Фрагменты органных сочинений моцарта

From Wikipedia, the free encyclopedia

Wolfgang Amadeus Mozart (1756–1791) was a prolific composer and wrote in many genres. Perhaps his best-admired work is in opera, piano concerto, piano sonata, symphony, string quartet, and string quintet. Mozart also wrote many violin sonatas, and 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, divertimentos, serenades, and other forms of light entertainment.

How Mozart’s compositions are listed[edit]

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

Symphonies[edit]

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

Childhood symphonies (1764–1771)[edit]

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

• Symphony No. 1 in E♭ major, K. 16 (1764)
• Symphony No. 2 in B♭ major, K. 17 (spurious, attributed to Leopold Mozart) (1765?)
• Symphony No. 3 in E♭ major, K. 18 (spurious, written by Carl Friedrich Abel) (1767?)
• Symphony No. 4 in D major, K. 19 (1765)
• Symphony No. 5 in B♭ major, K. 22 (1765)
• Symphony No. 6 in F major, K. 43 (1767)
• Symphony No. 7 in D major, K. 45 (1768)
• Symphony No. 8 in D major, K. 48 (1768)
• Symphony No. 9 in C major, K. 73/75a (1769-70?)
• Symphony No. 10 in G major, K. 74 (1770)
• Symphony No. 11 in D major, K. 84/73q (uncertain) (1770)
• Symphony No. 12 in G major, K. 110/75b (1771)
• Symphony No. 13 in F major, K. 112 (1771)

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

• Symphony in F major, K. 75 (GA 42: doubtful) (1771)
• Symphony in F major, K. 76/42a (GA 43: doubtful) (1767)
• Symphony in D major, K. 81/73l (GA 44: doubtful) (1770)
• Symphony in D major, K. 95/73n (GA 45: doubtful) (1770)
• Symphony in C major, K. 96/111b (GA 46: doubtful) (1771)
• Symphony in D major, K. 97/73m (GA 47: doubtful) (1770)
• Symphony in F major, K. 98/Anh. C 11.04 (GA 48/56: doubtful) (1771?)
• Symphony in B♭ major, K. Anh. 214/45b (GA 55: doubtful) (1768)
• Symphony in B♭ major, K. Anh. 216/74g/Anh. C 11.03 (GA 54: doubtful) (1771)
• Symphony in G major, «Old Lambach», K. Anh. 221/45a (1766)
• Symphony in F major, K. Anh. 223/19a (1765)
• Symphony in A minor, «Odense», K. Anh. 220/16a (doubtful) (1765?)

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

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

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

• 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♭ 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. 181/162b (1773)
• Symphony No. 24 in B♭ major, K. 182/173dA (1773)
• Symphony No. 25 in G minor, K. 183/173dB (1773)
• Symphony No. 26 in E♭ major, K. 184/161a (1773)
• Symphony No. 27 in G major, K. 199/161b (1773)
• Symphony No. 28 in C major, K. 200/189k (1774)
• Symphony No. 29 in A major, K. 201/186a (1774)
• Symphony No. 30 in D major, K. 202/186b (1774)

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

• Symphony in D major, K. 111+(120/111a) (GA 48) (1771)
• Symphony in D major, K. (126+(161/163))/141a (GA 50) (1772)
• Symphony in D major, K. 196+(121/207a) (GA 51) (1774-75)
• Symphony in C major, K. 208+(102/213c) (GA 52) (1775)
• Symphony in D major, K. 135+61h (1772?)

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

• Symphony in D major, K. 204 (based on the Serenade No. 5) (1775)
• Symphony in D major, K. 250 (based on the «Haffner» serenade) (1776)
• Symphony in D major, K. 320 (based on the «Posthorn» serenade) (1779)

Late symphonies (1778–1788)[edit]

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

  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.

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

The three final symphonies (Nos. 39–41) were completed in about three months in 1788. It is likely that Mozart hoped to publish these three works together as a single opus, but 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♭ major, K. 543 (1788)
• Symphony No. 40 in G minor, K. 550 (1788)
• Symphony No. 41 in C major, «Jupiter», K. 551 (1788)

Concertos[edit]

Piano concertos[edit]

Mozart’s concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works. The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C. P. E. Bach). There are also three unnumbered concertos, K. 107, which are adapted from piano sonatas by J. C. Bach. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one, 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.

• Piano Concerto No. 5 in D major, K. 175 (1773)
• Piano Concerto No. 6 in B♭ major, K. 238 (1776)
• Piano Concerto No. 7 in F major for Three Pianos, «Lodron», K. 242 (1776)
• Piano Concerto No. 8 in C major, «Lützow», K. 246 (1776)
• Piano Concerto No. 9 in E♭ major, «Jenamy», K. 271 (1777)
• Piano Concerto No. 10 in E♭ major for Two Pianos, K. 365/316a (1779)
• Piano Concerto No. 11 in F major, K. 413/387a (1782-83)
• Piano Concerto No. 12 in A major, K. 414/385p (1782)
• Piano Concerto No. 13 in C major, K. 415/387b (1782-83)
• Piano Concerto No. 14 in E♭ major, K. 449 (1784)
• Piano Concerto No. 15 in B♭ major, K. 450 (1784)
• Piano Concerto No. 16 in D major, K. 451 (1784)
• Piano Concerto No. 17 in G major, K. 453 (1784)
• Piano Concerto No. 18 in B♭ major, K. 456 (1784)
• Piano Concerto No. 19 in F major, K. 459 (1784)
• Piano Concerto No. 20 in D minor, K. 466 (1785)
• Piano Concerto No. 21 in C major, K. 467 (1785)
• Piano Concerto No. 22 in E♭ major, K. 482 (1785)
• Piano Concerto No. 23 in A major, K. 488 (1786)
• Piano Concerto No. 24 in C minor, K. 491 (1786)
• Piano Concerto No. 25 in C major, K. 503 (1786)
• Piano Concerto No. 26 in D major, «Coronation», K. 537 (1788)
• Piano Concerto No. 27 in B♭ major, K. 595 (1791)

There are also two isolated rondos for piano and orchestra:

• Rondo for piano and orchestra in D major, K. 382 (1782)
• Rondo for piano and orchestra in A major, K. 386 (1782)

The early arrangements are as follows:

• Piano Concerto No. 1 in F major, K. 37 (1767)
• Piano Concerto No. 2 in B♭ major, K. 39 (1767)
• Piano Concerto No. 3 in D major, K. 40 (1767)
• Piano Concerto No. 4 in G major, K. 41 (1767)
• Three Piano Concertos in D major, G major and E♭ major, K. 107 (1771 or 1765)

Others

• 36 Cadenzas, K. 624/626a (1768-91; the list of all the cadenzas that Mozart wrote for his own piano concertos and piano concertos of contemporaries)

Violin concertos[edit]

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.)

• Violin Concerto No. 1 in B♭ major, K. 207 (1773)
• Violin Concerto No. 2 in D major, K. 211 (1775)
• Violin Concerto No. 3 in G major, «Straßburg», K. 216 (1775)
• Violin Concerto No. 4 in D major, K. 218 (1775)
• Violin Concerto No. 5 in A major, «Turkish», K. 219 (1775)

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

• Concertone for two Violins and Orchestra in C major, K. 190/186E (1774)
• Adagio for violin and orchestra in E major, K. 261 (1776)
• Rondo for violin and orchestra in B♭ major, K. 269/261a (between 1775 and 1777)
• Rondo for violin and orchestra in C major, K. 373 (1781)

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

• Violin Concerto in E♭ major, K. 268/365a/Anh. C 14.04 («No. 6») (1780) (attributed to Johann Friedrich Eck)^[1]
• Violin Concerto in D major, «Kolb», K. 271a/271i («No. 7») (1777) (doubtful)
• Violin Concerto in D major, «Adélaïde», K. Anh. 294a/Anh. C 14.05 (1933) (actually written by Marius Casadesus)

Horn concertos[edit]

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

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

• Horn Concerto No. 1 in D major, K. 412 (1791, unfinished at Mozart’s death)
• Horn Concerto No. 2 in E♭ major, K. 417 (1783)
• Horn Concerto No. 3 in E♭ major, K. 447 (c. 1784–7)
• Horn Concerto No. 4 in E♭ major, K. 495 (1786)

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[edit]

• Bassoon Concerto in B♭ major, K. 191 (1774)
• Concerto for Flute, Harp, and Orchestra in C major, K. 299 (1778)
• Oboe Concerto in C major, K. 314 (1777–78) (has come down to us as the second flute concerto, but was almost certainly an oboe concerto)
• Flute Concerto No. 1 in G major, K. 313 (1778)
• Flute Concerto No. 2 in D major, K. 314 (1778) (an arrangement of the above Oboe Concerto)
• Andante for flute and orchestra in C major, K. 315/285e (1778)
• Clarinet Concerto in A major, K. 622 (1791; originally was for basset horn and was in the key of G major)
• Bassoon Concerto in B♭ major, K. 230a/Anh. C 14.03 (Discovered in set of parts in The Hague attributed to Mozart; authenticity widely doubted from start. Most likely composed by François Devienne)
• Oboe Concerto in E♭ major, K.Anh.C 14.06 (Doubtful authenticity)

Others

• Basset Horn Concerto in G major, K. 584b (fragment; transcribed and finished to the well-known clarinet concerto)

Concertante symphonies[edit]

• Sinfonia Concertante for Violin, Viola and Orchestra in E♭ major, K. 364 (1779)
• Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra in E♭ major, K. 297b (Anh. 9 and later Anh. C 14.01) (probably spurious arrangement of lost Sinfonia Concertante for Flute, Oboe, Horn, Bassoon and Orchestra from 1778)

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

• Sinfonia Concertante for Violin, Viola, Cello and Orchestra in A major, K. 320e (Anh. 104) (c. 1779, fragment)
• Sinfonia Concertante for Piano, Violin and Orchestra in D major, K. 315f (Anh. 56) (1778, fragment)

Other concertos[edit]

• Concerto for Trumpet, K. 47c (1768, lost)
• Cello Concerto, K. 206a (1775, lost)

Piano music[edit]

Mozart’s earliest composition attempts begin with piano sonatas and other piano pieces, as this is the instrument on which his musical education took place. Almost everything that he wrote for piano was intended to be played by himself (or by his sister, also a proficient piano player). Examples of his earliest works are those found in Nannerl’s Music Book. Between 1782 and 1786, 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[edit]

Dual piano/performer works[edit]

Piano four-hands[edit]

• Sonata in C major for keyboard four-hands, K. 19d (doubtful) (London, May 1765)
• Sonata for Keyboard Four-hands in D major, K. 381/123a (1772)
• Sonata for Keyboard Four-hands in B♭ major, K. 358/186c (1774)
• Sonata for Keyboard Four-hands in F major, K. 497 (1786)
• Sonata in C major for piano four-hands, K. 521 (1787)
• Sonata for Keyboard Four-hands in G major, K. 357 (incomplete) (1786)
• Fugue in G minor, K. 401 (incomplete) (1782)
• Andante and Variations in G major, K. 501 (1786)
• Adagio and Allegro in F minor for a mechanical organ, K. 594 (1790) (organ, composer’s transcription)
• Fantasia in F minor, K. 608 (1791) (organ, composer’s transcription)

Others

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

Two pianos[edit]

• 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. deest (completed by Maximilian Stadler)

Others

• Allegro in C minor for Two Pianos, K.Anh. 44/426a (1783-86; fragment)

Chamber music[edit]

Chamber music with piano[edit]

Violin music[edit]

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[edit]

Childhood violin sonatas (1762–66)[edit]

• 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)

Mature violin sonatas (1778–88)[edit]

• Violin Sonata No. 17 in C major, K. 296 (1778)
• Violin Sonata No. 18 in G major, K. 301 (1778)
• Violin Sonata No. 19 in E♭ major, K. 302 (1778)
• Violin Sonata No. 20 in C major, K. 303 (1778)
• Violin Sonata No. 21 in E minor, K. 304 (1778)
• Violin Sonata No. 22 in A major, K. 305 (1778)
• Violin Sonata No. 23 in D major, K. 306 (1778)
• Violin Sonata No. 24 in F major, K. 376 (1781)
• Violin Sonata No. 25 in F major, K. 377 (1781)
• Violin Sonata No. 26 in B♭ major, K. 378 (1779)
• Violin Sonata No. 27 in G major, K. 379 (1781)
• Violin Sonata No. 28 in E♭ major, K. 380 (1781)
• Violin Sonata No. 29 in A major, K. 402 (1782; fragment, completed by Maximilian Stadler)
• Violin Sonata No. 30 in C major, K. 403 (1782; fragment, completed by M. Stadler)
• Violin Sonata No. 31 in C major, K. 404 (1782; fragment)
• Violin Sonata No. 32 in B♭ major, K. 454 (1784)
• Violin Sonata No. 33 in E♭ major, K. 481 (1785)
• Violin Sonata No. 34 in B♭ major, K. 372 Allegro (1781; fragment, completed by M. Stadler)
• Violin Sonata No. 35 in A major, K. 526 (1787)
• Violin Sonata No. 36 in F major, K. 547 (1788)

Variations for violin and piano[edit]

• 12 Variations in G major on «La bergère Célimène», K. 359 (1781)
• 6 Variations in G minor on «Hélas, j’ai perdu mon amant», K. 360 (1781)

Piano trios[edit]

• Piano Trio No. 1 in B-flat major (Divertimento), K. 254 (1776)
• Piano Trio No. 2 in G major, K. 496 (1786)
• Piano Trio No. 3 in B-flat major, K. 502 (1786)
• Piano Trio No. 4 in E major, K. 542 (1788)
• Piano Trio No. 5 in C major, K. 548 (1788)
• Piano Trio No. 6 in G major, K. 564 (1788)

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[edit]

• Piano Quartets (piano, violin, viola, cello):
  • Piano Quartet No. 1 in G minor, K. 478 (1785)
  • Piano Quartet No. 2 in E♭ major, K. 493 (1786)

Other chamber music with piano[edit]

• Quintet for Piano and Winds (piano, oboe, clarinet, horn, bassoon) in E♭ major, K. 452 (1784)
• Trio for Clarinet, Viola and Piano in E♭ major, «Kegelstatt», K. 498 (1786)

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[edit]

String duos[edit]

• Duo for Violin and Viola No. 1 in G major, K. 423 (1783)
• Duo for Violin and Viola No. 2 in B♭ major, K. 424 (1783)

String trios[edit]

• Trio for 2 Violins and Cello in B♭ major, K. 266/271f (1777)
• Divertimento for String Trio in E♭ major, K. 563 (1788)

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[edit]

• String Quartet No. 1 in G major, «Lodi», K. 80/73f (1770)
• Milanese Quartets, K. 155–160 (1772–1773)

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. 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)

• Viennese 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♭ major, K. 171 (1773)
• String Quartet No. 12 in B♭ major, K. 172 (1773)
• String Quartet No. 13 in D minor, K. 173 (1773)

• Haydn Quartets, K. 387, 421, 428, 458, 464, 465, Op. 10 (1782–1785)

Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.

• 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♭ major, K. 428/421b (1783)
• String Quartet No. 17 in B♭ 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.

• Prussian Quartets, K. 575, 589, 590, Op. 18 (1789–1790)

Mozart’s last three quartets, dedicated to the King of Prussia, Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.

