Mozart Unveiled on Radio Vaticana:
A Landmark Broadcast
Experience the power of critical musicology as Luca Bianchini and Anna Trombetta present their groundbreaking insights on Mozart’s legacy on the prestigious Radio Vaticana.
Each episode unveils secrets and challenges the myths surrounding this celebrated composer.
Mozart: The Fall of the Gods
This book compiles the results of our studies on 18th-century music and Mozart, who has been revered for over two centuries as a deity. We dismantle the baseless cult of Mozart and strip away the clichés that falsely present him as a natural genius, revealing the contradictions in conventional biographies. In this work, divided into two parts, we identify and critically analyze several contradictory points in the vast Mozart bibliography. Each of the nearly 2,000 citations is meticulously sourced, allowing readers to verify the findings. This critical biography of Mozart emerges from these premises, addressing the numerous doubts raised by researchers.
"Mozart is not what history wants us to believe—sometimes, the truth is stranger than the myth."
Mozart: The Fall of the Gods
e esteemed musicologists Luca Bianchini and Anna Trombetta are bringing their provocative insights on Mozart to none other than Radio Vaticana, the Vatican’s highly revered station. Through a series of enlightening episodes of L’Arpeggio, Bianchini and Trombetta will delve into the myth surrounding Mozart, revealing intricate details from their groundbreaking book, Mozart: The Fall of the Gods. In a truly prestigious event, Radio Vaticana honors these scholars’ in-depth research and fearless questioning of Mozart’s legacy, underscoring the importance of evidence-based musicology in the modern world.
A Closer Look: The Episodes
First Episode
Introduction – The Birth of the Mozart Myth
Watch here: YouTube
Second Episode
The Quartets
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Third Episode
The Duets and Quintets
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Fourth Episode
Theater Director and The Marriage of Figaro
Watch here: YouTube
Fifth Episode
Divertimento K. 522
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These first ten episodes explore key works of Mozart, presenting a rare, detailed critique that challenges the unexamined adulation Mozart often receives. From operas to quartets, this series promises to illuminate and unsettle long-held assumptions.
Special Feature: The Magic Flute
Explore more about Mozart’s most enigmatic work, The Magic Flute, through exclusive audio and video.
Follow this unparalleled broadcast to uncover a new perspective on Mozart, backed by historical scrutiny and the primary sources that few dare to reveal.
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Georg Nissen and the Missing Notebooks – Part II
This second part delves deeper into Georg Nissen’s scheme to expose the truth about Mozart’s death, and the roles of Constanze Mozart and her sons in keeping it buried. As new details emerge, the mystery surrounding the famous composer’s final days grows even darker, with powerful forces potentially at play.
Mozart and Salieri
Pushkin does not see Salieri as a mere mediocre. In fact, Salieri embodies the struggle of the artist, much like Michelangelo, who reaches greatness through relentless effort. Pushkin himself identifies with both Mozart and Salieri, but he emphasises that true art demands work, discipline, and sacrifice. In poisoning the Mozartian element within himself, Salieri performs a service to art, freeing it from the frivolity of effortless genius. ‘Can genius and malice coexist?’ Pushkin’s answer is complex, but in the end, Salieri’s act seems to affirm that true creation lies in the hands of those who strive.
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?