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 catalogue.

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.

Contents

[edit] How 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 No. 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.

[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)

For years this was categorized as a Mozart symphony, but later scholarship determined that it was actually composed by Michael Haydn (Symphony No. 25), and Mozart wrote only the slow introduction for it.

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.

[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 (Piano Concertos Nos 1-4 (Mozart)). The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, 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.

[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 traveling 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.)

[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. 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.

[edit] Other concertos

[edit] Concertante symphonies

[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

[edit] Sonatas

[edit] Miscellaneous pieces

  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
  • 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
  • Adagio for Piano in B minor, K. 540 (Vienna, 1788)
  • Allegro and Rondo for piano in F Major, K. 547a (Vienna, Summer 1788) (adapted from K. 547 and K. 545)

[edit] Variations

[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

[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.
  • 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.
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].

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

[edit] Piano trios

  • Piano Trio in B flat, K. 254
  • Piano Trio in G, K. 496
  • Piano Trio in B flat, K. 502
  • Piano Trio in E, K. 542
  • Piano Trio in C, K. 548
  • Piano Trio in G, K. 564

[edit] Other chamber music

[edit] Serenades, divertimenti, and other instrumental works

 Please help improve this section by expanding it
with: a complete list of works.
Further information might be found on the talk page or at requests for expansion.

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.

[edit] Serenades

  • Serenade No. 1 in D major, K. 100
  • Serenade No. 3 ("Antretter") in D major, K. 185
  • Serenade No. 4 ("Colleredo") in D major, K. 203
  • Serenade No. 5 in D major, K. 204
  • 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

  • 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)
  • 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.
  • Divertimento in D, K. 205 (1773)
  • Divertimento in F "Lodron", K. 247 (1776)
  • Divertimento in D, K. 251 (1776)
  • Notturno in D for Four Orchestras, K. 286 (1776-77)
  • Divertimento in B flat "Lodron", K. 287 (1777)
  • Divertimento in D, K. 334 (1779-80)
  • Divertimento for two horns and strings, A Musical Joke, (Ein Musikalischer Spaß,) K. 522

[edit] Dances

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
  • 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 German Dances, K. 609
  • Contredanse in G, K. 610

[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

[edit] Church sonatas

  • Church Sonata No. 1 in E flat, K. 41h (1772)
  • Church Sonata No. 2 in B, K. 68 (1772)
  • Church Sonata No. 3 in D, K. 69 (1772)
  • Church Sonata No. 4 in D, K. 144 (1772)
  • Church Sonata No. 5 in F, K. 145 (1772)
  • Church Sonata No. 6 in B, K. 212 (1775)
  • Church Sonata No. 7 in F, K. 241a (1776)
  • Church Sonata No. 8 in A, K. 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 (1777)
  • Church Sonata No. 14 in C, K. 278 (1777)
  • Church Sonata No. 15 in C, K. 328 (1779)
  • Church Sonata No. 16 in C, K. 329 (1779)
  • Church Sonata No. 17 in C, K. 336 (1780)

[edit] 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)
  • Adagio un C major, K. 536 (617a)
  • 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)

[edit] Operas

Mozart, at Vienna, playing his Opera "Don Juan" for the first time
Mozart, at Vienna, playing his Opera "Don Juan" for the first time
In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus.
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 can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre.
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.
On the subject of Judith and Holofernes.
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.
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.
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.
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.
Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. However, it achieved great successes with its premiere. 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.

