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Yeah. Welcome to stuff you missed in History Class, A production of I Heart Radio. Hello and welcome to the podcast, I'm Holly Fry, and I'm Tracy Wilson. And today we are going to talk about Maria Anna Mozart, who went by Nannerl, Mariana Marion Del within the family.

But she's often kind of left out of if you read a brief account of her brother's life, every biographical sketch of Wolfgang Mozart mentions that he was a touring musician when he was still a child.

A lot of those neglect to mention that his sister was literally sitting on the bench with him and was also considered an accomplished musician and, you know, a genius of her age. Her biography kind of gets pieced together by looking at the documentation of Wolfgang's life. She left some diaries, but not really anything. That's like a comprehensive account of either the events of her life or her thoughts and feelings about them. We'll talk about several points in the show.

Were there big things that happened that we don't really understand what the logic was or the discussion that led to them? There are some letters also written by a number of family members, including her brother and father, both to and mentioning Maria Elena. And some records also remain like public records, birth records, et cetera, as well as mentions in papers of the day or diaries of people who saw her perform as a girl. And I want to make one note on her name, because you will often see her referred to by her nickname of Nannerl when people are talking about her life story.

But that was really a name that was reserved for family and close friends. So Tracey and I decided we are not going that route. We are going to be sticking with calling her Maria Anna for today's show. So Maria, Anna was born Maria on a Valpreda Ignacia Mozart on July 30th or 31st of 1751 in Salzburg, and her mother, Anna Maria, had grown up in poverty. Her father, Leopold Mozart, was the musician. That was not what his family had wanted him to do.

They had wanted him to enter the priesthood. And when Rihana was born, he was still estranged from his mother over his choice.

In this, Leopold and Anna Maria had a total of seven children, including Maria, Anna and her very famous brother, Wolfgang. But the other five children all died when they were still babies.

When Maria was eight, Leopold started giving her harpsichord lessons and she was really good. She developed what was called a perfect technique, and her brother Wolfgang would have been about three. At this point. He often sat next to her and watched and listened as she was learning and playing. The two of them were very close and they're said to have invented kind of an imaginary kingdom for themselves.

Yeah, there's a whole story there about their imaginative life that is largely extrapolation because they were children not recording this in any sort of formal way. But people love to talk about it. And once Maria Anna started taking harpsichord lessons from her father, little brother Wolfgang, who adored his sister and sat next to her on the bench, as Tracey just said, while she took these lessons, soon started playing as well to emulate her. And there's a music book where their father, Leopold, had been keeping notes on Maria, on his progress, and he started, including in that notebook mentions of his son's aptitude, as well as Maria on his progress.

That notebook, incidentally, at least what is left of it is a museum piece today known colloquially as the Nannerl Noton book. It's more accurate to describe it as museum pieces, plural, as there are pages from it in museums around the globe, although the bulk of it is still in Salzburg. The Notebook contained some compositions that were written for Maria on a study by her father, as well as pieces written by a very young Mozart and pieces written by additional composers that have not been conclusively identified.

Wolfgang was pretty quick at picking up on his sister's lessons, so Leopold decided to teach him as well. He started learning through his own formal lessons at the age of five. This meant that he was getting lessons from his father and undoubtedly help from his sister as well, in effect, having a private tutor in addition to having a teacher. Yeah, one article I was reading about this was talking about how beneficial this probably was to his development, because not only did he have someone who could explain all of the lessons in kids speak to him, but it was someone he trusted that had just done those lessons.

And it probably really gave him like an extra boost in terms of learning quickly. When Maria Ana was 11 and Wolfgang was six, the two children began playing together for audiences. Maximilien, the third Joseph elector of Bavaria, was one of the first people to hear this duo play at a private performance in Munich. Another attendee count Carl von Zinn's and Dorf noted this event in his diary. The tiny boy with the big personality, he noted as playing, quote, marvelously.

And The Count wrote that, quote, His sister's playing is masterly. This was really the beginning of a career as child performers for the next three years, the Mozart siblings and their parents were on tour and they played in 88 different cities. Considering that this was in the 18th century, this involved just arduous travel.

