List of compositions by Wolfgang Amadeus Mozart

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This is a selective list of the works of Wolfgang Amadeus Mozart, listed by genre. The Köchel catalogue contains a complete, chronologically ordered, list.

Wolfgang Amadeus Mozart was a prolific composer and wrote in many genres. Perhaps his best-admired work is in opera, the piano concerto and sonata, the symphony, and in the string quartet and string quintet. Mozart also wrote much work for solo piano, other forms of chamber music, masses and other religious music, and numerous dances, divertimentos, and other forms of light entertainment.

How Mozart's compositions are listed[edit]

  • The indication "K." or "KV" refers to "Köchel Verzeichnis" (Köchel catalogue), i.e. the (more or less) chronological (i.e. by composition date) catalogue of Mozart's works by Ludwig von Köchel. This catalog has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 25).
  • The compositions of Mozart listed below are grouped thematically, i.e. by type of composition. Not all thematic groups of Mozart's works have a separate numbering that is generally accepted: Köchel only numbers symphonies (1 to 41), piano concertos (1 to 27, leaving out some early transcriptions by Mozart) and a few other groups. On the other hand, for most chamber music and vocal music there is no such numbering (or at least no generally accepted one).
  • Only relatively few of Mozart's compositions have opus numbers, as not so many of his compositions were published during his lifetime, so numbering by opus number proves quite impractical for Mozart compositions.

Symphonies[edit]

Mozart's symphonic production covers a 24 year interval, from 1764 to 1788. According to most recent investigations, Mozart wrote not just the 41 symphonies reported in traditional editions, but up to 68 complete works of this type. However, by convention, the original numbering has been retained, and so his last symphony is still known as "No. 41". Some of the symphonies (K. 297, 385, 550) were revised by the author after their first versions.

Childhood symphonies (1764–1771)[edit]

These are the numbered symphonies from Mozart's early childhood.

There are also several "unnumbered" symphonies from this time period. Many of them were given numbers past 41 (but not in chronological order) in an older collection of Mozart's works (Mozart-Werke, 1877–1910, referred to as "GA"), but newer collections refer to them only by their entries in the Köchel catalogue. Many of these can not be completely established as being written by Mozart (see here).

Salzburg-era symphonies (1771–1777)[edit]

These symphonies are sometimes subcategorized as "Early" (1771–1773) and "Late" (1773–1777), and sometimes subcategorized as "Germanic" (with minuet) or "Italian" (without minuet). None of these were printed during Mozart's lifetime.

Although not counted as "symphonies" the three Divertimenti K. 136–138, in 3-movement Italian overture style, are sometimes indicated as "Salzburg Symphonies" too.

There are also several "unnumbered" symphonies from this time period that make use of music from Mozart's operas from the same time period. They are also given numbers past 41.

There are also three symphonies from this time period that are based on three of Mozart's serenades:

Late symphonies (1778–1791)[edit]

The three final symphonies (Nos. 39–41) were completed in about three months in 1788. It is quite likely that he hoped to publish these three works together as a single opus, although actually they remained unpublished until after his death. One or two of them might have been played in public in Leipzig in 1789.

Concertos[edit]

Piano concertos[edit]

Mozart's concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works. The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C. P. E. Bach). There are also three unnumbered concertos, K. 107, which are adapted from piano sonatas by J. C. Bach. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.

Violin concertos[edit]

Mozart's five violin concertos were written in Salzburg around 1775. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart probably never went through all the violin possibilities that others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto-like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)

Mozart also wrote a concertone, an adagio and two stand-alone rondos for violin and orchestra.

In addition, there are three works that are spuriously attributed to Mozart.

Horn concertos[edit]

Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. They were written for Mozart's lifelong friend Joseph Leutgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities on the valveless horns of Mozart's day.

The Horn Concertos are characterized by an elegant and humorous dialogue between the soloist and the orchestra. Many of the autographs contain jokes aimed at the dedicatee.

There are some other unfinished Mozart works for horn:

Woodwind concertos[edit]

Concerto for Flute, Harp, and Orchestra

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Concertante symphonies[edit]

Sinfonia Concertante for Violin, Viola and Orchestra

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These were not Mozart's only attempts at the genre; a few other fragmentary works were also composed around the same time, though not completed.