[edit] Concert arias, songs and canons

[edit] Arias, canzonettas, cavatinas, recitatives

[edit] Soprano

  • Conservati fedele
Aria with orchestra, K. 23 (1765-10), libretto by Metastasio
Aria with piano, K. Zu 23 (1766-01), libretto by Metastasio
  • A Berenice, K. 70=61c (1767-02 or 1769-02)
Recitative for soprano and orchestra, librettist unknown
  • Sol nascente, K. 70=61c (1767-02 or 1769-02)
Aria for soprano and orchestra, librettist unknown
  • Non curo l'affetto, K⁶ 74b (1771)
Aria for soprano and orchestra, librettist unknown
  • Misero me!, K. 77=73e (1770-03)
Recitative for soprano and orchestra, libretto by Metastasio
  • Misero pargoletto, K. 77=73e (1770-03)
Aria for soprano and orchestra, libretto by Metastasio
  • O temerario Arbace!, K. 78=73b (1766)
Recitative for soprano and orchestra, libretto by Metastasio
  • Per pietà, bell'idol mio, K. 78=73b (1766)
Aria for soprano and orchestra, libretto by Metastasio
  • Per quel paterno amplesso, K. 79-73d (1766)
Aria for soprano and orchestra, libretto by Metastasio
  • Se ardire, e speranza, K. 82=73o (1770-04-25)
Aria for soprano and orchestra, libretto by Metastasio
  • Se tutti i mali miei, K. 83=73p (1770)
Aria for soprano and orchestra, libretto by Metastasio
  • Fra cento affanni e cento, K. 88=73c (1770)
Aria for soprano and orchestra, libretto by Metastasio
  • Der Liebe himmlisches Gefühl, K. 119=382h (1782)
Arrangement of aria for soprano and orchestra, librettist unknown
  • Ridente la calma, K. 152=210a (Between 1772 and 1775)
Canzonetta for soprano and piano accompaniment, libretto by G. Migliavacca
Piano arrangement of Josef Mysliveček's aria 'Ridente la calma' for the opera Armida
  • Voi avete un cor fedele, K. 217 (1775-10-26
Aria for soprano and orchestra, libretto by Carlo Goldoni
  • Ah, lo previdi!, K. 272 (1777-08)
Recitative for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
  • Ah, t'invola agl'occhi miei, K. 272 (1777-08)
Aria for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
  • Deh, non varcar quell'onda, K. 272 (1777-08)
Cavatina for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
  • Alcandro, Io confesso, K. 294 (1778-02-24)
Recitative for soprano and orchestra, libretto by Metastasio
  • Non sò d'onde viene, K. 294 (1778-02-24)
Aria for soprano and orchestra, libretto by Metastasio
  • Basta, vincesti, K. 295a (1778-02-28)
Recitativo for soprano and orchestra, libretto by Metastasio
  • Ah, non lasciarmi, no, K. 295a (1778-02-28)
Aria for soprano and orchestra, libretto by Metastasio
  • Popoli di Tessaglia!, K. 316=300b (1779-01-08)
Recitative for soprano and orchestra, libretto by Ranieri de' Calzabigi.
  • Io non chiedo, eterni Dei, K. 316=300b (1779-01-08)
Aria for soprano and orchestra, libretto by Ranieri de' Calzabigi.
  • Ma che vi fece, o stelle, K. 368 (1781-01)
Recitavo for soprano and orchestra, libretto by Metastasio
  • Sperai vicino il lido, K. 368 (1781-01)
Aria for soprano and orchestra, libretto by Metastasio
  • Misera, dove son!, K. 369 (1781-03-08)
Recitative for soprano and orchestra, libretto by Metastasio
  • Ah! non son io che parlo, K. 369 (1781-03-08)
Aria for soprano and orchestra, libretto by Metastasio
  • A questo seno deh vieni, K. 374 (1781-04)
Recitative for soprano and orchestra, libretto by Giovanni de Gamerra
  • Or che il cielo a me ti rende, K. 374 (1781-04)
Aria for soprano and orchestra, libretto by Giovanni de Gamerra
  • Nehmt meinen Dank, ihr holden Gönner, K. 383 (1782-04-10)
Aria for soprano and orchestra, librettist unknown
  • Mia speranza adorata, K. 416 (1783-01-08)
Recitavo for soprano and orchestra, libretto by Gaetano Sertor
  • Ah, non sai qual pena, K. 416 (1783-01-08)
Aria for soprano and orchestra, libretto by Gaetano Sertor
  • Vorrei spiegarvi, oh Dio!, K. 418 (1783-06-20)
Aria for soprano and orchestra, librettist unknown
  • No, che non sei capace, K. 419 (1783-06)
Aria for soprano and orchestra, librettist unknown
  • In te spero, oh sposo amato, K. 440=383h (1782-02)
Aria for soprano and orchestra, libretto by Metastasio
  • Ch'io mi scordi di te?, K. 505 (1786-12-26)
Recitative for soprano and orchestra, librettist unknown
  • Bella mia fiamma, addio!, K. 528 (1787-11-03)
Recitative for soprano and orchestra, libretto by D. Michele Sarcone
  • Resta, oh cara!, K. 528 (1788-03-04)
Aria for soprano and orchestra, libretto by Metastasio
  • Ah se in ciel, benigne stelle, K. 538 (1788-03-04)
Aria for soprano and orchestra, libretto by Metastasio
  • Ohne Zwang aus eignem Triebe, K. 569 (?)
Aria for soprano, LOST
  • Alma grande e nobil core, K. 578 (1789-08)
Aria for soprano and orchestra, libretto by |Giuseppe Palomba
  • Schon lacht der holde Fruhling, K. 580 (1789-09-17)
Aria for soprano and orchestra, librettist unknown
  • Chi sà, chi sà, qual sia, K. 582 (1789-10)
Aria for soprano and orchestra, libretto by Lorenzo Da Ponte
  • Vado, ma dove? oh Dei!, K. 583 (1789-10)
Aria for soprano and orchestra, libretto by Lorenzo Da Ponte
  • Io ti lascio, oh cara, addio, NMA II/7/4 Anh III (?)
Cavatina for soprano and orchestra, libretto by Metastasio
  • Cara, se le mie pene, NMA II/7/1 No. 7 (1769)
Aria with soprano, 2 horns, violin, viola & bass, librettist unknown
  • "Aria for Gretl Marchard", K. deest
Aria for soprano, LOST
  • "Aria for daughter of Joseph Wolf", K. deest
Aria for soprano, LOST

