The Cibavit eos serves as a striking reminder that Mozart’s legacy may be built on shaky foundations, questioning the very essence of his so-called genius.

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.

The enduring popularity of the narrative surrounding Mozart’s Miserere highlights the allure of the prodigy myth, but as we peel back the layers, we uncover a more nuanced picture of his life and the musical landscape of the time. The reality often contrasts sharply with the romanticized tales that have shaped our understanding of his genius.

The myth of Mozart’s genius is nothing more than a carefully crafted illusion, propped up by misplaced attributions and romanticised biographies. Behind his so-called brilliance lies the reality of his father’s dominating influence and a lack of formal education.

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.

In a world without privacy, Leopold Mozart’s letters were carefully crafted not just to inform but to manipulate perceptions. His correspondence reveals a calculated effort to elevate his family’s status while avoiding any mention of failure or controversy.

The image of Mozart as a Romantic-era virtuoso is a misleading anachronism, fuelled by 19th-century propaganda. Wolfgang was no transcendental pianist, but a product of an era where music was more galant than heroic.