New Revelations About Mozart
at the Évora Forensic Conference
At the Évora Forensic Conference, new research confirmed that both Mozart’s personal catalogue and the signatures on his violin concertos are forgeries, challenging long-held beliefs.
Mozart: The Fall of the Gods
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 bass clefs and signatures once thought to be Mozart’s have now been revealed as forgeries, rewriting 250 years of music history."
@MozartrazoM
Exciting Mozart-related discoveries were unveiled at the International Conference on Forensic Handwriting and Document Examination held in Évora, Portugal. In the photo, we are at the University of Évora alongside Dr. Anthony Jarvis from Darwin University in Australia and Professor Heidi Harralson, a Board Certified Forensic Document Examiner from East State Tennessee University, a renowned author in forensic document analysis for court experts.
All four of us focused on Wolfgang Amadé Mozart during our time in Évora. Besides our scientific paper on Mozart’s personal catalogue, two other groundbreaking papers were presented. The first, by Anthony Jarvis, examined the bass clefs in Mozart’s personal catalogue. Through statistical and geometric analysis, Jarvis proved that the bass clefs in the catalogue are incompatible with Mozart’s handwriting, further supporting our claim that the catalogue was not written by Mozart but is a forgery.
The second paper, presented by Professors Heidi Harralson and Martin Jarvis, scrutinised the so-called autograph signatures on the manuscripts of Mozart’s violin concertos. Their research revealed that these signatures, believed to be authentic for 250 years, are also forged.
You May Also Like
The Myth of Mozart
A critical examination of Wolfgang Amadeus Mozart’s life reveals a man shaped more by his father’s ambitions than by innate genius. Stripped of the myths, Mozart’s early years reflect a childhood dominated by relentless touring, inconsistent education, and a legacy built on exaggerated achievements. Discover the real story behind the legend.
The Return of Gatti’s Aria
In the magnificent Max Joseph Hall of the Residenz München, tenor Daniel Behle performed the aria “Puoi vantar le tue ritorte” by Luigi Gatti, taken from his opera Nitteti. This concertante piece, for which we composed the cadenzas, was brought to life by the Salzburger Hofmusik orchestra under the direction of Wolfgang Brunner.
Quirino Gasparini’s Music Performed for the First Time
For the first time in modern history, Quirino Gasparini’s music has been performed. This concert, featuring arias from Mitridate and Beethoven’s Seventh Symphony, was conducted by Maestro Leonardo Muzii, with soprano Anastasiia Petrova.
Teaching Mozart at Bocconi University
We delivered a four-hour lecture on Mozart at Bocconi University, showcasing unpublished music by Gasparini, Gatti, and Tozzi while comparing textual and musical treatment with Mozart’s works. Unseen variants from Le Nozze di Figaro were also revealed.
Modern Premieres at Bayreuth
The modern premieres of Antonio Tozzi, Luigi Gatti, and Tommaso Traetta’s works at Bayreuth brought long-overlooked Italian composers back into the spotlight. These performances, transcribed and revised by Luca Bianchini and Anna Trombetta, have restored the place of these remarkable composers in music history.
Luchesi’s Concerto Revived at Milan’s Sala Verdi
A standing ovation followed the performance of our revised edition of Luchesi’s Concerto in F for piano and strings at the Sala Verdi in Milan, conducted by Maestro Giorgio Rodolfo Marini and performed by the Insubria Chamber Orchestra.