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

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 quintets[edit]

The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that «by general consent, Mozart’s greatest achievement in chamber music is the group of string quintets with two violas.»^[2]

• String Quintet No. 1 in B♭ major, K. 174 (1773)
• String Quintet No. 2 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. (1787)
• String Quintet No. 3 in C major, K. 515 (1787)
• String Quintet No. 4 in G minor, K. 516 (1787)
• String Quintet No. 5 in D major, K. 593 (1790)
• String Quintet No. 6 in E♭ major, K. 614 (1791)

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[edit]

• Flute Quartets (flute, violin, viola, cello):
  • Flute Quartet No. 1 in D major K. 285 (1777–1778)
  • Flute Quartet No. 2 in G major K. 285a (1777–1778)
  • Flute Quartet No. 3 in C major K. Anh. 171/285b (1781–1782)
  • Flute Quartet No. 4 in A major K. 298 (1786–1787)
• 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)

Serenades, divertimenti, and other instrumental works[edit]

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[edit]

• Cassation in D major (Serenade No. 1), K. 100/62a (1769)
• 4 Contredanses in F major (Serenade No. 2), K. 101/250a (1776)
• Serenade No. 3 in D major, «Antretter», K. 185/167a (1773)
• Serenade No. 4 in D major, «Colloredo», K. 203/189b (1774)
• Serenade No. 5 in D major, K. 204/213a (1775)
• Serenade No. 6 in D major, «Serenata Notturna», K. 239 (1776)
• Serenade No. 7 in D major, «Haffner», K. 250/248b (1776)
• Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (1776–77) (each of the four «orchestras» composed of 2 French horns in D, 2 violins, viola and cello)
• Serenade No. 9 in D major, «Posthorn», K. 320 (1779)
• Serenade No. 10 for twelve winds and double bass in B♭ 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)

Others

• Cassation in B♭ major, K. 99/63a (1769; Probable first performance based on ensemble)
• Cassation in G major, K. 63 (1769)
• Cassation in D major, K. 100/62a (alternative title: Serenade No. 1) (1769)

Divertimenti[edit]

• 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

• Quodlibet, Gallimathias musicum in D major, K. 32 (1766)
• March and Divertimento in C major; the music title when the two marches of K. 214 are played before and after the three movements of Symphony in C major, K. 208+(102/213c) (Il re pastore) (1772, 1775)

Three Milanese Quartets called «Divertimento»:

• String Quartet No. 2 in D major, K. 155/134a («Divertimento») (1772)
• String Quartet No. 5 in F major, K. 158 («Divertimento») (1772–73)
• String Quartet No. 6 in B♭ 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[edit]

• March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) (1769)
• March in D major, K. 189/167b (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[edit]

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.

Sacred music[edit]

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[edit]

• Missa brevis in G major, K. 49 (1768)
• Missa brevis in D minor, K. 65 (1769)
• Missa solemnis in C major, Dominicusmesse, K. 66 (1769)
• Missa solemnis in C minor, Waisenhausmesse, K. 139 (1768)
• Missa brevis in G major, Pastoralmesse, K. 140/Anh. C1.12 (1773; attribution uncertain)
• Missa in honorem Sanctissimae Trinitatis, K. 167 (1773)
• Missa brevis in F major, K. 192 (1774)
• Missa brevis in D major, K. 194 (1774)
• Sparrow Mass in C major, Spatzenmesse, K. 220 (1775–6)
• Credo Mass in C major, Credo Mass, K. 257 (1776)
• Missa brevis in C major, Piccolomesse, K. 258 (1775)
• Missa brevis in C major, Organ Solo, K. 259 (1775–6)
• Missa longa in C major, K. 262 (1776)
• Missa brevis in B♭ major, K. 275 (1777)
• Coronation Mass, K. 317 (1779)
• Missa solemnis, Missa aulica, K. 337 (1780)
• Great Mass in C minor, K. 427/417a (1782–3; unfinished)
• Requiem Mass in D minor, K. 626 (1791; unfinished, completed by Franz Xaver Süssmayr after Mozart’s death)

Oratorios[edit]

• Die Schuldigkeit des ersten Gebots, K. 35 (1767) (Only the first part)
• La Betulia liberata, K. 118/74c (1771)

Cantatas[edit]

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

Liturgical works[edit]

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)
• Kyrie in E♭ major, K. 322/296a, (fragment; completed by Maximilian Stadler) (1787)
• Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)

Gradual

• Sancta Maria, mater Dei in F major, K. 273 (1777)

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) (1775)
• 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

• Vesperae solennes de Dominica in C major, K. 321 (1779)
• Vesperae solennes de confessore in C major, K. 339 (1780)

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

Litanies:

• 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)

Other sacred works[edit]

Motet

• God is Our Refuge in G minor, K. 20 (1765)
• Veni Sancte Spiritus in C major, K. 47 (1768)
• Ergo interest (″Quaere superna″) for Soprano in G major, K. 143/73a (1773)
• Exsultate, jubilate for Soprano in F major, K. 165/158a (1773)
• Ave verum corpus in D major, K. 618 (1791)
• Adoramus te in C minor, K. 327/Anh.A 10

Hymns and aria

• 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)

Church sonatas[edit]

Others

• Church Sonata in C major, K. 124c (fragment)
• Church Sonata in D major, K.Anh. 65a (fragment; spurious, attributed to Leopold Mozart)

Organ music[edit]

• 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)

Operas[edit]

• Apollo et Hyacinthus, K. 38 (1767)
• Bastien und Bastienne, K. 50/46b (1768)
• La finta semplice, K. 51 (1769)
• Mitridate, re di Ponto, K. 87/74a (1770)
• Ascanio in Alba, K. 111 (1771)
• Il sogno di Scipione, K. 126 (1772)
• Lucio Silla, K. 135 (1772)
• Thamos, König in Ägypten, K. 345/336a (1773, 1779)
• La finta giardiniera, K. 196 (1775)
• Il re pastore, K. 208 (1775)
• Zaide, K. 344 (1779-80)
• Idomeneo, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)
• L’oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430 (1783)
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)
• Don Giovanni, K. 527 (1787)
• Così fan tutte, K. 588 (1790)
• Die Zauberflöte, K. 620 (1791)
• La clemenza di Tito, K. 621 (1791)

Concert arias, songs and canons[edit]

• Leck mich im Arsch, canon in B♭ major, K. 231/382c
• 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» in Le nozze di Figaro)
• Alma grande e nobil core for Soprano in B♭ major, K. 578 (August, 1789)
• 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)

Masonic music[edit]

The following are compositions written for the Masonic Lodge:

• Song, «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 Dir, Seele des Weltalls, K. 429/468a (fragment, completed by Maximilian Stadler) (1783)
• Song, «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)
• Two songs for tenor 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 soloists, male chorus, and orchestra, K. 623 (1791)
• Song, «Laßt uns mit geschlungen Händen», K. 623a, («for the close of the lodge» and intended final chorus to K. 623) (1791; attribution uncertain)

Handel adaptations[edit]

• Acis und Galatea, K. 566 (1788)
• Der Messias, K. 572 (1789)
• Das Alexander-Fest, K. 591 (1790)
• Ode auf St. Caecilia, K. 592 (1790)

See also[edit]

• Mozart symphonies of spurious or doubtful authenticity

References[edit]

External links[edit]

• Publications of music and writings by Mozart from Project Gutenberg
• Free scores by Wolfgang Amadeus Mozart at the International Music Score Library Project (IMSLP)
• Free typeset sheet music of Mozart’s works from the Mutopia Project
• Digital Mozart Edition, Neue Mozart-Ausgabe (NMA) Online (New Mozart Edition), 127 volumes
• A comprehensive list of Mozart’s work from classical.net

From Wikipedia, the free encyclopedia

Wolfgang Amadeus Mozart (1756–1791) was a prolific composer and wrote in many genres. Perhaps his best-admired work is in opera, piano concerto, piano sonata, symphony, string quartet, and string quintet. Mozart also wrote many violin sonatas, and 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, divertimentos, serenades, and other forms of light entertainment.

How Mozart’s compositions are listed[edit]

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

Symphonies[edit]

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

Childhood symphonies (1764–1771)[edit]

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

• Symphony No. 1 in E♭ major, K. 16 (1764)
• Symphony No. 2 in B♭ major, K. 17 (spurious, attributed to Leopold Mozart) (1765?)
• Symphony No. 3 in E♭ major, K. 18 (spurious, written by Carl Friedrich Abel) (1767?)
• Symphony No. 4 in D major, K. 19 (1765)
• Symphony No. 5 in B♭ major, K. 22 (1765)
• Symphony No. 6 in F major, K. 43 (1767)
• Symphony No. 7 in D major, K. 45 (1768)
• Symphony No. 8 in D major, K. 48 (1768)
• Symphony No. 9 in C major, K. 73/75a (1769-70?)
• Symphony No. 10 in G major, K. 74 (1770)
• Symphony No. 11 in D major, K. 84/73q (uncertain) (1770)
• Symphony No. 12 in G major, K. 110/75b (1771)
• Symphony No. 13 in F major, K. 112 (1771)

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

• Symphony in F major, K. 75 (GA 42: doubtful) (1771)
• Symphony in F major, K. 76/42a (GA 43: doubtful) (1767)
• Symphony in D major, K. 81/73l (GA 44: doubtful) (1770)
• Symphony in D major, K. 95/73n (GA 45: doubtful) (1770)
• Symphony in C major, K. 96/111b (GA 46: doubtful) (1771)
• Symphony in D major, K. 97/73m (GA 47: doubtful) (1770)
• Symphony in F major, K. 98/Anh. C 11.04 (GA 48/56: doubtful) (1771?)
• Symphony in B♭ major, K. Anh. 214/45b (GA 55: doubtful) (1768)
• Symphony in B♭ major, K. Anh. 216/74g/Anh. C 11.03 (GA 54: doubtful) (1771)
• Symphony in G major, «Old Lambach», K. Anh. 221/45a (1766)
• Symphony in F major, K. Anh. 223/19a (1765)
• Symphony in A minor, «Odense», K. Anh. 220/16a (doubtful) (1765?)

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

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

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

• 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♭ 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. 181/162b (1773)
• Symphony No. 24 in B♭ major, K. 182/173dA (1773)
• Symphony No. 25 in G minor, K. 183/173dB (1773)
• Symphony No. 26 in E♭ major, K. 184/161a (1773)
• Symphony No. 27 in G major, K. 199/161b (1773)
• Symphony No. 28 in C major, K. 200/189k (1774)
• Symphony No. 29 in A major, K. 201/186a (1774)
• Symphony No. 30 in D major, K. 202/186b (1774)

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

• Symphony in D major, K. 111+(120/111a) (GA 48) (1771)
• Symphony in D major, K. (126+(161/163))/141a (GA 50) (1772)
• Symphony in D major, K. 196+(121/207a) (GA 51) (1774-75)
• Symphony in C major, K. 208+(102/213c) (GA 52) (1775)
• Symphony in D major, K. 135+61h (1772?)

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

• Symphony in D major, K. 204 (based on the Serenade No. 5) (1775)
• Symphony in D major, K. 250 (based on the «Haffner» serenade) (1776)
• Symphony in D major, K. 320 (based on the «Posthorn» serenade) (1779)

Late symphonies (1778–1788)[edit]

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

  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.

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

The three final symphonies (Nos. 39–41) were completed in about three months in 1788. It is likely that Mozart hoped to publish these three works together as a single opus, but 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♭ major, K. 543 (1788)
• Symphony No. 40 in G minor, K. 550 (1788)
• Symphony No. 41 in C major, «Jupiter», K. 551 (1788)

Concertos[edit]

Piano concertos[edit]

Mozart’s concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works. The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C. P. E. Bach). There are also three unnumbered concertos, K. 107, which are adapted from piano sonatas by J. C. Bach. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one, 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.

• Piano Concerto No. 5 in D major, K. 175 (1773)
• Piano Concerto No. 6 in B♭ major, K. 238 (1776)
• Piano Concerto No. 7 in F major for Three Pianos, «Lodron», K. 242 (1776)
• Piano Concerto No. 8 in C major, «Lützow», K. 246 (1776)
• Piano Concerto No. 9 in E♭ major, «Jenamy», K. 271 (1777)
• Piano Concerto No. 10 in E♭ major for Two Pianos, K. 365/316a (1779)
• Piano Concerto No. 11 in F major, K. 413/387a (1782-83)
• Piano Concerto No. 12 in A major, K. 414/385p (1782)
• Piano Concerto No. 13 in C major, K. 415/387b (1782-83)
• Piano Concerto No. 14 in E♭ major, K. 449 (1784)
• Piano Concerto No. 15 in B♭ major, K. 450 (1784)
• Piano Concerto No. 16 in D major, K. 451 (1784)
• Piano Concerto No. 17 in G major, K. 453 (1784)
• Piano Concerto No. 18 in B♭ major, K. 456 (1784)
• Piano Concerto No. 19 in F major, K. 459 (1784)
• Piano Concerto No. 20 in D minor, K. 466 (1785)
• Piano Concerto No. 21 in C major, K. 467 (1785)
• Piano Concerto No. 22 in E♭ major, K. 482 (1785)
• Piano Concerto No. 23 in A major, K. 488 (1786)
• Piano Concerto No. 24 in C minor, K. 491 (1786)
• Piano Concerto No. 25 in C major, K. 503 (1786)
• Piano Concerto No. 26 in D major, «Coronation», K. 537 (1788)
• Piano Concerto No. 27 in B♭ major, K. 595 (1791)

There are also two isolated rondos for piano and orchestra:

• Rondo for piano and orchestra in D major, K. 382 (1782)
• Rondo for piano and orchestra in A major, K. 386 (1782)

The early arrangements are as follows:

• Piano Concerto No. 1 in F major, K. 37 (1767)
• Piano Concerto No. 2 in B♭ major, K. 39 (1767)
• Piano Concerto No. 3 in D major, K. 40 (1767)
• Piano Concerto No. 4 in G major, K. 41 (1767)
• Three Piano Concertos in D major, G major and E♭ major, K. 107 (1771 or 1765)

Others

• 36 Cadenzas, K. 624/626a (1768-91; the list of all the cadenzas that Mozart wrote for his own piano concertos and piano concertos of contemporaries)

Violin concertos[edit]

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.)

• Violin Concerto No. 1 in B♭ major, K. 207 (1773)
• Violin Concerto No. 2 in D major, K. 211 (1775)
• Violin Concerto No. 3 in G major, «Straßburg», K. 216 (1775)
• Violin Concerto No. 4 in D major, K. 218 (1775)
• Violin Concerto No. 5 in A major, «Turkish», K. 219 (1775)

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

• Concertone for two Violins and Orchestra in C major, K. 190/186E (1774)
• Adagio for violin and orchestra in E major, K. 261 (1776)
• Rondo for violin and orchestra in B♭ major, K. 269/261a (between 1775 and 1777)
• Rondo for violin and orchestra in C major, K. 373 (1781)

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

• Violin Concerto in E♭ major, K. 268/365a/Anh. C 14.04 («No. 6») (1780) (attributed to Johann Friedrich Eck)^[1]
• Violin Concerto in D major, «Kolb», K. 271a/271i («No. 7») (1777) (doubtful)
• Violin Concerto in D major, «Adélaïde», K. Anh. 294a/Anh. C 14.05 (1933) (actually written by Marius Casadesus)

Horn concertos[edit]

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

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

• Horn Concerto No. 1 in D major, K. 412 (1791, unfinished at Mozart’s death)
• Horn Concerto No. 2 in E♭ major, K. 417 (1783)
• Horn Concerto No. 3 in E♭ major, K. 447 (c. 1784–7)
• Horn Concerto No. 4 in E♭ major, K. 495 (1786)

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[edit]

• Bassoon Concerto in B♭ major, K. 191 (1774)
• Concerto for Flute, Harp, and Orchestra in C major, K. 299 (1778)
• Oboe Concerto in C major, K. 314 (1777–78) (has come down to us as the second flute concerto, but was almost certainly an oboe concerto)
• Flute Concerto No. 1 in G major, K. 313 (1778)
• Flute Concerto No. 2 in D major, K. 314 (1778) (an arrangement of the above Oboe Concerto)
• Andante for flute and orchestra in C major, K. 315/285e (1778)
• Clarinet Concerto in A major, K. 622 (1791; originally was for basset horn and was in the key of G major)
• Bassoon Concerto in B♭ major, K. 230a/Anh. C 14.03 (Discovered in set of parts in The Hague attributed to Mozart; authenticity widely doubted from start. Most likely composed by François Devienne)
• Oboe Concerto in E♭ major, K.Anh.C 14.06 (Doubtful authenticity)

Others

• Basset Horn Concerto in G major, K. 584b (fragment; transcribed and finished to the well-known clarinet concerto)

Concertante symphonies[edit]