Other[edit]

Piano music[edit]

Mozart's earliest composition attempts begin with piano sonatas and other piano pieces, as this is the instrument on which his musical education took place. Almost everything that he wrote for piano was intended to be played by himself (or by his sister, also a proficient piano player). Examples of his earliest works are those found in Nannerl's Music Book. Between 1782 and 1786 he wrote 20 works for piano solo (including sonatas, variations, fantasias, suites, fugues, rondo) and works for piano four hands and two pianos.

Solo piano works[edit]

Dual piano/performer works[edit]

Piano four-hands[edit]

Two pianos[edit]

Chamber music[edit]

Violin music[edit]

He also wrote for piano and violin. Note the order of the two instruments, for the most part, these are keyboard-centric sonatas where the violin plays a more accompanying role. In later years, the role of the violin grew to not just a support to the other solo instrument, but to build a dialogue with it.

Childhood violin sonatas (1763–66)[edit]

  • Violin Sonatas, KV 6–9
    • Violin Sonata No. 1 in C for Keyboard and Violin, K. 6
    • Violin Sonata No. 2 in D for Keyboard and Violin, K. 7
    • Violin Sonata No. 3 in B-flat for Keyboard and Violin, K. 8
    • Violin Sonata No. 4 in G for Keyboard and Violin, K. 9
  • Violin Sonatas, KV 10–15
    • Violin Sonata No. 5 in B-flat for Keyboard and Violin (or Flute), K. 10
    • Violin Sonata No. 6 in G for Keyboard and Violin (or Flute), K. 11
    • Violin Sonata No. 7 in A for Keyboard and Violin (or Flute), K. 12
    • Violin Sonata No. 8 in F for Keyboard and Violin (or Flute), K. 13
    • Violin Sonata No. 9 in C for Keyboard and Violin (or Flute), K. 14
    • Violin Sonata No. 10 in B-flat for Keyboard and Violin (or Flute), K. 15
  • Violin Sonatas, KV 26–31
    • Violin Sonata No. 11 in E-flat for Keyboard and Violin, K. 26
    • Violin Sonata No. 12 in G for Keyboard and Violin, K. 27
    • Violin Sonata No. 13 in C for Keyboard and Violin, K. 28
    • Violin Sonata No. 14 in D for Keyboard and Violin, K. 29
    • Violin Sonata No. 15 in F for Keyboard and Violin, K. 30
    • Violin Sonata No. 16 in B-flat for Keyboard and Violin, K. 31

Mature violin sonatas (1778–88)[edit]

Variations for violin and piano[edit]

  • Variations in G major, "La bergère Célimène", K. 359
  • 6 Variations in G minor on "Hélas, j'ai perdu mon amant", K. 360

String duos and trios[edit]

String quartets[edit]

This cycle, in three movements, is interesting as far as these works can be considered precursors of the later—more complete—string quartets.
  • String Quartet No. 2 in D major, K. 155/134a (1772)
  • String Quartet No. 3 in G major, K. 156/134b (1772)
  • String Quartet No. 4 in C major, K. 157 (1772–73)
  • String Quartet No. 5 in F major, K. 158 (1772–73)
  • String Quartet No. 6 in B-flat major, K. 159 (1773)
  • String Quartet No. 7 in E-flat major, K. 160/159a (1773)
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
  • String Quartet No. 8 in F major, K. 168 (1773)
  • String Quartet No. 9 in A major, K. 169 (1773)
  • String Quartet No. 10 in C major, K. 170 (1773)
  • String Quartet No. 11 in E-flat major, K. 171 (1773)
  • String Quartet No. 12 in B-flat major, K. 172 (1773)
  • String Quartet No. 13 in D minor, K. 173 (1773)
  • Haydn Quartets, K. 387, 421, 428, 458, 464, 465, Op. 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.

