Wolfgang Amadeus Mozart is universally known as a legendary composer, but a look into his correspondence with others reveals his capability of wielding words as easily as he does musical notes. The stylistic differences between the letters demonstrate his aptitude with manipulating words, his connections with others, and quirks in his personality.

In letters to authority figures, colleagues, and even occasionally friends, Mozart’s skill of flattery is made evident. In his respondence to Professor Anton Klein, Mozart addresses him as “the most estimable” and signs off as “your most obedient servant” (229). This seems to be a pattern as Mozart names himself as “your true, most devoted friend” and “grateful servant” in a variety of letters. This almost excessive adulation is used especially as a tool of manipulation when asking for aid. In an attempt to have royal groom of the chambers Sebastian Winter commission his work, Mozart does not falter in his dramatic praise. He presents him in a humbly fashion, introducing all his requests with “if his Highness pleases” and “if his Highness would be so gracious.” He also ends off on the note: “I am ever at his Highness’s service” (230). This approach occurs again in a letter to a friend Michael Puchberg in a need for funds, making the promise of always being a “grateful servant, true friend, and O.B.” (239). Interestingly, in his letters with requests, Mozart also displays an almost cunning use of logos and pathos. When appealing to Sebastian Winter, he confidently declares that Winter’s funding would not go to waste, assuring success. While addressing Michael Puchberg, he talks extensively of his situation to draw pity, mentioning illness in his family resulting in his inability to make money. While Mozart may have genuinely come from a place of devastating desperation, this shows how naive he is with handling money.

Mozart’s letters to his acquaintances also shows his tendency to be brutally honest and critical. In a letter to his father, Mozart makes brash generalizes about unfamiliar people. He starts off by saying, “I am very displeased that my letter has failed to reach your hands through Mile Storace’s stupidity” (232) and continues to complain about the inconvenience while blaming the man. He later expresses his frustration with performance of members of a show: “He… plays like a bad beginner. Young Andre, Fiala’s pupil, plays a thousand times better… His tone is utterly nasal– and his tenata is a tremolando on the organ!” (233). It becomes evident that Mozart is quick to call others incompetent and has almost no filter when annoyed.

However, Mozart shows an openly affectionate side to his family. His letters to his wife and children are filled with genuine love. In particular, Mozart does not shy from expressing his feelings for his wife in a very poetic fashion. One letter he ends on the line “I kiss you a million times terribly, and am ever thine, true till death” (240). The longing and passionate emotions in his writing to his wife whenever he is away from home highlights their loving relationship. While his relationship with his father, Leopold Mozart, seemed to have its share of conflicts, it is clear that both Mozart and his father care for and love each other. While Mozart’s father is not directly affectionate, he talks to others about and applauds his son’s success. Mozart expresses concern for his father’s deteriorating health and then deeply mourns his death.

Mozart’s letters offers a view of the multiple aspects of his personality and his communication with others. While some accounts prove that Mozart could be immature and reckless, others show his thoughtfulness. His beautiful articulation of words however, does remind us why Mozart has been and always will be remembered as a genius.