Mozart's Last Aria Part 4

"He had studied it much of late. Maestro Haydn has been on a lucrative concert tour to London. Wolfgang intended to follow him there next year."

"But why do the Masons employ English?"

"The Masonic order was first created in Scotland. The use of English acknowledges those early traditions."

"That seems harmless."

"To the emperor even such innocent fun might look like the Masons are trying to hide secret knowledge. English is a language spoken by few people in Vienna."

"Does the emperor act on his suspicions?"

"He has gone so far as to order that no more Masonic lodges be formed."

No new lodges. I understood a little of Stadler's fury about the Grotto. "Then why did Wolfgang create an opera about Masonry?"

Schikaneder shook his head. "People sometimes think Wolfgang was less than serious. Because his laughter was a touch manic and he used to hop and skip when he was overexcited. But he had his intellectual side. He was a great admirer of the new Enlightenment philosophers-for their belief that reason, equality, and the human spirit are greater than the authority of the church and of kings. As a measure of this, Wolfgang rejected hierarchies. He judged everyone by their talents and their character alone, rich or poor, man or woman. He injected these ideals of his into The Magic Flute. He wished to show the true, beautiful face of Masonic Brotherhood, regardless of-of the potential for misinterpretation."

It was I who felt naive amid this talk of suspicion and revolution. I was disturbed that my brother had risked offending our emperor. "Yet you collaborated on the opera with him."

"Wolfgang was determined," Schikaneder said. "G.o.d knows, I owe the order of Freemasons nothing. My lodge was Charles of the Three Keys in Regensburg. But I was expelled."

"Why?"

"For immorality," Gieseke snapped. "With two actresses in his company."

Schikaneder's laugh was wistful, as though he recalled some long-ago pleasure. "Quite so."

"How then does this opera, as you put it, advertise Masonry's best elements?" I said.

He fluttered his hand. "Symbols," he said. "Some symbols, that's all."

Gieseke clicked his tongue.

Schikaneder cast a dark look into the shadows where the younger man paced.

I wondered at their silence. It was heavy with things they would surely have spoken to each other had I not been present. Do you want us all to end up like Wolfgang? Stadler had said. Perhaps "us" referred to the men who might have joined his new Masonic lodge. "Can my brother's love for Masonry have endangered him?"

Schikaneder let his mouth and eyes open in surprise, as though my meaning dawned upon him slowly. "Madame, you can't possibly mean- But your brother died of a-a what's it called-some kind of a fever. Military?"

"Miliary."

"Quite. Well, no, no, don't ever think I would've allowed such a precious man to place himself in danger for the sake of an opera, no matter how immortal its music."

The lantern's flame appeared to die, then it rose again. Schikaneder glanced at it with momentary horror. "No," he said, louder than necessary. "There's nothing sinister about any of this."

Gieseke stepped forward and slammed his palms onto the table. He leaned over Schikaneder, sweat gleaming on his face. "The Rosy Cross," he shouted.

Schikaneder reached for the man's hand.

"Don't touch me." Gieseke pulled up a chair, close to me. He smelled of unwashed clothing and his breath reeked like a dog's panting. "The Sovereign Rosy Cross is the secret symbol of some Masonic lodges. It's represented by the number eighteen."

"Karl, Karl." Schikaneder's voice was low and powerful, a baritone stage whisper. It rumbled in my bones.

"Shut up," Gieseke said to him. He gripped my wrist. "In The Magic Flute, the name of the high priest is spoken eighteen times and sung eighteen times. He speaks eighteen sentences and sings one hundred and eighty bars of music. When he comes onstage, the chorus that accompanies him is eighteen bars long."

"What does this mean?" I asked.

Schikaneder puffed out his cheeks. "Our friend here is an actor, but also a would-be scientist. Myself, I have no patience for accounting."

"Listen, woman." Gieseke pressed my wrist so that the skin twisted. "Wolfgang died eighteen days after the first performance of The Magic Flute. That's true. One need not be a scientist to count a couple of weeks. And he died in his thirty-sixth year, which is two times eighteen, in the year of 1791, whose digits add up to eighteen."

"Now you're just being ridiculous," Schikaneder said with good humor. He went to the corner to pour himself another punch.

"My dear lady," Gieseke said, "this has been driving me mad."

"You don't say?" Schikaneder smiled.

"I wrote the text for your brother's final Masonic music. The last thing he ever wrote for them."

"Them? Don't deny that you're one of them." Schikaneder drank.

"That's right. I was a brother Mason in Wolfgang's lodge."

"What was the piece you wrote with him?" I said.

"A Masonic cantata for performance at one of our lodge meetings," Gieseke said. "The score is eighteen pages long. Eighteen pages."

He rose from his seat, his arms wide, appealing.

The door opened and a thickset maid brought a tray to the table.

