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List of compositions by Wolfgang Amadeus Mozart

From Wikipedia, the free encyclopedia

List of compositions by Wolfgang Amadeus Mozart
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Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period who wrote in many genres. Perhaps his best-admired works can be found within the categories of operas, piano concertos, piano sonatas, symphonies, string quartets, and string quintets. Mozart also wrote many violin sonatas; other forms of chamber music; violin concertos, and other concertos for one or more solo instruments; masses, and other religious music; organ music; masonic music; and numerous dances, marches, divertimenti, serenades, and other forms of light entertainment.

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Wolfgang Amadeus Mozart, c. 1782-83

For a complete and chronologically ordered list, see Köchel catalogue.
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How Mozart's compositions are listed

  • The indication "K." or "KV" refers to Köchel Verzeichnis (Köchel catalogue), i.e. the (more or less) chronological catalogue of Mozart's works by Ludwig von Köchel. This catalogue has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 24 and Symphony No. 25, numbered K. 173dA and 173dB in the 6th edition).
  • The compositions listed below are grouped thematically, i.e. by type of composition.
  • 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.
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Sacred choral music

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Mozart's sacred choral music consists of masses, litanies, vespers, psalms, church music, oratorios, cantatas, a Requiem and other shorter and fragmentary works. Beginning in 1768 and ending in 1791, his sacred works are considered some of the most important and influential ever written. Pulling away from the basis of the sacred works of Bach or Handel, which at the time of his later output (around 1780 to 1791) had gone out of fashion, his sacred works eventually resulted in the Requiem, which was left unfinished at his early death in 1791.

Masses (1768–1783)

More information K1, K6 ...

Litanies (1771–1776)

More information K1, K6 ...

Vespers and psalms (1774–1780)

More information K1, K6 ...

Church music (1767–1791)

More information K1, K6 ...

Oratorios and cantatas (1767–1785)

More information K1, K6 ...

Requiem (1791)

The Requiem in D minor was Mozart's last composition, written between October and December of 1791. It was left unfinished at his death on 5 December 1791, and after his burial on 6 December, Constanze asked Franz Xaver Süssmayr to complete the remainder of the work (from bar 9 of the "Lacrimosa" to the final "Communio)". Constanze originally asked Joseph Eybler, but he could not. It is thought that his respect for the late Mozart was too great. Eybler wrote out the existing parts that Mozart had written out prior to his death, and did not go beyond the end of the ninth bar of the "Lacrimosa". Eybler's autograph is the only score of the original version of the Requiem, ending at the ninth bar of the "Lacrimosa".

Süssmayr continued writing the Requiem on Mozart's manuscript, and so it was never specified where Mozart stopped and Süssmayr started. The version by Süssmayr is the most commonly recorded and performed version of the work, with the completed "Offertorium", "Sanctus", "Benedictus" and "Communio". Süssmayr made minor corrections to the "Domine Jesu" and "Hostias", but the "Sanctus" is the first movement entirely by him. The 20th century has seen the appearance of numerous alternative completions that are either trying to simply correct Süssmayr's shortcomings or going so far as eliminating as much of Süssmayr as possible.

More information K1, K6 ...

Fragments and unfinished works (1766–1791)

More information K9, K1 ...
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Theatre music

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Operas (1766–1791)

Main article: List of operas by Wolfgang Amadeus Mozart

Mozart's operas, if Die Schuldigkeit des ersten Gebots, Zaide, L'oca del Cairo, Lo sposo deluso and Der Stein der Weisen are included, add up to 23 works. The works mentioned are sometimes excluded from lists of Mozart's operas due to their debatable form. Die Schuldigkeit des ersten Gebots is regarded as a "sacred drama", Zaide, L'oca del Cairo and Lo sposo deluso are unfinished, with only uncompleted fragments making up the latter, and Der Stein der Weisen is a collaborative work.

More information K1, K6 ...

Ballet music (1778–1783)

Mozart's small amount of ballet music are regarded as minor works, and a majority of them are either fragmented, incomplete or spurious. His only full-scale ballets are K. Anh. 10 and K. 367, the rest are all either small stand-alone works or incomplete works. The Gavotte in B-flat, K. 300, isn't technically ballet music, but a dance, and so would nowadays be catalogued with Mozart's other dance music. But the Neue Mozart-Ausgabe regards it as ballet music.

More information K9, K1 ...

