Text and images transcript of the video Mozart, Ice Cream, and Wine - part 2 by Rolf Witzsche 

Mozart, Ice Cream, and Wine - part 2

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Mozart

- part 3 -

Uplifting the seraglio.






Some type of story about a rescue from a harem had been written in German by Christoph Friedrich Bretzner, for which an adaptation, as a libretto, had been commissioned from the Austrian playwright and librettist, Johann Gottlieb Stephanie, who worked with Mozart. 




The Emperor may have requested that Stephanie be involved in the project for avoiding war. Stephanie was ideal for the project. He headed up the National Singspiel that was one of the Emperor's cherished art projects, and he had experienced the horrors of war personally, just 20 years earlier.




Stephanie had been taken prisoner in the Seven Years' War and had come to Vienna as a Prussian war prisoner. It may have been for his war experience, and him heading up the National Singspiel that Emperor Joseph II may have commissioned Mozart to produce his opera on the suggestion that Stephanie produce the libretto for it. Stephanie knew the truth about war, the ugly truth of the humanist wasteland of the seraglio of the oligarchic system where war is bread, for which millions are forced to bleed and die.

The seven-years' war was a war between Great Britain, France, and Spain, over colonial possessions and trade access. It was fought in Europe, North America, South America, Africa, India, and the Philippine Islands. It was in essence the first "world war" though this title was also applicable to various earlier wars, such as the Eighty Years' War, the Thirty Years' War, the War of the Spanish Succession and the War of the Austrian Succession. Some have called the continuous level of world-wide conflict over the entire 18th century the Second Hundred Years' War. In this hubbub of madness the Enlightenment ideology developed in an attempt to steal the thunder away from war and give society its freedom back: the freedom of the truth, science, love, principle, humanity and good.




In the opera, 'The Abduction from the Seraglio,' the plot is symbolic. A young man named Belmonte had lost the love of his life, named Constanze, together with a servant and her maid. He discovers that they had been abducted and sold to the Turkish Pasha Selim. 




In the play, Belmonte tracks his beloved to the Pasha’s estate. He sneaks in, finds them all well and alive, and hidden by deception, he organizes an escape for them all. Of course, the project fails. 




Having been found out, Belmonte fears death, death by torture, as would be common in such a case. Desperate now, he pleads for his life and promises that his father back home would richly reward the Pasha if he would spare his life. However, a problem unfolds. It turns out that Belmonte's father had deeply humiliated the Pasha in the past. In addition, it turns out that the Pasha himself had fallen in love with the woman he had come to steal away. It seems that in such circumstances Belmonte's fate was sealed. The audience certainly expects this, as the death penalty would have been 'normal' in a case such as this case, of stealing a property from a harem.  




The Pasha sums it all up for Belmonte. "It was because of your father, that barbarian, that I was forced to leave my native land. His insatiable greed deprived me of my beloved, whom I cherished more than my own life. He robbed me of honour, property, everything - he destroyed all my happiness."

Belmonte submits: "Cool your wrath on me," he says to the Pasha, "avenge the wrong done to you by my father. Your anger is justified. I am prepared for anything."

However, at this very point, while the executioner is off-stage, sharpening his tools, Mozart shocks the audience. 

Mozart had changed the ending of the play. In the original version of the play it becomes revealed that Belmonte's father is not an evil man who had hurt the Pasha in the past, but that he, the Pasha, is himself his father and he his long-lost son. Thus, in the original version, everything ends well, and rather quickly. 

Mozart may have seen this original play, as a play without redeeming value that uplifts a person, including the audience. Nothing is elevated. The play becomes entertainment. What good is in that? So as not to waste the audience's time, Mozart gave the story a profoundly uplifting ending. 

Mozart renders Belmonte's father an evil man who had greatly harmed the Pasha in the past. Against this background he enables the Pasha to respond to Belmonte from a much higher-level standpoint as one would expect. He shakes his head at Belmonte's expectations to be put to death for his father's deeds and for his own deception and betrayal.

He says to Belmonte: "It must be very natural for your family to do wrong, since you assume that I am the same way. But you deceive yourself. I despise your father far too much, ever to behave as he did. So go, have your freedom, take Constanze with you, sail home, and tell your father that you were in my power, and that I have set you free so that you could tell him that it is a far greater pleasure for one to repay injustice with good deeds, than evil with evil."