Yeah, this was not like a really glamorous, sexy music tour where they got to stay at great places and they were in, you know, private, beautiful traveling conveyances. This was really hard work. So when you consider two kids being kind of carted all over Europe in that way, that's a lot to put children through. In 1764, Leopold Mozart wrote a letter about his daughter, who was 12 at the time, and after a long recounting of her various feats that her talent enabled her to perform as a musician, he summited with, quote, What it all amounts to is this, that my little girl, although she is only 12 years old, is one of the most skilful players in Europe.

It was during this first multi-year tour that Wolfgang wrote his first symphony. The family was in London at the time. Leopold was ill and the children were forbidden from playing instruments. Their mother did not want them to disturb their father, so they sat down with pen and paper. Maria Onna took dictation of symphony number one in E! Flat Major, which is listed in the Cohl catalogue as K 16. Whether or not Maria Onna offered any kind of collaboration on this piece is really not known.

Yeah, some speculation happens around that, but we'll never really know.

So the Mozart kids toured together until 1769 and the end of their time as a performing duo was brought about by Maria's 18th birthday. She had actually stopped touring when she was still 16 because the family was taking a little bit of a break from all of this. Travel that we just mentioned was really very taxing. But after reaching 18, she was considered marriageable.

And while it was fine for a girl to be touring with her brother, it would have been unseemly for a young woman to continue doing it. And it may have diminished her chances to ever get married. So Leopold decided that she should stay in Salzburg while he continued to tour with Wolfgang, who he famously called, quote, the miracle which God let be born in Salzburg.

So to be clear, there was no groom waiting to marry Maria Onna. She just was moved out of the spotlight. Regardless of her talent and her skill, any kind of performing work she might have been doing would have been a potential scandal. That was, of course, simply not an issue for her male sibling. There have been some additional theories about Leopold's decision to send his talented daughter home while continuing to trot his son around Europe. There's a distinct difference in how Leopold encouraged people to infantilize his son as part of the packaging of his talent for the stage.

I mean, even today, people think of Mozart as a child prodigy. He very clearly, though, flipped his own mental switch regarding Maria Anna.

She was now an adult while her brother continued to be, in his mind, a child.

Yeah, Maria Onna composed music during this time while she lived at home, her brother actually wrote her a letter praising her work and encouraging her to keep going. And unfortunately, we have no surviving record of her compositions. It's not something that she pursued certainly at the level of her brother. And we also don't know what Leopold thought of the pieces that Maria ONA composed. He did not mention it ever in any of his writing. Although brother and sister were separated a lot of the time, they still remained very close.

Either their mother or their father would tour with Wolfgang and then Maria. Anna would stay home with the other parent. Two siblings wrote letters and their relationship. And these letters is one of a lot of teasing in jest. He likes to call her horse face and tease her about the young men who were interested in her. He also talks about her horrible singing while also praising her as a queen. The two of them really shared a love of theater and music, and Wolfgang wrote music that he dedicated to his sister.

In a moment, we're going to talk about a period of years where a lot of changes happen for the family. But first, we're going to stop and we're going to take a quick sponsor break.

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In 1778, Maria, Ana and Wolfgang's mother, Ana Maria, died, this was a sudden tragedy.

She was in Paris with those going who had resigned from his job working as a court musician in Salzburg. It was something he had been very unhappy with for a while, and he was looking for more lucrative employment. And while he and his mother were in Paris chasing down possible job leads, Anna Maria became sick and she died on July 3rd, 1778. Wolfgang stayed in Paris until September and then moved on to Mannheim and Munich while his father lobbied for him to be given a better job in court.

Back in Salzburg, Leopold really wanted the family all back together.

After Anna Maria's death, Leopold relied on Maria Anna as the woman of the household. She took care of the home, managed his schedule of students and any meetings he had. She also taught piano lessons herself to bring in some additional money for the family. She'd been doing a lot of these tasks already whenever Anna Maria would be traveling with Wolfgang, but they became entirely her responsibility.

Once her father had been widowed in 1781, after moving to Vienna, Wolfgang became involved with Constanza Veber and when rumors arose that the two were going to be married. Wolfgang initially denied it to his father because he knew he was going to disapprove. But the two of them did get married in August of 1782, and Leopold eventually did give his blessing, although apparently the word that he was OK with the marriage arrived the day after the wedding. So they were going to do it either way.

