List of compositions by Wolfgang Amadeus Mozart

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This is a selective list of the works of Wolfgang Amadeus Mozart, for a complete list organized by Köchel number, see Köchel-Verzeichnis.

Wolfgang Amadeus Mozart (January 27, 1756 – December 5, 1791) was prolific and wrote in many genres. Perhaps his best-admired work is in opera, the piano concerto, 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 endless dances, divertimentos, and other forms of light entertainment.

Many of Mozart's works are covered in separate Wikipedia articles, for which there are links on this page.

Contents 1 About the way(s) Mozart's compositions are listed 2 Symphonies 2.1 Childhood symphonies (1764-1771) 2.2 Salzburg-era symphonies (1771-1781) 2.3 Late symphonies (1781-1791) 3 Concertos 3.1 Piano Concertos 3.2 Violin Concertos 3.3 Horn Concertos 3.4 Other Concertos 3.4.1 Concertante symphonies 4 Piano Music 4.1 Solo Piano Works 4.2 Dual Piano/Performer Works 5 Chamber music 5.1 Violin music 5.1.1 Childhood Violin Sonatas (1763-66) 5.1.2 Mature Violin Sonatas (1778-88) 5.1.3 Variations for Violin and Piano 5.1.4 String Duos and Trios 5.2 String quartets 5.3 String quintets 5.4 Other chamber music 6 Serenades, divertimenti, and other instrumental works 6.1 Serenades 6.2 Divertimenti 7 Sacred music 7.1 Masses 7.2 Other sacred music 8 Operas 9 Media 10 References 11 External links

[edit] About the way(s) Mozart's compositions are listed

• The indication "K." or KV refers to "Köchel (Verzeichnis)", i.e. the (more or less) chronological (i.e. by composition date) catalog of Mozart's works by Ludwig von Köchel. Note that this catalog has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony N° 25). A version of the Köchel catalog can be found here and here.
• 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 string quartets, most chamber music and vocal music there is no such numbering (or at least no general 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.

[edit] Symphonies

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.

[edit] Childhood symphonies (1764-1771)

These are the numbered symphonies from Mozart's early childhood. It should be noted that there are also a fair amount of unnumbered symphonies from this time period.

• Symphony No. 1 in E-flat major, K. 16
• Symphony No. 2 in B-flat major, K. 17 (spurious)
• Symphony No. 3 in E-flat major, K. 18 (spurious, by Abel)
• Symphony No. 4 in D major, K. 19
• Symphony No. 5 in B-flat major, K. 22
• Symphony No. 6 in F major, K. 43
• Symphony No. 7 in D major, K. 45
• Symphony No. 8 in D major, K. 48
• Symphony No. 9 in C major, K. 73
• Symphony No. 10 in G major, K. 74
• Symphony No. 11 in D major, K. 84
• Symphony No. 12 in G major, K. 110
• Symphony No. 13 in F major, K. 112

[edit] Salzburg-era symphonies (1771-1781)

These symphonies are sometimes subcategorized as "Early" (1771-1773) and "Late" (1773-1775), 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.

• Symphony No. 14 in A major, K. 114 (1771)
• Symphony No. 15 in G major, K. 124 (1772)
• Symphony No. 16 in C major, K. 128 (1772)
• Symphony No. 17 in G major, K. 129 (1772)
• Symphony No. 18 in F major, K. 130 (1772)
• Symphony No. 19 in E-flat major, K. 132 (1772)
• Symphony No. 20 in D major, K. 133 (1772)
• Symphony No. 21 in A major, K. 134 (1772)
• Symphony No. 22 in C major, K. 162 (1773)
• Symphony No. 23 in D major, K. 181 (1773)
• Symphony No. 24 in B-flat major, K. 182 (1773)
• Symphony No. 25 in G minor, K. 183 (173d B) (1773)
• Symphony No. 26 in E-flat major, K. 184 (1773)
• Symphony No. 27 in G major, K. 199 (1773)
• Symphony No. 28 in C major, K. 200 (1774)
• Symphony No. 29 in A major, K. 201 (1774)
• Symphony No. 30 in D major, K. 202 (1774)

