

And so she was left behind in Salzburg, and her father only took Wolfgang on their next journeys around the courts of Europe. A little girl could perform and tour, but a woman doing so risked her reputation. There are contemporaneous reviews praising Nannerl, and she was even billed first. The children toured most of Europe ( including an 18-month stay in London in 1764-5) performing together as “wunderkinder”. Maria Anna (called Marianne and nicknamed Nannerl) was – like her younger brother – a child prodigy. Sylvia Milo as Nannerl Mozart in The Other Mozart I saw Nannerl’s potential, her dreams, her strength, grace and her fight. I was able to understand the Mozarts as people, as a family, and through the lens of the times and the social situation in which they lived. Through these letters, sometimes only from the replies to her lost letters, Nannerl slowly emerged. Most are written by Leopold and Wolfgang but some of Nannerl’s letters survived as well. There are hundreds, and we have them because Nannerl preserved them.
#Anna child music prodigy artist manuals#
I read Wolfgang Mozart biographies, studied the situation of women and female artists during Mozarts’ time and in different countries, read writings of Enlightenment philosophers, conduct manuals … But the richest source of information came from the Mozart family letters. I was intrigued and determined to find out more. I never heard of Nannerl Mozart until I saw that family portrait. With my braided hair I was called “little Mozart” by my violin teacher, but he meant Wolfi. Neither my music history nor my repertoire included any female composers.

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