The London Pieces
Mozart or Make-Believe?
The Neue Mozart-Ausgabe presents Mozart’s London pieces with “ossia” corrections, as if Mozart intended something else altogether. But by “correcting” his harmonic errors, editors obscure the authentic work of a child.
The original simplicity is transformed, commercialized even, to fit expectations of musical genius. As Erik Smith’s orchestral interpretations reveal, this approach can shift a child’s keyboard piece into something unrecognizable, making it not Mozart’s music, but his own.
For those seeking Mozart’s true voice, only the unaltered originals reveal the budding, imperfect composer he truly was.
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.
"The ‘Viennese Classicism’ was no school but a convenient label—one crafted to advance imperial interests and later twisted to satisfy nationalist agendas."
Mozart: The Fall of the Gods
How many “corrections” does it take before it’s no longer Mozart?
The London pieces, cataloged by Köchel from K.15a to K.15ss, appear in the Neue Mozart-Ausgabe (NMA), the critical edition of Mozart’s works. Where errors appear in Mozart’s original transcriptions, the NMA inserts “ossia” notations, offering “corrected” staves alongside Mozart’s manuscript. As if suggesting Mozart intended “something else,” these ossias mask the reality of what he actually wrote. For instance, in the K.15e, the NMA edits away parallel fifths (G-D, A-E) in measures two and three and revises the final cadence, ridding the piece of octave parallels in the upper parts (A-A, G-G).
While the NMA is diligent in flagging harmonic errors, a problem arises when pianists or record labels, like Philips, perform the ossia instead of Mozart’s original notes. The genuine composition should be accepted as is, with all its charming naïveté; it’s a composition of a young child, after all. Alter it, and it’s no longer music by Wolfgang Mozart. It then shifts from musicological relevance to a simple commercial product.
Above, we see another example of an ossia attached to K.15t, where any harpsichordist who plays this “suggested” version strays far from what young Mozart intended. Such melodic uncertainties are characteristic of an eight-year-old still learning the basics of composition. They shouldn’t be corrected—they represent his knowledge at the time, marking the starting point of his compositional journey. In K.15s, we see, for instance, a descending seventh leap in the bass (B-C), a choice no seasoned composer of the time would have made.
Erik Smith, who worked on the Complete Mozart Edition for Philips, pushes these edits even further. In the CD notes, he calls Mozart’s autographs “filled with smudges and errors” and remarks that, though the pieces sound unremarkable on piano, “the boy obviously heard this music in his head, mostly as orchestral music.” Smith’s claim is puzzling, especially as the pieces fit well on the keyboard, with manageable intervals and straightforward modulations from tonic to dominant and back. These are brief, 16-measure pieces—perfectly pianistic and easy to perform, even by second-year students. Though Smith may try to mask their structural simplicity through editorial changes, these corrections, with revised fifths, octaves, and the final cadence, create a sound that is not Mozart’s.
Smith insists that K.15t, like similar pieces, is more like a sketch, justifying his orchestral reinterpretation based on “intuition over analysis.” He omits less “interesting” sections, reimagining three-quarters of the pieces as “orchestral sounds young Wolfgang might have heard in his head.” This is nothing short of an “impossible endeavor.” Smith’s editorial decisions raise concerns about whether historical scholarship has a place in the paranormal. Claiming to divine the thoughts of a composer dead two centuries is no method for reliable transcription; Smith’s “reinterpretation” becomes, instead, his own original composition, one that accrues royalties under his name. The Philips CD box set, Mozart, rarities & surprises, no doubt “surprised” many listeners to find the music was not Mozart’s but Smith’s. Only in the liner notes is this mentioned, not on the packaging. And what’s more, simple harpsichord pieces hardly qualify as Beethovenian sketches in need of orchestration.
Gustav Mahler (1860–1911) famously orchestrated “Frère Jacques” (also known as “Are You Sleeping”) in his first symphony, making it his own. Likewise, an orchestral K.15e becomes a composition of Smith’s, not Mozart’s. To appreciate Mozart’s original work, we need the harpsichord version, freed from NMA’s corrections and the Romantic assumption that Mozart composed flawlessly.
Ultimately, these London pieces hardly resemble the works of a prodigious miracle: young Mozart succeeds at times, particularly when staying within the bounds of childhood playfulness. But taken as a whole, these works reveal his status as a mere novice or even, on occasion, a dabbler. Johann Simon Mayr (1763–1845) may have been right in observing that “genius does not exist in nature”—and Mozart, even as a wunderkind, is no exception.
You May Also Like
The Curious Case of Mozart’s “Lullaby”
Though long credited to Mozart, the lullaby “Schlafe mein Prinzchen, schlaf ein” hides a murky history. Initially published by Nissen, Constanze’s second husband, it has endured as one of Mozart’s supposed works—despite a trail of doubts. In 1798, Constanze herself noted sending “another piece of Mozart’s in place of the lullaby,” raising questions about its origins. By the 20th century, researchers revealed it as the work of lesser-known composers, yet it remains deceptively tied to Mozart, its myth surviving through mere footnotes.
Mozart’s Bassoon Concerto: A Question of Authorship
The Bassoon Concerto K.191 raises more questions than it answers. Long thought to have been composed for a Munich bassoonist, new evidence suggests Mozart had no clear performer in mind. The concerto’s disjointed movements and other dubious compositions attributed to Mozart add further complexity to his legacy
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 Forgotten Viennese Quartets
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 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
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.