Schikaneder lifted the lid of a pot. "Look, Karl, eighteen slices of potato, served by Johanna, who is eighteen years of age, and cooked in a kitchen eighteen paces from here. And she earns three and a half kreuzers a day, which makes twenty-four and a half a week, which- Oh, but that doesn't help your theory, does it."

The maid looked puzzled. Schikaneder waved for her to leave.

When the door shut, Gieseke hammered the edge of his fist onto the table. "Wolfgang's music was filled with the secrets of the Masons, for anyone to recognize. Even those who weren't initiated into the Brotherhood. He was poisoned because he betrayed these things."

"The number eighteen?" I said.

Schikaneder spooned out some sauerkraut. "If such trivia is kept secret, it's only because to reveal it makes one look ludicrous and quite possibly insane."

"Wolfgang's body didn't become stiff and cold after death. You told me so yourself," Gieseke said to him. "Just like the famous case of the last pope, who was poisoned. There should be an investigation."

Schikaneder played with the hair around his ears, studying the actor. He made his voice quiet and penetrating. "If there were an investigation, who do you think they'd come to first?"

"What do you mean?"

"You were a member of Wolfgang's lodge, Karl. You're quite certain he died by foul means. You worked with him on the cantata which, as you point out, was a magical eighteen pages long. You might have some explaining to do."

"I have nothing to hide."

Schikaneder ladled a thick brown sauce onto two pale dumplings. "Yes, nothing. And also nowhere to hide. Not from them."

He laid the spoon in the gravy dish. The two men stared at each other, silent and tense.

"Them?" I said. "Who do you mean?"

They held their stare. Schikaneder shoved the plate toward Gieseke. "You need to eat, to keep up your strength, Karl. You aren't yourself," he said. "Remember, you have performances this week."

Gieseke swept the dumplings onto the floor. "Starvation would be a better, quicker death than this," he yelled.

He rushed out into the cold.

The door swung in the wind. Schikaneder closed it, turned the latch, and leaned against it a moment. He returned to the table and made up a plate for me.

"A quicker death?" I said.

"Pay no attention to Gieseke. Wolfgang's tragic pa.s.sing has affected us all in different ways," he said. "You understand?"

I inclined my head.

Schikaneder put the plate before me. "Mahlzeit. Bon appet.i.t. Liver dumplings and sauerkraut," he said. "Wolfgang's favorite."

Chapter 5.

A dizzying throng of people and animals weaved along Karntner Street as my cab returned from Schikaneder's theater. Coachmen rattled their vehicles over the snowy, half-frozen mud, yelling at pedestrians who stumbled on the rutted dirt. So different from the quiet of my village.

We reached St. Stephen's Square. The cosmopolitan lower echelons of the imperial capital hurried about, slowing the carriages to a walking pace. People from every part of the Empire pa.s.sed the window of my cab. Serbs twisting their mustaches. Greeks with the bowls of their long pipes glowing in the twilight. A pair of Jews, black-bearded and with long side curls, their dark coats limp over meager shoulders, speaking something that sounded like Polish. I heard Hungarian from the mouth of a man in a greasy sheepskin coat, and the language of Bohemia from a blond-haired youth shoving a knife into the top of his tall leather boots.

It was a long time since I had witnessed a scene so bustling and alien, and the first time I had ever experienced a city alone. I was cautious and thrilled, like an adventurer entering the heart of a forbidden civilization in some far continent.

The cab continued beyond the wide Graben. Amid all the strangeness, I noticed a place I recognized. I called to my driver, climbed down to the street, and dismissed him. Beside the great church in the square of Am Hof, the Collalto Palace glowed by the light of the lamps at its entrance. I had made my debut in the imperial capital here as an eleven-year-old. My brother had been the star that night. Though only six, he had played accurately even with the keyboard obscured beneath a cloth. Count von Collalto wrote a poem for Wolfgang which said that though he was "small in stature, like the greatest he plays." It had been an audition of a kind, and we had succeeded. An invitation soon came to perform before the empress at Schonbrunn.

I stood on the corner by the palace, gazing up at the relief columns of the otherwise plain facade. I had pa.s.sed through these heavy chestnut doors thirty years ago with so many dreams. I had been accompanied by my father, my mother, and my brother. They were gone from me, as surely as my aspirations for fame as a musician. The count's verse had fretted that Wolfgang was so frail he would "too soon outwear" his body. My family had overlooked that foreboding reference. We reread only the poem's laudatory lines, delighted by the entree Collalto gave us into Viennese society.

At home, where I was content to be with my children, I might've said that the desire for acclaim had been my father's ambition alone, grafted onto me until I thought it had been my own, then slowly stripped away by bitter years of attending to him in Salzburg. But as I stood before the majestic Collalto Palace and speculated which of the windows gave onto the room where I had performed, Vienna entered my veins once more. The fantasies were revived of the little girl who had curtsied and blushed at the praise of the aristocratic connoisseurs, even as her father gathered the trinkets offered in payment.