[edit] Late symphonies (1781-1791)

• Symphony No. 31 "Paris" in D major, K. 297 (K. 300a) (1778)
• Symphony No. 32 "Overture in the Italian style" in G major, K. 318 (1779)
• Symphony No. 33 in B-flat major, K. 319 (1779)
• Symphony No. 34 in C major, K. 338 (1780)
• Symphony No. 35 "Haffner" in D major, K. 385 (1782)
• Symphony No. 36 "Linz" in C major, K. 425 (1783)
• Symphony No. 37 in G major, K. 444 (1784)

For years this was categorized as a Mozart symphony, but later scholarship determined that it was actually composed by Michael Haydn (No. 26), and Mozart wrote only the slow introduction for it.

• Symphony No. 38 "Prague" in D major, K. 504 (1786)

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.

• Symphony No. 39 in E flat major, K. 543 (1788)
• Symphony No. 40 in G minor, K. 550 (1788)
• Symphony No. 41 "Jupiter" in C major, K. 551 (1788)

[edit] Concertos

[edit] Piano Concertos

Main article: Mozart Piano Concertos

Mozart's production 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, C.P.E. 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.

• Piano Concerto No. 1 in F major, K. 37
• Piano Concerto No. 2 in B flat major, K. 39
• Piano Concerto No. 3 in D major, K. 40
• Piano Concerto No. 4 in G major, K. 41
• Piano Concerto No. 5 in D major, K. 175
• Piano Concerto No. 6 in B flat major, K. 238
• Piano Concerto No. 7 in F major for Three Pianos, K. 242
• Piano Concerto No. 8 "Lutzow" in C major, K. 246
• Piano Concerto No. 9 "Jeunehomme" in E flat major, K. 271
• Piano Concerto No. 10 in E flat major for Two Pianos, K. 365
• Piano Concerto No. 11 in F major, K. 413/387a
• Piano Concerto No. 12 in A major, K. 414/385p
• Piano Concerto No. 13 in C major, K. 415/387b
• Piano Concerto No. 14 in E flat major, K. 449
• Piano Concerto No. 15 in B flat major, K. 450
• Piano Concerto No. 16 in D major, K. 451
• Piano Concerto No. 17 in G major, K. 453
• Piano Concerto No. 18 in B flat major, K. 456
• Piano Concerto No. 19 in F major, K. 459
• Piano Concerto No. 20 in D minor, K. 466
• Piano Concerto No. 21 in C major, K. 467
• Piano Concerto No. 22 in E flat major, K. 482
• Piano Concerto No. 23 in A major, K. 488
• Piano Concerto No. 24 in C minor, K. 491
• Piano Concerto No. 25 in C major, K. 503
• Piano Concerto No. 26 "Coronation" in D major, K. 537
• Piano Concerto No. 27 in B flat major, K. 595

[edit] Violin Concertos

Five violin concertos were written in his late teens while he was still touring with his father throughout Europe, an exceptional feat for a travelling composer. Mozart's Violin Concertos 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 like 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.)

• Violin Concerto No. 1 in B flat major, K. 207 (1775)
• Violin Concerto No. 2 in D major, K. 211 (1775)
• Violin Concerto No. 3 in G major, K. 216 (1775)
• Violin Concerto No. 4 in D major, K. 218 (1775)
• Violin Concerto No. 5 in A major, K. 219 (1775)
• Violin Concerto in E flat major, K. 268 (1780) (Doubtful)
• Violin Concerto in D major, K. 271a Kolb (1777) (Doubtful)

[edit] Horn Concertos

Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. It is said that Mozart wrote them for his friend and lifelong companion, Joseph Ignaz Leitgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities. (In Mozart's time the horn had no valves making it a very difficult piece.)

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.

• Horn Concerto No. 1 in D major, K. 412 (1791)
• Horn Concerto No. 2 in E flat major, K. 417 (1783)
• Horn Concerto No. 3 in E flat major, K. 447 (c. 1784-87)
• Horn Concerto No. 4 in E flat major, K. 495 (1786)

[edit] Other Concertos

• Bassoon Concerto in B flat major, K. 191 (1774)
• Concerto for Harp, Flute and Orchestra, K. 299 (1778)

Highly original for the connection between two very different instruments.