Belmonte says with a glance of amazement: "My lord, you astonish me."

Pasha nods with a smile: "I can believe this. Now go - if you become by this, at the very least, more humane than your father, then my action will be rewarded."

The four liberated sing in a song of acknowledgement of the grand moment, "Nothing is so hateful as revenge. To be generous, merciful, kind, and to forgive, is the mark of a great soul."

And so, Mozart simply lets them all go. The executioner in the play, is furious by the outcome, as were the critics in Vienna: 

'Unlikely,' the critics sneered, 'absurd!', 'impossible!'

The critics evidently didn't listen well enough, because their small-minded answer had already been predicted in a song that celebrated that typically, what is accomplished through love, the world thinks, impossible.




Mozart even went as far as to hint that money and gold have no intrinsic value, as only what one achieves as a human being, has value.

 Belmonte promises the Pasha great riches from his father in exchange for his life. The Pasha rejects this out of hand. He gives himself something of far greater value by simply setting them all free. He gives himself honour, and self-respect, and respect in the world as a man with a great soul. 

In comparison with that, he renders money as something without value. He values what money cannot buy.




Mozart might have replied to the critics, 'I believe you, that you see the outcome that I presented, as impossible, because in the house of empire, where you live, love and humanity are unknown, so that only that, which has no intrinsic value, is deemed to have value. 

Indeed, what I present must appear as unlikely and absurd, in a world where war and murder are normal. That's why I give you my gift of love in the hope that at the very least you may open your eyes slightly and become more human than your leaders and fathers would have you to be. With my gift to you, my actions become rewarded as your life becomes uplifted. In the smallness of the oligarchic mentality, the power of love , honour, and humanity is not being recognized, or far too little of it is, which adds up to a great tragedy for those who are afflicted. In this prison, honour, love, and humanity are condemned as absurd, rather than being recognized as the great power that uplifts civilization with beauty, honour, and creativity.'




This may have been the type of point that Mozart would likely have intended to make, pointing out to all that these higher human qualities are the power of civilization, while an oligarchy, in its pitiful smallness and blindness, would not see reality when it appeared before it, and would impose the death penalty upon the most precious and thereby dishonour itself.

Mozart had overturned the table. He had made love the number one power, the number one good, and oligarchic power, the villain that it invariably is, a black emptiness with which it condemns itself. 




But did Mozart go far enough? Did he really rescue the truth? Or do we see not enough of what he had done? 




Thirty years further in time the Spanish painter Francisco Goya produced a series of 3 etchings on the truth. He named the first, 'The Truth is Dead.' Justice bides her eyes.




Goya named the second etching of the series, 'Will She Rise Again?'




And the third etching of the series Goya named, 'This is the Truth.'

Has anyone rescued her? Goya doesn't indicate that she was rescued. When truth is dead, society is dead. When it becomes alive in the heart, society has rescued itself. In Mozart's opera, 'The Abduction from the Seraglio,' the opposite is on the agenda. Belmonte breaks into Pasha's household, and with deception attempts an abduction.




Belmonte attempts an abduction of the truth. This is made plain when Pasha confronts him. Pasha might have added, 'You want to take Constanze back to your father, and put her back into the chains of the small-minded seraglio where all you can think of is to kill people, where killing is normal; where killing is the tradition. Why do you want to be so cruel to her? She had been extremely fortunate that someone had abducted her from your father's small-minded house that is a walled-in prison seraglio, and brought her here where she is free. She is not held here. She is free to go to wherever she wishes. She is free like a bird to be her own person. 




'She is free here to experience the truth of her being. This is what you came here to abduct. You came to deprive her of her native freedom and take her back to your father's prison. Isn't this so?




'You want her to be dead again. In your father's house where life is not honoured and the truth is unknown, she will be dead indeed.




'However, if she would choose this fate, if she would go back to prison with you, there might not be anyone there to rescue her from this fate a second time, and abduct her from this prison to freedom. This had been her gift from me. If she wishes to live in chains, I will not interfere again.'




'In this case I should stay too, and apply for asylum,' Belmonte would answer.

