The narrative of Wolfgang Amadeus Mozart’s journey through Europe has been long enshrined in popular culture as one of extraordinary triumphs, particularly in the courts of Paris and Versailles. However, a closer examination of the facts reveals a different story, one shaped by manipulation, exaggeration, and a relentless pursuit of status by his father, Leopold Mozart.

The Grand Illusion of Versailles

Leopold Mozart, ever the ambitious and controlling figure, orchestrated the family’s extensive tour of Europe with the calculated aim of showcasing his children’s talents. Paris, with its glittering court at Versailles, was a prime target. Arriving in November 1763, Leopold had already secured the help of Friedrich Melchior Grimm, a well-connected figure in Parisian society, to arrange performances for his children, Wolfgang and Nannerl. Yet, these performances were far from the grand concerts that one might imagine today. Instead, they were modest exhibitions, heavily promoted through Grimm’s Correspondance Littéraire, where hyperbolic terms like “genius” and “miracle” were liberally applied, often with little basis in reality.

The Myth of Royal Favour

Leopold’s correspondence paints a picture of unparalleled success at the French court, with tales of Wolfgang and Nannerl receiving the warmest of welcomes from King Louis XV and his family. The truth, however, is far less glamorous. While the Mozarts did perform at Versailles, there is scant evidence to suggest that the royal family paid them much attention. For instance, the infamous story of Wolfgang being served by Queen Maria Leszczyńska at the New Year’s Eve banquet is likely a fabrication. Such narratives were carefully crafted by Leopold to enhance his children’s reputations and secure their future prospects.

Deceptive Practices and False Accolades

One of the most striking examples of Leopold’s manipulations is the poem allegedly dedicated to his children by a French poet in 1764. In reality, this poem was a clumsy forgery. Leopold had taken a pre-existing work by the poet Barnabé Farmian Durosoy, removed the names of the original French musicians, and replaced them with his children’s names. This poem, presented as a genuine tribute to Wolfgang and Nannerl, was nothing more than a piece of Leopold’s marketing strategy, aimed at solidifying their status in the eyes of the European elite.

The Legacy of Deception

Leopold Mozart’s relentless self-promotion and fabrication of events were not mere parental pride; they were deliberate acts designed to create a legacy for his son that would endure through the ages. However, these embellishments have led to a distorted view of Mozart’s early career, overshadowing the less flattering aspects of his and his father’s personalities. The Mozarts’ time in Paris, often seen as a period of triumph, was in many ways a testament to Leopold’s skill in spinning reality to suit his ambitions.