the deconstruction of a myth

MozartrazoM

Mozart in Reverse

In the introduction to Mozart’s biography, penned by Constanze Mozart’s second husband, Nissen, it is surprisingly asserted that it’s preferable to conceal the truth, lest Mozart’s image be tarnished.

One does not want, nor can one publicly show their hero as he presented himself in the shadow of privacy; if he could be questioned, he himself would hardly admit it. He was and remains the master of his words, which he could have left unwritten and which he only wrote for the person with whom he wanted to confide. He had weaknesses, shortcomings, which he partly improved later and which one will not have the occasion to reveal. Through the whole truth, his fame, his esteem, and the impression of his works may be damaged.

Georg Nikolaus Nissen

Ultimately, we don’t believe in hiding the truth, and so we let the primary sources speak.

Who We Are

MozartrazoM is a project by musicologists Luca Bianchini and Anna Trombetta.

The site aims to challenge the traditional narratives surrounding Mozart and his family, offering a critical and often controversial perspective that contrasts with the mainstream glorification of the composer.

In addition, these pages also host some of the finest musicological and critical contributions from other authors who refuse to tell fairy tales and are dedicated to seeking the truth by rigorously investigating the sources.

Luca Bianchini and Anna Trombetta delivered lectures on Mozart and the relationship between words and music in the 18th century at Bocconi University in Milan.

L.Bianchini & A.Trombetta

Our Books

With a meticulous approach, these books delve deep into investigation, rejecting hearsay. Sources are meticulously verified and critically examined, particularly primary sources, which undergo rigorous scrutiny and evaluation.

Cover image of the book Mozart in Italy by Luca Bianchini and Anna Trombetta. Below the title, a carriage is depicted with two people who have disembarked and are approaching an inn

Latest Articles

Explore the flaws, contradictions, and lesser-known truths behind one of history’s most celebrated composers.

The Contradictions Behind Mozart’s Horn Concerto K.412

The Contradictions Behind Mozart’s Horn Concerto K.412

The authenticity of Mozart’s Horn Concerto K.412 remains hotly debated, as the work bears numerous contradictions in its manuscript history. The first movement may be original, but what about the rest? The inclusion of Franz Xaver Süssmayr and later editorial meddling raises serious questions about what we are really listening to when we hear this ‘Mozart’ concerto.

The Questionable Attribution of Mozart’s Offertorium K.34

The Questionable Attribution of Mozart’s Offertorium K.34

Attributing Offertorium K.34 to Mozart is not just misleading, it reflects the careless methods used by 19th-century scholars to inflate his legacy. Without an autograph or solid evidence, this work should not be considered part of his output.”

The Mysterious Case of Mozart’s Duets: An Unfinished Story

The Mysterious Case of Mozart’s Duets: An Unfinished Story

Mozart’s string duets have long been shrouded in mystery, from his father’s heavy influence in 1768 to his supposed act of charity for a dying Michael Haydn in 1783. These unfinished works reveal more about the composer’s life and struggles than they do about his musical genius.

The Borrowed Simplicity: Mozart’s Canons K.555, K.557, and K.562

The Borrowed Simplicity: Mozart’s Canons K.555, K.557, and K.562

The canons K.555, K.557, and K.562, often overlooked for their simplicity, reveal striking similarities with the works of Antonio Caldara. These three pieces, dated 1788, demonstrate how Mozart adapted and simplified Caldara’s contrapuntal structures, masking his influences while reflecting the galant style of the era.

Events

Discover the latest interviews, talks, and behind-the-scenes insights into the untold story of Mozart.

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In the Spotlight

Are you ready to meet the real Mozart? Our videos, like our posts, will take you on a journey of discovery
into his life and works, without censorship or idealisation.

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