Despite revisions, Mozart’s violin concertos remain flawed, while his minor pieces, K.261 and K.373, surprisingly garner more attention in his correspondence than his major works.

Are Mozart’s violin concertos truly original? This article explores the possibility that the Czech composer Josef Mysliveček played a far larger role in their creation than previously acknowledged.

The Kolb Concerto’s dubious origin and poor musical quality expose yet another myth in the Mozartian canon. If this is the work of a genius, then perhaps we’ve been fooled for centuries.

In the early 20th century, the “discovery” of Mozart’s sixth violin concerto in Paris created a sensation. Dubbed the Adélaïde Concerto and supposedly written for Madame Adélaïde of France, it was hailed as a testament to Mozart’s genius. However, as the story unfolds, it becomes clear that this masterpiece was not the work of the child prodigy but rather a carefully orchestrated hoax by Marius Casadesus. Despite its unmasking as a forgery, the concerto continues to captivate audiences, raising questions about authenticity and the music industry’s willingness to deceive for profit.

Mozart’s violin concertos are often celebrated as masterpieces, but how much of the music is truly his? This article delves into the complexities behind the compositions and challenges the authenticity of some of his most famous works, revealing a story of influence, imitation, and misattribution.

Following the 1938 Anschluss, the Nazi regime rebranded Mozart as the quintessential German composer, using his image to promote unity between Austria and Germany. The Salzburg Festival became a platform for Nazi propaganda, distorting Mozart’s legacy to fit their nationalistic and racial agenda.