The Manufacture of Mozart: an upcoming book by Robert Newman
English author shows Jesuit control of the arts dating back 400 years
By Greg Szymanski, JD
Dec. 19, 2010
One of the most extraordinary theatrical events ever put on by the Papacy was when Gregory XV, the first Jesuit student to become Pope, canonized Ignatius Loyola.
Nowhere in the Bible is canonization condoned or authorized. It is simply a Vatican adaption of a pagan ritual wherein men are elevated to godlike status. Of course, the men elevated to ‘sainthood’ are chosen by men who have elevated themselves to godlike status without any particular Biblical authority.
And so the real live theatre at the Vatican continues today ever since Gregory’s brief pontificate of three years was marked by the blockbuster theatrical performance when Loyola, a bloodthirsty killer in the Pope’s army, was elevated to a pagan god on March 12, 1622.
Today schools and colleges are named after him. The Jesuits call him their guiding light in a world of darkness. And presidents and popes sit under his portrait when they meet in the Vatican for a beer and a friendly chat on how to create new crusades and genocides.
If you take the whole thing too seriously, it will drive you nuts.
But if you look at it for what it is, good theatre without an ounce of truth, perhaps you can live through the next theatrical onslaught of Vatican and Illuminati madness bound to kill millions.
So what is this Vatican and Jesuit obsession with creating “great theatre” in the real world and on the silver screen?
In 1957, John XXIII in his encyclical, Miranda Prorsus, told us about the lofty goals for Jesuit theatre, announcing:
“Men must be brought into closer communion with one another. They must become socially minded. These technical arts (cinema, sound broadcasting and television) can achieve this aim. The Catholic Church is keenly desirous that these means be converted to the spreading and advancement of everything that can be truly called good.Embracing, as she does, the whole human society within the orbit of her divinely appointed mission, she is directly concerned with fostering of civilization among all peoples.
Directly talking to producers and directors, your Hellishness went on:
“There must be a paternal injunction not to allow films to be made which are at variance with the faith and Christian moral standards. Should this happen – which GOd forbade – then it is for the Bishops to rebuke them and, if necessary, to impose upon them appropriate sanctions.”
Then John XXIII told Pius XI’s national film reviewing officies to do the following:
“…be it entrusted to men who are experienced in cinema, sound broadcasting and television, under the guidance of a priest specially chosen by the Bishops…At the same time we urge that the faithful, and particulary those who are militant in the cause of Catholic Action (a Jesuit organization) be suitable instructed so that they may appreciate the need for giving to these offices their willing, united and effective support.:
According to researcher, the late Tupper Saucy, controlling theatre and Cinema for the last four centuries, the aim is to mass produce in America Jesuitic graduates schooled in Jesuit “Ratio Studiorum.
Saucy points out the aim of modern entertainment and public schooling in America , which as Martin Luther warned and Columbine attests, is to ignore Scripture and Bible teachings, turning our schools “into a widening gates of hell.”
He adds that Jesuit Universities are “no longer chartered institutions; it has become our entire social environment- the movies, the mall, the school, the home, the mind.
“Most of the content of modern media, whether television, radio, print, film, stage, or web, is state of the art Jesuit Ratio Studiorum.”
It’s hard for Americans to believe that the Jesuits and Vatican have had their control fingers on entertainment and education for at least four centuries, perhaps more.
But if you are doubtful, take the time to look at how they even controlled and manufactured the most famous composer of all time, Wolfgang Amadeus Mozart.
Be assured if they could control and manufacture Mozart, they can do the same to the likes of Bono, Madonna, Tom Hanks and Ron Howard.
To prove this point English author Robert Newman has dedicated 15 years of his life uncovering how the Vatican and Jesuits perpetrated the Mozart fraud.
Newman recently appeared on my radio show, The investigative Journal, and provided the following preview of his book entitled, “The Manufacture of Mozart”:
“The name of Mozart has long been synonymous with the term ‘musical genius’. Mozart is the archetypal composer of the well known film, ‘Amadeus’. (Whose trailer leads with the statement that, ‘Everything you’ve heard is true’). And yet, there is growing but little known evidence from detailed study of manuscripts and other lines of evidence that Mozart’s entire career was almost entirely manufactured. With the full assistance of the Jesuit Order and, later, from members of fraternities after the Jesuit ban in 1773, including individuals associated with the Freemasons and, still later, the Illuminati.