'But do you know the truth when you see it?' Pasha would reply. 'If you would remain, what good would it do to anyone? So let me suggest a solution. Give yourself the freedom of doing good and to experience its beauty and sublimity. Go, and take Constanze with you as a guide. Go back to your father's house and demolish the prison that his house has become; melt down the iron chains that pervade the system of oligarchy, which bind people; break off the iron bars from the windows, and melt them all down and create something useful with the metal. Build more efficient farming equipment with the metal, and more efficient transportation equipment. Remember, the only gold that you can ever earn is the good that you create for the advancement in human living, that drives the general improvements in human living, that develops the creative power of the human power. Every other form of gold is empty gold that hangs on a chain around your neck, which satisfies nothing, much less meets the human needs. I cannot let you stay here. You must go back and raise up your father's house, that it becomes that world in which the gold of humanity is precious and powerful to meet the human need. If you get to this point your debt to me, and to God, will be extinguished. Then you will be a better man, such as a human being is capable of becoming.




'Then you will soon see the truth yourself, and you will feel its essence, and experience its beauty face to face. Of course, when this happens, you will not want to come back here to apply for asylum. You will have created your own heaven of truth where you live. Your father might come here and thank me one day for the education you have received in my house in the art of living.' 

This ending would have brought the house down if Mozart would have added the required half hour to the opera, to present it. 

He might not have dared to do this in his time. The freedom of the theatre might not have been extensive enough to allow such an ending of freedom to light up the imprisoned world of the seraglio of the oligarchic system that would dissolve it. 

Nor is Mozart remembered today as the greatest economist of the 18th Century, which he likely was, which would have brought the house down with a standing ovation if society had understood what he said.

Mozart had announced his intention loud and clear right from the beginning. He didn't name his great opera, 'An Escape from a Harem.' No he has named it boldly to indicate the inevitable and necessary ending. He named the opera, 'The Abduction from the Seraglio.' 




The term 'seraglio' refers to a segregated compound of corruption and ugliness, typically a walled-in property, within which everything is privately owned and controlled, dominated, and operated, which for obvious reasons is isolated from the normal world.

 By its design, the seraglio system operates as a vertical system of top-down domination where nobody is free. It is a corrupting 'mill' that breeds thievery, slavery, fascism, abuses, and murder, all organized in secrecy, hidden from the world, behind the walls that contain its inhumanity to protect it. 




The vertical system creates an environment that breeds war, depopulation ideologies, poverty, sickness, genocide, destruction, and the disintegration of civilization.

By its vertical nature, the oligarchic system and system of empire, is a seraglio. In this system the truth is dead; science is dead; beauty is dead; culture is dead; freedom is dead; and love is unknown.




The opposite to the seraglio is the lateral world of universal humanity. Here everything exists side by side in a relationship where no one stands above another, where society is cooperating in fulfilling the common aims of mankind; where love is supreme, and civilization is rich with creativity, productivity, and ingenuity towards making the world a richer place for all to live in.




The success of civilization - that is, the security and welfare of society, with increasing productive and creative powers - is determined by society's stepping away from the vertical system, the system of oligarchy and empire, and to bury the vertical, while embracing the lateral system of universal humanity, economy, beauty and happiness, building a new renaissance in the process.

Mozart lays the age-old challenge to escape from the vertical to the lateral platform, onto the table with his opera, 'The Abduction from the Seraglio.' The lateral platform on which the opera ends, is the natural platform for happiness.

In this opera all of the key figures end up 'abducted' from the prison of the seraglio system of long-standing false axioms and traditions. 

With this, Mozart also lays out why every empire in history has failed, and why every revolution against empire has failed that has failed to establish the lateral system, and why revolutions succeed that become revolutionarily lateral in design.




For example, Russia's 1917 February Revolution that had ousted the Tsar, had failed, because the revolutionaries had lacked the intellectual capacity to inspire an economic revolution that is only possible on a lateral platform. The Russian Revolution was started without an economic program. The revolution tore society's house down, but then failed to build a new and better one. After eight months of economic collapse the Bolsheviks stepped into the empty landscape and took over. They too failed, for the same reason. They made a vertical mess of things that took Russia a long time to recover from. 




The French Revolution, likewise had failed for the same reason, and had collapsed civilization as, it regressed into an orgy of terror that took the nation a long time too, to recover from. 




The American Revolution succeeded, because it stood on the demonstrated platform for building that new and better house for the welfare of society that gives substance to a revolution. 