• Sinfonia Concertante for Violin, Viola and Orchestra in E♭ major, K. 364 (1779)
• Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra in E♭ major, K. 297b (Anh. 9 and later Anh. C 14.01) (probably spurious arrangement of lost Sinfonia Concertante for Flute, Oboe, Horn, Bassoon and Orchestra from 1778)

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

• Sinfonia Concertante for Violin, Viola, Cello and Orchestra in A major, K. 320e (Anh. 104) (c. 1779, fragment)
• Sinfonia Concertante for Piano, Violin and Orchestra in D major, K. 315f (Anh. 56) (1778, fragment)

Other concertos[edit]

• Concerto for Trumpet, K. 47c (1768, lost)
• Cello Concerto, K. 206a (1775, lost)

Piano music[edit]

Mozart’s earliest composition attempts begin with piano sonatas and other piano pieces, as this is the instrument on which his musical education took place. Almost everything that he wrote for piano was intended to be played by himself (or by his sister, also a proficient piano player). Examples of his earliest works are those found in Nannerl’s Music Book. Between 1782 and 1786, 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[edit]

Dual piano/performer works[edit]

Piano four-hands[edit]

• Sonata in C major for keyboard four-hands, K. 19d (doubtful) (London, May 1765)
• Sonata for Keyboard Four-hands in D major, K. 381/123a (1772)
• Sonata for Keyboard Four-hands in B♭ major, K. 358/186c (1774)
• Sonata for Keyboard Four-hands in F major, K. 497 (1786)
• Sonata in C major for piano four-hands, K. 521 (1787)
• Sonata for Keyboard Four-hands in G major, K. 357 (incomplete) (1786)
• Fugue in G minor, K. 401 (incomplete) (1782)
• Andante and Variations in G major, K. 501 (1786)
• Adagio and Allegro in F minor for a mechanical organ, K. 594 (1790) (organ, composer’s transcription)
• Fantasia in F minor, K. 608 (1791) (organ, composer’s transcription)

Others

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

Two pianos[edit]

• 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. deest (completed by Maximilian Stadler)

Others

• Allegro in C minor for Two Pianos, K.Anh. 44/426a (1783-86; fragment)

Chamber music[edit]

Chamber music with piano[edit]

Violin music[edit]

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[edit]

Childhood violin sonatas (1762–66)[edit]

• 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)

Mature violin sonatas (1778–88)[edit]

• Violin Sonata No. 17 in C major, K. 296 (1778)
• Violin Sonata No. 18 in G major, K. 301 (1778)
• Violin Sonata No. 19 in E♭ major, K. 302 (1778)
• Violin Sonata No. 20 in C major, K. 303 (1778)
• Violin Sonata No. 21 in E minor, K. 304 (1778)
• Violin Sonata No. 22 in A major, K. 305 (1778)
• Violin Sonata No. 23 in D major, K. 306 (1778)
• Violin Sonata No. 24 in F major, K. 376 (1781)
• Violin Sonata No. 25 in F major, K. 377 (1781)
• Violin Sonata No. 26 in B♭ major, K. 378 (1779)
• Violin Sonata No. 27 in G major, K. 379 (1781)
• Violin Sonata No. 28 in E♭ major, K. 380 (1781)
• Violin Sonata No. 29 in A major, K. 402 (1782; fragment, completed by Maximilian Stadler)
• Violin Sonata No. 30 in C major, K. 403 (1782; fragment, completed by M. Stadler)
• Violin Sonata No. 31 in C major, K. 404 (1782; fragment)
• Violin Sonata No. 32 in B♭ major, K. 454 (1784)
• Violin Sonata No. 33 in E♭ major, K. 481 (1785)
• Violin Sonata No. 34 in B♭ major, K. 372 Allegro (1781; fragment, completed by M. Stadler)
• Violin Sonata No. 35 in A major, K. 526 (1787)
• Violin Sonata No. 36 in F major, K. 547 (1788)

Variations for violin and piano[edit]

• 12 Variations in G major on «La bergère Célimène», K. 359 (1781)
• 6 Variations in G minor on «Hélas, j’ai perdu mon amant», K. 360 (1781)

Piano trios[edit]

• Piano Trio No. 1 in B-flat major (Divertimento), K. 254 (1776)
• Piano Trio No. 2 in G major, K. 496 (1786)
• Piano Trio No. 3 in B-flat major, K. 502 (1786)
• Piano Trio No. 4 in E major, K. 542 (1788)
• Piano Trio No. 5 in C major, K. 548 (1788)
• Piano Trio No. 6 in G major, K. 564 (1788)

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[edit]

• Piano Quartets (piano, violin, viola, cello):
  • Piano Quartet No. 1 in G minor, K. 478 (1785)
  • Piano Quartet No. 2 in E♭ major, K. 493 (1786)

Other chamber music with piano[edit]

• Quintet for Piano and Winds (piano, oboe, clarinet, horn, bassoon) in E♭ major, K. 452 (1784)
• Trio for Clarinet, Viola and Piano in E♭ major, «Kegelstatt», K. 498 (1786)

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[edit]

String duos[edit]

• Duo for Violin and Viola No. 1 in G major, K. 423 (1783)
• Duo for Violin and Viola No. 2 in B♭ major, K. 424 (1783)

String trios[edit]

• Trio for 2 Violins and Cello in B♭ major, K. 266/271f (1777)
• Divertimento for String Trio in E♭ major, K. 563 (1788)

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[edit]

• String Quartet No. 1 in G major, «Lodi», K. 80/73f (1770)
• Milanese Quartets, K. 155–160 (1772–1773)

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. 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)

• Viennese 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♭ major, K. 171 (1773)
• String Quartet No. 12 in B♭ major, K. 172 (1773)
• String Quartet No. 13 in D minor, K. 173 (1773)

• Haydn Quartets, K. 387, 421, 428, 458, 464, 465, Op. 10 (1782–1785)

Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.

• 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♭ major, K. 428/421b (1783)
• String Quartet No. 17 in B♭ 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.

• Prussian Quartets, K. 575, 589, 590, Op. 18 (1789–1790)

Mozart’s last three quartets, dedicated to the King of Prussia, Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.

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

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 quintets[edit]

The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that «by general consent, Mozart’s greatest achievement in chamber music is the group of string quintets with two violas.»^[2]

• String Quintet No. 1 in B♭ major, K. 174 (1773)
• String Quintet No. 2 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. (1787)
• String Quintet No. 3 in C major, K. 515 (1787)
• String Quintet No. 4 in G minor, K. 516 (1787)
• String Quintet No. 5 in D major, K. 593 (1790)
• String Quintet No. 6 in E♭ major, K. 614 (1791)

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[edit]

• Flute Quartets (flute, violin, viola, cello):
  • Flute Quartet No. 1 in D major K. 285 (1777–1778)
  • Flute Quartet No. 2 in G major K. 285a (1777–1778)
  • Flute Quartet No. 3 in C major K. Anh. 171/285b (1781–1782)
  • Flute Quartet No. 4 in A major K. 298 (1786–1787)
• 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)

Serenades, divertimenti, and other instrumental works[edit]

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[edit]

• Cassation in D major (Serenade No. 1), K. 100/62a (1769)
• 4 Contredanses in F major (Serenade No. 2), K. 101/250a (1776)
• Serenade No. 3 in D major, «Antretter», K. 185/167a (1773)
• Serenade No. 4 in D major, «Colloredo», K. 203/189b (1774)
• Serenade No. 5 in D major, K. 204/213a (1775)
• Serenade No. 6 in D major, «Serenata Notturna», K. 239 (1776)
• Serenade No. 7 in D major, «Haffner», K. 250/248b (1776)
• Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (1776–77) (each of the four «orchestras» composed of 2 French horns in D, 2 violins, viola and cello)
• Serenade No. 9 in D major, «Posthorn», K. 320 (1779)
• Serenade No. 10 for twelve winds and double bass in B♭ 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)

Others

• Cassation in B♭ major, K. 99/63a (1769; Probable first performance based on ensemble)
• Cassation in G major, K. 63 (1769)
• Cassation in D major, K. 100/62a (alternative title: Serenade No. 1) (1769)

Divertimenti[edit]

• 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

• Quodlibet, Gallimathias musicum in D major, K. 32 (1766)
• March and Divertimento in C major; the music title when the two marches of K. 214 are played before and after the three movements of Symphony in C major, K. 208+(102/213c) (Il re pastore) (1772, 1775)

Three Milanese Quartets called «Divertimento»:

• String Quartet No. 2 in D major, K. 155/134a («Divertimento») (1772)
• String Quartet No. 5 in F major, K. 158 («Divertimento») (1772–73)
• String Quartet No. 6 in B♭ 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[edit]

• March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) (1769)
• March in D major, K. 189/167b (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[edit]

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.

Sacred music[edit]

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[edit]

• Missa brevis in G major, K. 49 (1768)
• Missa brevis in D minor, K. 65 (1769)
• Missa solemnis in C major, Dominicusmesse, K. 66 (1769)
• Missa solemnis in C minor, Waisenhausmesse, K. 139 (1768)
• Missa brevis in G major, Pastoralmesse, K. 140/Anh. C1.12 (1773; attribution uncertain)
• Missa in honorem Sanctissimae Trinitatis, K. 167 (1773)
• Missa brevis in F major, K. 192 (1774)
• Missa brevis in D major, K. 194 (1774)
• Sparrow Mass in C major, Spatzenmesse, K. 220 (1775–6)
• Credo Mass in C major, Credo Mass, K. 257 (1776)
• Missa brevis in C major, Piccolomesse, K. 258 (1775)
• Missa brevis in C major, Organ Solo, K. 259 (1775–6)
• Missa longa in C major, K. 262 (1776)
• Missa brevis in B♭ major, K. 275 (1777)
• Coronation Mass, K. 317 (1779)
• Missa solemnis, Missa aulica, K. 337 (1780)
• Great Mass in C minor, K. 427/417a (1782–3; unfinished)
• Requiem Mass in D minor, K. 626 (1791; unfinished, completed by Franz Xaver Süssmayr after Mozart’s death)

Oratorios[edit]

• Die Schuldigkeit des ersten Gebots, K. 35 (1767) (Only the first part)
• La Betulia liberata, K. 118/74c (1771)

Cantatas[edit]

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

Liturgical works[edit]

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)
• Kyrie in E♭ major, K. 322/296a, (fragment; completed by Maximilian Stadler) (1787)
• Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)

Gradual

• Sancta Maria, mater Dei in F major, K. 273 (1777)

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) (1775)
• 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

• Vesperae solennes de Dominica in C major, K. 321 (1779)
• Vesperae solennes de confessore in C major, K. 339 (1780)

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

Litanies:

• 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)

Other sacred works[edit]

Motet

• God is Our Refuge in G minor, K. 20 (1765)
• Veni Sancte Spiritus in C major, K. 47 (1768)
• Ergo interest (″Quaere superna″) for Soprano in G major, K. 143/73a (1773)
• Exsultate, jubilate for Soprano in F major, K. 165/158a (1773)
• Ave verum corpus in D major, K. 618 (1791)
• Adoramus te in C minor, K. 327/Anh.A 10

Hymns and aria

• 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)

Church sonatas[edit]

Others

• Church Sonata in C major, K. 124c (fragment)
• Church Sonata in D major, K.Anh. 65a (fragment; spurious, attributed to Leopold Mozart)

Organ music[edit]

• 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)

Operas[edit]

• Apollo et Hyacinthus, K. 38 (1767)
• Bastien und Bastienne, K. 50/46b (1768)
• La finta semplice, K. 51 (1769)
• Mitridate, re di Ponto, K. 87/74a (1770)
• Ascanio in Alba, K. 111 (1771)
• Il sogno di Scipione, K. 126 (1772)
• Lucio Silla, K. 135 (1772)
• Thamos, König in Ägypten, K. 345/336a (1773, 1779)
• La finta giardiniera, K. 196 (1775)
• Il re pastore, K. 208 (1775)
• Zaide, K. 344 (1779-80)
• Idomeneo, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)
• L’oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430 (1783)
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)
• Don Giovanni, K. 527 (1787)
• Così fan tutte, K. 588 (1790)
• Die Zauberflöte, K. 620 (1791)
• La clemenza di Tito, K. 621 (1791)

Concert arias, songs and canons[edit]

• Leck mich im Arsch, canon in B♭ major, K. 231/382c
• 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» in Le nozze di Figaro)
• Alma grande e nobil core for Soprano in B♭ major, K. 578 (August, 1789)
• 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)

Masonic music[edit]

The following are compositions written for the Masonic Lodge:

• Song, «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 Dir, Seele des Weltalls, K. 429/468a (fragment, completed by Maximilian Stadler) (1783)
• Song, «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)
• Two songs for tenor 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 soloists, male chorus, and orchestra, K. 623 (1791)
• Song, «Laßt uns mit geschlungen Händen», K. 623a, («for the close of the lodge» and intended final chorus to K. 623) (1791; attribution uncertain)

Handel adaptations[edit]

• Acis und Galatea, K. 566 (1788)
• Der Messias, K. 572 (1789)
• Das Alexander-Fest, K. 591 (1790)
• Ode auf St. Caecilia, K. 592 (1790)

See also[edit]

• Mozart symphonies of spurious or doubtful authenticity

References[edit]

External links[edit]

• Publications of music and writings by Mozart from Project Gutenberg
• Free scores by Wolfgang Amadeus Mozart at the International Music Score Library Project (IMSLP)
• Free typeset sheet music of Mozart’s works from the Mutopia Project
• Digital Mozart Edition, Neue Mozart-Ausgabe (NMA) Online (New Mozart Edition), 127 volumes
• A comprehensive list of Mozart’s work from classical.net

Список статей в Википедии

Вольфганг Амадей Моцарт (1756–1791) был плодовитым композитором и писал во многих жанрах. Пожалуй, больше всего его восхищают работы в опере, концерте для фортепиано, сонате, симфонии, струнном квартете и струнный квинтет. Моцарт также написал много пьес для сольного фортепиано, других форм камерной музыки, мессы и другой религиозной музыки, а также многочисленных танцев, divertimentos и других форм света. развлечения.

Содержание

• 1 Как перечислены сочинения Моцарта
• 2 Симфонии
  • 2.1 Детские симфонии (1764–1771)
  • 2.2 Симфонии зальцбургской эпохи (1771–1777)
  • 2.3 Поздние симфонии (1778) –1788)
• 3 концерта
  • 3.1 Концерт для фортепиано
  • 3.2 Концерт для скрипки
  • 3.3 Концерт для валторны
  • 3.4 Концерт для деревянных духовых инструментов
  • 3.5 Концертные симфонии
  • 3.6 Другое
• 4 Фортепианная музыка
  • 4.1 Сольные фортепианные произведения
  • 4.2 Парные фортепиано / исполнительские произведения
    • 4.2.1 Фортепиано в четыре руки
    • 4.2.2 Два фортепиано
• 5 Камерная музыка
  • 5.1 Скрипичная музыка
    • 5.1. 1 Детские скрипичные сонаты (1763–66)
    • 5.1.2 Взрослые скрипичные сонаты (1778–88)
    • 5.1.3 Вариации для скрипки и фортепиано
    • 5.1.4 Струнные дуэты и трио
  • 5.2 Струнные квартеты
  • 5.3 Струнные квинтеты
  • 5.4 Фортепианные трио
  • 5.5 Другая камерная музыка
    • 5.5.1 Фрагменты
• 6 Серенады, дивертисменты и другие инструментальные произведения
  • 6.1 Серенады
  • 6.2 Quodlibets
  • 6.3 Дивертисменты
  • 6.4 Марши
  • 6.5 Танцы
• 7 Духовная музыка
  • 7.1 Мессы
  • 7.2 Литургические Произведения
  • 7.3 Духовные произведения
• 8 Церковные сонаты
• 9 Органная музыка
• 10 Оперы
• 11 Оратории и кантаты
• 12 Концертные арии, песни и каноны
• 13 Масонская музыка
• 14 См. Также
• 15 Ссылки
• 16 Внешние ссылки

Список произведений Моцарта

• Обозначение «К.» или «KV» относится к Köchel Verzeichnis (Каталог Köchel ), то есть (более или менее) хронологическому (т.е. по дате составления) каталогу произведений Моцарта Людвига фон Кехеля. В этот каталог несколько раз вносились поправки, что привело к двусмысленности в отношении некоторых номеров KV (см., Например, Симфония № 25 ).
• Композиции Моцарта, перечисленные ниже, сгруппированы по тематике, то есть по типу композиции. Не все тематические группы Моцарта у произведений есть отдельная общепринятая нумерация: Köchel нумерует только симфонии (с 1 по 41), фортепианные концерты (с 1 по 27, исключая некоторые ранние транскрипции Моцарта) и некоторые другие группы. С другой стороны, для большинства камерной музыки и вокальной музыке такой нумерации нет (или, по крайней мере, нет общепринятой).
• Лишь относительно немногие из сочинений Моцарта имеют номера опусов, так как не так много его сочинений было опубликовано в его жизнь, поэтому нумерация по номерам опусов оказывается совершенно непрактичной для сочинений Моцарта.

