Mozart and Steppenwolf (The Band, Too)

It was all about laughter and the joyful acceptance and release of the demons... a man born to be wild, with caveats, of course.

“Art does not reproduce the visible; rather it makes things visible”—Paul Klee (1879-1940), Swiss-born artist.

In the novel, “Steppenwolf,” a bestseller worldwide, Carl Jung, who advanced the notion of a collective unconscious, took center stage in the novel’s early look at Germany’s pre-Hitler, free-wielding jazz age. Once a protégé of Sigmund Freud, Jung believed a man’s (and a woman’s) inner self harbored both an Anima and Animus: the feminine as well as the masculine side of human nature.  

In the journey of madness and salvation, Hermann Hesse, a popular German-Swiss author, explored the idea when his protagonist, Harry Haller, “rejected” Hermine, his Anima (the feminine side of his unconscious).   

Hesse’s marriage had tanked, and like Haller, the author fought depression. Or, as Haller saw it, the struggle between mediocrity and life, the Wolfe der Steppen (which the rock band Steppenwolf also explored). And while the band’s leader had not read the novel when he changed his band’s name from The Sparrows to a beast, he did, according to historical accounts, ultimately, read “Steppenwolf.” 

The interplay between emotions create a struggle between good and evil, which music soothes and heals.

Haller’s music wasn’t Steppenwolf’s “Born to be Wild” (not available at the time, of course), but Mozart’s music. In fact, Mozart was “immortal,” according to Haller. But readers were also left with the impression that by entering the so-called “Magic Theatre” (For Madmen Only!), a better understanding of life followed. Haller’s guide on this journey was a Jazz musician named Pablo.

“Steppenwolf” was first published in 1927. Unfortunately, the cavalier treatment of Hermine’s death, where life is a journey, and it’s ending a game to reach the perfect state of being, created anger (Hesse disputed this). But for many “baby boomers,” who were born just after Hitler died, the quest to find and accept ones’ Anima (or Animus) played out in the novel like a modern-day Bible story. And for some, the novel’s obsession with Mozart pushed classical music to the fore.

Unfortunately, Mozart does not come easily. For example, boys don’t “do” Mozart, and a blogger still remembers his struggle accepting the sissy music, even after years of Mendelssohn and Beethoven. Without ever even listening to Mozart’s music, it was ipso facto, too dainty. 

In truth, however, it can be hard-hitting and personal. For example, Mozart's Piano Concerto No. 20 is cringe-worthy (for it was indeed written with an individual in mind — possibly after a row with his father).

Interestingly, one definition of Animus is hostility (reflected in the killing of Hermine). Thus, conflicting doubts about Mozart and the avant-garde of the Weimar Republic, which was disturbingly chronicled by George Grosz, may well have helped create a rage that Haller struggled with on his journey. 

For after all, would not Mozart have been for wimps? How could he be divine? Indeed, this frustration, in part, explains the internal conflict and why Haller sought to destroy Hermine,¹ a woman who came from the wild, jazzy lifestyle Pablo had shown him — more masculine, yes, but a sure ticket to hades, according to many at the time.  

“I understood it all,” Haller said after ‘killing’ Hermine. “I understood Pablo.  I understood Mozart, and somewhere behind me, I heard his ghastly laughter. …  One day, I would be a better hand at the game.  One day I would learn how to laugh.  Pablo was waiting for me, and Mozart too.”

Hermine’s death is troubling but symbolic. The “Magic Theatre” explored a man’s emotional struggle in fantasy.

Today, of course, Jazz is not seen as it once was, and Mozart’s music is for manly men, too. Still, it’s not easy to sit and watch, or more importantly, actually listen to an entire Mozart piano concerto. And if there is any doubt, the one shared here (at the end of the article) is a particularly challenging work of classical music. 

Even the encores are remarkable in this performance, but try watching the entire video. Yes, it can be difficult. Still, how could it drive one to madness? Hermine’s death in the novel is troubling but symbolic: The “Magic Theatre” explored a man’s emotional and mental struggle in fantasy.

Interestingly, this on display in the Mozart video shared below between two women, whom the videographers record with delight.² As Klee, the Swiss-born artist, said in German long ago: Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar. An insight that no doubt, intrigued the wolves. 

Viewer beware: the Wolfe der Steppen ignores the emotional side of pleasure at his peril.

Viewer beware: the Wolfe der Steppen ignores the emotional side of pleasure at his peril. He can learn to accept his anima, of course, the reality of his feminine side, primarily through insights found in Mozart’s emotionally fulfilling music. But it is not easy, as the murder of Hermine suggests.

According to Hesse’s Haller, living life to its fullest was also meaningful. It’s why Haller wanted to be “a better hand at the game.” It was all about laughter and the joyful acceptance and release of the demons that kept Haller from emotional fulfillment, a man born to be wild, with caveats, of course. Like harmless, playful videographers. (Or, maybe not....) ³ 

Footnotes
¹ It should be noted that individualization, often absent in German Pietism (the religion of Hesse’s family and native Swabia), was a luxury Hesse had to fight for as a young man. Some writers, Christoph Gellner on a web post, for example, have written the possible genesis behind the biblical character, Cain,  shows a radical flight against repression (an original rebel as it were). 

Thus. it has been theorized, Hesse, standing against the mind numbing repression of individuality found in Pietism, created his life and works.  The “evil” of Jazz and its “lifestyle,” thus, could well be fictional motive for murder to a man torn between the divine of Mozart, and the “degenerative” nature of Jazz. As history has shown, Hitler, and others, had a problem with “degenerate art,” and even the corresponding lifestyle found in Jazz saloons. 

² This performance is remarkable, but has been continuously removed. If gone again, due to “multiple third-party notifications of copyright infringement,” hopefully, a copy will be posted legitimately (which, I believe, has finally happened). However, another, which is not as high quality, is also complete and includes the second encore, which is perfect for a post-Wolfe der Steppen practice session. 

³ A cellist is a stand out for the Wolfe der Steppen here. Even though heavily edited now, her faux pas still shines. The concertmaster notices the faux pas, and while the two are obviously friends, her reaction is unmistakable. It is an emotionally-charged, brilliant performance throughout. It channels Mozart’s last piano concerto perfectly; the orchestra’s emotional connection to the master who wrote it, a perfect written goodbye performance (in this blogger’s opinion). Even the bounders reveal themselves in the shadows of its splendor.