The friction over the marriage, as well as a lot of conflicts that had developed over the choices. Wolfgang was making with his career had kind of taken a toll on the father son relationship.

Wolfgang and his new wife, Constanza, visited Fallsburg in 1783. And this marks the beginning of a shift in the sibling relationship that's been characterized really differently by different historians. It seems that after this time, Wolfgang and Maria ONA didn't really write to each other as often. They weren't as actively involved in each other's lives. And in some cases, this has been pointed to as evidence that Maria Onna, like their father, Leopold, was not really enthusiastic about her brother's new wife.

The case can also be made, though, that they were both reaching turning points in their lives where their time was just occupied by other things. So there may have been a rift between them, maybe not. No evidence really exists. Yeah, it appears that probably something happened because it is kind of an abrupt gear shift, but it's not clear what exactly may have taken place among them.

And we're about to get to Maria Onas next big change in life. But it's worth mentioning here that one of the real tragedies of this drop off in communication between brother and sister who had been so very, very close, meant that Maria Ana was completely unaware of the darker periods that were happening in Wolfgang's life. After this, several years after his death, his sister read a biography of her brother written by Czech music critic Franz Xaver Cinematheque, which revealed a great deal about her brother's difficulties with finances and his mental health.

And according to her own account, reading this for the first time moved her to tears.

While Wolfgang's romance with Constance had been developing, Maria Anna had also been falling in love. This is with an educator named Franz Steepled, and the two of them also wanted to get married. But as the story goes, Leopold was not keen on this. This would have been in part because Wolfgang had already disregarded his father's opinion and married a woman that didn't come with a great fortune. So Leopold was allegedly vehement that Maria Ana could not similarly marry without creating some kind of financial cushion for the family.

Wolfgang encouraged his sister to go after what she wanted and to follow her heart in these matters. And there's some doubt about this version of the story, because there's also not really any evidence to back it up.

So we don't know with any certainty how or why the romance between Maria, Anna and France ended. But it did.

Yeah, yeah. Maria Ana did get married, but not to France. She had a lot of admirers. We should be clear. It wasn't like she was a quiet spinster that no one paid attention to. A lot of men were very interested in her. But the man that she married was Johan Baptiste von Bacto du Sonnenberg in 1784. And this was a marriage that made sense to Maria and his father, Leopold, anyway, who chose his daughter's husband.

For her, Bertold was a sensible choice. On paper, he was a magistrate of social standing and he was a widower twice over Maria. Anna was thirty three at the time and kind of getting past. The age where she would be considered a good candidate for marriage, Bertold was 47 and most importantly, he was financially stable. Bertold had five children already, and Maria Ana took on the task of raising them. She and Johan had three more children together.

Leopold Alois Pantaleon, born in 1785 and then two daughters, Donette in 1789 and Maria Babbette in 1790. But Maria Babbette died in infancy.

Once Maria Ana became a wife, she was occupied entirely as a parent and a homemaker. She had moved to San Gilgan where Bertold lived, which meant that she had left Salzburg in her entire life behind. Today you can take a train from Salzburg to San Gilgan and it only takes about half an hour to travel the twenty eight point two kilometers, or roughly 17 miles.

But in the 70s and 80s, that trip took like six hours. And to Maria on it, it just seemed like she was stuck in the middle of nowhere.

When Maria Ana was living in Gilgan with her husband and children full, Fortgang sent her all of his piano concertos. She made copies of them, was there in the music archive in St. Peter's Abbey in Salzburg today. While she wasn't teaching or pursuing a career as a musician at this time, she still wanted these pieces so that she could play them at home, which I find to be very sweet.

It is. And thank goodness, because those copies that she made are like some of the only copies of those pieces that existed for a long time. So when she turned them over to the St. Peter's Abbey archive, they basically have been safeguarding them ever since. And we need to go back to talking about Maria Onas children, specifically her first born. So she traveled to Salzburg for the birth. And on July 27, 1785 Leopold's grandson was born and, of course, named after him.

And we're calling him Leopold's grandson. They're quite purposely because when Maria Ana left Salzburg and returned home six weeks after giving birth, the baby did not travel with her. Leopold Mozart stated that he would like the baby to stay with him. For the first few months, so little Leopold lived with his grandfather and was cared for by him and several maids who worked in the home. In 1786, the elder Leopold stated that he wanted this arrangement to be indefinite, and Maria Ana accepted that the reasons for this arrangement have really garnered a lot of speculation.