String quintets[edit]

The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."[3]

Piano trios[edit]

  • Piano Trio No. 1 - Divertimento à 3 in B-flat major for Piano, Violin and Violoncello, K. 254 (1776)
  • Piano Trio No. 2 - Trio (Sonata) in G major for Piano, Violin and Violoncello, K. 496 (1786)
  • Piano Trio No. 3 - Trio in B-flat major for Piano, Violin and Violoncello, K. 502 (1786)
  • Piano Trio No. 4 - Trio in E major for Piano, Violin and Violoncello, K. 542 (1788)
  • Piano Trio No. 5 - Trio in C major for Piano, Violin and Violoncello, K. 548 (1788)
  • Piano Trio No. 6 - Trio in G major for Piano, Violin and Violoncello, K. 564 (1788)
Other
  • Piano Trio in D minor for Piano, Violin and Violoncello, K. 442 (1785–87?) (incomplete)

Other chamber music[edit]

Quintet for Piano and Winds

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Serenades, divertimenti, and other instrumental works[edit]

The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, and dances, a quodlibet, besides, of course, his symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.

Serenades[edit]

  • Cassation in D major (Serenade No. 1), K. 100/62a (1769)
  • 4 Contredanses in F major (Serenade No. 2), K. 101/250a (1776)
  • Serenade No. 3 in D major, "Antretter", K. 185/167a (1773)
  • Serenade No. 4 in D major, "Colloredo", K. 203/189b (1774)
  • Serenade No. 5 in D major, K. 204/213a (1775)
  • Serenade No. 6 in D major, "Serenata Notturna", K. 239 (1776)
  • Serenade No. 7 in D major, "Haffner", K. 250/248b (1776)
  • Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (1776–77) (each of the four "orchestras" composed of 2 French horns in D, 2 violins, viola and cello)
  • Serenade No. 9 in D major, "Posthorn", K. 320 (1779)
  • Serenade No. 10 for twelve winds and double bass in B-flat major, "Gran Partita", K. 361/370a (1781)
  • Serenade No. 11 for winds in E-flat major, K. 375 (1781–82)
  • Serenade No. 12 for winds in C minor, K. 388/384a (1782)
  • Serenade No. 13 for string quartet and bass in G major, "Eine kleine Nachtmusik", K. 525 (1787)
Others
  • Cassation in G major, K. 63 (1769)
  • Cassation in B-flat major, K. 99 (1769)

Quodlibets[edit]

Divertimenti[edit]

  • Divertimento No. 1 in E-flat major, K. 113 (1771)
  • Divertimento No. 2 in D major, K. 131 (1772)
  • Divertimento for string quartet or string orchestra in D major, K. 136/125a ("Salzburg Symphony No. 1") (1772)
  • Divertimento for string quartet or string orchestra in B-flat major, K. 137/125b ("Salzburg Symphony No. 2") (1772)
  • Divertimento for string quartet or string orchestra in F major, K. 138/125c ("Salzburg Symphony No. 3") (1772)
  • Divertimento No. 3 in E-flat major, K. 166/159d (1773)
  • Divertimento No. 4 in B-flat major, K. 186/159b (1773)
  • Divertimento No. 5 in C major, K. 187 (Anh. C 17.12) (spurious, composer unknown)
  • Divertimento No. 6 in C major, K. 188/240b (1773)
  • Divertimento No. 7 in D major, K. 205/167A (1773)
  • Divertimento No. 8 in F major, K. 213 (1775)
  • Divertimento No. 9 in B-flat major, K. 240 (1776)
  • Divertimento No. 10 in F major, K. 247, "Lodron No. 1" ("Lodronische Nachtmusik") (1776)
  • Divertimento No. 11 in D major, K. 251 (1776)
  • Divertimento No. 12 in E-flat major, K. 252/240a (1776)
  • Divertimento No. 13 in F major, K. 253 (1776)
  • Divertimento for piano, violin and violoncello in B-flat major, K. 254 ("Piano Trio No. 1") (1776)
  • Divertimento No. 14 in B-flat major, K. 270 (1777)
  • Divertimento No. 15 in B-flat major, K. 287/271h "Lodron No. 2" ("Lodronische Nachtmusik") (1777)
  • Divertimento No. 16 in E-flat major, K. 289/271g (1777)
  • Divertimento No. 17 in D major, K. 334/320b (1779–80)
  • Five Divertimentos (25 pieces) for three basset horns in B-flat major, K. 439b (Anh. 229) (1783)
  • Divertimento for two horns and strings in F major, "A Musical Joke" ("Ein Musikalischer Spaß"), K. 522 (1785–87?)
  • Divertimento for string trio in E-flat major, K. 563 (1788)
Others
  • March and Divertimento in C major; the music title when the two marches of K. 214 are played before and after the three movements of Symphony in C major, K. 208+(102/213c) ("Il re pastore") (1772, 1775)