Симфонии

Симфоническое произведение Моцарта охватывает 24-летний интервал, с 1764 до 1788. Согласно последним исследованиям, Моцарт написал не только 4 1 симфония сообщается в традиционных изданиях, но до 68 полных сочинений этого типа. Однако по соглашению первоначальная нумерация была сохранена, и поэтому его последняя симфония до сих пор известна как «№ 41». Некоторые симфонии (К. 297, 385, 550) были переработаны автором по их первым редакциям.

Детские симфонии (1764–1771)

Это пронумерованные симфонии из раннего детства Моцарта.

• Симфония № 1 ми мажор, K. 16
• Симфония № 2 си мажор, K. 17 (ложная, приписывается Леопольду Моцарту )
• Симфония № 3 ми мажор, K. 18 (поддельная, Карл Фридрих Абель )
• Симфония № 4 ре мажор, K. 19
• Симфония № 5 B ♭ мажор, K. 22
• Симфония № 6 фа мажор, K. 43
• Симфония № 7 Ре мажор, K. 45
• Симфония № 8 ре мажор, K. 48
• Симфония № 9 до мажор, K. 73 / 75a
• Симфония № 10 соль мажор, K. 74
• Симфония № 11 ре мажор, K. 84 / 73q
• Симфония № 12 соль мажор, K. 110 / 75b
• Симфония № 13 фа мажор, K. 112

Существует также несколько «ненумерованных» симфоний этого периода времени. Многим из них были присвоены номера больше 41 (но не в хронологическом порядке) в более раннем сборнике произведений Моцарта (Mozart-Werke, 1877–1910, упоминается здесь). как «GA»), но в более новых коллекциях они упоминаются только по их записям в каталоге Köchel. Многие из них не могут быть окончательно признаны считается, что оно было написано Моцартом (см. здесь ).

• Симфония фа мажор, K. 75 (GA 42: сомнительно)
• Симфония фа мажор, K. 76 / 42a (GA 43: сомнительно)
• Симфония ре мажор, K. 81 / 73l (GA 44: сомнительно)
• Симфония ре мажор, K. 95 / 73n (GA 45: сомнительно)
• Симфония до мажор, K. 96 / 111b (GA 46: сомнительно)
• Симфония ре мажор, K. 97 / 73m (GA 47: сомнительно)
• Симфония фа мажор, K. 98 / Anh.C 11.04 ( GA 48/56: сомнительно)
• Симфония B ♭ мажор, К. Ань. 214 / 45b (GA 55: сомнительно)
• Симфония B ♭ мажор, К. Ань. 216 / 74g / Anh.C 11.03 (GA 54: сомнительно)
• Симфония соль мажор, «Старый Ламбах», К. Ань. 221 / 45a
• Симфония фа мажор, К. Ань. 223 / 19a
• Симфония ля минор, «Оденсе», К. Ань. 220 / 16a (сомнительно)

Симфонии зальцбургской эпохи (1771–1777)

Эти симфонии иногда подразделяются на «Ранние» (1771–1773) и «Поздние» (1773–1777), а иногда подкатегории как «германские» (с менуэтом ) или «итальянские» (без менуэта). Ни один из них не был напечатан при жизни Моцарта.

Хотя не считаются «симфониями» три Divertimenti К. 136–138 в стиле итальянской увертюры с 3 частями, иногда также обозначаются как «Зальцбургские симфонии».

• Симфония № 14 ля мажор, K. 114 (1771)
• Симфония № 15 соль мажор, K. 124 (1772)
• Симфония № 16 до мажор, K. 128 (1772)
• Симфония № 17 соль мажор, K. 129 (1772)
• Симфония № 18 фа мажор, K. 130 (1772)
• Симфония № 19 ми мажор, K. 132 (1772)
• Симфония № 20 ре мажор, K. 133 (1772)
• Симфония № 21 ля мажор, K. 134 (1772)
• Симфония № 22 до мажор, K. 162 (1773)
• Симфония № 23 ре мажор, K. 181 / 162b (1773)
• Симфония № 24 B ♭ мажор, K. 182 / 173dA (1773)
• Симфония № 25 соль минор, K. 183 / 173dB (1773)
• Симфония № 26 ми мажор, K. 184 / 161a (1773)
• Симфония № 27 соль мажор, K. 199 / 161b (1773)
• Симфония № 28 до мажор, K. 200 / 189k (1774)
• Симфония № 29 ля мажор, K. 201 / 186a (1774)
• Симфония № 30 ре мажор, K. 202 / 186b (1774)

Есть также несколько «ненумерованных» симфоний этого периода, в которых используется музыка из Моц. оперы искусства того же периода. Им также даются номера после 41.

• Симфония ре мажор, K. 111+ (120 / 111a) (GA 48)
• Симфония ре мажор, K. (126+ (161 / 163)) / 141a (GA 50)
• Симфония до мажор, K. 196+ (121 / 207a) (GA 51)
• Симфония до мажор, K. 208+ ( 102 / 213c) (GA 52)
• Симфония ре мажор, K. 135 + 61h

Также есть три симфонии этого периода, основанные на трех серенадах Моцарта:

• Симфония in Ре мажор, К. 204 (на основе Серенада № 5 )
• Симфония ре мажор, К. 250 (на основе серенады «Хаффнера» )
• Симфония ре мажор, К. 320 (на основе серенады «Постгорн» )

Поздние симфонии (1778–1788)

• Симфония № 31 ре мажор, «Париж», K. 297 / 300a (1778)
• Симфония № 32 соль мажор, «Увертюра в итальянском стиле», K. 318 (1779)
• Симфония № 33 B ♭ мажор, K. 319 (1779)
• Симфония № 34 до мажор, K. 338 (1780)
• Симфония № 35 ре мажор, «Хаффнер», K. 385 (1782)
• Симфония № 36 до мажор, «Линц», K. 425 (1783)
• Симфония № 37 соль мажор, K. 444 (1783)

  В течение многих лет эта симфония относилась к категории Моцарта, но позже была определена ученость. что она была написана Майклом Гайдном (Симфония № 25 ), и Моцарт написал для нее только медленное вступление.

• Симфония № 38 ре мажор, «Прага», К. 504 (1786)

Три заключительные симфонии (Nos. 39–41) были завершены примерно за три месяца в 1788 году. Вполне вероятно, что он надеялся опубликовать эти три произведения вместе как единый опус, хотя на самом деле они оставались неопубликованными до его смерти. Один или два из них, возможно, играли публично в Лейпциге в 1789 году.

• Симфония № 39 ми мажор, K. 543 (1788)
• Симфония № 40 соль минор, K. 550 (1788)
• Симфония № 41 до мажор, «Юпитер», K. 551 (1788)

Концерты

Концерты для фортепиано

Моцарта концерты для фортепиано с оркестром пронумерованы от 1 до 27. первые четыре пронумерованных концерта — ранние произведения. Движения этих концертов представляют собой аранжировки клавишных сонат различных современных композиторов (Раупаха, Хонауэра, Шоберта, Эккарта, К. П. Э. Баха ). Также есть три ненумерованных концерта K. 107, адаптированные из фортепианных сонат Дж. К. Бах. Концерты 7 и 10 — это произведения для трех и двух фортепиано соответственно. Остальные двадцать одно, перечисленное ниже, являются оригинальными сочинениями для фортепиано соло с оркестром. Из них пятнадцать были написаны в период с 1782 по 1786, а за последние пять лет Моцарт написал всего два концерта для фортепиано с оркестром.

• Концерт для фортепиано № 5 ре мажор, K. 175
• Концерт для фортепиано № 6 B ♭ мажор, K. 238
• Концерт для фортепиано № 7 фа мажор для трех фортепиано, K. 242
• Концерт для фортепиано № 8 до мажор, «Lützow», K. 246
• Концерт для фортепиано № 9 ми ♭ мажор, «Jenamy», K. 271
• Концерт для фортепиано № 10 ми ♭ мажор для двух фортепиано, K. 365 / 316a
• Концерт для фортепиано № 11 фа мажор, K. 413 / 387a
• Концерт для фортепиано с оркестром № 12 ля мажор, K. 414 / 385p
• Концерт для фортепиано № 13 до мажор, K. 415 / 387b
• Концерт для фортепиано № 14 ми ♭ мажор, K. 449
• Концерт для фортепиано № 15 B ♭ мажор, K. 450
• Концерт для фортепиано № 16 ре мажор, K. 451
• Концерт для фортепиано № 16 17 соль мажор, K. 453
• Концерт для фортепиано № 18 B ♭ мажор, K. 456
• Концерт для фортепиано № 19 фа мажор, K. 459
• Концерт для фортепиано № 20 ре минор, K. 466
• Концерт для фортепиано № 21 до мажор, K. 467
• Концерт для фортепиано № 22 ми ♭ мажор, К. 482
• Концерт для фортепиано № 23 ля мажор, K. 488
• Концерт для фортепиано № 24 до минор, K. 491
• Концерт для фортепиано № 25 до мажор, К. 503
• Концерт для фортепиано № 26 in Ре мажор, «Коронация», K. 537
• Концерт для фортепиано с оркестром № 27 си мажор, K. 595

Есть также два отдельных рондо для фортепиано с оркестром:

• Рондо для фортепиано и оркестр ре мажор, K. 382
• Рондо для фортепиано с оркестром ля мажор, K. 386

Ранние аранжировки следующие:

• Концерт для фортепиано с оркестром № 1 фа мажор, K. 37
• Концерт для фортепиано № 2 B ♭ мажор, K. 39
• Концерт для фортепиано № 3 ре мажор, K. 40
• Концерт для фортепиано №. 4 соль мажор, K. 41
• Три концерта для фортепиано ре мажор, соль мажор и ми мажор, K. 107

Концерты для скрипки

Пять скрипичных концертов Моцарта были написаны в Зальцбурге около 1775 года. Они отличаются красотой своих мелодий и умелым использованием выразительных и технических характеристик инструмента, хотя Моцарт, вероятно, никогда не овладел всеми возможностями скрипки. способности, которые другие (например, Бетховен и Брамс ) поступили после него. (Альфред Эйнштейн отмечает, что скрипичные концертные части в серенадах более виртуозны, чем в произведениях под названием «Скрипичные концерты».)

• Концерт для скрипки № 1 B ♭ мажор, К. 207 (1773)
• Концерт для скрипки № 2 ре мажор, K. 211 (1775)
• Концерт для скрипки № 3 соль мажор, K. 216 (1775)
• скрипка Концерт № 4 ре мажор, K. 218 (1775)
• Концерт для скрипки № 5 ля мажор, K. 219 (1775)

Моцарт также написал концертон, адажио и два отдельных рондо для скрипки с оркестром.

• Концертон до мажор, для двух скрипок с оркестром, K. 190 / 186E (1774)
• Адажио для скрипки с оркестром ми мажор, K. 261 (1776)
• Рондо для скрипки и оркестр B ♭ мажор, K. 269 / 261a (между 1775 и 1777)
• Рондо для скрипки с оркестром до мажор, K. 373 (1781)

Кроме того, есть три произведения, которые ложно приписываются Моцарту.

• Концерт для скрипки E ♭ мажор, K. 268 / 365a / Anh.C 14.04 («No. 6») (1780) (приписывается Иоганну Фридриху Экку)
• Концерт для скрипки ре мажор, «Кольб», K. 271a / 271i («No. 7») (1777)
• Концерт для скрипки ре мажор, «Аделаида», К. Ань. 294a / Anh.C 14.05 (на самом деле написан Мариусом Касадесусом )

Концерты для валторны

Возможно, наиболее широко исполняемые концерты для валторны, четыре Концерта для валторн являются основной частью репертуар большинства профессиональных валторнистов. Они были написаны для вечного друга Моцарта Йозефа Лойтгеба. Концерты (особенно четвертый) были написаны как виртуозные машины, позволяющие солисту продемонстрировать разнообразные способности на бесклапанных рогах День Моцарта.

Концерты для валторны характеризуются элегантным и юмористическим диалогом между солистом и оркестром. Многие автографы содержат анекдоты, адресованные посвященному.

• Концерт для валторны № 1 in Ре мажор, K. 412 (1791)
• Концерт для валторны № 2 ми мажор, K. 417 (1783)
• Концерт для валторны № 3 ми ♭ мажор, K. 447 (ок. 1784–177)
• Концерт для валторны № 4 ми мажор, K. 495 (1786)

Есть еще несколько незаконченных сочинений Моцарта для валторны с оркестром:

• Концерт для валторны, K. 370b + 371 ми мажор (1781)
• Концерт для валторны, K. 494a ми мажор (ок. 1785–6)

Концерты для деревянных духовых инструментов

• Концерт для фагота B ♭ мажор, K. 191 (1774)
• Концерт для флейты, арфы и оркестра до мажор, K. 299 (1778)
• Концерт для гобоя до мажор, K. 314 (дошел до нас как второй концерт для флейты, но почти наверняка был концертом для гобоя) (1777–78)
• Концерт для флейты № 1 соль мажор, K. 313 (1778)
• Концерт для флейты № 2 ре мажор, K. 314 (1778) (переложение вышеупомянутого Концерта для гобоя )
• Анданте для флейты с оркестром до мажор, K. 315 / 285e (1778)
• Концерт для кларнета ля мажор, K. 622 (1791)

Симфонии Concertante

• Концертная симфония для скрипки, альта и оркестра ми мажор, K. 364 (1779)
• Sinfonia Concertante для гобоя, кларнета, валторны, фагота и оркестра ми мажор, K. 297b (Anh. 9 и позже Anh. C 14.01) (вероятно, ложная аранжировка lo st Sinfonia Concertante для флейты, гобоя, валторны, фагота и оркестра с 1778 г.)

Это были не единственные попытки Моцарта создать этот жанр; несколько других фрагментарных произведений были написаны примерно в то же время, но не завершены.

• Концертная симфония для скрипки, альта, виолончели с оркестром ля мажор, K. 320e (Anh. 104) (ок. 1779, фрагмент)
• Концертная симфония для фортепиано, скрипки и оркестра ре мажор, K. 315f (Anh. 56) (1778, фрагмент)

Другое

• Концерт для трубы, K. 47c (1768, утерян)
• Концерт для виолончели, K. 206a (1775, утрачено)

Фортепианная музыка

Первые попытки сочинения Моцарта начинаются с фортепианных сонат и других фортепианных пьес, так как именно на этом инструменте он получил музыкальное образование. Почти все, что он написал для фортепиано, предназначалось для него самого (или его сестры, которая также хорошо играла на фортепиано). Примеры его самых ранних работ можно найти в Музыкальной книге Наннерла. С 1782 по 1786 год он написал 20 сочинений для фортепиано соло (в том числе сонаты, вариации, фантазии, сюиты, фуги, рондо ) и произведения для фортепиано в четыре руки и двух фортепиано.

