| Sumario: | Walter Thornbury's "The Old Chapel-Master" (1873) and Edward Prime-Stevenson's "When Art Was Young: A Romance in Two Parts"/"Aquæ multæ non—" (1883/1913) both grapple with acts of musical crime in ways that invite potential queer readings and unexpected reflections on the strange afterlives of the myths surrounding W.A. Mozart and Antonio Salieri. This article explores the dimensions that lurk underneath the surfaces of both works, drawing on literary theories of nineteenth-century artistic forgery and plagiarism as forms of masculine betrayal, representations of Salieri as a villain in 19th-century musical fictions, and musicological scholarship on disputed or dubious authorship.
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