This substance had been demonstrated in the 1600s in the Bay Colony of Massachusetts. The pilgrims had recognized that money has no value. Only what can be created has value, whereby money becomes a promissory credit for the just sharing of the created value. They recognized that one doesn't need a king for that. Society is its own king. They created the Pine Tree Shilling for sharing the value of the infrastructures that they built to enrich their living with. The American Revolution was built on living far outside the seraglio of the system of empire that steals everything. The French Revolution failed, because it wasn't aiming that high, likewise the Russian Revolution.

The American Revolution succeeded, because winning the revolutionary war was just the first step. The revolution succeeded with Alexander Hamilton's focus on manufacturers, national credit creation, and national banking, all focused on promoting the internal development of the country. The revolution succeeded, because it was built on the platform of society creating a love festival for itself. 

This successful platform that is the key for an ongoing revolution, was lost when Hamilton was killed by the professional assassin, Aaron Burr. With this revolutionary leadership destroyed, the dynamics for the revolution became lost. Consequently, the oligarchic seraglio was quickly rebuilt in America. 




The seraglio was rebuilt so fast in America that a second revolution, in the form of the American Civil War, became necessary for the nation to continue to survive as a free self-developing society. The winning of this war was made possible by popular support and by Lincoln's revival of Hamilton's economic revolution with the Green-Backs currency, for which Lincoln, too, like Hamilton, was assassinated.

The hard-won Second Revolution was subsequently lost again in 1913, when the masters of the seraglio coaxed the American nation to surrender its national credit creation back into the hands of the thieves of the European seraglio. 




That this grand 'thievery' was organized from within the European oligarchic system is evident by the Titanic being sunk on the anniversary day of the assassination of President Lincoln in 1912, with three people on board the ship, who died in the sinking, who would have prevented the Federal Reserve Act from being passed that gave America's financial credit creation away into the hands of the thieves of the financial seraglio of the system of empire at Christmas time in 1913.




Mozart was a pioneer in the unfolding landscape of universal good. He had proved that in the hands of an artist who understands the power of good, of love, reason, beauty, and humanity, rests a powerful force that shapes historic events for the greater good in civilization, which the oligarchic corruption typically defines as impossible, because love is indeed impossible when the seraglio rules. Mozart's gift to humanity was, to demonstrate that society does have a choice to move with the power of love, and to create a love festival for itself.




This power was born out by actual historic events in Mozart's time. The full scope of his achievements in this arena may probably never be known, and may not yet have begun to be fully realized. The full scope may be far greater than what appears on the surface. When one looks below the surface of the ending scene of his opera, 'The Abduction from The Seraglio,' as I have attempted here, Mozart may have said to anyone who could hear him that an economist who does not elevate the general welfare of society on all fronts for a richer and freer world, is not an economist, because love is foreign to him.




The proof is in the pudding. This is the truth. Some people may have heard Mozart say this. The Emperor Joseph II may have heard some parts of it. The spirit of it may have been felt around the world.




The death of the Emperor's mother, Maria Theresa, on the 29th of November in 1780, left Joseph II free to realize his ideals of enlightened government. Among these was his German language project that he had already started by then. He may have used it to prevent another war. Both the British Empire and the Russians were scheming to drag Austria into a war against the Turks for which the state visit to Vienna of Grand Duke Paul of Russia had already been arranged.  




To get this war off the ground meant that the schemers had to manipulate the Emperor into ignoring the American revolt against the seraglio of the British Empire that had been in progress at the time and had chalked up some heroic deeds that no one had expected as being possible. 

The seraglio had mustered huge forces to counter the heroics, so that in spite of great heroic actions and some stunning victories over vastly stronger British forces at the time, the Revolutionary War was fading for the Americans, who were desperately fighting for their freedom. The American determination in fighting for the good, in many ways mirrored the Emperor's own ideals, which the oligarchs were evident determined to crush with another war against the Turks. 

In America, the under-equipped American army had been on the loosing street almost from the beginning, fighting against the larger British forces. Mozart may have seen that they fought with love, fighting for the greatest price, their freedom, which the mightiest army had severely challenged, but had not been able to quench. 

With Mozart's intervention in spirit, the imperial war drive against the force of love failed. The American Revolution succeeded. A greater power than the seraglio of empire was on the rise.