Сольные фортепианные произведения

Парные фортепиано / исполнительские произведения

Фортепиано в четыре руки

• Соната для клавишных в четыре руки до мажор, K. 19d ( Лондон, май 1765 г.)
• , K. 381 / 123a
• , K. 358 / 186c
• , K. 497
• Соната для фортепиано в четыре руки до мажор мажор, K. 521
• , K. 357 (неполный)
• Фуга соль минор, K. 401
• Анданте и вариации соль мажор, K. 501
• Адажио и Аллегро фа минор для механического органа, K. 594
• Фантазия фа минор, K. 608 (орган, транскрипция композитора)

Два фортепиано

• Соната для двух фортепиано ре мажор, K. 448 / 375a
• Фуга до минор для двух клавишных, K. 426 (транскрибируется в 1788 году для струнных как K. 546 )
• Ларгетто и Аллегретто для двух фортепиано ми ♭ мажор, К. деест (завершил Максимилиан Стадлер )

Камерная музыка

Скрипичная музыка

Он также писал для фортепиано и скрипки. Обратите внимание на порядок этих двух инструментов: по большей части они ориентированы на клавиатуру сонаты, в которых скрипка играет более аккомпанирующую роль. В последующие годы роль скрипки выросла не только до поддержки другого сольного инструмента, но и для построения диалога с ним.

«Сонаты для скрипки», KV 10–15, уникальны тем, что они включают импровизированную партию виолончели вместе с партитурой для скрипки и клавишных. Neue Mozart-Ausgabe (1966) поэтому включает их вместе с другими клавишными трио, хотя в каталоге Köchel (K, 1964) они перечислены как обычные сонаты для скрипки.

Детские сонаты для скрипки (1763–66)

• Сонаты для скрипки, KV 6–9 (1764)
  • Соната для скрипки № 1 до мажор для клавишных и скрипки, K. 6
  • Соната для скрипки № 2 для клавишных и скрипки, K. 7
  • Соната для скрипки № 3 в B для клавишных и скрипки, K. 8
  • Соната для скрипки № 4 соль мажор для клавишных и скрипки, K. 9
• Сонаты для скрипки, KV 10–15 (1764)
  • Соната для скрипки № 5 в B ♭ для клавишных инструментов со скрипкой ( или флейта) и виолончель, K. 10
  • Соната для скрипки № 6 соль мажор для клавиатуры со скрипкой (или флейтой) и виолончелью, K. 11
  • Соната для скрипки № 7 ля ля Клавиатура со скрипкой (или флейтой) и виолончелью, K. 12
  • Соната для скрипки № 8 фа для клавиатуры со скрипкой (или флейтой) и виолончелью, K. 13
  • Соната для скрипки No. 9 до мажор для клавиатуры со скрипкой (или флейтой) и виолончелью, K. 14
  • Соната для скрипки № 10 си in для клавиатуры и скрипки (или флейты) с виолончелью, K. 15
• Сонаты для скрипки, KV 26–31 (1766)
  • Соната для скрипки № 11 ми для клавишных и d Скрипка, K. 26
  • Соната для скрипки № 12 для клавишных и скрипки, K. 27
  • Соната для скрипки № 13 до мажор для клавишных и скрипки, K. 28
  • Соната для скрипки № 14 ре мажор для клавишных и скрипки, K. 29
  • Соната для скрипки № 15 фа для клавишных и скрипки, K. 30
  • Соната для скрипки No. 16 B ♭ для клавишных и скрипки, K. 31

Зрелые сонаты для скрипки (1778–88)

• Соната для скрипки № 17 до мажор, K. 296 (1778)
• Соната для скрипки №.18 соль мажор, K. 301 (1778)
• Соната для скрипки № 19 ми мажор, K. 302 (1778)
• Соната для скрипки № 20 до мажор, K.303 (1778)
• Соната для скрипки № 21 ми минор, K. 304 (1778)
• Соната для скрипки № 22 ля мажор, K. 305 (1778)
• Соната для скрипки № 23 ре мажор, K. 306 (1778)
• Соната для скрипки № 24 фа мажор, K. 376 (1781)
• (1781)
• (1779)
• Соната для скрипки № 27 соль мажор, K. 379 (1781)
• (1781)
• (1782; фрагмент, завершенный Максимилианом Стадлером )
• (1782; фрагмент, завершенный М. Стадлером)
• (1782; фрагмент)
• Соната для скрипки № 32 си мажор, K. 454 (1784)
• Соната для скрипки № 33 ми мажор, K. 481 (1785)
• Соната для скрипки № 34 си мажор, K. 372 (1781; фрагмент, завершенный М. Стадлером)
• Соната для скрипки № 35 ля мажор, К. 526 (1787)
• Соната для скрипки № 36 фа мажор, К. 547 (1788)

Вариации для скрипки и фортепиано

• Вариации соль мажор, «La bergère Célimène», K. 359 (1781)
• 6 вариаций соль минор на тему «Hélas, j’ai perdu mon amant», К. 360 (1781)

Струнные дуэты и трио

• Трио для 2 скрипок и виолончели си мажор, K. 266 / 271f
• Прелюдии и фуги для скрипки, альта и виолончели, K. 404a
• Дуэт для скрипки и альта соль мажор, K. 423 (1783)
• Дуэт для скрипки и альта си мажор, K. 424 (1783)

Струнные квартеты

• Струнный квартет № 1 соль мажор, «Лоди», K. 80 / 73f (1770)
• Миланские квартеты, K. 15 5–160 (1772–1773)

Этот цикл, состоящий из трех частей, интересен тем, что эти произведения можно считать предшественниками более поздних, более полных, струнных квартетов.

• Струнный квартет № 2 ре мажор, K. 155 / 134a (1772)
• Струнный квартет № 3 соль мажор, K. 156 / 134b (1772)
• Струнный квартет № 4 до мажор, K. 157 (1772–73)
• Струнный квартет № 5 фа мажор, K. 158 (1772–73)
• Струнный квартет No. 6 B ♭ мажор, K. 159 (1773)
• Струнный квартет No. 7 ми мажор, K. 160 / 159a (1773)

• Венские квартеты, K. 168 –173 (1773)

Гораздо более стилистически развито. Считается, что в Вене Моцарт слышал соч. 17 и указ. 20 квартетов Йозефа Гайдна, и произвел на них глубокое впечатление.

• Струнный квартет № 8 фа мажор, K. 168 (1773)
• Струнный квартет № 9 ля мажор, K. 169 (1773)
• Струнный квартет № 10 до мажор, K. 170 (1773)
• Струнный квартет № 11 ми мажор, K. 171 (1773)
• Струнный квартет № 12 си мажор, K. 172 (1773)
• Струнный квартет № 13 ре минор, K. 173 (1773)

• Квартеты Гайдна, K. 387, 421, 428, 458, 464, 465, Соч. 10 (1782–1785)

Моцарт вернулся в квартет в начале 1780-х годов после переезда в Вену, лично встретился с Гайдном и подружился со старшим композитором. Гайдн только что опубликовал свою серию из шести квартетов, соч. 33, которые, как полагают, послужили для Моцарта стимулом к ​​возвращению в этот жанр. Эти квартеты часто считаются вершинами жанра.

• Струнный квартет № 14 соль мажор, «Весна», K. 387 (1782)
• Струнный квартет № 15 ре минор, K. 421 / 417b (1783)
• Струнный квартет № 16 ми мажор, K. 428 / 421b (1783)
• Струнный квартет № 17 си мажор, «Охота», K. 458 (1784)
• Струнный квартет № 18 ля мажор, К. 464 (1785)
• Струнный квартет № 19 до мажор, «Диссонанс», К. 465 (1785)

• Струнный квартет №. 20 ре мажор, «Хоффмайстер», К. 499 (1786)

Это произведение было опубликовано (посвящено?) Францу Антону Хоффмайстеру, а также прусским квартетам. 608>Прусские квартеты, К. 575, 589, 590, соч. 18 (1789–1790)

Три последних квартета Моцарта, посвященные королю Пруссии Фридриху Вильгельму II, отмечены кантабильным характером партий для виолончели (инструмента, на котором играл сам король)), сладость звуков и равновесие между различными инструментами.

• Струнный квартет No. 21 ре мажор, K. 575 (1789)
• Струнный квартет No. 22 B ♭ мажор, K. 589 (1790)
• Струнный квартет No. 23 фа мажор, K. 590 (1790)

Другое

• Струнный квартет ми минор, K. 417d (1789; фрагмент)
• Струнный квартет соль минор, K. 587a (1789; фрагмент)

Струнные квинтеты

струнные квинтеты (К. 174, 406, 515, 516, 593, 614), для двух скрипок, двух альтов и виолончели. Чарльз Розен писал, что «по общему мнению, величайшее достижение Моцарта в камерной музыке — это группа струнных квинтетов с двумя альтами».

• Струнный квинтет № 1 B ♭ мажор, К. 174 (1773)
• Струнный квинтет № 2 до минор, K. 406 (516b) — это транскрипция для струнного квинтета более раннего Серенада для духового октета до минор, K. 388. (1787)
• Струнный квинтет № 3 до мажор, K. 515 (1787)
• Струнный квинтет № 4 соль минор, K. 516 (1787)
• Струнный квинтет № 5 ре мажор, K. 593 (1790)
• Струнный квинтет № 6 ми ♭ мажор, K. 614 (1791)

Другое

• Струнный Квинтет B ♭ мажор, K. 514a (фрагмент; 1787 или позже)
• Струнный квинтет ля минор, K. 515c + 515a (фрагмент; 1791)

Фортепианные трио

• Фортепианное трио No. 1 — Дивертисмент à 3 си мажор для фортепиано, скрипки и виолончели, K. 254 (1776)
• Фортепианное трио No. 2 — Трио (Соната) соль мажор для фортепиано, скрипки и виолончели, K. 496 (1786)
• Фортепианное трио № 3 — Трио in B ♭ мажор для фортепиано, скрипки и виолончели, K. 502 (1786)
• Фортепианное трио № 4 — Трио ми мажор для фортепиано, скрипки и виолончели, K. 542 (1788)
• Фортепианное трио № 5 — Трио до мажор для фортепиано, скрипки и виолончели, K. 548 (1788)
• Фортепианное трио № 6 — Трио соль мажор для фортепиано, скрипки и виолончели, K. 564 (1788)

Другое

• Фортепианное трио ре минор для фортепиано, скрипки и виолончели, К. 442 (1785–91) (неполное)

Другая камерная музыка

• Флейтовые квартеты (флейта, скрипка, альт, виолончель):
  • Флейтовый квартет № 1 ре мажор K. 285 (1777–1778)
  • Флейтовый квартет № 2 соль мажор K. 285a (1777–1778)
  • Флейтовый квартет № 3 до мажор K. 285b (1781–1782)
  • Флейтовый квартет № 4 ля мажор K. 298 (1786–1787)
• Соната для фагота и виолончели си мажор, K. 292
• Квартет гобоя (гобой, скрипка, альт, виолончель) фа мажор, K. 370 (1781)
• (валторна, скрипка, альт, альт, виолончель) в E ♭, K. 407
• Квинтет для фортепиано и духовых (гобой, кларнет, валторна, фагот), K. 452 / Anh. 54 (1784)
• Фортепианный квартет № 1 соль минор, K. 478 (1785)
• 12 дуэтов — для двух валторн, K. 487 (неверно опубликовано как для бассет-рожков)
• Фортепианный квартет № 2 ми мажор, K. 493 (1786)
• Трио для кларнета, альта и фортепиано ми мажор, «Кегельштатт», K. 498 (1786)
• Адажио и фуга до минор, К. 546 (1788) (транскрипция из фуги до минор для двух клавишных, К. 426)
• Квинтет кларнета ля мажор, К. 581 (1789)
• Адажио и Рондо для стеклянной гармоники, флейты, гобоя, альта и виолончели, K. 617 (1791)
• Адажио до мажор для стеклянной гармоники, K. 356 / 617a (1791)

Фрагменты

• Фрагмент квинтета кларнета фа мажор, K. 580b / Anh. 90 — Аллегро (для кларнета, бассет-рожка, скрипки, альта и виолончели)
• Фрагмент квинтета для кларнета си-бемоль мажор, K. 516c / Anh. 91 — Аллегро (для кларнета (B ♭), 2 скрипок, альта, виолончели)

Серенады, дивертисменты и другие инструментальные произведения

В постановку для инструментальных ансамблей входит несколько дивертисментов, кассации, ноттурни, серенады, марши и танцы, quodlibet, кроме того, конечно, его симфонии. Произведение Моцарта для оркестра написано для струнных ансамблей (например, ранние Divertimenti K. 136–138), а также для ансамблей духовых инструментов и различных комбинаций струнных и духовых.

Серенады

• Кассация ре мажор (Серенада № 1), K. 100 / 62a (1769)
• 4 контреданса фа мажор (Серенада № 2), K. 101 / 250a (1776)
• ре мажор, «Antretter», K. 185 / 167a (1773)
• Серенада № 4 ре мажор, «Colloredo», K. 203 / 189b (1774)
• Серенада № 5 ре мажор, K. 204 / 213a (1775)
• Серенада № 6 ре мажор, «Serenata Notturna», K. 239 (1776)
• Серенада № 7 ре мажор, «Хаффнер», K. 250 / 248b (1776)
• Ноттурно ре мажор для четырех оркестров (Серенада № 8), K. 286 (1776) –77) (каждый из четырех «оркестров» состоит из 2 валторн в D, 2 скрипок, альта и виолончели)
• Серенада № 9 Ре мажор, «Posthorn», К. 320 (1779)
• Серенада № 10 для двенадцати духовых и контрабаса B мажор, «Гран Партита», K. 361 / 370a (1781)
• Серенада № 11 для духовых в E ♭ мажор, K. 375 (1781–82)
• Серенада № 12 для духовых до минор, K. 388 / 384a (1782)
• Серенада № 13 для струнного квартета и баса солью. майор, «Эйне кл. eine Nachtmusik «, K. 525 (1787)

Другое

• Кассация соль мажор, K. 63 (1769)
• Кассация си мажор, K. 99 (1769)

Quodlibets

• Gallimathias musicum, ре мажор, K. 32 (1766)

Дивертисмент

• Дивертисмент № 1 ми мажор, K. 113 (1771)
• Дивертисмент № 2 ре мажор, K. 131 (1772)
• Дивертисмент для струнного квартета или струнного оркестра ре мажор, K. 136 / 125a («Зальцбургская симфония № 1») (1772)
• Дивертисмент для струнного квартета или струнного оркестра B ♭ мажор, K. 137 / 125b («Зальцбургская симфония № 2») (1772)
• Дивертисмент для струнного квартета или струнного оркестра фа мажор, K. 138 / 125c («Зальцбургская симфония № 3») (1772)
• Дивертисмент № 3 ми мажор, K. 166 / 159d (1773)
• Дивертисмент № 4 B ♭ мажор, K. 186 / 159b (1773)
• Дивертисмент № 5 до мажор, K. 187 (Anh. C17.12) (подделка, композитор неизвестен)
• Дивертисмент № 6 до мажор, K. 188 / 240b (1773)
• Дивертисмент № 7 ре мажор, K. 205 / 167A (1773)
• Дивертисмент № 8 фа мажор, K. 213 (1775)
• Дивертисмент № 9 B ♭ мажор, K. 240 (1776)
• Дивертисмент № 10 фа мажор, К. 247, «Лодрон № 1» («Lodronische Nachtmusik») (1776)
• Дивертисмент № 11 ре мажор, К. 251 (1776)
• Дивертисмент № 12 ми мажор, K. 252 / 240a (1776)
• Дивертисмент № 13 фа мажор, K. 253 (1776)
• Дивертисмент для фортепиано, скрипка и виолончель B мажор, K. 254 («Фортепианное трио № 1») (1776)
• Дивертисмент № 14 B ♭ мажор, K. 270 (1777)
• Дивертисмент №. 15 in B major, K. 287 / 271h «Lodron No. 2» («Lodronische Nachtmusik») (1777)
• Дивертисмент № 16 in E ♭ major, K. 289 / 271g (1777) (подделка, композитор неизвестен)
• Дивертисмент № 17 ре мажор, K. 334 / 320b (1779–80)
• Пять дивертисментов (25 пьес) для трех бассет-гор нс в B мажор, K. 439b (Anh. 229) (1783)
• Дивертисмент для двух валторн и струнных фа мажор, «Музыкальная шутка » («Ein Musikalischer Spaß»), K. 522 (1785–87?)
• Дивертисмент для струнного трио ми мажор, K. 563 (1788)