But nobody knows for sure what kind of discussions went on or what understanding passed between the elder Leopold and his daughter. It's obvious that Maria Ana was really incredibly obedient to her father, and that included everything from giving up her musical career to marrying her father's selected groom. And so to some biographers, letting him raise her son just seems like another aspect of the ways that Leopold was controlling her life.

Yeah, it's a very complicated relationship, and that certainly may have been an aspect of it, but there are multiple factors that may have also influenced this situation. For one, Leopold the Elder at this point was despondent at the loss of influence over his son's life. He kind of felt abandoned by Wolfgang and Maria. Anna may have acquiesced to her father's desire to raise her child as a means to help him cope with his sadness.

Maria had also been her father's caretaker after her mother's death, and she may have seen turning her son over to him as a way to soothe him, maybe help smooth over the rift between father and son with the introduction of a baby, and also to offer her father someone to keep him company now that she was also moved out and living on her own.

She also may have just felt that with five children at home already, her son would be better off and get more attention with his grandfather. It's very possible that Maria Onna, who found life in San Jillions just be too remote, thought that having a direct tie to Salzburg would get her to go home more often than she had been really able to do before her son was born.

Yeah, and little Leopold was also sick when he was first born, but he did recover. So there are some theories that like it was because the baby was sick and she didn't want to take him home on the trip.

But clearly her dad really wanted to keep this child. But all of these reasons about it are still speculation that various historians have put forward over the years. But there is one thing that is incredibly clear, and that is that Leopold Mozart genuinely adored his grandson. He wrote Maria on a detailed missives describing the baby's development and growth. He gave her updates on his health, and he also talked about what a solace this child was to him. And another aspect of this whole very unusual situation that has been speculated on was whether or not Leopold Mozart thought that he could train his grandson to be another child prodigy like Wolfgang and he DIDs.

Start giving the child very early music training before he was even a toddler, in just a moment, we'll talk about how this situation ended. But first, we'll have a word from sponsors who keep stuff you missed in history class going.

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Yeah. Hey, everybody, this is Jill Scott and I am pleased to introduce you to Jadot Il, the podcast. I am joined by my amazing, brilliant girlfriend, Laila St. Clair. What I know and Aja, great dance. Hey, all, we are going to be talking about a lot of amazing things like individuality, family and blackness.

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Maria Onas arrangement regarding her father and her son went on for two years, and it ended when her father, Leopold, died in 1787 and then two year old little Leopold went to San Gilgan to live with his parents and step siblings. Leopold's death sparked a minor conflict in the family, as deaths often do. This has often been characterized as a fight between the Mozart siblings over how the estate would be handled. Wolfgang asked for an exact copy of the will.

Some people point to that and say because he didn't trust Maria Onna to tell him what was in it. We don't know, though. And Wolfgang thought that they were settled on selling the most valuable assets of their father's estate and splitting the money. But Maria Onna didn't think that Wolfgang should get any of it. So for Wolfgang, this really stung. His sister had married a man of means she really wanted for nothing.

He, on the other hand, struggled financially to support his family, in part because he was not great at managing his finances. But the real friction appears to have been between Wolfgang and Maria Onas husband, Bertold, who took over the negotiations and then haggled over who got what the correspondence between Wolfgang and Maria. Anna became really strained after that, and then it stopped completely. Yeah, there's such a marked difference, particularly if you watch the progression of their letters VWs Gang's letters to his sister.

They're so florid when they're younger and even into their early adulthood. And it's all about how much he loves her and how great she is. And after their mother died, he wrote this really beautiful letter about how much he treasures his sister. And then they kind of become very like Kurt. And, you know, like here here are the details you need to know about what's going on. Thank you, Wolfgang.

And their suggestion of why she thought that her brother shouldn't have any of the inheritance. It's not a hundred percent clear. It seems like part of it is that she had been taking care of the house and like managing all of that stuff for as Wolfgang had gone off. Also, remember, they weren't as close. So I don't think she really realized how dire his finances were.