Three Milanese Quartets called "Divertimento":

  • String Quartet No. 2 in D major, K. 155/134a ("Divertimento") (1772)
  • String Quartet No. 5 in F major, K. 158 ("Divertimento") (1772–73)
  • String Quartet No. 6 in B-flat major, K. 159 ("Divertimento") (1773)

Incomplete

  • Divertimento in F major, K. 288/246c (unknown date) (incomplete)
  • Divertimento in D major, K. 320B (1772–73) (incomplete)

Marches[edit]

  • March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) (1769)
  • March in D major, K. 189 (probably to open/close K. 185 Serenade) (1773)
  • March in C major, K. 214 (two marches opening and closing the divertimento—three movements of Symphony in C major, K. 208+(102/213c)—Il re pastore) (1775)
  • March in D major, K. 215/213b (to open and/or close Serenade, K. 204) (1775)
  • March in D major, K. 237/189c (to open and/or close Serenade, K. 203) (1774)
  • March in F major, K. 248 (for use with Divertimento No. 10, K. 247) (1776)
  • March in D major, K. 249 (to open and/or close Serenade, "Haffner", K. 250) (1776)
  • March in D major, K. 290 (for use with Divertimento No. 7, K. 205/167A) (1772)
  • March in D major, K. 335/320a, No. 1 (probably to open Serenade, "Posthorn", K. 320) (1779)
  • March in D major, K. 335/320a, No. 2 (probably to close Serenade, "Posthorn", K. 320) (1779)
  • March in C major, K. 408/383e, No. 1 (1782)
  • March in D major, K. 408/385a, No. 2 (1782)
  • March in C major, K. 408/383F, No. 3 (1782)
  • March in D major, K. 445/320c (for use with Divertimento No. 17, K. 334) (1780)
Others
  • Cassation in G major, K. 63, first movement march (1769)
  • Divertimento No. 11 in D major, K. 251, sixth movement (1776)
  • Act I: March; Act II: March; and Act III: March, Idomeneo, K. 366 (1781)
  • Kleiner Trauermarsch ("Little Funeral March") in C minor, K. 453a (1784)
  • Act III: March, Le nozze di Figaro, K. 492 (1786)

Incomplete

  • March in B-flat major, K. 384b (1782?) (incomplete)

Dances[edit]

Mozart left a huge production of dances for orchestra in different genres, including more than 100 minuets, two quadrilles, over 30 contra dances, over 50 allemandes (Teitsch, Ländler, or German Dances), a gavotte (French folk dance) and a ballet intermezzo.

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes written between 1787 and 1791 were mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale, K. 534, La Bataille, K. 535, Canary, K. 600/5, etc.

