Our Journal
Exploring the Evidence
Another Example of Borrowed Genius
The myth of Mozart’s genius continues to collapse under the weight of his reliance on others’ ideas, with Leopold orchestrating his son’s supposed early brilliance.
A Genius or a Patchwork?
The genius of Mozart had yet to bloom, despite the anecdotes passed down to us. These concertos were not the work of a prodigy, but a collaborative effort between father and son, built on the music of others.
Myth, Reality, and the Hand of Martini
Mozart handed over Martini’s Antiphon, not his own, avoiding what could have been an embarrassing failure. The young prodigy had a lot to learn, and much of what followed was myth-making at its finest.
Mozart’s Serenade? A New Discovery? Really?
In Leipzig, what was thought to be a new autograph of Mozart turned out to be a questionable copy. Why are such rushed attributions so common for Mozart, and why is it so hard to correct them when proven false?
Mozart’s K 71: A Fragment Shrouded in Doubt and Uncertainty
Mozart’s K 71, an incomplete aria, is yet another example of musical ambiguity. The fragment’s authorship, dating, and even its very existence as a genuine Mozart work remain open to question. With no definitive evidence, how can this fragment be so confidently attributed to him?
Unpacking Mozart’s Early Education
The story of Ligniville illustrates the pitfalls of romanticizing Mozart’s early life and education, reminding us that the narrative of genius is often a construct that obscures the laborious aspects of musical development.
The False Sonnet of Corilla Olimpica
Leopold Mozart’s relentless pursuit of fame for his son Wolfgang led to questionable tactics, including fabricating a sonnet by the renowned poetess Corilla Olimpica. This desperate attempt to elevate Wolfgang’s reputation casts a shadow over the Mozart legacy.
Mozart’s K 73A: A Mystery Wrapped in Ambiguity
K.143 is a prime example of how Mozart scholarship has turned uncertainty into myth. With no definitive evidence of authorship, date, or purpose, this uninspired recitative and aria in G major likely originated elsewhere. Is it time to admit this is not Mozart’s work at all?
A Farce of Honour in Mozart’s Time
By the time Wolfgang Amadeus Mozart received the Speron d’Oro, the once esteemed honour had become a laughable trinket, awarded through networking and influence rather than merit. Far from reflecting his musical genius, the title, shared with figures like Casanova, symbolised ridicule rather than respect.