Другие

• Марш и Дивертисмент до мажор; название музыки, когда два марша K. 214 играются до и после трех частей Симфония до мажор, K. 208+ (102 / 213c) (Il re pastore ) (1772, 1775)

Три миланских квартета под названием «Дивертисмент»:

• Струнный квартет № 2 ре мажор, K. 155 / 134a («Дивертисмент») (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 (unknown date) (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 past ore ) (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)
• Kleiner Trauermarsch («Little Funeral March») in C minor, K. 453a (1784)
• March in D major, K. 544 (1788; lost)

Incomplete

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

Dances

autograph manuscript of the Minuet K.164, number 5

Mozart left a huge production of dances for orchestra in different genres, including more than 100 minuets, two quadrilles, over 30 contra dances, over 50 allemandes (Teitsch, Ländler, or German Dances), a gavotte (French folk dance) and 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). *(not to be confused with Missa brevis No. 2 in D minor, K. 65/61a)
• 2 Menuets, K. 61g (1769–70)
• 6 Menuets, K. 61h (including No. 3 Symphony in D major, K. 135+61h ) (1769?)
• Menuet in D major, K. 94/73h (1769–70)
• 20 Menuets, K. 103/61d (1776)
• 6 Menuets, K. 104/61e (1770–71)
• 6 Menuets, K. 105/61f (spurious, by Michael Haydn )
• Menuet in E♭ major, K. 122/73t (1770)
• 6 Menuets, K. 164/130a (1772)
• 16 Menuets, K. 176 (1773)
• 8 Menuets, K. 315a/315g (1779)
• 3 Menuets, K. 363 (1783?)
• Symphonic Minuet in C major, K. 409/383f (1782)
• 5 Menuets, K. 461/448a (1784)
• 12 Menuets, K. 568 (1788)
• 12 Menuets, K. 585 (1789)
• 6 Menue ts, K. 599 (1791)
• 4 Menuets, K. 601 (1791)
• 2 Menuets, K. 604 (1791)

Quadrille

• 2 Quadrilles in F major and B♭ major, K. 463/448c (1784)

Contra dance

• 4 Contredanses, K. 101/250a (alternative title: Serenade No. 2) (1776)
• Overture and 3 Contredanses, K. 106/588a (doubtful) (1790)
• Contredanse in B♭ major, K. 123/73g (1770)
• 4 Contredanses, K. 267/271c (1777)
• 2 or 4 Contredanses for Count Johann Rudolf Czernin, K. 269b (1777)
• 6 Contredanses, K. 462/448b (1784)
• Contredanse in D major, «Das Donnerwetter» (The Thunderstorm), K. 534 (1788)
• Contredanse in C major, «La Bataille», K. 535 (1788)
• 3 Contredanses, K. 535a (doubtful) (1788)
• Contredanse in C major, «Der Sieg vom Helden Koburg» (Coburg’s Victory), K. 587 (1789)
• 2 Contredanses, K. 603 (1791)
• Contredanse in E♭ major, «Il Trionfo delle Donne», K. 607/605a (1791)
• 5 Cont redanses, K. 609 (включает № 1 «Non più andrai ») (1791)
• Контреданс соль мажор, «Les filles malicieuses», K. 610 (1791)

Allemande

• 6 немецких танцев, K. 509 (1778)
• 6 немецких танцев, K. 536 (1788)
• 6 немецких танцев, K. 567 (1788)
• 6 немецких танцев, K. 571 (1789)
• 12 немецких танцев, K. 586 (1789)
• 6 немецких танцев, K. 600 (включает трио № 5: » Der Kanarienvogel «The Canary» (1791)
• 4 немецких танца, K. 602 (включает № 3 «Die Leirer») (1791)
• 3 немецких танца, K. 605 (включает № 3 «Die Schlittenfahrt» Катание на санях) (1791)
• 6 Лендлер си мажор, «Ländlerische Tänze», K. 606 (1791)
• Немецкий танец до мажор, K 611 «Die Leirer» (1791)

Другое

• Балет, Les petits riens (Мелочи), К. Ань. 10 / 299b (1778)
• Эскизы к балетному интермеццо, «Балетная пантомима Багатель», К. Ань. 10 / 299c (1778, фрагмент)
• La Chasse (Охота) ля мажор, К. Ань. 103 / 299d (320f), (1778)
• Гавот in B ♭ major, K. 300 (1778)
• Musik zu einer Пантомима: Pantalon und Colombine (Музыка к пантомиме) в D major, K. 446 / 416d (1783, неполный)

Духовная музыка

Священная музыка Моцарта в основном вокальная, хотя существуют и инструментальные примеры, такие как Соната да Кьеза для 2 скрипок, контрабаса и органа, сочинена между 1767 и 1780 годами. Его духовная музыка представляет собой богатую стилистическую мозаику: григорианские хоровые элементы встречаются со строгим контрапунктом, и иногда могут проявляться даже оперные элементы. Стилистическое единство и последовательность присутствует во всех его произведениях духовной музыки.

Мессы

• Missa brevis соль мажор, K. 49 (1768)
• Missa brevis ре минор, K. 65 (1769)
• Missa solemnis in C майор, Dominicusmesse, K. 66 (1769)
• Missa solemnis in C minor, Waisenhausmesse, K. 139 (1768)
• Missa brevis соль мажор, Pastoralmesse, K. 140 (1773; атрибуция не установлена)
• Missa in honorem Sanctissimae Trinitatis, K. 167 (1773)
• Missa brevis фа мажор, K. 192 (1774)
• Missa brevis ре мажор, K. 194 (1774)
• Sparrow Mass до мажор, Spatzenmesse, K. 220 (1775–6)
• Credo Mass до мажор, Credo Mass, K. 257 (1776)
• Missa brevis до мажор, Piccolomesse, K. 258 (1775)
• Missa brevis до мажор, Organ Solo, K. 259 (1775–76)
• Missa longa до мажор, K. 262 (1776)
• Missa brevis in B ♭ major, K. 275 (1777)
• Коронационная месса, K. 317 (1779)
• Missa solemnis, Missa aulica, K. 337 (1780)
• Большая месса до минор, K. 427 (1782–3; незаконченная)
• Реквиемная месса в D mi ни, К. 626 (1791; незавершенный, завершен Францем Ксавером Зюссмайром после смерти Моцарта)

Литургические работы

Кирие

• Кирие фа мажор, К. 33, (1766)
• Kyrie соль мажор, K. 89 / 73k (1770 или 1772)
• Kyrie ре минор для сопрано, альта, тенора, баса, K. 90 (сомнительно) (1771–72)
• Кирие ре мажор, K. 91 / 186i / Anh. 17 (1774)
• Кайри ре минор, K. 341 / 368a (1787–91)
• Кирие ми мажор, K. 322 / 296a, (фрагмент; завершено Максимилиан Стадлер ) (1787)
• Кири до мажор, К. Ань. 15/323 (фрагмент; завершен М. Стадлером) (1779?)

Постепенный

• Sancta Maria, mater Dei фа мажор, K. 273 (1777)

Offertory

• Scande Coeli Лимина до мажор, K. 34 (1767)
• Inter natos mulierium соль мажор, K. 72 / 74f (1774)
• Benedictus sit Deus до мажор, K. 117; 66a / 47b (1768)
• Sub tuum praesidium фа мажор, K. 198 / Anh C 03.08 (сомнительно) (1775)
• Misericordias Domini ре минор, K. 222 / 205a ( 1775)
• Venite populi ре мажор, K. 260 / 248a (1775)
• Alma Dei creatoris фа мажор, K. 277 / 272a (1777)

Вечерня

• Vesperae solennes de Dominica до мажор, K. 321 (1779)
• Vesperae solennes de confessore до мажор, K. 339 (1780)

Magnificat

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

Antiphon

• Cibavit eos ля минор, K. 44 / 73u (1770)
• Quaerite primum regnum Dei ре минор, K. 86 / 73v (1770)

Три настройки Марианского антифона Regina coeli :

• Regina Coeli для сопрано, хора и оркестра до мажор, K. 108 / 74d (1771)
• Регина Коэли для сопрано, хора и оркестра B ♭ мажор, K. 127 (1772)
• Регина Коэли для солистов, хора и оркестра до мажор, K. 276 / 321b (1779)

Miserere

• Miserere ля минор, K. 85 / 73s (1770)

Te Deum

• Te Deum до мажор, K. 141 / 66b (1769)

Литания

Литании :

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

Священные произведения

Motet

• Бог — наше прибежище соль минор, K. 20 (1765)
• Veni Sancte Spiritus до мажор, K. 47 (1768)
• Эрго интерес (″ Quaere superna ″) для сопрано соль мажор, K. 143 / 73a (1773)
• Exsultate, jubilate для сопрано фа мажор, K. 165 / 158a ( 1773)
• Ave verum corpus ре мажор, K. 618 (1791)

Гимны и арии

• Tantum Ergo ре мажор, K. 197 / Anh. C 3.05 (сомнительно) (1775)
• «Zwei deutsche Kirchenlieder» (Два немецких гимна), O Gotteslamm, Als aus Ägypten Israel, K. 343 / 336c (c. 1787)
• Ария для сопрано в B, «Kommet her, ihr frechen Sünder», K. 146 / 317b (1779)

Церковные сонаты

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

Органная музыка

• Фуга ми мажор, K. 153 (375f)
• Фуга соль минор, K. 154 (385k)
• Ouverture до мажор, K. 399 (385i)
• фуга соль минор, K. 401 (375e)
• Eine kleine Gigue до мажор, K. 574
• Adagio и Allegro in F минор для механического органа, K. 594 (1790)
• [fr ] (1791)
• Анданте фа для малого механического органа, K. 616 (1791)

Оперы

• Apollo et Hyacinthus, K. 38 (1767)
• Bastien und Bastienne, K. 50 / 46b (1768)
• La finta semplice, K. 51 (1768)
• Mitridate, re di Ponto, K. 87 / 74a (1770)
• Ascanio in Alba, K. 111 (1771)
• Il sogno di Scipione, K. 126 (1772)
• Лусио Силла, К. 135 (1772)
• Тамос, Кениг в Агиптене, К. 345 / 336a (1773, 1775)
• La finta giardiniera, К. 196 (1774–75)
• Il re pastore, К. 208 (1775)
• Зайд, К.. 344 (1779)
• Идоменей, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)
• L’oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430 (1783)
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)
• Дон Жуан, K. 527 (1787)
• Così fan tutte, K. 588 (1789)
• Die Zauberflöte, K. 620 (1791)
• La clemenza di Tito, K. 621 (1791)

Oratorios and cantatas

Oratorio

• Die Schuldigkeit des ersten Gebots, K. 35 (1767) (только первая часть)
• Betulia liberata, K. 118 / 74c (1771)
• Kommet her, ihr frechen Sünde, Aria (Passionslied) для сопрано в B, K. 146 / 317b (1779)

Cantata

• Grabmusik (Кантата на могилу Христа), K. 42 / 35a (1767)
• «Dir, Seele des Weltalls», K. 429 (фрагмент, завершен Максимилианом Stadler ) (1783)
• Davide penitente, K. 469 / 468a (1785)
• (Масонская радость), K. 471 (1785)
• Per la ricuperata salute di Ofelia, K. 477a (1785)
• Kleine Deutsche Kantate: «Die ihr des unermeßlichen Weltalls Schöpfer ehrt» (Маленькая немецкая кантата), K. 619 (1791)
• [es ] «Laut verkünde unsre Freude »(Маленькая масонская кантата), K. 623 (1791)

Концертные арии, песни и каноны

Масонская музыка

Ниже приведены композиции, написанные для масонской ложи:

• Песня, «Lobegesang auf die feierliche Johannisloge» («O heiliges Band der Freundschaft treuer Brüder») [О священные узы дружбы между истинными братьями], K. 148 / 125h, (1772)
• Cantata Dir, Seele des Weltalls, K. 429 / 468a (фрагмент, завершенный Максимилианом Штадлером ) (1783)
• Песня, «Lied zur Gesellenreise: Die ihr einem neuen Grad», K. 468, «для использования при инсталляции новых подмастерьев »(1785)
• Кантата для тенора, мужского хора и оркестра Die Maurerfreude (Масонская радость) К. 471 (1785)
• Масонская траурная музыка (Maurerische Trauermusik), K. 477 / 479a (1785)
• Две песни для тенора и орган, используемый для церемоний открытия и закрытия ложи в Австрии «Zur Neugekrönten Hoffnung»:
  • «Zerfließet Heut, Geliebter Brüder», K. 483 (1786)
  • «Ihr Unsre Neuen» Leiter », K. 484 (1786)
• Маленькая немецкая кантата (Kleine Deutsche Kantate) (« Die ihr die unermeßlichen Weltalls Schöpfer ehrt »), для тенора и фортепиано, для использования на собраниях Колонии друзей природы., K. 619 (1791)
• The [es ] (Kleine Freimaurer-Kantate) «Laut verkünde unsre Freude», для солистов, мужского хора и оркестра, K. 623 (1791)
• Песня «Laßt uns mit geschlungen Händen», K. 623a, («для закрытия ложи» и предполагаемый заключительный припев к K. 623) (1791; атрибуция не установлена)

См. также

• Портал классической музыки

• Симфонии Моцарта ложной или сомнительной подлинности

Ссылки

1. ^King, Alec Hyatt (1973). «Некоторые аспекты недавних исследований Моцарта». Журнал Королевской Музыкальной Ассоциации. 100 (1): 9–10. doi : 10.1093 / jrma / 100.1.1. ISSN 0080-4452. OCLC 478409660.
2. ^Розен, Чарльз (1997). Классический стиль: Гайдн, Моцарт, Бетховен (2-е изд.). Нью-Йорк: W. W. Norton Company. ISBN 978-0-393-04020-3. OCLC 35095841.
3. ^Палмер (ред.), Уиллард А. (2006). В. А. Моцарт: Введение в его клавишные произведения (иллюстрированное изд.). Издательство Альфред Мьюзик. п. 6. ISBN 9780739038758. Проверено 27 ноября 2015 г. CS1 maint: дополнительный текст: список авторов (ссылка )
4. ^Хинсон, Морис; Робертс, Уэсли (2013). Путеводитель по репертуару пианиста (4-е изд.). Indiana University Press. Стр. 707. ISBN 9780253010230. Проверено 27 ноября 2015 г.