Arias, songs and vocal ensembles (1765–1791)

Throughout Mozart's life, he wrote a large number of stand-alone arias and vocal ensembles. Most of these are concert arias, with some being alternative arias or ensembles to operas. His first work in this field was written in 1765 ("Va, dal furor portata") and the last in 1791 ("Io ti lascio, o cara, addio"). He also wrote two works for multiple vocalists (K. 479 and K. 480), either intended to be played alone or as an interjection ensemble in an operatic work. His other "secular" vocal works include canons and lieder.

More information K9, K1 ...
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Orchestral works

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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.

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, listed below, 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.

There are also two isolated rondos for piano and orchestra:

The early arrangements are as follows:

Violin concertos

Mozart's five violin concertos were written in Salzburg around 1775, except the first around 1773. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart likely 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 for two violins and orchestra, 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

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.

There are some other unfinished Mozart works for horn and orchestra:

  • Horn Concerto, K. 370b+371 in E♭ major (1781)
  • Horn Concerto, K. 494a in E major (c. 1785–6)

Woodwind concertos

K. 299 (3rd movement, Rondeau allegro)
Concerto for Flute, Harp, and Orchestra
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Others
  • Basset Horn Concerto in G major, K. 584b/621b (fragment; transcribed and finished to become the well-known clarinet concerto)
  • Oboe Concerto in F major, K. 293/416f – Allegro (fragment)
  • Flute Concerto, K. 673 (lost or unrealised)

Concertante symphonies

K. 364 (3rd movement, Presto)
Sinfonia Concertante for Violin, Viola and Orchestra
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These were not Mozart's only attempts at the genre; another fragmentary work was also composed around the same time, though not completed.

Other concertos

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Piano music

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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, Mozart 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

Others
  • Allegro in G major, K. 357/497a (1786-87; fragment)

Two pianos

  • Sonata for Two Pianos in D major, K. 448/375a (1781)
  • Fugue in C minor for Two Keyboards, K. 426 (1783) (transcribed in 1788 for string quartet as K. 546)
  • Larghetto and Allegretto for Two Pianos in E♭ major, K. 681 (completed by Maximilian Stadler)
Others
  • Allegro in C minor for Two Pianos, K.Anh. 44/426a (1783-86; fragment)
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Chamber music

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Chamber music with piano

Violin music

Mozart also wrote sonatas for keyboard and violin. 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.

The 'Violin Sonatas', KV 10–15, are unique in that they include an ad lib. cello part along with the score for violin and keyboard. The Neue Mozart-Ausgabe (1966) therefore includes them along with the other keyboard trios, although the Köchel catalogue (K6, 1964) lists them as normal violin sonatas.

Violin sonatas
Childhood violin sonatas (1762–66)
  • Violin Sonatas, KV 6–9 (1762-64)
    • Sonata No. 1 in C for Keyboard and Violin, K. 6 (1762-1764)
    • Sonata No. 2 in D for Keyboard and Violin, K. 7 (1763-1764)
    • Sonata No. 3 in B♭ for Keyboard and Violin, K. 8 (1763-1764)
    • Sonata No. 4 in G for Keyboard and Violin, K. 9 (1764)
  • Violin Sonatas, KV 10–15 (1764)
    • Sonata No. 5 in B♭ for Keyboard with Violin (or Flute) and Cello, K. 10 (1764)
    • Sonata No. 6 in G for Keyboard with Violin (or Flute) and Cello, K. 11 (1764)
    • Sonata No. 7 in A for Keyboard with Violin (or Flute) and Cello, K. 12 (1764)
    • Sonata No. 8 in F for Keyboard with Violin (or Flute) and Cello, K. 13 (1764)
    • Sonata No. 9 in C for Keyboard with Violin (or Flute) and Cello, K. 14 (1764)
    • Sonata No. 10 in B♭ for Keyboard with Violin (or Flute) and Cello, K. 15 (1764)
  • Violin Sonatas, KV 26–31 (1766)
    • Sonata No. 11 in E♭ for Keyboard and Violin, K. 26 (1766)
    • Sonata No. 12 in G for Keyboard and Violin, K. 27 (1766)
    • Sonata No. 13 in C for Keyboard and Violin, K. 28 (1766)
    • Sonata No. 14 in D for Keyboard and Violin, K. 29 (1766)
    • Sonata No. 15 in F for Keyboard and Violin, K. 30 (1766)
    • Sonata No. 16 in B♭ for Keyboard and Violin, K. 31 (1766)
  • Sonata in D for Keyboard and Violin, K. 630 (1766, doubtful)
Mature violin sonatas (1778–88)
Variations for violin and piano

