Mozart: The Greatest Child Prodigy

A detail from the portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona, circa 1770, by unknown 18th-centuty artist. Oil on canvas. Private collection. Public Domain

The field of music seems to have an abundance of child prodigies compared to other cultural spheres. Franz Schubert, Camille Saint-Saëns, Georges Bizet, and Felix Mendelssohn all displayed exceptional early talent. One could list others still.

But among these, Wolfgang Amadeus Mozart (1756–91) stands out. He is the most famous and influential child prodigy of all time. It is not much of an exaggeration to call him the fountainhead of child prodigies, since he predates the other composers listed here. His effect goes beyond the music world, shaping our idea of genius itself.

Mozart turned 269 on Jan. 27. In honor of his birthday, here is a look at his early life and accomplishments.

Early Training

A common myth exists that Mozart wrote “Twinkle Twinkle Little Star” when he was still a young child. This is not technically true, as the melody was taken from a French folk song. Mozart did, however, write a dozen variations on it when he was 17.

Don Campbell, author of “The Mozart Effect for Children: Awakening Your Child’s Mind, Health, and Creativity With Music,” has speculated that the teenage prankster wrote these variations to tease his strict father, Leopold. While impossible to verify, it seems plausible when one studies the tune’s original lyrics:

Ah! Let me tell you, Mother, What’s the cause of my torment? Papa wants me to reason Like a grown-up. Me, I say that candy has Greater value than reason.

Leopold Mozart did indeed push for Mozart to “reason like a grown-up” at an age where most children are still happily shaking toy rattles. Anyone who has seen the film “Amadeus” (1984), based on Peter Shaffer’s stage play, is familiar with scenes of the young boy being touted around to various European courts, playing the keyboard blindfolded.

One wonders how someone can play blindfolded? Well, there was more to it than just memorizing finger positions. The young Mozart was adept at musical “faking”—improvising in a way that glides over errors so listeners didn’t notice.

As a toddler, Mozart would sit at the piano bench next to his older sister Nannerl, who was a talented musician in her own right. He would place his hands on the keyboard mimicking her—“playing” at playing, so to speak. This sense of treating music like a game would stay with Mozart his entire life. It would also give the boy the energy to endure the rigorous routine of practicing and performing that his father imposed.

The Mozart family on tour: Leopold, Wolfgang, Nannerl, circa 1763, by Carmontelle. Watercolor. Public Domain

Mozart’s first compositions were piano exercises composed when he was 5 years old and written down by his father in a notebook. He would spend the next decade and a half imitating other composers before coming into his own as an original creator.

The First Masterpiece

While people could always debate this point, Mozart’s earliest masterpiece is often considered to be his Ninth Piano Concerto in E-flat major, K. 271. It was written in 1777 while the composer was in Salzburg.

Mozart in 1777, around the time when he composed "Jeunehomme." Public Domain

The catalogue of Mozart’s works created by Ludwig Köchel is chronological. So while a masterpiece created at age 21 is impressive, this means that Mozart wrote 270 pieces before coming to this point, most of which were run-of-the-mill in quality. While he had a head start, this gestation period is typical. Even geniuses begin as mediocrities and only develop beyond this through hard work.

But thanks to the perfectionism instilled by his father, Mozart did finally come into his own. In a letter he wrote in December of the same year, he outlined his daily routine. “I am writing this at eleven o’clock at night,” he said, “as I have no time else.” He then describes how he spent the first four hours of his day composing, then goes to a then goes to a friend’s house and writes some more. After dining, he gave music lessons in the late afternoon and early evening, which was followed by socializing.

The Ninth Piano Concerto has long been known as “Jeunehomme” concerto, which means “young man.” In 2004, though, it was discovered that Mozart wrote it for a fellow pianist named Victoire Jenamy, the daughter of a ballet master. Its proper title should thus be the “Jenamy” concerto, according to biographer Piero Melograni in “Wolfgang Amadeus Mozart: A Biography.”

As Melograni notes, the “Jenamy” concerto was judged harshly when it first appeared. Mozart’s publisher in Paris deemed it “insufficiently commercial,” and listeners felt it was “too long and too difficult,” particularly its innovative final movement.

What makes K. 271 Mozart’s first masterpiece? For one, the solo piano is introduced in the beginning, without giving time for the orchestra to introduce the theme. The interaction between the soloist and orchestra is more dynamic. In the last movement, a rondo movement is interrupted by a minuet in andante, creating an unusual contrast.

Why Mozart’s original audience thought this piece difficult is hard for us to understand today. Now, he is considered the epitome of “easy listening,” ideal background music for studying or serene contemplation. But this is a modern viewpoint, centuries in the making. Mozart’s compositions were cutting edge in the late 18th century and considered “unpalatable” by many. He continued to have problems with both publishers and the public until the very end of his life. Even his father criticized him about being out of sync with public taste, complaining that Wolfgang’s works did not always do him “honor.” Those who have seen “Amadeus” will recall what Emperor Joseph II told the composer after a performance: “Too many notes.”

Inspiring Childhood Learning

Today, Mozart’s status is radically reversed. He has profoundly influenced how we conceive the idea of genius, and even how we shape our children to measure up to that standard.

His life is frequently exploited for various pedagogical strategies directed at children. Conscious of the “Mozart effect” that classical music can improve focus and memory, ambitious mothers-to-be place little loudspeakers up to their wombs and play one of the composer’s serenades. Will this give their baby a head start in life? Certainly it doesn’t hurt to try, and it’s better than heavy metal.

One and two-day-old newborn babies listen to music with headphones. The experimental program is based on musical therapy and meant to improve the quality of newborn care shortly after the birth.  Joe Klamar/AFP/Getty Images

Not surprisingly, there are also a lot of children’s books about Mozart’s childhood. While many have similar titles, they have different focuses. In “Young Mozart,” author William Augel presents a whimsical portrait of a boy taking inspiration from animals as the source of his musical ideas. “My First Mozart” is one of several music board books about the composer that are available. This one presents sound clips of Mozart’s works as he travels around Europe, performing with his sister.

In “My First Book of Mozart,” editor David Dutkanicz presents a beginning piano book featuring simplified versions of Mozart’s iconic compositions. And yes, this includes two variations on “Twinkle Twinkle Little Star.”

As Campbell explains, Mozart’s “Variations” on this tune “perfectly evoke the way we humans best think and grow creatively,” learning to incorporate basic patterns into more complex systems. Mozart shows us how to transform the simple into the extraordinary.

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