K.2 89a (K.6 73i), attributed to Mozart, is riddled with issues—missing voices, incomplete harmonies, and even the absence of text. Should this piece really be in his catalogue?

The canons K.555, K.557, and K.562, often overlooked for their simplicity, reveal striking similarities with the works of Antonio Caldara. These three pieces, dated 1788, demonstrate how Mozart adapted and simplified Caldara’s contrapuntal structures, masking his influences while reflecting the galant style of the era.

Mozart’s Quartet of Lodi is often praised as an early masterpiece. But was it really his own work?

Despite revisions, Mozart’s violin concertos remain flawed, while his minor pieces, K.261 and K.373, surprisingly garner more attention in his correspondence than his major works.

Are Mozart’s violin concertos truly original? This article explores the possibility that the Czech composer Josef Mysliveček played a far larger role in their creation than previously acknowledged.

The Kolb Concerto’s dubious origin and poor musical quality expose yet another myth in the Mozartian canon. If this is the work of a genius, then perhaps we’ve been fooled for centuries.

In the early 20th century, the “discovery” of Mozart’s sixth violin concerto in Paris created a sensation. Dubbed the Adélaïde Concerto and supposedly written for Madame Adélaïde of France, it was hailed as a testament to Mozart’s genius. However, as the story unfolds, it becomes clear that this masterpiece was not the work of the child prodigy but rather a carefully orchestrated hoax by Marius Casadesus. Despite its unmasking as a forgery, the concerto continues to captivate audiences, raising questions about authenticity and the music industry’s willingness to deceive for profit.

The Salzburg Festival, far from being a mere celebration of Mozart’s genius, was born out of nationalist ambitions during a turbulent period in Austro-German history. Conceived by figures like Max Reinhardt, Heinrich Damisch, and Friedrich Gehmacher, the festival was deeply rooted in ultranationalistic ideals, transforming Mozart’s legacy into a tool for cultural dominance. The truth behind its founding has long been obscured, but the primary sources tell a different, darker story.

The earliest sonatas of Wolfgang Amadeus Mozart, K.6 and K.7, are traditionally seen as proof of his precocious genius. But as we explore the murky origins of these works, we find that they may be more a product of Leopold Mozart’s ambition than Wolfgang’s musical talent. The truth, as always, lies somewhere between the notes.