[edit] Contralto

  • Ombra felice!, K. 255 (1776-09)
Recitativo for contralto and orchestra, libretto by Giovanni de Gamerra
  • Io ti lascio, e questo addio, K. 255 (1776-09)
Aria for contralto and orchestra, libretto by Giovanni de Gamerra

[edit] Tenor

  • Va, dal furor portata, K. 21=19c (1765)
Aria with Orchestra, libretto by Metastasio
  • Or che il dover, K. 36=33i (1766-12)
Recitative for tenor and orchestra, librettist unknown
  • Tali e cotanti sono, K. 36=33i (1766-12)
Aria for tenor and orchestra, librettist unknown
  • Ah, più tremar non voglio, K. 71 (1769 or 1770)
Aria for tenor and orchestra, libretto by Metastasio
  • Si mostra la sorte, K. 209 (1775-05-19)
Aria for tenor and orchestra, librettist unknown
  • Con ossequio, con rispetto, K. 210 (1775-05)
Aria for tenor and orchestra, librettist unknown
  • Clarice cara mia sposa, K. 256 (1776-09)
Aria for tenor and orchestra, librettist unknown
  • Se al labbro mio non credi, KV 295 (1778-02-28)
Aria for tenor and orchestra, libretto by Antonio Salvi
  • Per pietà, non ricercate, K. 420 (1783-06-21)
Aria for tenor and orchestra, librettist unknown
  • Misero! O sogno, K. 431=425b (1783)
Recitative for tenor and orchestra, librettist unknown
  • Aura, che intorno spiri, K. 431=425b (1783)
Aria for tenor and orchestra, librettist unknown

[edit] Bass

  • Un dente guasto e gelato, K⁶ 209a (1775)
Aria for bass and orchestra, librettist unknown
  • Così dunque tradisci, K. 432=421a (1783)
Recitative for bass and orchestra, libretto by Metastasio
  • Aspri rimorsi atroci, K. 432=421a (1783)
Aria for bass and orchestra, libretto by Metastasio
  • Warnung: "Maenner suchen stets zu naschen", K. 433=416c (1783)
Aria for bass and orchestra, librettist unknown
  • Alcandro, Io confesso, K. 512 (1787-03-[18 or 19])
Recitativo for bass and orchestra, libretto by Metastasio
  • Non so d'onde viene, K. 512 (1787-03-[18 or 19])
Aria for bass and orchestra, libretto by Metastasio
  • Mentre ti lascio, oh figlia, K. 513 (1787-03-23)
Aria for bass and orchestra, libretto by Duca Sant' Angioli-Morbilli
  • Ich möchte wohl der Kaiser sein, K. 539 (1788-03-05)
German War Song for bass and orchestra, libretto by Johann Wilhelm Ludwig Gleim
  • Un bacio di mano, K. 541 (1788-06)
Arietta for bass and orchestra, libretto by Lorenzo Da Ponte
  • Io ti lascio, oh cara, addio, K⁶ 621a (1791)
Aria for bass and orchestra, librettist unknown

[edit] Group

  • Del gran regno delle amazzone, K. 434=480b (End of 1785)
Aria for tenor, 2 basses, and orchestra, libretto by Guiseppe Petrosellini
  • Dite almeno, in che mancai, K. 479 (1785-11-05)
Aria for soprano, tenor, 2 basses, and orchestra, librettist unknown
  • Mandina amabile, K. 480 (1785-11-21)
Aria for soprano, tenor, bass, and orchestra, librettist unknown
  • Per questa bella mano, K. 612 (1791-03-08)
Aria for bass, contrabass, and orchestra, librettist unknown

