This list of Mozart symphonies of spurious or doubtful authenticity contains 39 symphonic works where an initial attribution to Wolfgang Amadeus Mozart has subsequently been proved spurious, or is the subject of continuing doubt. The number of symphonies actually written by Mozart is imprecisely known; of the 41 formally numbered, three (Nos 2, 3 and 37) are established as by other composers and another, No. 11, is considered by scholars to be of uncertain authorship. Outside the accepted sequence 1–41, however, there are around twenty other genuine Mozart symphonies, and beyond these, a larger number of problematic works which have not been authenticated as Mozart's. Some of these may be genuine; dubious works are often treated as authentic by the compilers of collected editions—eight are in the 1991 Neue Mozart-Ausgabe (NMA: English New Mozart Edition). Some, however, have long been accepted as the works of other composers, who in many instances have been positively identified.
Many of the authentication difficulties arise from early Mozart symphonies, where original autograph scores are missing. In some instances the main body of the work has been entirely lost, its identity being preserved only through an incipit (record of the opening few bars) cataloged by Breitkopf & Härtel, who published the Alte Mozart-Ausgabe (AMA) in 1883. The informal 18th century methods of publishing and distributing musical works caused additional confusion. Cataloging errors based on inadequate information, and an occasional over-eagerness to attribute new discoveries to Mozart has added to the problem. However, the "spurious and doubtful" list of symphonies is not fixed, as new evidence can sometimes lead to authentication; it can also throw doubt upon, or disqualify, symphonies once generally accepted as genuine Mozart.
Read more about Mozart Symphonies Of Spurious Or Doubtful Authenticity: Reasons For Misattribution, Köchel Catalogue: Explanation, List of Mozart's Symphonies of Spurious or Doubtful Authenticity, See Also
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“One must not make oneself cheap herethat is a cardinal pointor else one is done. Whoever is most impertinent has the best chance.”
—Wolfgang Amadeus Mozart (17561791)
“To summarize the contentions of this paper then. Firstly, the phrase the meaning of a word is a spurious phrase. Secondly and consequently, a re-examination is needed of phrases like the two which I discuss, being a part of the meaning of and having the same meaning. On these matters, dogmatists require prodding: although history indeed suggests that it may sometimes be better to let sleeping dogmatists lie.”
—J.L. (John Langshaw)
“Thou majestic in thy sadness
at the doubtful doom of human kind;”
—Alfred Tennyson (18091892)