A Questionable Canon
The Misattribution of Mozart’s K.2 89a (K.6 73i)
K.2 89a (K.6 73i) is no grand work of genius, but rather a simple canon exercise for four sopranos. Its problems range from missing voices and unresolved harmonies to a lack of text, suggesting it’s a poorly copied version of an earlier work.
Modern editors have tried to patch it up, but can we really still call this a work by Mozart? It’s time to question whether it belongs in his catalogue at all.
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.
"A copy with missing voices and incomplete harmonies—Mozart would have known better."
Mozart: The Fall of the Gods
K.2 89a (K.6 73i), attributed to Wolfgang Amadeus Mozart, is a simple canon exercise in A major for four sopranos in unison. This piece closely resembles the Kyrie K.89, which is also written for four sopranos in unison. However, unlike the Kyrie, which serves a clear liturgical purpose, K.2 89a (K.6 73i) seems more like an incomplete experiment.
In this supposed composition, Mozart wrote only six measures for four voices. The piece is stagnant, with no modulations as it remains firmly in A major throughout. There is an overwhelming amount of repetition, suggesting a lack of imagination, even if one were to excuse it as a contrappuntal exercise.
This is where things become problematic. Although Wolfgang arranged the piece for four voices, the canon actually requires five to achieve complete harmonies. Without a fifth voice, the piece sounds incomplete, leaving discordant gaps that Mozart, if he had composed it, would surely have recognized.
The fifth voice is not indicated in the original manuscript, yet modern editors, including the Neue Mozart-Ausgabe (NMA), have added it in parentheses. This fifth voice logically enters at measure 13, filling the incomplete harmonies that otherwise sound weak. Curiously, Mozart left the final three measures filled with pauses, which suggests he may not have fully solved the harmonic puzzle presented by the canon.
Moreover, Amadé didn’t bother writing out any text, leaving many notes in a disjointed state, as though he were copying from an original source that had syllables of text he ignored. In an attempt to fill this void, modern editions have introduced whimsical verses, such as:
“Hei, wenn die Gläser klingen, so lasst uns alle fröhlich sein, und lasst uns lustig singen, ja singen ja lustig singen, am Tisch beim kühlen Wein.”
(“Hey, when the glasses clink, let’s all be merry and sing happily, sing sing joyfully, at the table with cool wine.”)
Breitkopf’s edition, unlike the NMA, corrected the canon by discreetly adding the fifth voice without explicitly saying so, transforming the piece into a Kanon für 5 Stimmen (canon for five voices) to make it more marketable.
Given that this is clearly a poorly resolved copy of a canon by an anonymous author, with Mozart forgetting the fifth soprano’s entrance, it should neither be considered an original composition nor included in his official catalogue.
You May Also Like
International Traetta Award
We are thrilled to announce that the 14th International Traetta Award has been bestowed upon Anna Trombetta and Luca Bianchini. This prestigious recognition honours their outstanding dedication to musicological research on primary sources of the European musical repertoire, offering significant contributions to reshaping the historiography of 18th-century music.
#2 The Hidden Truth of Mozart’s Education
In this video, we uncover the hidden truth behind Wolfgang Amadeus Mozart’s early education and challenge the long-held belief in his effortless genius. While history often celebrates Mozart as a child prodigy, effortlessly composing music from a young age, the reality is far more complex.
A Legacy Rewritten by the Shadows of History
Mozart’s image, often regarded as a universal symbol of musical genius, was heavily manipulated by the Nazi regime, a fact largely ignored in post-war efforts to “denazify” German culture. From propaganda-driven films to anti-Semitic narratives, Mozart’s legacy is far more complex and troubling than we are often led to believe.
The Deceptive Nature of Mozart’s Catalogue
The Thematic Catalogue traditionally credited to Mozart is fraught with inaccuracies, suggesting that many of his famous works might not be his at all. This prompts a necessary reevaluation of Mozart’s legacy and the authenticity of his compositions.
The Mozart Myth Unveiled: A Deeper Look
Mozart’s legacy is far from the untarnished narrative of genius that history would have us believe. The web of deceit woven around his name by those closest to him, including his own widow, reveals a much darker story.
The Other Side of Mozart’s Legacy
Explore the untold story of Mozart, where myth and reality collide. Our critical examination of his life and works reveals a legacy shaped by profit, myth-making, and misattribution. Join us in uncovering the truth behind the man and his music.