Abstract

On August 2, 2009, the International Mozarteum Foundation in Salzburg was announcing in a press conference that two pieces until then considered anonymous had been identified "in all probability, bordering on certainty" as the works of Wolfgang Amadeus Mozart. However, the very fact that this institution, which is the world's center of Mozartian musicological research, is reluctant to attribute paternity of the two pieces to young Mozart, raises questions as to the reasons why the obvious temptation to unreservedly attribute the two pieces to Mozart has not been followed. The purpose of this paper is to explore, through philological, historical and analytical methods, the possible causes of this enthusiastic albeit reserved attitude.

Keywords: Wolfgang Amadeus Mozart, Konzertsatz, Nannerl Notenbuch

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