Внешние ссылки

• Публикации музыки и сочинений автора Моцарт из Project Gutenberg
• Бесплатные партитуры Вольфганга Амадея Моцарта в International Music Score Library Project (IMSLP)
• Ноты бесплатно наборные произведений Моцарта из Mutopia Project
• Digital Mozart Edition, Neue Mozart-Ausgabe (NMA) Online (New Mozart Edition), 127 томов
• A исчерпывающий список произведений Моцарта с classic.net

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

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

How Mozart’s compositions are listed[]

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

Symphonies[]

Main article: List of symphonies by Wolfgang Amadeus Mozart

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

Childhood symphonies (1764–1771)[]

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

• Symphony No. 1 in E-flat major, K. 16
• Symphony No. 2 in B-flat major, K. 17 (spurious, attributed to Leopold Mozart)
• Symphony No. 3 in E-flat major, K. 18 (spurious, by Carl Friedrich 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. 73/75a
• Symphony No. 10 in G major, K. 74
• Symphony No. 11 in D major, K. 84/73q
• Symphony No. 12 in G major, K. 110/75b
• Symphony No. 13 in F major, K. 112

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

• Symphony in F major, K. 75 (GA 42)
• Symphony in F major, K. 76/42a (GA 43: doubtful)
• Symphony in D major, K. 81/73l (GA 44: doubtful)
• Symphony in D major, K. 95/73n (GA 45)
• Symphony in C major, K. 96/111b (GA 46)
• Symphony in D major, K. 97/73m (GA 47)
• Symphony in F major, K. 98/Anh.C 11.04 (doubtful)
• Symphony in B-flat major, K. Anh. 214/45b (GA 55: doubtful)
• Symphony in B-flat major, K. Anh. 216/74g/Anh.C 11.03 (GA 54: doubtful)
• Symphony in G major, «Old Lambach», K. Anh. 221/45a («No. 7a»)
• Symphony in F major, K. Anh. 223/19a
• Symphony in A minor, «Odense», K. Anh. 220/16a (doubtful)

Salzburg-era symphonies (1771–1777)[]

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

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

• 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. 181/162b (1773)
• Symphony No. 24 in B-flat major, K. 182/173dA (1773)
• Symphony No. 25 in G minor, K. 183/173dB (1773)
• Symphony No. 26 in E-flat major, K. 184/161a (1773)
• Symphony No. 27 in G major, K. 199/161b (1773)
• Symphony No. 28 in C major, K. 200/189k (1774)
• Symphony No. 29 in A major, K. 201/186a (1774)
• Symphony No. 30 in D major, K. 202/186b (1774)

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

• Symphony in D major, K. 111+(120/111a) («No. 48»)
• Symphony in D major, K. (126+(161/163))/141a («No. 50»)
• Symphony in D major, K. 196+(121/207a) («No. 51»)
• Symphony in C major, K. 208+(102/213c) («No. 52»)
• Symphony in D major, K. 135+61h

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

• Symphony in D major, K. 204 (based on the Serenade No. 5)
• Symphony in D major, K. 250 (based on the «Haffner» serenade)
• Symphony in D major, K. 320 (based on the «Posthorn» serenade)

Late symphonies (1778–1791)[]

• Symphony No. 31 in D major, «Paris», K. 297/300a (1778)
• Symphony No. 32 in G major, «Overture in the Italian style», 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 in D major, «Haffner», K. 385 (1782)
• Symphony No. 36 in C major, «Linz«, K. 425 (1783)
• Symphony No. 37 in G major, K. 444 (1783)

  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.

• Symphony No. 38 in D major, «Prague», 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 in C major, «Jupiter», K. 551 (1788)

Concertos[]

Piano concertos[]

Main article: Mozart piano concertos

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

• 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
• Three Piano Concertos in D major, G major and E-flat major, K. 107
• 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 in C major, «Lützow», K. 246
• Piano Concerto No. 9 in E-flat major, «Jeunehomme», 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 in D major, «Coronation», K. 537
• Piano Concerto No. 27 in B-flat major, K. 595

• Rondo for piano and orchestra in D major, K. 382
• Rondo for piano and orchestra in A major, K. 386

Violin concertos[]

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

• 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)

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

• Adagio for violin and orchestra in E major, K. 261 (1776)
• Rondo for violin and orchestra in B-flat major, K. 269 (between 1775 and 1777)
• Rondo for violin and orchestra in C major, K. 373 (1781)

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

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

Horn concertos[]

Main article: Horn Concertos (Mozart)

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

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

• 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)

Woodwind concertos[]

Template:Listen

• Bassoon Concerto in B-flat major, K. 191 (1774)
• Concerto for Flute, Harp, and Orchestra in C major, K. 299 (1778)
• Oboe Concerto in C major, K. 314 (has come down to us as the second flute concerto, but was almost certainly an oboe concerto) (1777–78)
• 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 above Oboe Concerto).
• Andante for flute and orchestra in C major, K. 315/285e (1778)

Concertante symphonies[]

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• Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364 (1779)
• Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra in E-flat major, K. 297b (Anh. 9 and later Anh. C 14.01) (Probably spurious arrangement of lost Sinfonia Concertante for Flute, Oboe, Horn, Bassoon, and Orchestra from 1778)

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

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

Other[]

• Concerto for Trumpet, K. 47c (lost)
• Cello Concerto, K.206a (1775, lost)

Piano music[]

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

Solo piano works[]

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

Dual piano/performer works[]

Piano four-hands[]

• 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)
• Fugue in G minor, K. 401
• Andante and Variations in G major, K. 501
• Adagio and Allegro (Fantasia) in F minor, K. 594
• Fantasia in F minor, K. 608 (organ, composer’s transcription)

Two pianos[]

• Sonata for Two Pianos in D major, K. 448 / 375a
• Fugue in C minor for Two Keyboards, K. 426 (transcribed in 1788 for strings as K. 546)

Chamber music[]

Violin music[]

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

Childhood violin sonatas (1763–66)[]

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

Mature violin sonatas (1778–88)[]

• 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 (fragment, completed by M. Stadler)
• Violin Sonata No. 30 in C major, K. 403 (fragment, completed by M. Stadler)
• Violin Sonata No. 31 in C major, K. 404 (fragment)
• 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

Variations for violin and piano[]

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

String duos and trios[]

• Trio for 2 Violins & Cello in B-flat major, K. 266
• Preludes and Fugues for Violin, Viola & Cello, K. 404a
• Duo for Violin & Viola in G major, K. 423 (1783)
• Duo for Violin & Viola in B-flat major, K. 424 (1783)
• Trio for Violin, Viola & Cello in E-flat major, K. 563 (1788)

String quartets[]

• String Quartet No. 1 in G major, «Lodi», K. 80/73f (1770)
• Milanese Quartets, K. 155–160 (1772–1773)

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. 2 in D major, K. 155/134a (1772)
• String Quartet No. 3 in G major, K. 156/134b (1772)
• String Quartet No. 4 in C major, K. 157 (1772–73)
• String Quartet No. 5 in F major, K. 158 (1772–73)
• String Quartet No. 6 in B-flat major, K. 159 (1773)
• String Quartet No. 7 in E-flat major, K. 160/159a (1773)

• Viennese 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, Op. 10 (1782–1785)

Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.

• 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)

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]

• String Quintet No. 1 in B-flat major, K. 174
• String Quintet No. 2 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 No. 3 in C major, K. 515
• String Quintet No. 4 in G minor, K. 516
• String Quintet No. 5 in D major, K. 593
• String Quintet No. 6 in E-flat major, K. 614

Piano trios[]

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

Other chamber music[]

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• Flute Quartets (flute, violin, viola, cello) K. 285, K. 285a, K. 285b, K. 298 (1777–1778)
• Sonata for Bassoon and Violoncello in B-flat major, K. 292
• Oboe Quartet (oboe, violin, viola, cello) in F major, K. 370 (1781)
• Horn Quintet In E-flat, K. 407
• Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784)
• Piano Quartet No. 1 in G minor K. 478 (1785)
• 12 Duets — For Two Horns, K. 487 (incorrectly published as being for Basset horns)
• Piano Quartet No. 2 in E-flat major K. 493 (1786)
• Trio for Clarinet, Viola and Piano in E-flat major, «Kegelstatt», K. 498 (1786)
• Adagio and Fugue in C minor, K. 546 (1788) (a transcription from Fugue in C minor for Two Keyboards, K. 426)
• Clarinet Quintet in A major, K. 581 (1789)
• Adagio and Rondo for Glass Harmonica, Flute, Oboe, Viola and Cello, K⁶. 617 (1791)
• Adagio in C for Glass Harmonica, K⁶. 617a (1791)

Serenades, divertimenti, and other instrumental works[]

The production for instrumental ensembles includes several Divertimenti, Notturni, Serenades, Cassations, Marches, and Dances, besides, of course, the Symphonies. Mozart’s production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.

Serenades[]

• Serenade No. 1 in D major, K. 100
• Serenade No. 3 in D major, «Antretter», K. 185
• Serenade No. 4 in D major, «Colloredo» K. 203
• Serenade No. 5 in D major, K. 204
• Serenade No. 6 in D major, «Serenata Notturna», K. 239
• Serenade No. 7 in D major, «Haffner», K. 250
• Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (1776–77)
• Serenade No. 9 in D major, «Posthorn», K. 320
• Serenade No. 10 for twelve winds and double bass in B-flat major, «Gran Partita», 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 for String Quartet & Bass in G major, «Eine kleine Nachtmusik», K. 525

Divertimenti[]

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

Marches[]

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

Dances[]

Template:See also
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.
Template:Div col

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

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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), K. 477.

Masses[]

Main article: List of masses by Wolfgang Amadeus Mozart

• 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)

Other sacred music[]

Mozart’s other sacred music includes:

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

Three settings of the Marian antiphon Regina coeli:

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

• Te Deum, K. 141
• Exsultate, jubilate, K. 165

Two Vesper services:

• Vesperae de Dominica in C, K. 321
• Vesperae solennes de confessore, K. 339 (1780)
• Kyrie in D minor, K. 341
• Ave verum corpus, K. 618

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

Church sonatas[]

Main article: Church Sonatas (Mozart)

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• 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)

Template:Div col end

Organ music[]

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

Operas[]

Main article: List of operas by Mozart

• Die Schuldigkeit des ersten Gebots, K. 35 (1767)
• Apollo et Hyacinthus, K. 38 (1767)
• Bastien und Bastienne, K. 50=46b (1768)
• La finta semplice, K. 51 (1768)
• Mitridate, re di Ponto, K. 87 (1770)
• Ascanio in Alba, K. 111 (1771)
• Betulia liberata, an oratorio, K. 118=74c (1771)
• Il sogno di Scipione, K. 126 (1772)
• Lucio Silla, K. 135 (1772)
• Thamos, König in Ägypten (1773, 1775)
• La finta giardiniera, K. 196 (1774–75)
• Il re pastore, K. 208 (1775)
• Zaide, K. 344 (1779)
• Idomeneo, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)
• L’oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)
• Don Giovanni, K. 527 (1787)
• Così fan tutte, K. 588 (1789)
• Die Zauberflöte, K. 620 (1791)
• La clemenza di Tito, K. 621 (1791)

Concert arias, songs and canons[]

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

Recordings[]

In 1991, in honor of the bicentenary of Mozart’s death, Philips Classics gathered recordings considered to be the best performances from the extensive catalog of their parent company Universal Music and issued a set in a number of multi-disc volumes, collectively called the Complete Mozart Edition, on a total of 180 CDs. These were also made available as a unitary boxed set of the entire collection. The Philips set is no longer in print, but in either format much of it may still be available, primarily from various online sources.^[3]

Another entirely different set of recordings, also available either as multi-disc volumes or in a single unitary boxed set, has more recently been issued on 170 CDs by Brilliant Classics.^[4]

Reviews of specific recordings are widely available, both at various online websites and in books and other print publications. Many such publications, and in some cases also a selection of CD recordings, will be available from local public libraries.

See also[]

• Mozart symphonies of spurious or doubtful authenticity
• The Complete Mozart Edition

References[]

External links[]

• Publications of music and writings by Mozart from Project Gutenberg
• Free typeset sheet music of Mozart’s works from the Mutopia Project
• Digitized version of the Complete New Mozart Edition (NMA)
• A comprehensive list of Mozart’s work from classical.net

Template:Wolfgang Amadeus Mozart

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

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

How Mozart’s compositions are listed[]

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

Symphonies[]

Main article: List of symphonies by Wolfgang Amadeus Mozart

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

Childhood symphonies (1764–1771)[]

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

• Symphony No. 1 in E-flat major, K. 16
• Symphony No. 2 in B-flat major, K. 17 (spurious, attributed to Leopold Mozart)
• Symphony No. 3 in E-flat major, K. 18 (spurious, by Carl Friedrich 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. 73/75a
• Symphony No. 10 in G major, K. 74
• Symphony No. 11 in D major, K. 84/73q
• Symphony No. 12 in G major, K. 110/75b
• Symphony No. 13 in F major, K. 112

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

• Symphony in F major, K. 75 (GA 42)
• Symphony in F major, K. 76/42a (GA 43: doubtful)
• Symphony in D major, K. 81/73l (GA 44: doubtful)
• Symphony in D major, K. 95/73n (GA 45)
• Symphony in C major, K. 96/111b (GA 46)
• Symphony in D major, K. 97/73m (GA 47)
• Symphony in F major, K. 98/Anh.C 11.04 (doubtful)
• Symphony in B-flat major, K. Anh. 214/45b (GA 55: doubtful)
• Symphony in B-flat major, K. Anh. 216/74g/Anh.C 11.03 (GA 54: doubtful)
• Symphony in G major, «Old Lambach», K. Anh. 221/45a («No. 7a»)
• Symphony in F major, K. Anh. 223/19a
• Symphony in A minor, «Odense», K. Anh. 220/16a (doubtful)

Salzburg-era symphonies (1771–1777)[]

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

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

• 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. 181/162b (1773)
• Symphony No. 24 in B-flat major, K. 182/173dA (1773)
• Symphony No. 25 in G minor, K. 183/173dB (1773)
• Symphony No. 26 in E-flat major, K. 184/161a (1773)
• Symphony No. 27 in G major, K. 199/161b (1773)
• Symphony No. 28 in C major, K. 200/189k (1774)
• Symphony No. 29 in A major, K. 201/186a (1774)
• Symphony No. 30 in D major, K. 202/186b (1774)

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

• Symphony in D major, K. 111+(120/111a) («No. 48»)
• Symphony in D major, K. (126+(161/163))/141a («No. 50»)
• Symphony in D major, K. 196+(121/207a) («No. 51»)
• Symphony in C major, K. 208+(102/213c) («No. 52»)
• Symphony in D major, K. 135+61h

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

• Symphony in D major, K. 204 (based on the Serenade No. 5)
• Symphony in D major, K. 250 (based on the «Haffner» serenade)
• Symphony in D major, K. 320 (based on the «Posthorn» serenade)

Late symphonies (1778–1791)[]

• Symphony No. 31 in D major, «Paris», K. 297/300a (1778)
• Symphony No. 32 in G major, «Overture in the Italian style», 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 in D major, «Haffner», K. 385 (1782)
• Symphony No. 36 in C major, «Linz«, K. 425 (1783)
• Symphony No. 37 in G major, K. 444 (1783)

  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.

• Symphony No. 38 in D major, «Prague», 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 in C major, «Jupiter», K. 551 (1788)

Concertos[]

Piano concertos[]

Main article: Mozart piano concertos

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

• 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
• Three Piano Concertos in D major, G major and E-flat major, K. 107
• 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 in C major, «Lützow», K. 246
• Piano Concerto No. 9 in E-flat major, «Jeunehomme», 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 in D major, «Coronation», K. 537
• Piano Concerto No. 27 in B-flat major, K. 595

• Rondo for piano and orchestra in D major, K. 382
• Rondo for piano and orchestra in A major, K. 386

Violin concertos[]

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

• 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)

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

• Adagio for violin and orchestra in E major, K. 261 (1776)
• Rondo for violin and orchestra in B-flat major, K. 269 (between 1775 and 1777)
• Rondo for violin and orchestra in C major, K. 373 (1781)

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

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

Horn concertos[]

Main article: Horn Concertos (Mozart)

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

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

• 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)

Woodwind concertos[]

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• Bassoon Concerto in B-flat major, K. 191 (1774)
• Concerto for Flute, Harp, and Orchestra in C major, K. 299 (1778)
• Oboe Concerto in C major, K. 314 (has come down to us as the second flute concerto, but was almost certainly an oboe concerto) (1777–78)
• 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 above Oboe Concerto).
• Andante for flute and orchestra in C major, K. 315/285e (1778)

Concertante symphonies[]

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• Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364 (1779)
• Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra in E-flat major, K. 297b (Anh. 9 and later Anh. C 14.01) (Probably spurious arrangement of lost Sinfonia Concertante for Flute, Oboe, Horn, Bassoon, and Orchestra from 1778)

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

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

Other[]

• Concerto for Trumpet, K. 47c (lost)
• Cello Concerto, K.206a (1775, lost)

Piano music[]

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

Solo piano works[]

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

Dual piano/performer works[]

Piano four-hands[]

• 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)
• Fugue in G minor, K. 401
• Andante and Variations in G major, K. 501
• Adagio and Allegro (Fantasia) in F minor, K. 594
• Fantasia in F minor, K. 608 (organ, composer’s transcription)

Two pianos[]

• Sonata for Two Pianos in D major, K. 448 / 375a
• Fugue in C minor for Two Keyboards, K. 426 (transcribed in 1788 for strings as K. 546)

Chamber music[]

Violin music[]

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

Childhood violin sonatas (1763–66)[]

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

Mature violin sonatas (1778–88)[]

• 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 (fragment, completed by M. Stadler)
• Violin Sonata No. 30 in C major, K. 403 (fragment, completed by M. Stadler)
• Violin Sonata No. 31 in C major, K. 404 (fragment)
• 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

Variations for violin and piano[]

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

String duos and trios[]

• Trio for 2 Violins & Cello in B-flat major, K. 266
• Preludes and Fugues for Violin, Viola & Cello, K. 404a
• Duo for Violin & Viola in G major, K. 423 (1783)
• Duo for Violin & Viola in B-flat major, K. 424 (1783)
• Trio for Violin, Viola & Cello in E-flat major, K. 563 (1788)

String quartets[]

• String Quartet No. 1 in G major, «Lodi», K. 80/73f (1770)
• Milanese Quartets, K. 155–160 (1772–1773)

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. 2 in D major, K. 155/134a (1772)
• String Quartet No. 3 in G major, K. 156/134b (1772)
• String Quartet No. 4 in C major, K. 157 (1772–73)
• String Quartet No. 5 in F major, K. 158 (1772–73)
• String Quartet No. 6 in B-flat major, K. 159 (1773)
• String Quartet No. 7 in E-flat major, K. 160/159a (1773)

• Viennese 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, Op. 10 (1782–1785)

Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.

