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Constanze Weber Mozart
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    (January 5, 1762-March 6, 1842)
    Born in Zell im Wiesental, Germany
    Maria Constanze Cäcilia Josepha Johanna Aloysia
    Daughter of Fridolin and Cacilia Weber
    Singer, prompter, music copyist, and musical historian
    Married world famous composer, Wolfgang Amadeus Mozart, in 1782
    Remained married to Mozart until his death in 1791, leaving her in financial debt
    Later relocated to Salzburg, in 1924; Remarried to Danish diplomat, George Niklaus Von Nissen, who passed away in 1826
    Collaborated with Von Nissen and Franz Xaver Niemetschek on the first full-length biographer of Mozart, which she published in 1828
    Portrayed by Elizabeth Berridge in Milos Forman's Academy Award-winning biopic, 'Amadeus,' in 1984
    Mozart had a fling with her older sister before settling on her.
    Wolfgang described her as 'only pretty in that she has two small black eyes and a good figure.'
    Leopold Mozart famously opposed their marriage, fearing that it would pose a distraction from Wolfgang's career.
    Early 20th-century biographers have been accused of being unfair to her.
    Said biographers often depicted her as shrewish, flighty and unsophisticated. Some of this depiction appeared to have trickled into her portrayal in the 'Amadeus' movie (although presented somewhat more sympathetically).
    She was probably never propositioned sexually by Maestro Salieri, as happened in the extended cut of the film. Her and her husband's affectionate names for each other ('Stanzi' and 'Wolfie') were also likely artistic inventions for the film.
    Historians regularly point to an 1840 daguerreotype supposedly taken in Altötting, which they claim depicts her at the age of 78.
    This view has been challenged by a growing number of scholars who claim that she couldn't have even been in the area that the photo was taken, if it was even possible to take a photograph of that quality in 1848.
    Mozart really did meet her through his landlady; her mother (as in the 'Amadeus' film).
    She was the inspiration for the heroine in several of Mozart's librettos.
    By all written accounts, she was stunningly beautiful (Wolfgang tended to downplay her looks to his father, however).
    She was durable and patient; putting up with her husband’s various eccentricities while also having a say in some of his business dealings.
    She influenced her husband’s musical stylings; introducing him to the Baroque counterpoint which would figure into his later works, such as the 41st Symphony, Don Giovanni, and The Magic Flute.
    The soprano solo in Mozart’s ‘C minor Mass K.427’ was written for her, as a ‘love gift.’
    She went on to perform the part in the original staging at St Peter's abbey church in Salzburg.
    When she returned to Vienna with her husband after the performance, they discovered that their first child (whom they had left with a nurse) had died.
    Three more of their children (two girls and a boy) would also go on to die in the state of infancy. Her youngest son was also born four months after Wolfgang’s death.
    Following his death, she largely devoted her energy to marketing her husband’s music and staging concert tours with her sister. She was largely responsible for preserving her husband’s memory for future generations.
    She and her sons bequeathed all the Mozart memorabilia which had been in her possession to the foundation which became the Mozarteum.

Credit: BoyWiththeGreenHair

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