“This manufacture of Mozart’s status during his short lifetime and later, within western civilization generally by way of sympathetic biographies and music publishing is a classic case of systematic and deliberate misinformation in the area of culture which involved and still involves suppression of historical/musical fact.
“To create Mozart’s huge and dominating status in western culture required steady supply to him throughout virtually all his life of works he never wrote, this on an extraordinary, even wholesale scale. A process still continuing even after his untimely death in December 1791. Of music composed by men whose names are today little known, members of a fraternity, most of which were Jesuit educated or closely allied with them – with the ultimate objective of such a project to create in the name of one man a ‘musical superman’. So that music as an industry could be more easily controlled, internationally, through an ‘approved’ person by creation of his myth.
“This at the price, of course, of virtually suppressing work by many, many composers ever since. Mozart’s image has been spoken of by other composers in such revered terms that it almost seems impossible to think of him in any other way. To the late 19th century composer Peter Tchaikowsky Mozart is ‘the musical Christ’. To philosopher Sorren Kierkegaard the music of Mozart was reason to consider establishing a new religion ! And to theologian Karl Barth Mozart was an angel.
“Hardly surprising he was soon described as belonging to an elite pantheon of Vienna composers such as Joseph Haydn and Ludwig van Beethoven. (Whose own stories have hardly been told). This ‘iconic view’ of music history seems to be inevitable. But it had the effect of slowly reducing the subject (almost without realising it) to virtual idolatry, a pantheon of accepted demi-gods of music who seem unchallengeable because of their unique works. Not unlike those statues which stand on Easter Island off the coast of South America. We live in a world where cultural icons of this kind dominate our own landscape but where, in the case of music, the input of other talented musicians of Mozart’s time are simply unknown or have been hugely and deliberately suppressed.
“This ’genius’ image of Mozart, carefully controlled by early biographers and later sympathisers was further exaggerated and transformed into the huge industry we know today. So that the bubble, once created, expanded and expanded to huge dimensions with ever greater colour and fascination. To the point where music study seems impossible without acknowledging Mozart’s ‘musical genius’.
“That much of this music attributed to Mozart (though by no means all) is of great and lasting quality is undeniable. But that he, W.A.Mozart, was its true composer is a very different issue. What we find, in fact, is that the music history we find in books and reference sources, and which is widely taught, has been as corrupted and twisted as that of any other field of human activity. Even worse, for in the case of Mozart in particular, there is little, if any, cross-examination of what we are told.
“The Jesuit control of Mozart began even before he was born with the education of his father, Leopold, in his native Augsburg, Germany. Leopold was educated by the Jesuit Order there. It was a Jesuit college which staged one of his son‘s earliest works in Salzburg and it was a Jesuit priest (Abbe Bullinger) who remained in the closest contact with Mozart even at the age of 22, when, during a visit he made to Paris with his mother in 1778 she died in the French capital after a period of illness.
“It was to this same Abbe Bullinger that Mozart announced her death by letter, this days before he broke the news in another to his father. And the list of Jesuits and occultists involved in the manufacture of his musical career is very long. Amongst those involved were Jesuit educated men such as composers – Giovanni Paisiello, Antonio Salieri, Andrea Luchesi, Paul Wranitsky, Anton Wranitsky, Josef Martin Kraus, Vicenzo Righini, J.B. Vanhal,
Josef Fiala, Josef Cartellieri, Josef Myslivececk, Abbe Maximilian Stadler, Abbe Georg Vogler, J.C. Bach, H.A. Gelinek, Theresia von Paradis and many others.
“And, after 1773, came the Illuminati, with members of which Mozart had many, many associations. These including music publishers such as
Hoffmeister (Vienna), Simrock (Bonn), Artaria, Breitkopf and Hartel.
“Together with a string of patrons such as Baron van Swieten, Prince Lichnowsky, Prince Furstenberg of Donaueschingen, Prince Lobkowitz of Bohemia and many, many others. Including various members of the Rosicrucian Order, the Freemasons, and string of others belonging to various Orders of the Holy Roman Empire etc.
“The posthumous creation of Mozart’s gigantic reputation took decades and that story has hardly been told. But his reputation remains, to this day, the product of a fusion of the occult with that of extreme conservatism of the Holy Roman Empire during the late 18th century. The chief product of which is the corporate domination of musical/cultural history and little appreciation of the lives and talents of these other, real composers. (J.S. Bach, of course, did not officially exist to that Empire. He was to be ‘rediscovered’ only decades later).”
— R. Newman
Author of ‘The Manufacture of Mozart’