Mozart’s Serenade? A New Discovery? Really?
A Controversial Finding in Leipzig Raises Questions About Mozart’s Authenticity
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: The Construction of a Genius
This book offers a fresh and critical look at the life of Wolfgang Amadeus Mozart, challenging the myths that have surrounded him for centuries. We strip away the romanticised image of the “natural genius” and delve into the contradictions within Mozart’s extensive biographies. Backed by nearly 2,000 meticulously sourced citations, this work invites readers to explore a deeper, more complex understanding of Mozart. Perfect for those who wish to question the traditional narrative, this biography is a must-read for serious music lovers and historians.
"The trouble with fiction is that it makes too much sense, whereas reality never makes sense."
Aldous Huxley
Did Leipzig really uncover a new autograph of Mozart? Not quite. What they found was a copy, and even its dating is questionable. The discussions I’ve come across seem more like speculation, but repeating them doesn’t make them true.
At first glance, the title page might make you think it’s by Mozart, but the piece was actually written by an anonymous copyist about twenty years later—assuming that theory is even accurate. Looking at the title page, the supposed author is a certain “Wofgang” (without the L!).
How can we trust an attribution when the name itself is misspelled? For all we know, the music could have been written by his sister, his aunt, or perhaps even a close friend of Leopold. Essentially, anyone.
Without an autograph, a date, a place, or even the correct name, it was almost predictable that this would be quickly absorbed into the Köchel catalogue of Mozart’s works as another “authentic” piece. It’s fascinating to see how eagerly such attributions are made, especially for a figure as iconic as Mozart.
There’s never this kind of urgency when a work, once attributed to Mozart, turns out to have been written by someone else. In those cases, the opposite happens. Once a piece enters the catalogue, it rarely gets removed, even when the evidence clearly shows it’s a forgery.
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Mozart and the Nationalist Illusion: The 1931 Festival and Its Legacy
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K.6 and K.7 Sonatas: A Fabricated Genius?
The earliest sonatas of Wolfgang Amadeus Mozart, K.6 and K.7, are traditionally seen as proof of his precocious genius. But as we explore the murky origins of these works, we find that they may be more a product of Leopold Mozart’s ambition than Wolfgang’s musical talent. The truth, as always, lies somewhere between the notes.
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.