• 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)

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]

• String Quintet No. 1 in B-flat major, K. 174
• String Quintet No. 2 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 No. 3 in C major, K. 515
• String Quintet No. 4 in G minor, K. 516
• String Quintet No. 5 in D major, K. 593
• String Quintet No. 6 in E-flat major, K. 614

Piano trios[]

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

Other chamber music[]

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• Flute Quartets (flute, violin, viola, cello) K. 285, K. 285a, K. 285b, K. 298 (1777–1778)
• Sonata for Bassoon and Violoncello in B-flat major, K. 292
• Oboe Quartet (oboe, violin, viola, cello) in F major, K. 370 (1781)
• Horn Quintet In E-flat, K. 407
• Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784)
• Piano Quartet No. 1 in G minor K. 478 (1785)
• 12 Duets — For Two Horns, K. 487 (incorrectly published as being for Basset horns)
• Piano Quartet No. 2 in E-flat major K. 493 (1786)
• Trio for Clarinet, Viola and Piano in E-flat major, «Kegelstatt», K. 498 (1786)
• Adagio and Fugue in C minor, K. 546 (1788) (a transcription from Fugue in C minor for Two Keyboards, K. 426)
• Clarinet Quintet in A major, K. 581 (1789)
• Adagio and Rondo for Glass Harmonica, Flute, Oboe, Viola and Cello, K⁶. 617 (1791)
• Adagio in C for Glass Harmonica, K⁶. 617a (1791)

Serenades, divertimenti, and other instrumental works[]

The production for instrumental ensembles includes several Divertimenti, Notturni, Serenades, Cassations, Marches, and Dances, besides, of course, the Symphonies. Mozart’s production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.

Serenades[]

• Serenade No. 1 in D major, K. 100
• Serenade No. 3 in D major, «Antretter», K. 185
• Serenade No. 4 in D major, «Colloredo» K. 203
• Serenade No. 5 in D major, K. 204
• Serenade No. 6 in D major, «Serenata Notturna», K. 239
• Serenade No. 7 in D major, «Haffner», K. 250
• Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (1776–77)
• Serenade No. 9 in D major, «Posthorn», K. 320
• Serenade No. 10 for twelve winds and double bass in B-flat major, «Gran Partita», 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 for String Quartet & Bass in G major, «Eine kleine Nachtmusik», K. 525

Divertimenti[]

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

Marches[]

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

Dances[]

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

Template:Div col end

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), K. 477.

Masses[]

Main article: List of masses by Wolfgang Amadeus Mozart

• 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)

Other sacred music[]

Mozart’s other sacred music includes:

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

Three settings of the Marian antiphon Regina coeli:

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

• Te Deum, K. 141
• Exsultate, jubilate, K. 165

Two Vesper services:

• Vesperae de Dominica in C, K. 321
• Vesperae solennes de confessore, K. 339 (1780)
• Kyrie in D minor, K. 341
• Ave verum corpus, K. 618

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

Church sonatas[]

Main article: Church Sonatas (Mozart)

Template:Div col

• 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)

Template:Div col end

Organ music[]

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

Operas[]

Main article: List of operas by Mozart

• Die Schuldigkeit des ersten Gebots, K. 35 (1767)
• Apollo et Hyacinthus, K. 38 (1767)
• Bastien und Bastienne, K. 50=46b (1768)
• La finta semplice, K. 51 (1768)
• Mitridate, re di Ponto, K. 87 (1770)
• Ascanio in Alba, K. 111 (1771)
• Betulia liberata, an oratorio, K. 118=74c (1771)
• Il sogno di Scipione, K. 126 (1772)
• Lucio Silla, K. 135 (1772)
• Thamos, König in Ägypten (1773, 1775)
• La finta giardiniera, K. 196 (1774–75)
• Il re pastore, K. 208 (1775)
• Zaide, K. 344 (1779)
• Idomeneo, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)
• L’oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)
• Don Giovanni, K. 527 (1787)
• Così fan tutte, K. 588 (1789)
• Die Zauberflöte, K. 620 (1791)
• La clemenza di Tito, K. 621 (1791)

Concert arias, songs and canons[]

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

Recordings[]

In 1991, in honor of the bicentenary of Mozart’s death, Philips Classics gathered recordings considered to be the best performances from the extensive catalog of their parent company Universal Music and issued a set in a number of multi-disc volumes, collectively called the Complete Mozart Edition, on a total of 180 CDs. These were also made available as a unitary boxed set of the entire collection. The Philips set is no longer in print, but in either format much of it may still be available, primarily from various online sources.^[3]

Another entirely different set of recordings, also available either as multi-disc volumes or in a single unitary boxed set, has more recently been issued on 170 CDs by Brilliant Classics.^[4]

Reviews of specific recordings are widely available, both at various online websites and in books and other print publications. Many such publications, and in some cases also a selection of CD recordings, will be available from local public libraries.

See also[]

• Mozart symphonies of spurious or doubtful authenticity
• The Complete Mozart Edition

References[]

External links[]

• Publications of music and writings by Mozart from Project Gutenberg
• Free typeset sheet music of Mozart’s works from the Mutopia Project
• Digitized version of the Complete New Mozart Edition (NMA)
• A comprehensive list of Mozart’s work from classical.net

Template:Wolfgang Amadeus Mozart

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Минорные концерты Моцарта ценятся в мире классической музыки из-за их редкости, а 23-й концерт в ля мажоре отражает всю музыку эпохи классицизма. Разберем их особенности.

Теперь поговорим о двух фортепианных концертах Моцарта: 20-м, написанном в ре миноре, и 23-м — написанном в ля мажоре.

🎹 20-й концерт для фортепиано с оркестром был написан Моцартом в 1785 году в тональности ре минор. Несмотря на то, что в операх Моцарта минорные тональности встречаются часто (хотя нельзя же сказать что опера написана в какой-то тональности — она слишком объемна), концертов и сонат в миноре у него написано крайне мало. Поэтому те минорные концерты — это настоящие жемчужины мирового репертуара. Мы уже говорили о том, что среди мажорных вещей есть довольно проходные, но если мы встречаем у Моцарта минор, то это, скорее всего, просто шедевр. И даже, если это и обобщение, то оно точно относится к концерту №20.

🎼 Ре минор — это тональность, которую Моцарт выбирал для наиболее драматичных моментов в операх. Вспомним, что в ре миноре написана ария Царицы ночи («Der Hölle Rache kocht in meinem Herzen» — «В груди моей пылает жажда мести»), а также увертюра к опере «Дон Жуан» и самая драматичная сцена этой оперы — сцена явления Командора на ужин.

🎶 Здесь тоже не только драматизм, но и вполне оперные аллюзии. Обратите внимание на мелодию, которой начинается фортепианная партия. Она очень напоминает итальянскую оперную арию — где певец является героем. Работая над концертом, Моцарт понимал, что сам будет играть его премьеру — обычное дело для того времени, и он, вполне вероятно, воображал себя героем оперы.

Давайте послушаем 20-й концерт для фортепиано с оркестром и обсудим, что мы слышим в этой музыке.

🤜🤛 Здесь, кроме явно считываемой эмоции, всю первую часть концерта происходит некая борьба. Если бы мы были советскими музыковедами, мы бы сказали, что это революционный пафос борьбы против закостенелых нравов аристократии и буржуазии (хотя это более уместно в «Свадьбе Фигаро»). Но вопрос интерпретации инструментальной музыки, музыки сюжетной почти всегда остается в какой-то степени открытым. Нельзя точно сказать, о чем это, даже если мы говорим о Берлиозе, который писал литературные программы к своим симфониям, или о Скрябине.

📌 Мы все равно сталкиваемся с тем, что программа — это то, что хотел сказать автор, а произведение — это в итоге то, что он сказал. И не всегда это совпадает.

1️⃣ То, что говорится о сюжете в первой части, — это скорее вектор, который можно интерпретировать совершенно по-разному. Первая часть — очень выразительна, вторая — традиционно медленна, она в параллельном ре минору фа мажоре и си-бемоль мажоре.

❓ Чем интересна вторая часть концерта?

2️⃣ Вторая часть — это пятичастное рондо, и настроение у нее совершенно сказочное. Если в первой части мы слышали борьбу героя с силами рока, то вторая часть — это путешествие, почти полет, фантазия.

3️⃣ Третья часть — традиционно быстрая. Если пытаться подобрать какой-то сюжет, то это будет похоже на игру. В первой части все серьезно и драматично, во второй части все легко, а если это все совместить, то получится игра, где переплетаются серьезность и шутка.

📍 Здесь надо сказать, что концерты романтической эпохи все играют более-мнеее одинаково. А в концертах эпохи классицизма есть традиция сочинять каденции. Она была и раньше — это определенное место, где пианист мог дать себе волю и показать не только технику но и вкус (так же, как в арии есть место, где певец может показать свое мастерство). И сейчас немногие осмеливаются импровизировать каденции. И у этого концерта в третьей части есть такая каденция, у которой существует множество вариантов.

🔊 Давайте послушаем этот концерт в исполнении Фридриха Гульды, на этой записи он играет каденцию Гумеля и Бетховена.

→ Вольфганг Амадей Моцарт. Концерт №20 в исполнении Фридриха Гульды (1986).
Видео: https://disk.yandex.ru/i/vYiTZ4NG8TJ-Mg
⏱ Время прослушивания: 34 минуты

А теперь послушаем и обсудим концерт Моцарта №23.

🎵 23-й концерт в ля мажоре был написан в 1786 году во время работы над «Свадьбой Фигаро». Естественно, Работа над «Свадьбой Фигаро» тогда занимала большую часть времени Моцарта, а концерт он писал в свободное от работы время. В нем естественно есть следы оперности: перемена действий и мотивов и тональностей. Музыка очень сильно напоминает оперную драматургию.

❓ Чем интересен концерт №23?

🌀 Искусство обращаться с формой (в опере формы нет, она есть в концерте) состоит в том, чтобы уметь сглаживать противоречия, делать швы между разным музыкальным материалом незаметными, переходить из одной тональности в другую так, чтобы не терялось ощущения цельности. Или наоборот: если нужно дать что-то контрастное, делать контраст не слишком резким и не слишком незначительным. Именно этим и интересен этот концерт. С одной стороны, он слишком сложно устроен, с другой — если не пытаться его обозреть во всей его целостности и сложности, то сами моменты переходов сделаны настолько ровно, что сначала концерт кажется ровным как пологая долина.

➡️ Если задаться целью найти стереотипную музыку эпохи классицизма, то первая и третья части этого концерта подойдут идеально, потому что у них архетипическое звучание. А средняя часть — содержит в себе мелодии удивительной красоты и, по большому счету, весь концерт стоит слушать ради ее одной, чтобы услышать как этот брильянт играет в оправе двух быстрых частей.

→ Вольфганг Амадей Моцарт. Концерт №23 в исполнении Владимира Горовица (1987).
Видео: https://disk.yandex.ru/i/x12x5qViL9ke6w
⏱ Время прослушивания: 24 минуты

👉 Как мы обсудили, вторая часть концерта сильно выделяется на фоне двух остальных. Попробуйте подобрать к ней картину, о чем это для вас?

Теперь поговорим об органных произведениях Моцарта.

👤 Моцарт был не только превосходным пианистом, но и хорошим органистом. Он вообще владел множеством инструментов, что не было редкостью для музыканта и композитора того времени, но Моцарту, конечно, все давалось с необычайной легкостью.

❔ Моцарт с органом не ассоциируется. С органом ассоциируется в первую очередь Бах, а для тех, кто любит старую музыку, Иоганн Пахельбель (1653–1706) или Дитрих Букстехуде (1637–1707). После смерти Баха орган будто бы пропадает, на первый план выходит симфоническая музыка, опера или фортепианная музыка. Появляется вновь орган вместе с Сезаром Франком (1822–1890) или Луи Вьерном (1870–1937). Однако для органа Моцарт написал довольно много прекрасной музыки.

🙇 В массовом сознании сложился образ Моцарта как человека чрезвычайно нервного, подвижного, очень яркого и легкого. Эти качества не очень ассоциируются с органом, который представляется инструментом тяжеловесным и величественным.

🎵 Два произведения, с которых мы начнем, станут для нас окном в исполнительское искусство 18 века. Дело в том, что Моцарт написал два произведения для механического органа — оба написаны в фа миноре и в исполнении механического органа звучали в несколько урезанной версии.

➡️ Механический орган имел меньше труб, чем любой современный Моцарту церковный орган, и был чрезвычайно ограничен по диапазону. В итоге произведение на нем звучало одним образом, а на нормальном полноценном органе совершенно другим.

🎶 Звучание фа-минорной фантазии восстановили энтузиасты, и мы можем услышать с той или иной долей приближения, как играли эту вещь в 18 веке.

Но перед этим мы послушаем адажио и аллегро, потом два современных исполнения фа-минорной фантазии, а затем восстановленную версию.

→ Вольфганг Амадей Моцарт. Адажио и аллегро фа минор для органа.
Аудио-пример: https://disk.yandex.ru/i/bFe5DLuHAxXx_Q
⏱ Время прослушивания: 12 минут

→ Вольфганг Амадей Моцарт. Фантазия фа минор в исполнении Пьера Кошеро на большом органе Нотр-Дам де Пари (современное исполнение).
Аудио-пример: https://disk.yandex.ru/i/pY-6Jl49Obwykg
⏱ Время прослушивания: 13 минут

→ Вольфганг Амадей Моцарт. Фантазия фа минор (современное исполнение).
Аудио-пример: https://disk.yandex.ru/i/0NXliDtYucTUdA
⏱ Время прослушивания: 11 минут

→ Вольфганг Амадей Моцарт. Фа-минорная фантазия на механическом органе с двумя рядами труб (восстановленная версия).
Видео: https://disk.yandex.ru/i/1kse-8SxVPnPQg
⏱ Время прослушивания: 13 минут

Давайте послушаем 17-ю церковную сонату Моцарта в до мажоре.

🎹 Это произведение для органа и небольшого струнного ансамбля Моцарт создал, когда служил в Зальцбурге у архиепископа. Церковная соната — sonata da chiesa — была популярна в эпоху барокко, но с середины 18 века о ней подзабыли. Моцарт обратился к этому жанру и придал ему совершенно светское игривое звучание.

⛪️ Эти сонаты исполнялись по церковным праздникам, а церковь в те времена уже была местом социализации. Люди общались, радовались, слушали наставления, слушали прекрасную музыку и так серьезно к вопросу веры не относились. Поэтому эта развлекательная легкомысленная музыка Моцарта была как нельзя кстати.

🎶 Орган, имеющий огромный потенциал выразительности и богатства звучания — самый акустически мощный из всех механических инструментов. У Моцарта он звучит чрезвычайно легко и жизнерадостно.

→ Вольфганг Амадей Моцарт. Церковная соната.
Видео: https://disk.yandex.ru/i/jMESGFzmWW7H0g
⏱ Время прослушивания: 6 минут