Often attributed to Mozart, the K. 17 symphony is anything but refined. Lacking orchestration and filled with gaps, it raises more questions than answers about its true authorship.

The earliest sonatas of Wolfgang Amadeus Mozart, K.6 and K.7, are traditionally seen as proof of his precocious genius. But as we explore the murky origins of these works, we find that they may be more a product of Leopold Mozart’s ambition than Wolfgang’s musical talent. The truth, as always, lies somewhere between the notes.

Pushkin does not see Salieri as a mere mediocre. In fact, Salieri embodies the struggle of the artist, much like Michelangelo, who reaches greatness through relentless effort. Pushkin himself identifies with both Mozart and Salieri, but he emphasises that true art demands work, discipline, and sacrifice. In poisoning the Mozartian element within himself, Salieri performs a service to art, freeing it from the frivolity of effortless genius. ‘Can genius and malice coexist?’ Pushkin’s answer is complex, but in the end, Salieri’s act seems to affirm that true creation lies in the hands of those who strive.

The myth of Mozart’s genius continues to collapse under the weight of his reliance on others’ ideas, with Leopold orchestrating his son’s supposed early brilliance.

The genius of Mozart had yet to bloom, despite the anecdotes passed down to us. These concertos were not the work of a prodigy, but a collaborative effort between father and son, built on the music of others.