So it's a I'm telling you, will will break up a family today, just as it did there. But this period was another really where the two siblings likely had no idea that the other was struggling. Maria Onoe was without her father, who had continued to be both a support and a controlling influence well into her adult life and even after she was married. So this is kind of the first time she's sort of on her own, even though she has a husband.

But really, like Leopold was handling so much of her life up to this point. And of course, Wolfgang was nearing the end of his short, intense life at the time. Yes. Wolfgang Amadeus Mozart died on December 5th, 1791. This was after a period where both his physical and mental health really declined and his cause of death was recorded as severe. Military fever was a name for a combination of a high fever and a skin rash that resembled Milot.

What he really died from has been hotly debated in the centuries since then. You really do not have to look very hard to find all kinds of medical papers, all speculating on various things the actual cause of death might have been. Yeah. Also, you know, keep in mind, should you love the play or film Amadeus?

It's very good. Traumatized? Yeah, not not a source of historical like I was talking to someone about this.

They're like, yeah, let me use that. And I'm like, I know, but that's in the movie.

It's not the whole Salieri thing. Not quite what that picture, though. It's a lovely play. Maria Onna wrote about her brother in 1792 after his death for Frederic Schlichting, a girl who became the first biographer of Mozart with a short version of the virtuosos life story. This was kind of an indirect assist that she gave the request for Maria on his writing had actually been made by Albert von Molk, who was a friend of the family.

Von Moloch's involvement in the project caused some confusion as well. What Maria I didn't know was that after she handed her written memories of her brother over to him, he added to the work in a way that made it seem like Maria Onna had a low opinion of her sister in law, Constanza, and thought that she was not a suitable match for her gifted brother. A closer examination years later, though, revealed that that part was written in von Moloch's handwriting.

Yeah, I don't. I think it's safe to say that Maria Onna and Constanza were never close, but I also don't think she would have publicly said anything negative like that anyway. But after her brother's death, Maria onna in many ways also became a steward of his legacy. And she ended up working with Constanza in that regard. After Maria Onas husband, Johan, died in 1881, she moved back to Salzburg and one of her occupations during this stage of her life was actually helping publishers track down works from her brother that had gone missing.

And she also started offering piano lessons once again, 18 years after Wolfgang's death, Constanza remarried to George Nicklaus' von Nesson, who she had known for more than a decade. In 1820, they moved to Salzburg. Shor's was planning to write a comprehensive Mozart biography, and they worked with Maria Onna to get information for this. She not only shared the writings she had done for that earlier biography, but also turned over all the family letters and records she had to assist in this project.

In 1821, Maria Onna was visited for the first time by her nephew, Franz Xavier Mozart. This was an event of complete delight for her, and she later wrote that despite her advancing years, quote, I still enjoyed the inexpressible joy of seeing the sun of my unforgettable brother for the first time. And she introduced her nephew around to all of her friends and friends of the family that had known Mozart when he was a boy in Salzburg. And basically just like wanted to tell him everything about his father.

When Mariano was 78 in 1829, she was visited by the writer Marie Novello, who noted that Maria Anna seemed to be in bad straits. She appeared to be very poor. She'd lost her eyesight, which had happened three years before Novela wrote that Maria Anna was, quote, blind, languid, exhausted, feeble and nearly speechless. Nevertheless, assessment about Maria on his finances, though, was not correct, a fact that was made plain when Maria on A died later that year and left a fortune behind.

The fact that she took piano students well into her 70s suddenly was not as it had appeared to so many people, something she did to make ends meet. It became evident on her death that her husband had left her well set financially. She was taking students simply because she wanted to.

Maria, on a Mozart known to friends and family as the neural, was buried in her hometown of Salzburg at the Abbey of Saint Peter.

Sometimes the story of Maria Ana and kind of the headline version is opened with this idea that had she not been moved aside so Leopold could promote her brother Wolfgang, she could have been Mozart's equal. But most historians don't really frame it that way. She was a very skilled musician, without a doubt, but she did not have, for example, the massive output as a composer that her brother did. She didn't have the range he did in terms of picking things up really quickly, he outpaced her in their learning.

It's one of those things where if you know, when they were children, he pretty quickly got to her level and then kept moving on.

But even so, it comes up. People like to speculate about just what her impact on her little brother was, particularly in his formative years. So she becomes a really important part of the Mozart story.

Do you have some listener mail for us?

