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Another entirely different set of recordings, also available either as multi-disc volumes or in a single boxed set, has more recently been issued on 170 CDs by [[Brilliant Classics]] under the name ''Mozart Edition – Complete Works''.<ref>[http://www.joanrecords.com/epages/joan.storefront/EN/Catalog/series_mozart?style=classic joanrecords]</ref>
Another entirely different set of recordings, also available either as multi-disc volumes or in a single boxed set, has more recently been issued on 170 CDs by [[Brilliant Classics]] under the name ''Mozart Edition – Complete Works''.<ref>[http://www.joanrecords.com/epages/joan.storefront/EN/Catalog/series_mozart?style=classic joanrecords]</ref>

Neither set is truly complete.


==See also==
==See also==

Revision as of 12:25, 12 June 2013

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 prolific 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

  • 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

Main article: List of symphonies by Wolfgang Amadeus Mozart

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)

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)

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)

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

Piano concertos

Main article: Mozart piano concertos

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

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 an adagio and two stand-alone rondos for violin and orchestra.

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

  • Violin Concerto in E-flat major, K. 268 ("No. 6") (1780) (attributed to Johann Friedrich Eck)[1]
  • Violin Concerto in D major, "Kolb", K. 271a ("No. 7") (1777)

Horn concertos

Main article: Horn Concertos (Mozart)

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.

Woodwind concertos

K. 299 (3rd movement, Rondeau allegro)
Concerto for Flute, Harp, and Orchestra
Problems playing this file? See media help.

Concertante symphonies

K. 364 (3rd movement, Presto)
Sinfonia Concertante for Violin, Viola and Orchestra
Problems playing this file? See media help.

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.

  • Sinfonia Concertante for Violin, Viola, Cello and Orchestra in A major, K. 320e (Anh. 104) (c. 1779, fragment)
  • Sinfonia Concertante for Piano, Violin and Orchestra in D major, K. Anh. 56 (1778, fragment)

Other

Piano music

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

Main article: List of solo piano compositions by Wolfgang Amadeus Mozart

Dual piano/performer works

Piano four-hands

Two pianos

Chamber music

Violin music

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)

  • 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)

Variations for violin and piano

  • Variations in G major, "La bergere Celimene", K. 359
  • 6 Variations in G minor on "Helas, j'ai perdu mon amant", K. 360

String duos and trios

String quartets

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)
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

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."[2]

Piano trios

  • Divertimento à 3 in B-flat for Piano, Violin and Violoncello, K. 254
  • Trio (Sonata) in G for Piano, Violin and Violoncello, K. 496
  • Trio in B-flat for Piano, Violin and Violoncello, K. 502
  • Trio in E for Piano, Violin and Violoncello, K. 542
  • Trio in C for Piano, Violin and Violoncello, K. 548
  • Trio in G for Piano, Violin and Violoncello, K. 564

Other chamber music

K. 452 (3rd movement, Allegretto)
Quintet for Piano and Winds
Problems playing this file? See media help.

Serenades, divertimenti, and other instrumental works

The production for instrumental ensembles includes several Divertimenti, Notturni, Serenades, Cassations, Marches, and Dances, besides, of course, the 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

Divertimenti

  • Galimathias Musicum (Quodlibet), K. 32 (1766)
  • Cassation in G, K. 63 (1769)
  • Cassation in B-flat, K. 99 (1769)
  • Divertimento in E-flat, K. 113 (1771)
  • Divertimento in D, K. 131 (1772)
  • Divertimento in D for string quartet or string orchestra, K. 136/125a (1772)
  • Divertimento in B-flat for string quartet or string orchestra, K. 137/125b (1772)
  • Divertimento in F for string quartet or string orchestra, K. 138/125c (1772)
  • Divertimento in E-flat, K.166
  • Divertimento in B-flat, K.186
  • Divertimento in D, K. 205 (1773)
  • Divertimento in F, K.213
  • Divertimento in B-flat, K.240
  • Divertimento in F, "Lodron", K. 247 (1776)
  • Divertimento in D, K. 251 (1776)
  • Divertimento in F, K.253
  • Divertimento in B-flat, K.270
  • Divertimento in B-flat, "Lodron", K. 287 (1777)
  • Divertimento in D, K. 334 (1779–80)
  • 25 Pieces (five divertimenti) for three basset horns, K. 439b (K. Anh. 229)
  • Divertimento for two horns and strings, "A Musical Joke", ("Ein Musikalischer Spaß"), K. 522
  • Divertimento for string trio in E-flat major K. 563 (1788)

