope.
It is much less certain that Mozart’s opera The Magic Flute was intended as a Masonic work. However, there are a number of factors that have brought the debate down in favour of such a hypothesis.
The librettist, Emanuel Schikenader was a fellow Mason, a member of Mozart’s Lodge and a theatre manager. In the face of Kaiser Leopold’s prohibition of the craft of Freemasonry in 1791, it has been suggested that Schikenader saw a means of exploiting the opportunity that staging a production that espoused the values of Masonry offered.
Masonic Motifs in The Magic Flute
The story of the Magic Flute can be seen as many things; a fairy tale, an allegory, a cautionary tale. There are many stories of quests, trials and tales of the triumph of good over evil that are not in any way connected with Masonry. The only people who could put the debate about The Magic Flute, Mozart and Schikenader, left no information. However, it is fair to assume that there are parallels to be found between the libretto and Masonic traditions, given both composer and librettist were Masons.
Freemasonry espouses the notion of a quest in the sense that candidates embark on a long journey to better themselves through learning and the growth of self awareness via the acquisition and understanding of specific sets of values. In the opera, there are particular values expected of Tamino, in addition to the stricture of silence imposed upon him while he undergoes his ordeals.
The three temples, representing Reason, Wisdom and Nature, could be seen as a parallel to the three columns that are found in the First Degree tracing boards (teaching tools for candidates studying the Three Degrees of Freemasonry), which represent Strength, Wisdom and Beauty. In order to enter the temples, Tamino has to demonstrate that he is steadfast, tolerant and discreet so that he can move to the next stage and be permitted to seek Love and Virtue. Having attained this first level, he is given another task that involves him being judged by members of the temple. He is admitted to the higher ranks only after facing his fears and holding to the principals given to him by Sarastro.
The magic chimes and the flute that are given to Papageno and Tamino can be seen in a similar role to the tools of the different Degrees of Masonry. In the Opera, the gifts of the Ladies have magical powers, designed to protect them during their quest. In Masonry, the tools, now symbolic but harking back to their actual use by ancient stonemasons, signify levels of skills that must be attained before being able to proceed to the next level and be seen as proficient. In one sense, the tools are dangerous unless the user has the knowledge to use them safely, in which case, they protect the user in a potentially dangerous craft.
In a paper held in the archives of the Grand Lodge of British Columbia and the Yukon, Gino Guarnere states:
Johann Wolfgang von Goethe, a fellow free-mason, speaks to the masses outside the circle of free-masonry regarding The Magic Flute: “It is enough that the crowd would find pleasure in seeing the spectacle; at the same time, its high significance will not escape the initiates.”
Goethe’s statement is revealing, as it points to an inner circle of beliefs and philosophies that may be the very core of The Magic Flute’s libretto and music. Behind Goethe’s statement lies an even deeper question to ponder: Who are the ‘initiates’ and what is the higher meaning of The Magic Flute under free-masonry?
These are the obvious questions that must be asked. If Goethe, a fellow Mason, was making these comments at the time The Magic Flute was a contemporary piece, it suggests credence must be given to a level of substance to the notion that the opera is closely connected to Freemasonry. However, it is a debate that will no doubt continue to be conducted as scholars uncover more information and perhaps as Masons themselves contribute to the discourse in a wider forum.
Sources:
MacNulty, Kirk W. Freemasonary. Symbols, Secrets, Significance. Thames and Hudson, 2006, London
“Mozart. Magical Music’, Freemason. The official Journal of the United Grand Lodge of NSW and ACT, V41, N1, Feb 09, p.8.
Kobbe, Complete Opera Book, Putnum, London and New York, 1961.
The Magic Flute
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