[edit] Songs

  • Abendempfindung an Laura: Abend ist's, die Sonne ist verschwunden: K. 523 (1787-06-24)
  • Ach, was müssen wir erfahren! K. 43a (1767-10-15)
  • Ah, spiegarti, oh Dio: K. 417e (1783)
  • Als aus Ägypten Israel: K. 336c/2 (1787-02)
  • Als Luise die Briefe ihres ungetruen Liebhabers verbrannte: Erzeugt von heißer Phantasie: K. 520 (1787-05-26)
  • An Chloe: Wenn die Lieb’ aus deinen blauen, hellen, offnen Augen sieht: K. 524 (1787-06-24)
  • An die Freude: Freude, Königin der Weisen: K. 47e (1768-11)
  • Auf die feierliche Johannisloge: O heiliges Band der Freundschaft treuer Brüder: K. 125h (1772)
  • Caro mio Druck und Schluck: K. 571a (1789)
  • Dans un bois solitaire: K. 295b (1777-10-30 to 1778-03-14)
  • Das Kinderspiel: Wir Kinder, wir schmecken der Freuden recht viel! K. 598 (1791-01-14)
  • Das Lied der Trennung: Die Engel Gottes weinen: K. 519 (1787-05-23)
  • Das Traumbild: Wo bist du, Bild: K. 530 (1787-11-06)
  • Das Veilchen: Ein Veilchen auf der Wiese stand: K. 476 (1785-06-08)
  • Der Frühling: Erwacht zum neuen Leben: K. 597 (1791-01-14)
  • Der Zauberer: Ihr Mädchen, flieht Damöten: K. 472 (1785-05-07)
  • Des kleinen Friedrichs Geburtstag: Es war einmal, ihr Leute: K. 529 (1787-11-06)
  • Die Alte: Ein bißchen aus der Nase: K. 517 (1787-05-18)
  • Die betrogene Welt: Der reiche Tor: K. 474 (1785-05-07)
  • Die kleine Spinnerin: Was spinnst du? K. 531 (1787-12-11)
  • Die Verschweigung: Sobald Damötas Chloen sieht: K. 518 (1787-05-20)
  • Die Zufriedenheit: Was frag' ich viel nach Geld und Gut: K. 367a (1777-11-8 to 1778-03-14)
  • Die Zufriedenheit: Wie sanft, wie ruhig: K. 473 (1785-05-07)
  • Due pupille amabili: K. 439 (1783)
  • Ecco quel fiero istante: K. 436 (1783)
  • Einsam bin ich, meine Liebe: K. 475a (Possibly 1785)
  • Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fusse: K. 386d (1782-12)
  • God is our refuge: K. 20 (1765-07)
  • Grazie agl'inganni tuoi: K. 532 (1787)
  • Ich würd' auf meinem Pfad: K. 340c (1781-08 to 1782-05)
  • Ihr unsre neuen Leiter: K. 484 (1785-12)
  • Komm, libe Zither, komm: K. 367b (1780-11 to 1781-03)
  • Leid beim Auszugin in das Feld: Dem hohen Kaiserworte treu K. 552: (1788-08-11)
  • Liebes Manndel, wo ist's Bandel? K. 441 (1783)
  • Lied der Freiheit: Wer unter eines Mädchens Hand: K. 506 (end of 1785)
  • Lied zur Gesellenreise: Die ihr einem neuen Grad: K. 468 (1785-03-26)
  • Luci care, luci belle: K. 439a (1783)
  • Mi lagnerò tacendo: K. 437 (1783)
  • O Gotteslamm: K. 336c/1 (1787-02)
  • Oiseaux, si tous les ans: K. 284d (1777-10-30)
  • Più non si trovano: K. 549 (1788-07-16)
  • Ridente la calma: K. 210a (Between 1772 and 1775)
  • Se lontan, ben mio, tu sei: K. 438 (1783)
  • Sehnsucht nach dem Frühling: Komm, lieber Mai, und mache: K. 596 (1791-01-14)
  • Sei du mein trost: K. 340b (1781-08 to 1782-05)
  • Verdankt sei es dem Glanz der Großen: K. 340a (1781-08 to 1782-05)
  • Wie unglücklich bin ich nit: K. 125g (1772)
  • Zerfließet heut', geliebte Brüder: K. 483 (1785-12)

