Mozart’s surviving letters, or what remains of them, are filled with glaring inconsistencies. Examining these letters reveals a peculiar narrative: missing originals, questionable entries, and edits that cast doubt on their authenticity and purpose. For example, in 1788, we find only five letters from Mozart, one of which survives only as a copy, while the others simply request funds. In 1791, this increases to 27 letters, yet 13 are not autograph, and 11 bear the “modifications” of his widow Constanze or her second husband, Nissen. The pattern in previous years shows a similarly scattered story.

Leopold’s Letters and a Sparse Record from Wolfgang

The body of correspondence between Mozart and his father, Leopold, could more accurately be called Leopold’s Letters. Up until 1777, roughly 350 letters are from Leopold, compared to only about 25 from Wolfgang. Between 1778 and 1779, Leopold’s 45 letters still exceed Wolfgang’s 30. Only from 1780 to 1783 does Wolfgang’s correspondence increase—about 130 letters, nearly all addressed to his father. After 1784, however, Wolfgang’s letters become sparse: 15 in 1784, then dropping to only two in 1785. While some letters may have been misplaced, others seem to be lost forever—censored, possibly, by later family members like his sister Nannerl and later his wife Constanze, to polish Wolfgang’s image and obscure certain relationships, notably with his former love, Aloysia Weber.

A Reluctant Writer and His Coded Messages

Mozart was hardly a keen letter-writer, tending toward a laziness that made even essential communication difficult. When he did write, he often veiled himself, rarely revealing his true thoughts. In requests for funds, particularly to his friend Johann Michael Puchberg, he seldom conveyed the full story. Sensitive matters, often coded or disguised in playful language, hint at hidden meanings. Some messages were even erased, partially torn, or entirely destroyed. Copying and “enhancing” letters, then discarding originals, was a common tactic used to shape Mozart’s image, whether for financial support, reputation management, or political gain.

The “Letter” to Lorenzo Da Ponte

One particularly disputed letter, supposedly sent to librettist Lorenzo Da Ponte in September 1791, exemplifies these doubts. The sole surviving copy, located in Berlin’s Prussian Library, lacks a signature or named addressee. Additionally, it describes Mozart in a state of extreme depression—at odds with his generally positive disposition despite health challenges. This discrepancy prompted editor Schiedermair to reject the letter as inauthentic.

Titles, Fables, and Imagined Performances

Even where letters are verified as authentic, caution is required. Mozart’s letters occasionally contain exaggerations and untruths: he claimed titles he did not hold, overstated his examination success in Bologna, fabricated concert appearances to justify loan requests, and even invented tales of rivalries. This surviving correspondence—missing, altered, and sometimes fabricated—reveals a portrait of Mozart shaped as much by omission as by his own hand.