Piano trios

Others
  • Piano Trio in D minor, K. 442 (1785–88; fragment, completed by M. Stadler)
  • Piano Trio in B♭ major, K.Anh. 51/501a (1786; fragment)
  • Piano Trio in G major, K.Anh. 52/495a (1786; fragment)

Piano quartets

Other chamber music with piano

K. 452 (3rd movement, Allegretto)
Quintet for Piano and Winds
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Fragments
  • Quintet for Piano and Winds (piano, oboe, clarinet, basset horn, bassoon) in B♭ major, K. Anh. 54/452a (1784; fragment)

Chamber music without piano

String duos

String trios

Others
  • Preludes and Fugues for Violin, Viola and Cello, K. 404a (1782)
  • Trio for Violin, Viola and Cello in G major, K. Anh. 66/562e (1788, fragment)

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♭ major, K. 159 (1773)
  • String Quartet No. 7 in E♭ 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♭ major, K. 171 (1773)
  • String Quartet No. 12 in B♭ 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.
Others
  • Fugues for 2 Violins, Viola and Cello, K. 405 (1782)
  • Adagio and Fugue in C minor for 2 Violins, Viola and Cello, K. 546 (1788) (a transcription from Fugue in C minor for Two Keyboards, K. 426)
  • Canon in C major for 2 Violins, Viola and Cello, K. Anh. 191/562c (1788, attribution uncertain)
  • String Quartet in E minor, K. 417d (1789; fragment)
  • String Quartet in G minor, K. 587a (1789; fragment)
  • String Quartet in E major, K. 680 (c. 1781–1782; fragment)

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]

Others
  • String Quintet in B♭ major, K. 514a (fragment; 1787 or later)
  • String Quintet in A minor, K. 515c+515a (fragment; 1791)

Other chamber music without piano

  • Flute Quartets (flute, violin, viola, cello):
  • Sonata for Bassoon and Violoncello in B♭ major, K. 292 (1775)
  • Oboe Quartet (oboe, violin, viola, cello) in F major, K. 370 (1781)
  • Horn Quintet (horn, violin, two violas, cello) in E♭ major, K. 407 (1782)
  • Adagio in F major for two basset horns and bassoon, K. 410/484d (1785)
  • Adagio in B♭ major for two clarinets and three basset horns, K. 411/484a (1785)
  • 12 Duets for two horns in C major, K. 487 (1786, incorrectly published as being for basset horns)
  • Clarinet Quintet (clarinet, two violins, viola, cello) in A major, K. 581 (1789)
  • Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K. 617 (1791)
  • Adagio in C major for Glass Harmonica, K. 356/617a (1791)
  • Adagio in F major for clarinet and three basset horns, K.Anh. 93
  • Adagio in F major for clarinet and three basset horns, K.Anh. 94
  • Allegro assai in B♭ major for two clarinets and three horns, K.Anh. 95
  • Allegro in B♭ major, K.Anh. 96 (for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns)
Fragments
  • Andante in B♭ major, K. 384B (fragment; for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns)
  • Allegro in C major for basset horn and ??, K. 484e (fragment; with undetermined instrumentation)
  • Clarinet Quintet fragment in B♭ major, K. 516c/Anh. 91 – Allegro (for clarinet, 2 violins, viola, cello; 1787)
  • Clarinet Quintet fragment in E♭ major, K. 516d – Andante (for clarinet, 2 violins, viola, cello; 1787)
  • Clarinet Quintet fragment in E♭ major, K. 516e/Anh. 89 – Rondò (for clarinet, 2 violins, viola, cello; 1787)
  • Clarinet Quintet fragment in F major, K. 580b/Anh. 90 – Allegro (for clarinet, basset horn, violin, viola and cello; 1789)
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Serenades, divertimenti, and other instrumental works

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The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, dances, and 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 ensembles and the varied combinations of strings and winds.