[edit] Canons

  • 14 Interval Canons No. 1 for 2 in 1: Canoni in unisono: NMA III/10 No. 26 No. 1 (1786-06-03)
  • 14 Interval Canons No. 2 for 2 in 1: Canoni in seconda di sopra: NMA III/10 No. 26 No. 2 (1786-06-03)
  • 14 Interval Canons No. 3 for 2 in 1: Canoni in seconda di sotto: NMA III/10 No. 26 No. 3 (1786-06-03)
  • 14 Interval Canons No. 4 for 2 in 1: Canoni in terza di sopra: K. 508a No. 3 (1786-06-03)
  • 14 Interval Canons No. 5 for 2 in 1: Canoni in terza di sotto: NMA III/10 No. 26 No. 5 (1786-06-03)
  • 14 Interval Canons No. 6 for 2 in 1: Canoni in quarta di sopra: K. 508a No. 4 (1786-06-03)
  • 14 Interval Canons No. 7 for 2 in 1: Canoni in quarta di sotto: NMA III/10 No. 26 No. 7 (1786-06-03)
  • 14 Interval Canons No. 8 for 2 in 1: Canoni in quinta di sopra: K. 508a No. 5 (1786-06-03)
  • 14 Interval Canons No. 9 for 2 in 1: Canoni in quinta di sotto: NMA III/10 No. 26 No. 9 (1786-06-03)
  • 14 Interval Canons No. 10 for 2 in 1: Canoni in sesta di sopra: K. 508a No. 6 (1786-06-03)
  • 14 Interval Canons No. 11 for 2 in 1: Canoni in sesta di sotto: NMA III/10 No. 26 No. 11 (1786-06-03)
  • 14 Interval Canons No. 12 for 2 in 1: Canoni in settima di sopra: K. 508a No. 7 (1786-06-03)
  • 14 Interval Canons No. 13 for 2 in 1: Canoni in settima di sotto: K. 508a NMA III/10 No. 26 No. 13 (1786-06-03)
  • 14 Interval Canons No. 14 for 2 in 1: Canoni in settima di sotto: K. 508a No. 8 (1786-06-03)
  • 2 Canons for 2 in 1: NMA III/10 Anh II No. 7a (1786-06-03)
  • 2 Canons for 2 in 1: NMA III/10 Anh II No. 7b (1786-06-03)
  • 4 Riddle Canons No. 1 for 3 Male Voices in 1: Ter ternis canite vocibus: Incipe Menalios: K. 73r (July or August 1770)
  • 4 Riddle Canons No. 2 for 9 Female Voices in 1: Clama ne cesses. Tertia pars si placet: Cantate Domino: K. 73r (July or August 1770)
  • 4 Riddle Canons No. 3 for 2 Mixed Voices and 1 additional Voice: Ter voce ciemus. Voce ter insonuit: Confitebor tibi Domine: K. 73r (July or August 1770)
  • 4 Riddle Canons No. 4 for 6 Mixed Voices in 2: Thebana bella cantus / Troiana cantat: K. 73r (July or August 1770)
  • Canon for 2 Voices in 1: Selig, selig: K. 382b (1782)
  • Canon for 3 in 1: K. 508A (1786-06-03)
  • Canon for 3 in 1: NMA III/10 Anh II No. 6 (1786-06-03)
  • Canon for 3 in 3: NMA III/10 Anh II No. 1b (1781 or 1782)
  • Canon for 4 Instruments in 1 for 2 Violins, Viola & Bass: K. 562c (?)
  • Canon for 3 Voices in 1: Canone a tre soprani: Auf das Wohl aller Freunde: K. 508 (1786-06-03)
  • Canon for 3 Voices in 1: Ave Maria: K. 554 (1888-09-02)
  • Canon for 3 Voices in 1: Bei der Hitz im Sommer eß ich: K. 382e (1782)
  • Canon for 3 Voices in 1: Essen, Trinken / Bei der Hitz im Sommer eß ich: K. 382e (1782)
  • Canon for 3 Voices in 1: Heiterkeit und leichtes Blut: K. 507 (1786-06-03)
  • Canon for 3 Voices in 1: Leck mir den Arsch fein recht schön sauber / Nichts labt mich mehr als Wein: K. 233/382d (1782)
  • Canon for 3 Voices in 1: Nichts labt mich mehr als Wein: K. 382d (1782)
  • Canon for 3 Voices in 1: O du eselhafter Peierl: K. 559a (some point between 1785 and 1787)
  • Canon for 3 Voices in 1: Sie ist dahin: K. 382a (1782)
  • Canon for 3 Voices in 1: V'amo di core: K. 382g (1782)
  • Canon for 4 in 1: K. 562a (?)
  • Canon for 4 in 1: NMA III/10 No. 28 (Summer 1786)
  • Canon for 4 in 3: NMA III/10 Anh II No. 11 (1787 or 1888)
  • Canon for 4 in 4: NMA III/10 Anh II No 2 (1781 or 1782)
  • Canon for 4 in 4: NMA III/10 Anh II No. 10 (1787 or 1888)
  • Canon for 4 in 4: NMA III/10 Anh II No. 3 (1781 or 1782)
  • Canon for 4 in 4: NMA III/10 Anh II No. 4 (end of 1785 or 1786)
  • Canon for 4 in 4: NMA III/10 Anh II No. 9 (1787 or 1888)
  • Canon for 4 Instruments in 1: K. 73i (1770-04)
  • Canon for 4 Voices in 1: Alleluia K. 553 (1888-09-02)
  • Canon for 4 Voices in 1: Bona nox! bist a rechta Ox K. 561 (1888-09-02)
  • Canon for 4 Voices in 1: Caro bell'idol mio K. 562 (1888-09-02)
  • Canon for 4 Voices in 1: Difficile lectu mihi mars K. 559 (1888-09-02)
  • Canon for 4 Voices in 1: Gehn wir im Prater, gehn wir in d'Hetz K. 558 (1888-09-02)
  • Canon for 4 Voices in 1: Grechtelt's enk K. 556 (1888-09-02)
  • Canon for 4 Voices in 1: Lacrimoso son'io K. 555 (1888-09-02)
  • Canon for 4 Voices in 1: Nascoso è il mio sol K. 557 (1888-09-02)
  • Canon for 4 Voices in 1: O du eselhafter Martin (Jakob) K. 560 (1888-09-02)
  • Canon for 5 in 5: NMA III/10 Anh II No. 1a (1781 or 1782)
  • Canon for 6 Voices in 1: Laßt froh uns sein K. 382c (1782)
  • Canon for 6 Voices in 1: Wo der perlende Wein im Glase blinkt K. 382f (1782)
  • Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 1 (1786-06-03)
  • Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 2 (1786-06-03)
  • Canonical Study for 4 in 2: K. 616b/31 (Summer 1887)
  • Double Canon for 4 Voices in 2: K. 515b (1787-04-24)
  • Kyrie K. 73k (1770-05)
  • Canon for 6 voices in 1: Leck mich im Arsch / Laßt froh uns sein: K. 231/382c (1782)
  • Triple Canon for 12 Voices in 3: Lieber Freistädtler, lieber Gaulimauli: K. 509a (1787-07-04)
  • Untexted Canon for 4 (or 5) Voices in 1: Sit trium series una: K. 73i (1770-04)

