Was Mozart's Music Stolen? Debunking the Urban Legends

In the realm of classical music, few composers are as revered as Wolfgang Amadeus Mozart. But like any other artist, he faced the age-old challenge of innovation within a steep expectation of originality. The whispers of plagiarism have often surrounded Mozart, particularly in reference to his mortal rival, Antonio Salieri. Is there any truth to these claims? Let's delve into the historical context and explore whether Mozart's music was truly borrowed, or merely derivative, a common practice in his time.

The Myths Unveiled

There is a popular narrative that portrays Mozart as a lazy, party-loving musician who stole his works from Salieri. This narrative, however, is nothing more than a myth perpetuated by literary works, such as the play "Amadeus" and its subsequent film adaptation. According to these accounts, Salieri was a less talented composer who was overshadowed by the genius of Mozart. However, this idea is far from accurate and lacks both historical evidence and scholarly support.

A Common Practice of the Time

It is important to understand the musical landscape of Mozart's era. During the 18th century, folk songs and traditional tunes were often the foundation of compositions. Many of Mozart's pieces can be traced back to these sources, and he was known to incorporate existing melodies in his works. This practice was not uncommon; instead, it was a way to pay homage and respect to the art forms that influenced his own creativity.

Even among more established composers like Haydn, Telemann, and Bach, there can be evidence of borrowing from each other. In a world where the sheer volume of compositions was daunting, cross-referencing themes was not only common but often practical. For instance, the famous Duke's party and Mass for Requiem required rapid turnaround, and composers often reused themes they found suitable.

The Lady?tion: Practical Necessity

Mozart's contemporaries operated in an environment where music copyright laws did not yet exist. In Vienna and Salzburg, where Mozart lived and worked, there were no formal protections for composers' intellectual property. This lack of legal constraints meant that borrowing from other composers was a widespread and accepted practice. For example, Mozart copied from several composers like Myslivicek and Hasse, and he often derived melodies from popular compositions by Martin y Soler, as seen in the diner scene of his opera Don Giovanni.

Specific Cases of Borrowing

Astor Piazzola, 1781, was a pivotal year in Mozart's life. On Christmas Eve, he performed in front of the emperor Joseph II and other guests, with composer Muzio Clementi also taking part. The two were tasked with a musical duel, which they played until it ended in a tie. However, Clementi's Sonata in B-Flat Major Op. 24 No. 2 seems to have influenced Mozart's famous opera Die Zauberflte or The Magic Flute. The opening theme from Clementi's sonata can be clearly heard in the overture of The Magic Flute.

These examples highlight that Mozart, like many of his contemporaries, derived inspiration from a wide range of sources. While borrowing was a common practice, it was also a form of flattery and respect, rather than a form of plagiarism. The concept of "borrowing" versus "plagiarism" is subjective and often depends on the cultural and historical context in which the music was created.

Legacy and Perception

Despite the occasional borrowing and derivation from other composers, Mozart's enduring legacy is based on his unique and original voice. He was not the only composer to recycle themes or melodies; this practice was common among his peers. Mozart's genius lies in how he transformed and reimagined existing material, creating something new and innovative in the process.

Today, many people are proud of being "sampled" in the music industry, and similarly, during Mozart's time, borrowing from other works was seen as a sign of respect and mastery. The legal aspects of music copying became more formalized only later, well after Mozart's death, making such practices less scrutinized in the 18th century.

In conclusion, while it is true that Mozart borrowed from other composers, this practice was a common and accepted part of the musical culture of his time. It is important to recognize that what might be seen as plagiarism today can often be understood as a form of homage and inspiration in the context of historical artistic expression.

Further Reading

For those interested in learning more about the historical context of music composition in the 18th century, the following sources are recommended:

Music in the European Courts: From the Renaissance to the Classical Period The Life of Wolfgang Amadeus Mozart Antonio Salieri: A Concise Biography