Mozart’s string duets have long been shrouded in mystery, from his father’s heavy influence in 1768 to his supposed act of charity for a dying Michael Haydn in 1783. These unfinished works reveal more about the composer’s life and struggles than they do about his musical genius.

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 canons are not as complex as often claimed, with notable errors in K.553 and K.554, and the myth of “V’amo di cuore teneramente” K.348 being debunked.

Mozart’s so-called “Milanese Quartets” (K.155, 158, and 159) have long been subject to debate, primarily due to their ambiguous instrumentation and structural weaknesses. Were these works part of a larger series of orchestral divertimenti, hastily repurposed as string quartets? The answer remains elusive, reflecting the young composer’s struggles to find his own voice.

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

Joseph Boulogne, known as the “Black Mozart”, was shaping the future of music while Mozart was still struggling for recognition in Paris. But history has buried the significant influence Saint-George had on Mozart’s career, erasing his pioneering style from the narrative.

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.