The American Revolutionary War had began in 1775. It quickly became a world war. It broke out in Massachusett,s when British regulars and the American patriot-militia clashed at Lexington and Concord. The empire responded with force as it always does, as it has no greater power. A year later the American rebels were in full control of every colony on the East Coast.




Consequently, the Continental Congress promptly declared the colonies' independence on July 4, 1776, which had been at this time an established fact. The British responded with huge forces to reverse the established fact, to put down the revolt. 

In the course of it the British inflicted numerous defeats on the American army, which soon came under the command of George Washington. 




Washington's crossing the Delaware and defeating the Hessians at Trenton was no less a great love fest for its commitment to the future, than the landing on the Moon had been in our time, which too, had required a huge commitment.




Regardless of its smaller forces, the American rebel army did win some significant victories. A key victory was won on October 17, 1777, in the Battles of Saratoga, that had prevented the British from splitting off New England from the rest of the colonies. In this victory the  entire British army of 5,700 men had surrendered to a bold American attack led by Gen. Gates. The British were subsequently marched to Boston and sent back to England.  




However, winning a single battle didn't win the war, but it did win friends. In Paris the victory was celebrated. Benjamin Franklin was received at the French Royal Court. France recognized America's independence, and signed the Treaty of Alliance in 1778, negotiated for America by Benjamin Franklin.




This happened while the British general Clinton, captured Savannah, Georgia, and then besieged Charleston and captured it, and with it captured most of the southern Continental Army. 

On May 12, 1780, the British had essentially won, with just a few casualties of his own. They had seized the South's biggest city and seaport, which gave them a base for further conquest. What was left of the southern Continental Army, withdrew to North Carolina, but was pursued and defeated there. In effect all organized American military activity in the region had collapsed, so that the war was carried on only by partisans. All of Georgia and South Carolina were under British control in 1780. 




Washington was on the loosing street by then. He had wintered in Valley Forge, with supply problems and troops that needed training. If the British had attacked at Valley Forge at this time, the American forces would likely have lost the war. The same happen again, during the next winter going into 1780. The American army was in even worse shape then, than it had been at Valley Forge. The supply system had broken down, the Continental currency had become worthless, Congress had become ineffective, and so on, so that Washington was finding it extremely difficult, even without any major fighting against the British, to keep his army together. Desertions began and attempted mutinies broke out. The American side seemed to have lost the war.  

Against this background the British General Lord Cornwallis marched triumphantly into Virginia at around mid-1781. 

However, the ongoing British successes came with a price tag attached for the British. With the British having become heavily engaged in America, other wars broke out against Britain in different parts of the world. Also some countries fought the British by coming to the aid of America, primarily, the Netherlands, and Spain. 

In this context the Austro-Hungarian Empire was being set up to be drawn into a war against the Turks, with Russia aiming for some colonial gains along the way.




It may have been against this background that Emperor Joseph invited the Archbishop, who was Mozart's employer at the time, to Vienna and then requested that Mozart be summoned, who had become famous for his music, intelligence, and his outspoken honesty. 

The Emperor may have intended that as soon as he would be free of his mother, to invite Mozart to Vienna to have him compose an opera in German, which the population would be open to, and that the opera would be on a theme that would block the forces that were pushing the empire towards war. The theme of 'The Abduction from the Seraglio,' may have seemed ideal for this purpose for its symbolism. 

The story of such an abduction had existed as a play. The theme must have seemed ideal to be uplifted into an opera, as it was in line with the upcoming centennial celebrations of Austria's 1683 victory over the Turks, at the siege of Vienna. 

Mozart himself had worked along the line of an abduction from a seraglio, with his opera Zaide. But how does one abduct a society from the madness of war and from its small-minded thinking? How does one take the steam out of the celebration of war, especially if the previous war had ended in a victory of which the history books had kept the ugly things out of sight? How does one inspire a cultural revolution under those conditions, and together with it, an economic revolution, which must stand together as the power to get out of the seraglio that breeds war?




The Battle of Vienna in 1683 had been a critical victory. It had been a long-standing strategic aspiration of the Ottoman Empire to capture the City of Vienna, which would give it control of the upper Danube and thereby the trade routes from the Black Sea to Western Europe. The Ottomans wanted this access for increased 'plundering,' named trade.