• Oboe Concerto in C major, K. 314 (has come down to us as the second flute concerto, but was almost certainly an oboe concerto)
• Concerto for Clarinet and Orchestra in A major, K. 622 (1791)
• Flute Concerto No. 1 in G Major, K. 313 (1778)
• Flute Concerto No. 2 in D Major, K. 314 (1778)

An arrangement of the Oboe Concerto (see above).

• Andante for Flute and Orchestra in C Major, K. 315 (1778)
• Concerto for Trumpet, K47a (lost)

[edit] Concertante symphonies

• Sinfonia Concertante for Violin, Viola and Orchestra K. 364 in E flat major (1779)
• Sinfonia Concertante for Oboe, Clarinet, Horn and Bassoon K. 297b in E flat major Anh.9 and later Anh. C 14.01 (1791)

A composition whose authenticity is still questioned (there is no Mozart autograph). The original instrumentation was probably different, however.^{[citation needed]}

[edit] Piano Music

See also: List of solo piano pieces by composer: M

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.

[edit] Solo Piano Works

• Nannerl's Music Book

1. Andante in C, K. 1a
2. Allegro in C, K. 1b
3. Allegro in F, K. 1c
4. Minuet in F, K. 1d
5. Minuet in G, K. 1e
6. Minuet in C, K. 1f
7. Minuet in F, K. 2
8. Allegro in B-flat, K. 3
9. Minuet in F, K. 4
10. Minuet in F, K. 5
11. Allegro in C, K. 5a
12. Andante in B-flat, K. 5b

• Piano Sonata No. 1 in C major, K. 279 (Munich, Summer 1774)
• Piano Sonata No. 2 in F major, K. 280 (Munich, Summer 1774)
• Piano Sonata No. 3 in B-flat major, K. 281 (Munich, Summer 1774)
• Piano Sonata No. 4 in E-flat major, K. 282 (Munich, Summer 1774)
• Piano Sonata No. 5 in G major, K. 283 (Munich, Summer 1774)
• Piano Sonata No. 6 in D major, K. 284 (Munich, Feb-Mar 1775)
• Piano Sonata No. 7 in C major, K. 309 (Mannheim, Nov. 8 1777)
• Piano Sonata No. 8 in A minor, K. 310 (Paris, Summer 1778, some catalogues have the a minor and D Major reversed)
• Piano Sonata No. 9 in D major, K. 311 (Mannheim, Nov 1777. some catalogues have the a minor and D Major reversed)
• Piano Sonata No. 10 in C major, K. 330 (Summer 1778)
• Piano Sonata No. 11 "Turkish March" in A major, K. 331 (Summer 1778)
• Piano Sonata No. 12 in F major, K. 332 (Summer 1778)
• Piano Sonata No. 13 in B-flat major, K. 333 (Summer 1778)
• Piano Sonata No. 14 in C minor, K. 457 (Vienna, Oct. 14, 1784,)
• Piano Sonata No. 15 in F Major, K. 533/494 (Vienna, Jan. 3, 1788)
• Piano Sonata No. 16 in C Major, K. 545 (so-called facile or semplice sonata; Vienna, Jun. 26, 1788)
• Piano Sonata No. 17 in F Major, K. 547a (Vienna, Summer 1788)
• Piano Sonata No. 18 in B-flat Major, K. 570 (Vienna, February, 1789)
• Piano Sonata No. 19 in D Major K. 576 (Vienna, July 1789)
• Fantasy No. 1 with Fugue in C major, K. 394 (Vienna, 1782)
• Fantasy No. 2 in C minor, K. 396 (Vienna, 1782)
• Fantasy No. 3 in D minor, K. 397 (Vienna, 1782)
• Fantasy No. 4 in C minor, K. 475 (Vienna, May 20, 1785)
• Rondo No. 1 in D major, K. 485
• Rondo No. 2 in F major, K. 494 (finale to K.533 above initially published alone)
• Rondo No. 3 in A minor, K. 511