Serenades

  • 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. 286/269a (December 1776 or January 1777) (each of the four "orchestras" consists of 2 horns in D, violins I and II, viola and cello)[3]
  • Serenade No. 9 in D major, "Posthorn", K. 320 (1779)
  • Serenade No. 10 for twelve winds and double bass in B♭ major, "Gran Partita", K. 361/370a (1781)
  • Serenade No. 11 for winds in E♭ major, K. 375 (1781–82)
  • Serenade No. 12 for winds in C minor, K. 388/384a (1782)
  • Serenade No. 13 for string quartet and double bass in G major, "Eine kleine Nachtmusik", K. 525 (1787)
  • Serenade in C or Ganz kleine Nachtmusik for 2 violins and cello, K. 648 (mid to late 1760s)
Others
  • Cassation in G major, K. 63 (1769)
  • Cassation in B♭ major, K. 99/63a (1769; Probable first performance based on ensemble)
  • Cassation in D major, K. 100/62a (alternative title: Serenade No. 1) (1769)

Divertimenti

  • Divertimento No. 1 in E♭ 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♭ 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 for winds in E♭ major, K. 166/159d (1773)
  • Divertimento No. 4 for winds in B♭ major, K. 186/159b (1773)
  • Divertimento No. 5 for winds in C major, K. 187 (Anh. C 17.12) (1773) (spurious, by Leopold Mozart)
  • Divertimento No. 6 for winds in C major, K. 188/240b (1773)
  • Divertimento No. 7 in D major, K. 205/167A (1773)
  • Divertimento No. 8 for winds in F major, K. 213 (1775)
  • Divertimento No. 9 for winds in B♭ 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 for winds in E♭ major, K. 252/240a (1776)
  • Divertimento No. 13 for winds in F major, K. 253 (1776)
  • Divertimento for piano, violin and violoncello in B♭ major, K. 254 ("Piano Trio No. 1") (1776)
  • Divertimento No. 14 for winds in B♭ major, K. 270 (1777)
  • Divertimento No. 15 in B♭ major, K. 287/271h "Lodron No. 2" ("Lodronische Nachtmusik") (1777)
  • Divertimento No. 16 for winds in E♭ major, K. 289/271g (1777) (doubtful)
  • Divertimento No. 17 in D major, K. 334/320b (1779–80)
  • Five Divertimentos (25 pieces) for three basset horns in B♭ 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♭ major, K. 563 (1788)
Others

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♭ major, K. 159 ("Divertimento") (1773)

Incomplete

  • Divertimento in F major, K. 288/246c (1777) (incomplete)
  • Divertimento in D major, K. 320B (1772–73) (incomplete)

Marches

  • March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) (1769)
  • March in D major, K. 189/167b (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)
  • March in D major, K. 544 (1788; lost)

Incomplete

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

Dances

Thumb
Autograph manuscript of the Minuet K.164, number 5
See also: Mozart and dance

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

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. 61b/65a (1769)
  • 2 Menuets, K. 61g (1769–70)
  • 6 Menuets, K. 61h (including No. 3 Symphony in D major, K. 135+61h) (1769?)
  • 20 Menuets, K. 103/61d (1770-71)
  • 6 Menuets, K. 104/61e (1770–71)
  • 6 Menuets, K. 105/61f (doubtful) (1770-71)
  • Menuet in E♭ major, K. 122/73t (1770)
  • 6 Menuets, K. 164/130a (1772)
  • 16 Menuets, K. 176 (1773)
  • 3 Menuets, K. 363 (1783?)
  • Symphonic Minuet in C major, K. 409/383f (1782)
  • 5 Menuets, K. 461/448a (1784)
  • 2 Minuets with Contredanses in F major and B♭ major (Quadrilles), K. 463/448c (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)

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♭ major, K. 123/73g (1770)
  • 4 Contredanses, K. 267/271c (1777)
  • 2[4] or 4[5] Contredanses for Count Johann Rudolf Czernin, K. 269b (1777)
  • 6 Contredanses, K. 462/448b (1784)
  • 9 Countredanses, K. 510/Anh.C 13.02 (1787)
  • Contredanse in D major, "Das Donnerwetter" (The Thunderstorm), K. 534 (1788)
  • Contredanse in C major, "La Bataille", K. 535 (1788)
  • 3 Contredanses, K. 535a (lost) (1788)
  • Contredanse in B♭ K. 535b (fragment) (1788)
  • 2 Contredanses, K. 565 (lost) (1788)
  • Contredanse in D K. 565a (fragment) (1788)
  • Contredanse in C major, "Der Sieg vom Helden Koburg" (Coburg's Victory), K. 587 (1789)
  • 2 Contredanses, K. 603 (1791)
  • Contredanse in E♭ major, "Il Trionfo delle Donne", K. 607/605a (1791)
  • 5 Contredanses, K. 609 (includes No. 1 "Non più andrai") (1791)
  • Contredanse in G major, "Les filles malicieuses", K. 610 (1791)