For this Vienna had been besieged twice. The first siege had failed in 1529 at the pinnacle of the Ottoman's power and expansion into central Europe. This failure had been followed by 150 years of bitter military tension and reciprocal attacks that had culminated in the Battle of Vienna in 1683, which the Turks lost again. In the shadow of it the 15-year long Great Turkish War began that had dragged several nations into the battle twice, which became known as the Ottoman–Habsburg wars, the Polish–Ottoman Wars, Ottoman–Venetian Wars, and the Russo-Turkish Wars, which altogether had raged on till 1699, with huge losses on all sides. These were all huge wars. The 1683 Battle of Vienna, for example, which was a part of the larger war, had involved 200,000 to 300,000 men and the largest ever cavalry charge in the history of warfare, consisting of eighteen thousand horsemen deployed in a single battle that included 3,000 of the Polish heavy lancers, the famed 'Winged Hussars'.  

At one point, during the heat of the mad battle, Kara Mustafa Pasha, the leader of the Ottoman forces had personally ordered 30,000 Christian hostages, who were in their captivity, to be executed, for which he was himself executed later.

Emperor Joseph II, who became ruler of the Holy Roman Empire that was still recovering at the time of his mother's death in 1780, had evidently loathed to prospect of crossing swords with the Ottomans again, at the Russian's bidding. He may have recognized that he needed a higher-level approach than his advisers could offer, to get the empire out of this trap. He may have recognized that literature, music, and art have the potential to be a greater force than the military. Of course, he knew that Mozart stood at the pinnacle in the cultural and musical domain. Thus a great challenge was extended to Mozart, in essence, to do something profound. 




Obviously, Mozart had accepted the request that was wrapped up as an opera proposal. He may have seen this also as a chance to have some fun with creating a German language opera that in the process would steal the thunder of the war cries from the oligarchic system, a system bloated with arrogance that he had amply experienced and loathed, and to put some life back into the pathetically dead landscape of oligarchic nobility that deemed itself princely. 

In real terms far greater results flowed from the project than he may have imagined as possible. The timing tells a significant story.






Mozart had worked with Stephaney to produce the libretto. The first version was ready on the 29th of July in 1781. The project was well under way by then. Also the modified plot may have been known in quite a few intellectual circles quite early. The new ending changed the spiritual background. It unfolded a profound spiritual reality that percolated around the world with effects that evidently could be felt in far off America. Something began to happen that turned the war upside down. Something unexpected happened that ended the American Revolutionary War near the end of the same year.




In January 1781, a British force landed in Virginia, under Benedict Arnold, who was pushing through Virginia destroying everything is sight, supply depots, mills, economic targets of all sorts. In February, General Washington dispatched General Lafayette of the French supporters to counter Arnold, but Arnold was reinforced with troops from New York and was joined with the forces of the British Lord Cornwallis. This was in May 1781. In June 1781, Cornwallis received orders from General Clinton to establish a fortified naval base in Virginia. On this order he fortified Yorktown, though always shadowed by Lafayette. Cornwallis was waiting in Yorktown for the arrival of the British Royal Navy to deliver supplies and reinforcements. These never came.




Washington had been aware that the French fleet had been pulled back from the West Indies, and had been redirected to help the Americans. Washington knew that this would give the American side of the war control of the Chesapeake. With this knowledge Washington moved his forces south toward Virginia during August. 

By early September, the French naval forces had defeated a British fleet at the Battle of the Chesapeake, cutting Cornwallis' supply line and escape route. 




When Washington arrived outside Yorktown, the combined forces under his control, some 18,900 men, began to besiege Cornwallis, then bombard the British defences, eventually taking some outer positions. Eventually Cornwallis realized that his position was hopeless. 




Cornwallis surrendered his entire army of over 8,000 men on October 19, 1781. What would have seemed impossible at the beginning of this year, suddenly happened. The war had fizzed out into nothing. After the surrender at Yorktown, King George III lost control of the Parliament. The Parliament voted to end the fighting. The war was over. The British still had 30,000 garrison troops occupying New York City, Charleston, and Savannah. They were simply let go home. Some fighting continued elsewhere in the world, at Gibraltar, in the East and West Indies, and so on, until a former peace was eventually agreed upon in 1783.




