Joseph Boulogne, Chevalier de Saint-Georges: The Fencer, Composer, and Mozart’s Equal

In 18th-century France, where the aristocracy ruled the arts and the battlefield, one man defied expectations of the day, excelling in both. Joseph Boulogne, Chevalier de Saint-Georges was a violin virtuoso, a composer whose works rivaled Mozart’s, and one of the finest fencers in Europe. Born to an enslaved woman in Guadeloupe and a French nobleman, he carved out an extraordinary career at a time when race was often an insurmountable barrier. Yet, despite his brilliance, history has largely overlooked him—until recently.

From Enslavement to Aristocracy

Joseph Boulogne Saint-Georges was born in 1745 in Guadeloupe to Georges de Bologne Saint-Georges, a wealthy plantation owner, and an enslaved Senegalese woman named Anne Nanon.

Unlike most children in his position, Joseph wasn’t abandoned or left to an uncertain fate—his father chose to recognize him. While this wasn’t unheard of in France’s colonies of the era, it was definitely uncommon. Most seem to think he had real feelings for Anne and he sent Joseph to France at age seven, securing him an elite education that only the privileged (of any race) could dream of.

Being a nobleman with wealth and influence, Saint-Georges had the power to sidestep some of the racial barriers of the time. In Paris, Josepg went to the Académie Royale Polytechnique des Armes et de l'Équitation, a prestigious fencing and military academy. He became an expert swordsman and his lightning-fast counterattacks made him nearly unbeatable in duels.

His signature move—a deceptive feint followed by a rapid riposte—earned him admiration in dueling circles.

I had to look this one up.

Basically, he faked them out: he would pretend to attack in one direction, trick his opponent into reacting, then quickly strike in another direction before they could recover. He was really, really quick, it seems.

By his teenage years, he was known as one of the finest swordsmen in France. He defeated the formidable Italian fencing master Giuseppe Faldoni (who only ever seems to be mentioned in Boulogne’s biographies), who said Boulogne was the finest swordsman in Europe. His skill earned him a commission in the Gendarmes de la Garde du Roi, one of the king’s elite units, an extraordinary achievement for a mixed-race man in 18th-century France.

A bit on Race in France

Finding detailed records on Black people and their contributions in France can be difficult, largely because the country operates under a strict universalist approach to identity—one that sees only French and non-French rather than distinct racial or ethnic groups. Or at least, that’s the letter of the law. Unlike in the U.S., where racial and demographic data is actively collected, France has laws prohibiting the collection of race-based statistics (Loi Informatique et Libertés, 1978).

In theory, this policy is meant to promote equality by avoiding racial distinctions. In practice, however, it often serves as a way to ignore racism while still allowing it to persist, making it harder to address systemic inequalities.

The idea that race doesn’t "matter" in France sounds noble—but pretending it doesn’t exist doesn’t mean racial bias disappears.

A Duelist With a Violin

Saint-Georges wasn’t just a fencer - he was also a composer who many feel either influenced Mozart’s later compositions or, equally likely, Mozart just stole from him.

Boulogne trained under Jean-Marie Leclair, a celebrated Baroque violinist, and later studied composition with François-Joseph Gossec. His talent was undeniable, and he soon became the concertmaster and later the conductor of the Orchestra of the Loge Olympique, one of the finest orchestras in Europe.

His compositions include:

• Violin Concertos in D and G Major, which showcase his dazzling technical skill
• Symphonies Concertantes, a genre that blends elements of the symphony and concerto
• Operas, including L’Amant Anonyme (The Anonymous Lover), one of the few surviving works from his stage productions

Boulogne’s music was known for its light yet intricate melodies: his violin concertos feature demanding solo passages that demonstrate his virtuosic abilities. He could play what he composed. There’s a long list of his work on Spotify.

Better than Mozart?

Saint-Georges’ name has often been mentioned alongside Wolfgang Amadeus Mozart, but their relationship remains a subject of debate.

Some suggest that Mozart, struggling for recognition in Paris in the 1770s, was jealous of Saint-Georges’ success. There is even speculation that Mozart’s character Monostatos in The Magic Flute—a Black servant was a villain—was inspired by resentment toward Saint-Georges.

However, others argue that Mozart may have actually borrowed musical ideas from Saint-Georges. The two composers moved in similar circles, and some stylistic similarities between Saint-Georges’ concertos and Mozart’s later works suggest some influence, or so I’ve read. Classical is an area of music I could use to learn a lot more about.

One of the more uncomfortable moments in opera history: Monostatos and his slaves attempting to capture Pamina and Papageno.

If there were ever proof of the challenges a Black composer faced in classical music, it’s the way some productions of this opera have been staged. An astonishing number of recreations—even recent ones—have included characters in blackface or relied on blatantly racist portrayals.

There’s debate over whether Mozart borrowed from Saint-Georges, particularly in Sinfonia Concertante in E-flat Major. Some musicologists see clear similarities, but concrete proof of plagiarism is lacking, especially in pieces of that period. They moved in the same circles, so influence was likely— outright theft is a lot harder to prove.

I’m not here to correct Mozart or the racial attitudes of his era—over 200 years ago. But the fact that performances with blackface have happened as recently as 2022, and likely beyond, is another story entirely. Finding examples of modern productions of Mozart’s operas that still lean into outdated, racist stereotypes? Sadly, that’s easy to do.

Revolution, Imprisonment, and Exile

When the French Revolution erupted, Saint-Georges did not hesitate to take up arms. He became the colonel of the Légion Saint-Georges, the first all-Black regiment in Europe, made up largely of soldiers from the French Caribbean colonies.

Despite his military prowess, he faced discrimination and was later imprisoned during the Reign of Terror, suspected of royalist sympathies.

He was eventually released and he continued to compose but struggled financially. The patronage he once enjoyed had disappeared, and he lived in relative obscurity until his death in 1799 at the age of 53.

A Rediscovered Legacy

For centuries, Saint-Georges’ legacy was largely forgotten.

However, his works are now experiencing a revival, with musicians and historians recognizing his contributions to classical music. His Violin Concerto in A Major, L’Amant Anonyme, and Symphonie Concertante in G Major are now performed worldwide. In 2023, he was the subject of the Hollywood film Chevalier – I haven’t seen the entire film, but the first few minutes seem fun.

As always, I’d love to hear from you

if this seemed insightful, interesting or, well, anything, let me know in the comments below, comment or share it with folks who might find it interesting. It helps me to keep ticking away.

K