Allemande

  • 6 German Dances, K. 509 (1787)
  • 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)
  • Three German Dances, K. 605 (includes No. 3 "Die Schlittenfahrt" Sleigh Ride) (1791)
  • 6 Ländler in B♭ major, "Ländlerische Tänze", K. 606 (1791)
  • German Dance in C major, K. 611 "Die Leirer" (1791)

Others

  • Sketch of a ballet, Le gelosie del Serraglio, K. Anh. 109/135a (1772, fragment)
  • Ballet, Les petits riens (The Little Nothings), K. Anh. 10/299b (1778)
  • Sketches for a ballet intermezzo, "Bagatelles Ballet Pantomime", K. 299c (1778, fragment)
  • La Chasse (The Hunt) in A major, K. Anh. 103/299d, (1778, fragment)
  • Gavotte in B♭ major, K. 300 (1778)
  • Ballet music for Idomeneo, K. 367 (1781)
  • Musik zu einer Pantomime: Pantalon und Colombine (Music to a Pantomime) in D major, K. 446/416d (1783, fragment)
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Sacred music

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Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the seventeen Sonate da chiesa, composed between 1772 and 1780. His 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.

Masses

Main article: List of masses by Wolfgang Amadeus Mozart

Oratorios

Cantatas

  • Grabmusik (Cantata on the Holy Grave of Christ), K. 42/35a (1767)
  • Davide penitente, K. 469 (1785)

Church sonatas

Main article: Church Sonatas (Mozart)
  • Church Sonata No. 1 in E♭, K. 67/41h (1772)
  • Church Sonata No. 2 in B♭, K. 68/41i (1772)
  • Church Sonata No. 3 in D, K. 69/41k (1772)
  • Church Sonata No. 4 in D, K. 144/124a (1774)
  • Church Sonata No. 5 in F, K. 145/124b (1774)
  • Church Sonata No. 6 in B♭, 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)
Others
  • Church Sonata in C major, K. 124c (fragment)
  • Church Sonata in D major, K.Anh. 65a (fragment; spurious, attributed to Leopold Mozart)

Other sacred works

Kyrie

  • Kyrie in F major, K. 33 (1766)
  • Kyrie in G major, K. 89/73k (1770 or 1772)
  • Kyrie in D minor for soprano, alto, tenor, bass, K. 90 (doubtful) (1771–72)
  • Kyrie in D major, K. 91/186i/Anh. 17 (spurious, originally by J. A. Reutter, terminated by Franz Xaver Süssmayr) (1774)
  • Kyrie in D minor, K. 341/368a (1787–91)
Others
  • Kyrie in C major, K. 166f/Anh. 18 (fragment) (1772)
  • Kyrie in D major, K. 166g/Anh. 19 (fragment) (1772)
  • Kyrie in E♭ major, K. 322/296a, (fragment; completed by Maximilian Stadler) (early 1778)
  • Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)
  • Kyrie in G major, K. 196a/Anh. 16 (fragment) (1787–89)
  • Kyrie in D major, K. 422a/Anh. 14 (fragment) (1787–89)
  • Kyrie in C major, K. 258a/Anh. 13 (fragment) (1787–91)

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)
  • Convertentur sedentes in D major, K. 177/Anh. C 3.09 (doubtful)
  • Sub tuum praesidium in F major, K. 198/Anh. C 03.08 (doubtful)
  • Misericordias Domini in D Minor, K. 222/205a (1775)
  • Venite populi in 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♭ major, K. 127 (1772)
  • Regina coeli for soloists, chorus and orchestra in C major, K. 276/321b (1779)

Miserere

  • Miserere in A minor, K. 85/73s (1770)

Te Deum

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

Litany

Main article: Litanies (Mozart)
  • Litaniae Lauretanae in B♭ major, K. 109/74e (1771)
  • Litaniae de venerabili altaris sacramento in B♭ major, K. 125 (1772)
  • Litaniae Lauretenae in D major, K. 195/186d (1774)
  • Litaniae de venerabili altaris sacramento in E♭ major, K. 243 (1776)

Motets

Hymns and arias

  • Tantum Ergo in B♭ major, K. 142/Anh. C 3.04 (doubtful)
  • Tantum Ergo in D major, K. 197/Anh. C 3.05 (doubtful)
  • Kommet her, ihr frechen Sünder for Soprano in B♭, K. 146/317b (1779)
  • "Zwei deutsche Kirchenlieder" (Two German Hymns), O Gotteslamm, Als aus Ägypten Israel, K. 343/336c (c. 1787)
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Organ music