I actually have a couple of pieces of listener mail in there about Poppy. Hey, we had a couple people write us particularly about our our Friday behind the scenes Minnies episode that we did right after the hellhounds Halloween episode, because we talked about black dogs specifically on that one. And so I have two pieces of adorable mail. One is from Brianna or Brianna. I don't know how she pronounces it. She writes, Hi, Holly and Tracy. I was.

Excited to hear you maybe Holly point out the black dogs and cats often aren't adopted at shelters. I initially thought, oh, I should write in to tell you about my black dog, Bob. A Rottweiler mix who I adopted in 2014, is a senior pet and who was the very best boy until last June when we lost him to kidney disease. I was hesitating, though, until yesterday when my husband and I found a wonderful dog at the local Humane Society when, you know, he is also black.

His name is Roger Daltrey. He came with Roger. We added the Daltry and he is a very sweet senior dog. I work from home while my husband works for the post office. So Roger and I are enjoying our first day together. I attached two photos, one of us the day we adopted Bob and one from yesterday with Roger. You can tell which one is from yesterday because of our masks. I just wanted to thank you for the reminder that black dogs are great, senior dogs are also great.

Shelter dogs are great, too. I hope you're doing well and staying well. Bob was beautiful. I love Rottweilers and Roger Daltrey is the cutest dog maybe ever.

I'm going to say that. But I say that about all the dogs. He's so cute and they look so happy together. So thank you for adopting him because now I know he's got a loving home and I love it.

And then we have another cute black dog e-mail this from our listener, Kathy, who writes, Hello, Tracey. And Howie, thanks for such a fun and informative podcast. I've learned so much. I never knew. I never knew. I listened to all of your Halloween week episodes today. And I loved when you talked about adopting black dogs and cats in the Friday piece. I have had only two dogs in my life, but both of them have been black.

Black dogs hold a special place in my heart, but especially fitting as I listen to your tarot card episodes was my current puppy dogs costume. He dressed up as a jester today or a fool. So here is a picture of my adoptive baby, D.J. Dark Jedi. OK, like everything about this is stuff I love. It's a dog in a costume and his name is Dark Jedi Homeo.

Also adorable. Thank you. Thank you. Thank you for sending us your dog pictures. Cathy and Brianna. I love it. And I, I it is one of those things where the people that love to adopt black animals really love to adopt black animals. Um, I'm one of them. You, as we talked about, have to. So clearly you're kind of one of them as well. Those are not your first black cats. I will disclose they are not.

So, yeah, I love seeing these.

And thank you guys for giving them great homes and also just sharing your stories with us. I'm glad you enjoyed our hellhound and black dog discussions.

I will follow up and say my Rugaru first T-shirt and poster came yesterday and they are awesome. Hooray! I'm so ready. Come on. Next year, let it be safe. If you would like to write to us, you should absolutely do that. You could do that at History podcast it I heart radio dotcom. You can also find us on the Internet, on social media, at MTT in history, pretty much everywhere. If you would like to subscribe to the podcast, we would like for you to do that as well.

You can do that on the I Heart radio app, on Apple podcast or wherever it is you listen to your favorite shows.

Stuff you missed in history class is the production of I Heart Radio for more podcasts from My Heart radio visit by her radio app Apple Podcasts or wherever you listen to your favorite shows. Welcome to Beyond the Beauty, a podcast from My Heart Radio, I'm your host, Bobby Brown. I've been in the beauty industry for a long time and I've learned a lot. I have watched makeup, skincare and beauty change more than I ever could have imagined. This season on Beyond the Beauty, I'm exploring the beauty industry past and present.

I'm reflecting on my own experiences and I'm talking to some of the biggest and brightest names in beauty today. Listen to the brand new season of Beyond the Beauty on the I Heart radio app, Apple podcast, or wherever you listen to your favorite shows. I'm Shonda Rhimes. If you watch Grey's Anatomy or any of my TV shows, you know, I love to tell a good story. Well, now there's Sandland Audio. We've partnered with I Heart Radio to launch a slate of great podcasts.

You can listen to the first four right now, Katie's Krib Criminal. You go ask Ali and you down and we have so much more coming your way. We can't wait for you to hear it all. Welcome to Shadowland Audio. Listen to all the new Sandland audio shows on Apple podcasts.