The world had been radically changed in 1781, the year in which Mozart had intensively worked on his opera ,'The Abduction from the Seraglio,' for which he had created a new ending that raises the value of man and the value of good as aspects of love. Francis Goya evidently understood the principle, when he created this etching almost 40 years later for the ending of his 'Disasters of War' series of over 80 plates, created between 1810 and 1820.




When Mozart's composition was completed, the premiere was performed on 16th of July in 1782, at the Burgtheater in Vienna. In real terms, it came as an anticlimax. It had been during the development phase of the opera, that Mozart had pulled off his stunning cultural effect that had evidently reverberated in many ways that shape the world, in line with his example of what is possible. The Russian war plans were subsequently blocked. Emperor Joseph now had enough space of peace for his revolutionary educational, and cultural reforms. 




The abduction that Mozart had carried out in the spiritual and cultural world, had stolen the political victory away from a seraglio of the system of empire. It had enabled radically advanced republican policies to be carried out.

In this period Joseph's great project of ten years of work, compiling a code of universal civil law, was completed and published in 1786. It laid out in clear distinction, probably for the first time in the history of Europe, the priority of the rights of subjects, and with it the subsequent duties of the territorial princes. 

What was laid out was nothing less than revolutionary. 




The result was as revolutionary as the spiritual revolution that Mozart had set in motion, when he said with his opera, 'this is the truth.' 

Mozart's spiritual revolution coincides with the sudden turn of events in America from near defeat to the sudden victory at Chesapeake and Yorktown that ended the war. The future of the world had been redirected in this year towards brighter horizons.




It appears that only once thereafter had a profound spiritual development stood coincident with a great period of peace and unfolding prosperity in the world. This occurred a hundred years later, beginning in 1866 during the 44 years of Mary Baker Eddy's development work of Christian Science in America, and its establishment in other lands. The period of peace ended almost with her death in December 1910, when the development work ended. Shortly thereafter America lost control of its currency and the world was dragged into an endless train of wars that is still rolling on, threatening nuclear war at its 'destination.'






In Mozart's time, the Emperor Joseph's civil codes were almost all overturned by the revolting oligarchy who had turned against him, especially after Catharine II of Russia had succeeded in dragging Joseph into compliance with her war drive against the Ottomans that resulted in the expensive and futile war of 1787 to 1791, with consequences from which the Emperor himself never recovered. He returned to Vienna in November 1788, a broken man, both in health and spirit, and died in February 1790.

Nevertheless Joseph's revolutionary concepts had remained alive, and become to a large degree reflected over time in the advance of civil laws in modern civilization. 




America's victorious revolution in the late 1700s had likewise changed the future of the world by demonstrating to humanity that an alternative is possible to the imprisoning seraglio of the oligarchic system. 

Although America has been defeated on the front of its freedom, many times, mostly from within, as it presently is, it remains nevertheless standing on the horizon as the beacon of liberty for humanity, and will likely remain so until all of humanity is free.

When Mozart composed the opera 'The Abduction from the Seraglio', it was Mozart himself, to a large extent, who had begun the abduction of humanity from the seraglio of the system of empire and its murderous wars, onto a platform of freedom that remains yet to be fully built.

 While the process of building is not yet completed, a great step had been taken by Mozart in his time that had made the brief era of peace possible in the 1780s, something comparable to a modern Camelot, or what the American pilgrims had referred to, as the city upon a hill that draws the eyes of the world onto it.




The achievements in Mozart's period of history that he richly contributed to, which remain still a force in civilization, is still standing to prove that the voice of the truth is the only power that has far-reaching and enduring effects for uplifting civilization, when this voice of the truth is given an ever-stronger sounding by its pioneers for this purpose. 

This power might have already been recognized by John the Revelator, who stated in the second chapter of what became the last book of the Bible, that whosoever voices the truth in a profound manner, and consistently wields with this voice the power of good over the nations - which is the power of love to uplift all.

 History has shown that none of the rulers throughout history who have lived in the gilded seraglio, have ever had this type of power. None had been able to rise above the corruption of the seraglio, to kill, to make war, and to destroy, which they did intensively, but who had achieved nothing at all that had advanced civilization in comparison with those few, who in their quiet small ways gave voice to the truth that had achieved wonders.

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Published by Cygni Communications Ltd. North Vancouver, BC, Canada - (C) in public domain - producer Rolf A. F. Witzsche