  • Fugue in E♭ major, K. 153 (375f) (incomplete) (1782)
  • Fugue in G minor, K. 154 (385k) (incomplete) (1782)
  • Ouverture in C major, K. 399 (385i) (1782)
  • Fugue in G minor, K. 401 (375e) (incomplete) (1782)
  • Kleine Gigue in G, K. 574 (1789)
  • Adagio in D minor, K.Anh. 35/593a (1790)
  • Adagio and Allegro in F minor for a Mechanical Organ, K. 594 (1790)
  • Fantasia in F minor for a Mechanical Organ, K. 608 [fr] (1791)
  • Andante in F for a Small Mechanical Organ, K. 616 (1791)

Concert arias, songs and canons

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Main article: List of concert arias, songs and canons by Wolfgang Amadeus Mozart
  • Conservati fedele for Soprano in A major, K. 23 (The Hague, 1765-66)
  • A Berenice for Soprano in G major, K.70/61c (1767-69)
  • Ah, spiegarti, o Dio for Soprano in A major, K. 178/417e (1772)
  • Con ossequio, con rispetto for Tenor in C major, K. 210 (Salzburg, May, 1775)
  • Clarice cara mia sposa for Tenor in D major, K. 256 (1776)
  • Ah, lo previdi for Soprano in C minor, K. 272 (1777)
  • Alcandro, lo confesso for Soprano in E♭ major, K. 294 (1778)
  • Basta, vincesti for Soprano in E♭ major, K. 486a/295a (1778)
  • Così dunque tradisci for Bass in F minor, K. 432/421a (1783)
  • Ch'io mi scordi di te? for Soprano in E♭ major, K. 505 (December, 1786)
  • Alcandro, lo confesso for Bass in F major, K. 512 (1787)
  • Bella mia fiamma, addio for Soprano in C major, K. 528 (1787)
  • Ah se in ciel for Soprano in F major, K. 538 (1778 or 1788)
  • Un bacio di mano for Bass in F major, K. 541 (May, 1788)
  • Al desio di chi t'adora for Soprano in F major, K. 577 (1789; Composed in order to replace the Aria of Susanna Deh vieni, non tardar in "Le nozze di Figaro")
  • Alma grande e nobil core for Soprano in B♭ major, K. 578 (August, 1789)
  • Un moto di gioia for Soprano in F major, K. 579 (1789; Composed in order to replace the Aria of Susanna Venite, inginocchiatevi in "Le nozze di Figaro")
  • Chi sà, chi sà, qual sia for Soprano in C major, K. 582 (1789)

Others

  • Ah, più tremar non voglio for Tenor in F major, K. 71 (1769; fragment)
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Masonic music

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Main article: Mozart and Freemasonry

The following are compositions written for the Masonic Lodge:

  • Song for tenor and piano, "Lobegesang auf die feierliche Johannisloge" ("O heiliges Band der Freundschaft treuer Brüder") [O sacred bond of friendship between true brothers], K. 148/125h, (1772)
  • Cantata for two tenors, male chorus, and orchestra, Dir, Seele des Weltalls, K. 429/468a (fragment, completed by Maximilian Stadler) (1783)
  • Song for tenor and piano, "Lied zur Gesellenreise: Die ihr einem neuen Grad", K. 468, "for use at installation of new journeymen" (1785)
  • Cantata for tenor, male chorus, and orchestra, Die Maurerfreude (The Freemason's Joy) K. 471 (1785)
  • The Masonic Funeral Music (Maurerische Trauermusik), K. 477/479a (1785), for orchestra, which was composed for an actual Masonic funeral
  • Two songs for tenor, male chorus and organ used for the opening and closing ceremonies of the lodge in Austria "Zur Neugekrönten Hoffnung":
    • "Zerfließet Heut, Geliebter Brüder", K. 483 (1786)
    • "Ihr Unsre Neuen Leiter", K. 484 (1786)
  • The Little German Cantata (Kleine Deutsche Kantate) ("Die ihr die unermeßlichen Weltalls Schöpfer ehrt"), for tenor and piano, for use at meetings of the Colony of the Friends of Nature, K. 619 (1791)
  • The Little Masonic Cantata (Kleine Freimaurer-Kantate [es]) "Laut verkünde unsre Freude", for two tenors, bass, male chorus, and orchestra, K. 623 (1791)
  • Song for male chorus and orchestra, "Laßt uns mit geschlungnen Händen", K. 623a, ("for the close of the lodge" and intended final chorus to K. 623) (1791; attribution uncertain)
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Handel adaptations

See also

References

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