Minuet
  • 7 Menuets, K. 61a*/61b (1769)
    (* not to be confused with Missa brevis #2 in D minor, K. 65/61a)
  • 2 Menuets, K. 61g (1769–70)
  • 6 Menuets, K. 61h (including No. 3 Symphony in D major, K. 135+61h) (1769?)
  • Menuet in D major, K. 94/73h (1769–70)
  • 19 Menuets, K. 103/61d (1776)
  • 6 Menuets, K. 104/61e (1770–71)
  • 6 Menuets, K. 105/61f (spurious, by Michael Haydn)
  • Menuet in E-flat major, K. 122/73t (1770)
  • 6 Menuets, K. 164/130a (1772)
  • 16 Menuets, K. 176 (1773)
  • 8 Menuets, K. 315a/315g (1779)
  • 3 Menuets, K. 363 (1783?)
  • Symphonic Minuet in C major, K. 409/383f (1782)
  • 5 Menuets, K. 461/448a (1784)
  • 12 Menuets, K. 568 (1788)
  • 12 Menuets, K. 585 (1789)
  • 6 Menuets, K. 599 (1791)
  • 4 Menuets, K. 601 (1791)
  • 2 Menuets, K. 604 (1791)
Quadrille
  • 2 Quadrilles in F major and B-flat major, K. 463/448c (1784)
Contra dance
  • 4 Contredanses, K. 101/250a (alternative title: Serenade No. 2) (1776)
  • Overture and 3 Contredanses, K. 106/588a (doubtful) (1790)
  • Contredanse in B-flat major, K. 123/73g (1770)
  • 4 Contredanses, K. 267/271c (1777)
  • 4 Contredanses for Count Johann Rudolf Czernin, K. 269b (1777)
  • 6 Contredanses, K. 462/448b (1784)
  • Contredanse in D major, "Das Donnerwetter" (The Thunderstorm), K. 534 (1788)
  • Contredanse in C major, "La Bataille", K. 535 (1788)
  • 3 Contredanses, K. 535a (doubtful) (1788)
  • Contredanse in C major, "Der Sieg vom Helden Koburg" (Coburg's Victory), K. 587 (1789)
  • 2 Contredanses, K. 603 (1791)
  • Contredanse in E-flat major, "Il Trionfo delle Donne", K. 607/605a (1791)
  • 5 Contredanses, K. 609 (includes No. 1 "Non più andrai") (1787)
  • Contredanse in G major, "Les filles malicieuses", K. 610 (1791)
Allemande
  • 6 German Dances, K. 509 (1778)
  • 6 German Dances, K. 536 (1788)
  • 6 German Dances, K. 567 (1788)
  • 6 German Dances, K. 571 (1789)
  • 12 German Dances, K. 586 (1789)
  • 6 German Dances, K. 600 (includes No. 5 Trio: "Der Kanarienvogel" The Canary) (1791)
  • 4 German Dances, K. 602 (includes No. 3 "Die Leirer") (1791)
  • 3 German Dances, K. 605 (includes No. 3 "Die Schlittenfahrt" Sleigh Ride) (1791)
  • 6 Ländler in B-flat major, "Ländlerische Tänze", K. 606 (1791)
  • German Dance in C major, K. 611 "Die Leirer" (1791)
Other
  • Sketches for a ballet intermezzo, "Bagatelles Ballet Pantomime", K. 299c (1778)
  • La Chasse (The Hunt) in A major, K Anh. 103/299d (320f), (1778)
  • Gavotte in B-flat major, K. 300 (1778)

Sacred music[edit]

Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780.[clarification needed Which Köchel numbers?] His sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Sylistic unity and consistency is present over all his sacred music work.

Masses[edit]

Liturgical works[edit]

Kyrie

  • Kyrie in F major, K. 33 (1766)
  • Kyrie in D minor for soprano, alto, tenor, bass, K. 90 (doubtful) (1771–72)
  • Kyrie in D minor, K. 341/368a (1787–91)
  • Kyrie in E-flat major, K. 322/296a, (fragment; completed by M. Stadler) (1787)
  • Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)

Gradual

Offertory

  • Scande Coeli Limina in C major, K. 34 (1767)
  • Inter natos mulierium in G major, K. 72/74f (1774)
  • Benedictus sit Deus in C major, K. 117; 66a/47b (1768)
  • Sub tuum praesidium in F major, K. 198/Anh C 03.08 (doubtful) (1775)
  • Misericordias Domini in D Minor, K. 222/205a (1775)
  • Venite populiin D major, K. 260/248a (1775)
  • Alma Dei creatoris in F major, K. 277/272a (1777)

Vespers

Magnificat

  • Dixit Dominus and Magnificat in C major, K. 193/186g (1774)

Antiphon

  • Cibavit eos in A Minor, K. 44/73u (1770)
  • Quaerite primum regnum Dei in D Minor, K. 86/73v (1770)

Three settings of the Marian antiphon Regina coeli:

  • Regina Coeli for soprano, chorus and orchestra in C major, K. 108/74d (1771)
  • Regina Coeli for soprano, chorus and orchestra in B-flat major, K. 127 (1772)
  • Regina Coeli for soloists, chorus and orchestra in C major, K. 276/321b (1779)

Miserere

  • Miserere in A minor, K. 85/72s (1770)

Te Deum

  • Te Deum in C major, K. 141/66b (1769)