Marches

  • March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto)
  • March in D major, K. 189 (probably to open/close K. 185 Serenade)
  • March in C major, K. 214
  • March in D major, K. 215 (to open and/or close Serenade, K. 204)
  • March in D major, K. 237 (to open and/or close Serenade, K. 203)
  • March in F major, K. 248 (for use with Divertimento, K. 247)
  • March in D major, K. 249 (to open and/or close Serenade, "Haffner", K. 250)
  • March in D major, K. 290
  • March in D major, K. 335, No. 1 (probably to open Serenade, "Posthorn", K. 320)
  • March in D major, K. 335, No. 2 (probably to close Serenade, "Posthorn", K. 320)
  • March in C major, K. 408, No. 1
  • March in D major, K. 408, No. 2
  • March in C major, K. 408, No. 3
  • March in D major, K. 445 (for use with Divertimento, K. 334)

Dances

See also: Mozart and dance

Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler, or German Dances).

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written 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.

  • 6 Menuets, K. 61h
  • 7 Menuets, K. 65a/61b
  • 4 Contredanses, K. 101/250a
  • 20 Menuets, K. 103
  • 6 Menuets, K. 104/61e
  • 6 Menuets, K. 105/61f
  • Menuet in E-flat, K. 122
  • Contredanse in B-flat, K. 123
  • 6 Menuets, K. 164
  • 16 Menuets, K. 176
  • 4 Contredanses, K. 267/271c
  • Gavotte in B-flat, K. 300
  • 3 Menuets, K. 363
  • 5 Menuets, K. 461
  • 6 Contredanses, K. 462/448b
  • 2 Quadrilles, K. 463/448c
  • 6 German Dances, K. 509
  • Contredanse in D, "Das Donnerwetter", K. 534
  • Contredanse in C, "La Bataille", K. 535
  • 6 German Dances, K. 536
  • 6 German Dances, K. 567
  • 12 Menuets, K. 568
  • 6 German Dances, K. 571
  • 12 Menuets, K. 585
  • 12 German Dances, K. 586
  • Contredanse in C, "Der Sieg vom Helden Koburg", K. 587
  • 6 Menuets, K. 599
  • 6 German Dances, K. 600
  • 4 Menuets, K. 601
  • 4 German Dances, K. 602
  • 2 Contredanses, K. 603
  • 2 Menuets, K. 604
  • 3 German Dances, K. 605
  • 6 German Dances, K. 606
  • 5 Contredanses, K. 609
  • Contredanse in G, K. 610

Sacred music

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. Included in this genre, for their liturgical character, are also the compositions written for the Masonic Lodge, like the Freimaurerkantate (Freemasons' Cantata) Laut verkünde unsre Freude, K. 623, and the Maurerische Trauermusik (Masonic Funeral Music), K. 477.

Masses

Main article: List of masses by Wolfgang Amadeus Mozart

Other sacred music

Mozart's other sacred music includes:

  • God is Our Refuge, K. 20
  • Kyrie in F major, K. 33
  • Scande Coeli Limina in C, K. 34
  • Miserere in A minor, K. 85
  • Kyrie in D minor for soprano, alto, tenor and bass, K. 90

Three settings of the Marian antiphon Regina coeli:

  • Regina Coeli for soprano, chorus and orchestra, K. 108
  • Regina Coeli for soprano, chorus and orchestra, K. 127
  • Regina Coeli for soloists, chorus and orchestra, K. 276

Two Vesper services:

as well as four litanies, numerous offertories, psalms, motets, and other mass fragments.

Church sonatas

Main article: Church Sonatas (Mozart)
  • 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

  • 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

Main article: List of operas by Mozart

Concert arias, songs and canons

Main article: List of concert arias, songs and canons by Wolfgang Amadeus Mozart

Recordings

In 1991, in honor of the bicentenary of Mozart's death, Philips Classics Records gathered recordings they considered to be the best[citation needed] performances from the extensive catalog of their parent company Universal Music Group and issued a set in a number of multi-disc volumes, collectively called The Complete Mozart Edition, on a total of 180 CDs. These were also made available as a unitary boxed set of the entire collection.

Another entirely different set of recordings, also available either as multi-disc volumes or in a single boxed set, has more recently been issued on 170 CDs by Brilliant Classics under the name Mozart Edition – Complete Works.[3]

Neither set is truly complete.

See also

References

  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. ^ 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.
  3. ^ joanrecords
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