In a significant archaeological find for classical music scholarship, the National Library of France has unveiled a previously unknown 44-page notebook containing lessons from Wolfgang Amadeus Mozart to his pupil, Marie-Louise-Philippine de Bonnières de Guînes. The documents provide a rare and detailed insight into Mozart’s teaching techniques and include seven previously undiscovered compositions for flute and harp.

The notebook, dating from 1778, captures the period when Mozart was instructing de Guînes, the daughter of a duke and a skilled harpist, during her stay in Paris. According to correspondence from Mozart, the young student struggled to generate original melodic ideas, leading him to frequently intervene and complete musical phrases himself. This dynamic resulted in a collection of pieces where the extent of Mozart’s input varies, but some works are believed to be primarily authored by the composer.

François-Pierre Goy, a conservator at the National Library, came across the manuscript in February while reviewing anonymous documents prior to his retirement. Intrigued by the mixture of different handwriting styles and musical notations, Goy suspected the involvement of Mozart and eventually sought the expertise of musicologist Laurence Decobert. Confirmation arrived after consultation with Armin Brinzing, director of the Mozart Library at the International Mozarteum Foundation in Salzburg, who authenticated the manuscript as Mozart’s own handwriting during a visit to Paris.

The notebook reveals Mozart’s method of detailed bar-by-bar corrections, capturing a pedagogical approach that balances instruction with direct compositional input. Experts note that while most exercises and compositions are modest in scale and character—reflecting the student’s developing skills—one fast movement lasting about five minutes stands out due to its substantial contributions from Mozart, estimated to be between 75 and 80 percent of the content.

This discovery expands the relatively limited known repertoire for harp and flute associated with Mozart beyond the well-known Concerto for Flute, Harp and Orchestra in C major, K. 299, which was also composed for the Duke of Guînes and his daughter. Members of the Orchestre Philharmonique de Radio France, flutist Mathilde Caldérini and harpist Nicolas Tulliez, presented the pieces publicly for the first time on Sunday at the National Library of France. Their interpretation highlighted the musical value of the newly found compositions, particularly the fast movement, which Tulliez described as a major addition to the harp and flute repertoire.

Performers noted challenges in distinguishing Mozart’s direct contributions from those of de Guînes, as the initial editions of the scores did not differentiate the composer’s handwriting from the student’s. Caldérini reflected on Mozart’s reportedly demanding teaching style, suggesting that his youthful talent may have led to impatience with a pupil less naturally gifted in composition.

Despite these pedagogical frustrations, the preservation of this notebook offers scholars and musicians a unique opportunity to study Mozart’s instructional methods and compositional process in close detail. The works emerging from this collaboration between master and student stand as a testament to the musical dialogue of the era and enrich the broader understanding of Mozart’s creative life.