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VALID MONDAY THRU FRIDAY FRANCHISES AVAILABLE IN SELECTED AREAS J MEET THE CHICAGO DOG 32734 Your Hosts, Larry & Mimi Freedman Grand River 1/4 Mile East of Farmington Rd. In The Village Commons Mall DAYS Mon.-Sat. 9-9 Sun. 10-8 • Continental Breakfast • Variety of Sandwiches • Chili • Soups • Salads • Desserts OPEN 7 DINE IN OR -CARRY-OUT PHONE 471-DAWG 1—COUPON1 FREE ONE ORDER CURLEY FRIED POTATOES WITH PURCHASE OF ANY SANDWICH! 1 COUPON PER PURCHASE • EXPIRES 8-5-88 4/4 56 FRIDAY, JULY 15, 1988 Mrs. Mozart J1\1_40 Mozart Society have raised more than $20,000, which has gone toward the publication of those 110 volumes the president of the Mozarteum told her about on that Sunday afternoon inSalzburg. Today, the vast project almost con- cluded, Chajes' and Detroit's long-time efforts have not gone unsung. Volume No. 56, the score of Mozart's beloved opera, "The Magic Flute," is prefaced with special recogni- tion to Marguerite Chajes, the Pro-Mozart Society of Detroit, and other Detroit contributors. "Other compositions are dedicated to kings and emperors, to Prince So-and-So or to Count So-and-So," says Chajes, smiling, and proudly showing off her copy of the handsomely-bound volume. "But 'The Magic Flute' is ours. And this is absolutely for the rest of (time). When people open this volume years from now, they will see the name `Chajes; and 'Detroit,' and think 'What nice people they must have been.' " Over the years, Chajes, a Mozarteum graduate herself who came to the U.S. shortly before the outbreak of World War II, has done even more to "spread the word" about Mozart. Since her retirement from the operatic stage in the ear- ly 1960's, she has written ar- ticles and lectured widely, in this country and Europe, on the musical genius who pro- duced in his lifetime more than 600 compositions. (Cha- jes' work is often written about in Europe. From a stack of recent clippings, she translates a favorite comment in a Viennese paper: "Mrs. Mozart is Jewish and lives in Detroit.") In recognition of her work, her name can be found engraved on a marble plaque just inside the main entrance to the Mozarteum. In 1985, she also received from the Mozarteum the highest honor awarded by the foundation — the rarely-bestowed Golden Mozart Pin. Besides Chajes, the pin is worn by only one other person, a Cologne pro- fessor who spent more than half-a-century researching Mozart's compositions. The award was presented to Chajes at Mozart's birthplace in Salzburg, a city where, now in her 70s, she still spends several months each year. "Anybody who has ever studied in Salzburg always comes back to it," she em- phasizes. Her next stay in Austria is coming up in just a few weeks, adds the hard- working great-grandmother, who usually makes the trip Marguerite Chajes made her professional singing debut as an operatic soprano with a role in "Tosca." alone, and stays in the same room in the same Viennese hotel she's frequented for the last 40 years. While there, she divides her time between Salzburg and Vienna, work- ing on behalf of the Mozarteum, visiting with friends, and attending con- certs, operas, and other performances. "I don't still sing, but I love to listen to others singing," she says. Although, previously, she had spent much of her time studying piano, Chajes started singing professional- ly after winning an interna- tional vocalists' competition in Vienna in 1932. She made her professional debut as an operatic soprano two years later in Czechoslovakia with a role in "Tosca," directed by Rudolph Bing and, early in her career, sang at the 1939 World's Fair in New York. A high point in her career oc- curred at Prague's National Theater shortly after the end of World War II, when she sang the title role in Dvorak's "Rusalka," and received 31 curtain calls. "I was the only American to sing," she recalls. "And I sang the role in English." In the years since her retire- ment from the stage, the energetic music lover has found herself involved not on- ly in work centering on Mozart, but in other music projects as well. Fluent in German, Yiddish and Hebrew, in addition to English, she often writes ar- ticles on music and music festivals throughout the world. She has also taught voice, and lectured on colonial American music and the music of the Bible. The granddaughter of a rab- bi and descendant of an Austrian rabbinic dynasty, Chajes says her special affini- ty for Mozart's music goes back to her childhood, when she began to study piano at age 6. When asked what motivated that admiration, she answers quickly. "He was the greatest musical genius," she explains. "He wrote compositions at 6, which are (masterpieces) for somebody at 18. He got his degree when he was 14, and when one sees the work for which he received his degree, one wonders that a 14-year- old boy could possibly create (them). They are like master- pieces of a master — at age 70." "Mrs. Mozart" adds that her love for the music of Mozart has been augmented over the years by a special ad- miration that has developed for the composer himself. "I think sometimes that we are trying to atone for what happened to him when he was alive — when he was poor and sick and nobody helped him. "Of all the giants in music, he was the most human. In the movie, Amadeus,' he was depicted as being — you know — with the ladies, and some people were a little unhappy about him being depicted that way. But that's how he was, whether you like it or not. Sometimes he would say things that were vulgar. Sometimes he would crawl under a table at dinner. But he was also very warm and human, the kind of person that you could call your friend. "You could never say that about Beethoven, certainly not about Brahms or Handel. They are giants, but they are not your friends. They don't come nearly so close." ❑