[edit] Media

K331
Piano Sonata No. 11 in A major
K545
Piano Sonata in C major, 1st movement
K545
Piano Sonata in C major, 2nd movement
K545
Piano Sonata in C major, 3rd movement
K321, 1st movement
Vesperae de dominica - dixit dominus
K321, 2nd movement
Vesperae de dominica - confitebor
K321, 3rd movement
Vesperae de dominica - beatus vir
K321, 4th movement
Vesperae de dominica - laudate pueri
K321, 5th movement
Vesperae de dominica - laudate dominum
K321, 6th movement
Vesperae de dominica - magnificat
K570
Piano Sonata in B Flat
The Marriage of Figaro overture
Overture to the Marriage of Figaro
K314
Concerto in D for Flute
K527
Overture to Don Giovanni
K622
Concerto in A major, 1st movement
K622
Concerto in A major, 2nd movement
K622
Concerto in A major, 3rd movement
K466
Piano Concerto No.20 in D minor, 1st movement
K503
Piano Concerto No.25 In C Major
K364
Sinfonia Concertante in E flat
K550
Mozart's 40th Symphony, 1st movement
K550
Mozart's 40th Symphony, 2nd movement
K550
Mozart's 40th Symphony, 3rd movement
K550
Mozart's 40th Symphony, 4th movement

[edit] References

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

[edit] External links