[edit] Dual Piano/Performer Works

• Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765)
• Sonata for Keyboard Four-hands in D major, K. 381 / 123a
• Sonata for Keyboard Four-hands in B flat major, K. 358 / 186c
• Sonata for Keyboard Four-hands in F major, K. 497
• Sonata for Keyboard Four-hands in C major, K. 521
• Sonata for Keyboard Four-hands in G major, K. 357 (incompleted)
• Sonata for Two Pianos in D Major, K. 448 / 375a
• Fugue for Two Pianos in C minor, K. 426

[edit] Chamber music

[edit] Violin music

He also wrote for piano and violin (16 complete sonatas, plus several fragments and two variation sets), where - mainly in the more mature years - the piano does not play just a support to the other solo instrument, but builds a dialogue with it.

[edit] Childhood Violin Sonatas (1763-66)

• Violin Sonata No. 1 in C major, K. 6
• Violin Sonata No. 2 in D major, K. 7
• Violin Sonata No. 3 in B flat major, K. 8
• Violin Sonata No. 4 in G major, K. 9
• Violin Sonata No. 5 in B flat major, K. 10
• Violin Sonata No. 6 in G major, K. 11
• Violin Sonata No. 7 in A major, K. 12
• Violin Sonata No. 8 in F major, K. 13
• Violin Sonata No. 9 in C major, K. 14
• Violin Sonata No. 10 in B flat major, K. 15
• Violin Sonata No. 11 in E flat major, K. 26
• Violin Sonata No. 12 in G major, K. 27
• Violin Sonata No. 13 in C major, K. 28
• Violin Sonata No. 14 in D major, K. 29
• Violin Sonata No. 15 in F major, K. 30
• Violin Sonata No. 16 in B flat major, K. 31

[edit] Mature Violin Sonatas (1778-88)

• Violin Sonata No. 17 in C major, K. 296
• Violin Sonata No. 18 in G major, K. 301
• Violin Sonata No. 19 in E flat major, K. 302
• Violin Sonata No. 20 in C major, K. 303
• Violin Sonata No. 21 in E minor, K. 304
• Violin Sonata No. 22 in A major, K. 305
• Violin Sonata No. 23 in D major, K. 306
• Violin Sonata No. 24 in F major, K. 376
• Violin Sonata No. 25 in F major, K. 377
• Violin Sonata No. 26 in B flat major, K. 378
• Violin Sonata No. 27 in G major, K. 379
• Violin Sonata No. 28 in E flat major, K. 380
• Violin Sonata No. 29 in A major, K. 402 (completed by M. Stadler)
• Violin Sonata No. 32 in B flat major, K. 454
• Violin Sonata No. 33 in E flat major, K. 481
• Violin Sonata No. 35 in A major, K. 526
• Violin Sonata No. 36 in F major, K. 547

[edit] Variations for Violin and Piano

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

[edit] String Duos and Trios

• Duo for Violin & Viola in G major, K. 423
• Duo for Violin & Viola in B flat major, K. 424
• Trio for Violin, Viola & Cello in E flat major, K. 563 (1788)
• Trio for 2 Violins & Cello in B flat major, K. 266
• Preludes and Fugues for Violin, Viola & Cello, K. 404a

[edit] String quartets

• Quartetti Milanesi, K. 80 and K. 155-160 (1770-1773)

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. 1 in G major, K. 80/73f (1770)
• 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 (1772-3)
• String Quartet No. 5 in F major, K. 158 (1772-3)
• String Quartet No. 6 in B-flat major, K. 159 (1773)
• String Quartet No. 7 in E-flat major, K. 160/159a (1773)

• Vienna Quartets, K. 168-173 (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. Even if Mozart tries in these works to emulate the older musician, he still cannot reach Haydn's heights in the most difficult of all the musical genres.

• 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, Opus 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 Opus 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.

• String Quartet No. 14 in G major, ("Spring") K. 387 (1782)
• String Quartet No. 15 in D minor, K. 421/417b (1783)
• String Quartet No. 16 in E-flat major, K. 428/421b (1783)
• String Quartet No. 17 in B-flat major ("Hunt"), K. 458 (1784)
• String Quartet No. 18 in A major, K. 464 (1785)
• String Quartet No. 19 in C major ("Dissonance"), K. 465 (1785)

• String Quartet No. 20 in D major ("Hoffmeister"), K. 499 (1786)

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.