I wondered if I would cope differently with such praise now. In the glow of the palace's lamps, I understood that for much of my life my reactions to people and places had been hollow, like a musician manufacturing sensations with a flawless technique. Perhaps it had been the inevitable result of my childhood performances. I had played music filled with the delicacy of romance and the rage of pa.s.sion, before I was old enough to have experienced either. When I faced such emotions in reality, I merely faked my responses, as I had done at the keyboard.

I lived with this emptiness until I became a mother. Then I had no more need to pretend. Every smile or tear or retch from my babies awoke in me a tremor that burst through the counterfeit emotions I had known so long. I was no longer a faker. I knew myself. Before this palace, which I had entered as a provincial girl and departed as a celebrated prodigy, I felt exhilarated, like someone meeting an exciting stranger whom she was eager to know.

A footman scampered through the gates of the palace and waved to a coach in front of the Am Hof Church. The coachman walked his team up to the gates. Two men emerged from Collalto's mansion and paused beside the carriage.

The first was Stadler. He held his hat in his hands, turning it in agitation.

The other man squeezed Stadler's arm as if to rea.s.sure him. He was tall and broad. His frock coat was a lively green with delicate piping.

The Collalto footman unclipped the steps of the carriage. I couldn't identify the crest on the door he held open, but I understood that the tall man was of some importance. He gave a comforting tap to Stadler's shoulder.

Wolfgang's friend grinned, pleased with the familiarity shown to him by this n.o.bleman, whatever else was worrying him. His smile disappeared when he noticed me.

His companion followed Stadler's gaze. His dark eyes found me. They widened just enough to reveal surprise. His lips parted as though he were about to call, but he frowned and was silent. He lifted his hat in greeting.

I curtsied.

When I raised my eyes he was on the steps of the carriage. He spoke a brief sentence to Stadler, who responded with a hesitant nod.

As his carriage pulled away, the n.o.bleman watched me with a face that seemed marked by pain and loss. For a moment his expression softened and we looked at each other as though it were not our first meeting.

His coachman looped around the square and went toward the Hofburg, where the imperial family lived.

A freezing gust rushed past the palace and lifted the fur hood of my cloak almost off my head. I looked toward the gate of the Collalto Palace. Stadler was gone. I shivered and decided that I ought to linger no longer in the open air.

I considered calling upon the many Viennese who had stayed a night or two with my family in Salzburg since that long-ago concert for Count Collalto. Traveling musicians and writers, n.o.blemen and impresarios, all had broken their journeys to enjoy the convivial music making my father encouraged and to observe the young prodigies at home. But I found my steps drawing me through the lamplight to the door of someone who had never partaken of our provincial hospitality.

Chapter 6.

A maid hauling a heavy basket of herbs and poultry against her hip pointed out the house of Magdalena Hofdemel on a narrow, dark street behind Jews' Square. The facade was a washed-out blue, like an old woman's irises. A statue of the Virgin nestled in a niche above the windows of the second floor. In the gateway, the cobbles were small rectangles of wood to damp the noise of carriage wheels and horseshoes.

I mounted a wide staircase to the Hofdemel apartment two flights up. It would've been the most expensive dwelling in the building, above the dinginess of the street and not so demanding a climb as the garrets farther up the stone steps. When she had told me where Magdalena lived, Constanze had mentioned that the deceased husband had been a chancery clerk. Strange that a mere functionary in the courthouse should earn a salary sufficient to pay for such a well-situated apartment.

A peephole slid back in the door. A maid stood on tiptoe to reach the opening, blinking at me in the dark stairwell.

When she guided me into the sitting room, my surprise at the sumptuousness of the Hofdemel apartment increased. The furnishing was rich, even given the simple designs then in vogue. I touched my fingertips to a gilt-chair covered in satin of great softness, but I didn't sit. I was drawn to the piano. It was quite newly made, by Stein of Augsburg, the craftsman my brother had always loved for the delicacy of his pedal effects.

I laid my right hand across the keys. It was on a pair of Steins that I had performed with Wolfgang for the last time a decade ago. My fingers tripped through a delicate melody. The second movement of the concerto I was to perform the following night. I struck some of the notes late by a fraction of a beat. My father had once written to tell me Wolfgang played it that way.

The door opened, pulled back with great force. A woman of about twenty-five years entered. Her eyes signaled anger. She glared at my hand until I withdrew it from the piano, then she turned her ferocious gaze on my face.

I gasped, and the woman seemed to forget her fury. Her eyes receded into her head and she lifted a fan to cover her nose, her mouth and jaw. Though I had exclaimed only in surprise at her sudden entry, I believe she thought it a reaction to the injuries evident on her face. It was gashed all across with lurid strips of scabbed blood, the skin between each slash bruised yellow and green.

I gathered myself and approached her. "Madame Hofdemel?" I said. "I am-"