Litany

  • Litaniae Lauretanae in B-flat major, K. 109/74e (1771)
  • Litaniae Lauretenae in D major, K. 195/186d (1774)
  • Litaniae de venerabili altaris sacramento in B-flat major, K. 125 (1772)
  • Litaniae de venerabili altaris sacramento in E-flat major, K. 243 (1776)

Sacred works[edit]

Motet
  • God is Our Refuge in G minor, K. 20 (1765)
  • Veni Sancte Spiritus in C major, K. 47 (1768)
  • Ergo interest (″Quaere superna″) for Soprano in G major, K. 143/73s (1773)
  • Exsultate, jubilate for Soprano in F major, K. 165/158a (1773)
  • Ave verum corpus in D major, K. 618 (1791)
Hymns and aria
  • Tantum Ergo in D major, K. 197/Anh. C 3.05 (doubtful) (1775)
  • "Zwei deutsche Kirchenlieder" (Two German Hymns), O Gotteslamm, Als aus Ägypten Israel, K. 343/336c (c. 1787)
  • Aria for Soprano in B-flat, "Kommet her, ihr frechen Sünder", K. 146/317b (1779)

Masonic music[edit]

The following are compositions written for the Masonic Lodge:

  • Lied (song) "Gesellenreise," K. 468, "for use at installation of new journeymen" (1785)
  • Cantata for tenor and male chorus Die Maurerfreude ("The Mason's Joy"), K. 471 (1785)
  • The Masonic Funeral Music (Maurerische Trauermusik), K. 477/479a (1785)
  • Two songs, K. 483 and K. 484, to celebrate the opening of "Zur Neugekrönten Hoffnung" (1786)
  • Cantata for tenor and piano, Die ihr die unermesslichen Weltalls Schöpfer ehrt, K. 619 (1791)
  • The Little Masonic Cantata (Kleine Freimaurer-Kantate) entitled Laut verkünde unsre Freude, for soloists, male chorus, and orchestra, K. 623 (1791)

Church sonatas[edit]

  • Church Sonata No. 1 in E-flat, K. 67/41h (1772)
  • Church Sonata No. 2 in B-flat, K. 68/41i (1772)
  • Church Sonata No. 3 in D, K. 69/41k (1772)
  • Church Sonata No. 4 in D, K. 144/124a (1772)
  • Church Sonata No. 5 in F, K. 145/124b (1772)
  • Church Sonata No. 6 in B-flat, K. 212 (1775)
  • Church Sonata No. 7 in F, K. 224/241a (1776)
  • Church Sonata No. 8 in A, K. 225/241b (1776)
  • Church Sonata No. 9 in G, K. 241 (1776)
  • Church Sonata No. 10 in F, K. 244 (1776)
  • Church Sonata No. 11 in D, K. 245 (1776)
  • Church Sonata No. 12 in C, K. 263 (1776)
  • Church Sonata No. 13 in G, K. 274/271d (1777)
  • Church Sonata No. 14 in C, K. 278/271e (1777)
  • Church Sonata No. 15 in C, K. 328/317c (1779)
  • Church Sonata No. 16 in C, K. 329/317a (1779)
  • Church Sonata No. 17 in C, K. 336/336d (1780)

Organ music[edit]

  • Fugue in E-flat major, K. 153 (375f)
  • Fugue in G minor, K. 154 (385k)
  • Ouverture in C major, K. 399 (385i)
  • Fugue in G minor, K. 401 (375e)
  • Eine kleine Gigue, K. 574
  • Adagio and Allegro in F minor for a Mechanical Organ, K. 594 (1790)
  • Fantasia in F minor for a Mechanical Organ, K. 608 (1791)
  • Andante in F for a Small Mechanical Organ, K. 616 (1791)

Operas[edit]

Concert arias, songs and canons[edit]

See also[edit]

References[edit]

  1. ^ King, Alec Hyatt (1973). "Some Aspects of Recent Mozart Research". Journal of the Royal Musical Association 100 (1): 9–10. doi:10.1093/jrma/100.1.1. ISSN 0080-4452. OCLC 478409660. 
  2. ^ Henle-Urtext ISMN M-2018-9625-0
  3. ^ Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven (2nd ed.). New York: W. W. Norton & Company. ISBN 978-0-393-04020-3. OCLC 35095841. 

External links[edit]