• Prussian Quartets K. 575, 589, 590 (1789-1790)

• String Quartet No. 21 in D major, K. 575 (1789)
• String Quartet No. 22 in B-flat major, K. 589 (1790)
• String Quartet No. 23 in F major, K. 590 (1790)

[edit] 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."^[1].

• String Quintet in B flat major, K. 174
• String Quintet in C major, K. 515
• String Quintet in G minor, K. 516
• String Quintet in C minor, K. 406 (516b)

This is a transcription for string quintet of the earlier Serenade for wind octet in C minor (K. 388).

• String Quintet in D major, K. 593
• String Quintet in E flat major, K. 614

[edit] Other chamber music

• Flute Quartets (flute, violin, viola, cello) K. 285, 285a, 285b, 298 (1777–1787)
• Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784)
• Piano Quartets K. 478 (1785) and K. 493 (1786)
• Trio for Clarinet, Viola and Piano in E flat major, K. 498 "Kegelstatt" (1786)
• Clarinet Quintet in A major, K. 581 (1789)

[edit] Serenades, divertimenti, and other instrumental works

The production for instrumental ensembles includes several Divertimenti, Notturni, Serenate, Cassazioni, 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.

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

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. 535, La Bataille K. 600, Canarino K. 602, etc.

[edit] Serenades

• Serenade No. 6 ("Serenata Notturna") in D major, K. 239
• Serenade No. 7 ("Haffner") in D major, K. 250
• Serenade No. 9 ("Posthorn") in D major, K. 320
• Serenade No. 10 for winds (Serenade for Thirteen Wind Instruments or "Gran Partita") in B flat major, K. 361
• Serenade No. 11 for winds in E flat major, K. 375
• Serenade No. 12 for winds in C minor, K. 388
• Serenade No. 13, "Eine kleine Nachtmusik" for String Quartet & Bass in G major, K. 525

[edit] Divertimenti

• Divertimenti (for example, for 2 fl., 5 tmpt., 4 timp. K. 188)
• Divertimenti, K. 136-138 (1772)

Although sometimes described as string quartets, they are almost certainly for strings with double bass and are like Sinfonias in the Italian style.

• Divertimenti for two horns and strings, A Musical Joke, (Ein Musikalischer Spaß,) K. 522

[edit] 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.

Mozart's sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work.

We include in this genre, for their liturgical character, also the compositions written for the Masonic Lodge, like The Cantata Laut Verkunde unsre Freude K623 and the Maurerische Trauermusik (Masonic Funeral Music) K477.

[edit] Masses

• Mass No. 1 ("Missa brevis") in G major, K. 49
• Mass No. 2 ("Missa brevis") in D minor, K. 65
• Mass No. 3 in C major (Dominicusmesse), K. 66
• Mass No. 4 ("Missa solemnis") in C minor, K. 139
• Mass No. 5 ("Missa brevis") in G major, K. 140
• Mass No. 6 ("Missa brevis") in F major, K. 192
• Mass No. 7 in C major (Missa in honorem Sanctissimae Trinitatis), K. 167
• Mass No. 8 ("Missa brevis") in D major, K. 194
• Mass No. 9 ("Missa brevis") in C major (Spatzenmesse), K. 220
• Mass No. 10 ("Missa brevis") in C major ("Credo" Mass), K. 257
• Mass No. 11 in C major (Spaurmesse or Piccolomissa), K. 258
• Mass No. 12 ("Missa brevis") in C major ("Organ Solo"), K. 259
• Mass No. 13 ("Missa longa") in C major, K. 262
• Mass No. 14 ("Missa brevis") in B flat major, K. 275
• Mass No. 15 in C major ("Coronation"), K. 317
• Mass No. 16 ("Missa solemnis") in C major (Missa aulica), K. 337
• Mass No. 17 in C minor ("Great"), K. 427
• Requiem Mass in D minor, K. 626 (completed by Franz Xaver Süssmayr after Mozart's death)

[edit] Other sacred music

• Exsultate, jubilate, K. 165
• Ave verum corpus, K. 618
• Te Deum, K. 141
• Regina Coeli

[edit] Operas

• Die Schuldigkeit des ersten Gebotes, K. 35 (1767)
• Apollo et Hyacinthus, K. 38 (1767)

In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus.

• Bastien und Bastienne, K. 50=46b (1768)

With respect to that first attempt, Bastien et Bastienne generates a definitely different result. The young musician is already able to dominate texts and his music emanates pastoral joy and spontaneous fascination.

• La finta semplice, K. 51 (1768)

La finta semplice can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre.

• Mitridate, re di Ponto, K. 87 (1770)

Then, the first Italian operas were composed, upon assignments received in Milan and Salzburg: Mitridate, re di Ponto, Ascanio in Alba, Il sogno di Scipione, and Lucio Silla. In all of these works, Mozart still shows some awkwardness while moving in the traditional opera seria frame. The librettos are often dramatically weak and improbable. Nevertheless, one can find in these works some unambiguously Mozartian distinguishing marks, though the weight, substance and formal perfection of the older Mozart are still lacking.

• Ascanio in Alba, K. 111 (1771)
• Betulia Liberata, an oratorio, K. 118=74c (1771)

On the subject of Judith and Holofernes.

• Il sogno di Scipione, K. 126 (1772)
• Lucio Silla, K. 135 (1772)
• Thamos, König in Ägypten (1773, 1775)
• La finta giardiniera, K. 196 (1774-5)

With La finta giardiniera, Mozart comes back to the opera buffa, outranging all previous models of that genre. The libretto is still weak, but characters are not schematic anymore and become real individuals, with music definitely contributing to their definition.

• Il re pastore, K. 208 (1775)
• Zaide, K. 344 (1779)
• Idomeneo, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)

After many years from his debut in the German music drama (Singspiel), Mozart came back to this genre with Die Entführung aus dem Serail and, finally, with Die Zauberflöte.

• L'oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)

Le nozze di Figaro, the first of the three great operatic works, all belonging to the opera buffa genre (though the Don Giovanni obviously involves tragic elements), that Mozart composed with libretto by Lorenzo da Ponte. Le nozze di Figaro was taken from the comedy Le mariage de Figaro by Pierre Beaumarchais, a work that was hardly accepted - and performed - in France, due to its denunciation contents against the flaws of the higher dominating classes (Clergy and Aristocracy), opposed to the healthy activism of the Third Estate. In Austria, too, Mozart's opera met the opposition of the imperial court, though it should be said that Da Ponte had purged the most shocking aspects from the original text. Actually, the opera was executed during the Spring of 1786 at the Vienna Burgtheater, with enormous success.

• Don Giovanni, K. 527 (1787)

The trilogy of Da Ponte librettos continued with Don Giovanni and Così fan tutte, both dealing - but in highly different ways - with the subject of love between men and women.

• Così fan tutte, K. 588 (1789)
• Die Zauberflöte, K. 620 (1791)

Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. It also achieved scarce success at its first performance. Nevertheless its music proposes elements of great brightness and spirituality, with the composition of sacred and profane love in unique delight. This work was also influenced by Freemasonry.

• La clemenza di Tito, K. 621 (1791)

[edit] Media

[edit] References

1. ^ Rosen, Charles. "The Classical Style: Haydn, Mozart, Beethoven". page 264. New York: Norton, 1997.

[edit] External links

• Find Project Gutenberg's publications of music and writings by Mozart here: http://www.gutenberg.org/catalog/world/authrec?fk_authors=1368
• Complete recording of all of Mozart's works: http://www.joanrecords.com/classical/mozart/mozart-index.html
• (Spanish) A more comprehensive listing from the Spanish-language wikipedia
• Digitized version of the Complete Mozart Edition is available here: http://nma.redhost24-001.com/mambo/index.php
• A comprehensive list of Mozart's works by David Lampson here: http://www.classical.net/music/composer/works/mozart/index.html