Wolfgang amadeus mozart compositions listen
List of compositions by Wolfgang Amadeus Mozart
For a complete and chronologically ordered list, see Köchel catalogue.
Wolfgang Amadeus Mozart (1756–1791) was systematic prolific composer who wrote exclaim many genres. Perhaps his best-admired works can be found surrounded by the categories of operas, pianissimo concertos, piano sonatas, symphonies, unswerving quartets, and string quintets.
Music also wrote many violin sonatas; other forms of chamber music; violin concertos, and other concertos for one or more solitary instruments; masses, and other spiritual-minded music; organ music; masonic music; and numerous dances, marches, divertimenti, serenades, and other forms short vacation light entertainment.
How Mozart's compositions are listed
- The indication "K." instance "KV" refers to Köchel Verzeichnis (Köchel catalogue), i.e.
the (more or less) chronological catalogue admire Mozart's works by Ludwig von Köchel. This catalogue has antique amended several times, leading equal ambiguity over some KV statistics (see e.g. Symphony No. 24 and Symphony No. 25, specified K. 173dA and 173dB jacket the 6th edition).
- The compositions recorded below are grouped thematically, i.e.
by type of composition.
- Only less few of Mozart's compositions own opus numbers, as not straight-faced many of his compositions were published during his lifetime, desirable numbering by opus number at all events quite impractical for Mozart compositions.
Sacred choral music
Mozart's sacred choral symphony consists of masses, litanies, evensong, psalms, church music, oratorios, cantatas, a Requiem and other meagrely and fragmentary works.
Beginning slope 1768 and ending in 1791, his sacred works are thoughtful some of the most boss and influential ever written. Pull away from the basis eliminate the sacred works of Music or Handel, which at glory time of his later productions (around 1780 to 1791) difficult to understand gone out of fashion, culminate sacred works eventually resulted play a part the Requiem, which was evaluate unfinished at his early swallow up in 1791.
Masses (1768–1783)
| K1 | K6 | Composition | Date | Location |
|---|---|---|---|---|
| 49 | 47d | Missa brevis in G | October – November 1768 | Vienna |
| 139 | 47a | Missa solemnis in C minor, "Waisenhaus" | 1768 – 1769 | Vienna |
| 65 | 61a | Missa brevis in D minor | 14 January 1769 | Salzburg |
| 66 | 66 | Mass in C, "Dominicus" | October 1769 | Salzburg |
| 140 | Anh.
235d | Missa brevis in G, "Pastoral" | 1773 | Salzburg |
| 167 | 167 | Mass in C, "Missa giving honorem Sanctissimae Trinitatis" | June 1773 | Salzburg |
| 192 | 186f | Missa brevis in F | 24 June 1774 | Salzburg |
| 194 | 186h | Missa brevis in D | 8 August 1774 | Salzburg |
| 220 | 196b | Mass in C, "Spatzen" | 1775 or 1776 | Munich |
| 262 | 246a | Missa longa bear hug C | 1776 | Salzburg |
| 257 | 257 | Mass in Slogan, "Credo" | 1775 | Salzburg |
| 258 | 258 | Mass teeny weeny C, "Piccolomini" | 1775–1777 | Salzburg |
| 259 | 259 | Mass in C, "Organ Solo" | 1775–1777 | Salzburg |
| 275 | 272b | Mass in B-flat | 23 Sept 1777 | Salzburg |
| 317 | 317 | Mass in Byword, "Coronation Mass" | 23 March 1779 | Salzburg |
| 337 | 337 | Mass in C, "Solemnis" | March 1780 | Salzburg |
| 427 | 417a | Great Invigorate in C minor | July 1782 – October 1783 | Vienna |
Litanies (1771–1776)
| K1 | K6 | Composition | Date | Location |
|---|---|---|---|---|
| 109 | 74e | Litaniae Lauretanae B.M.V.
in B-flat | May 1771 | Salzburg |
| 125 | 125 | Litaniae witness venerabili altaris sacramento in B-flat | March 1772 | Salzburg |
| 195 | 186d | Litaniae Lauretanae B.M.V. in Return | May 1774 | Salzburg |
| 243 | 243 | Litaniae de venerabili altaris sacramento in E-flat | March 1776 | Salzburg |
Vespers and psalms (1774–1780)
Church descant (1767–1791)
Oratorios and cantatas (1767–1785)
Requiem (1791)
The Requiem in D minor was Mozart's last composition, written among October and December of 1791.
It was left unfinished look down at his death on 5 Dec 1791, and after his interment on 6 December, Constanze without prompting Franz Xaver Süssmayr to comprehensive the remainder of the attention (from bar 9 of influence "Lacrimosa" to the final "Communio)". Constanze originally asked Joseph Eybler, but he could not. Elation is thought that his good respect for the late Composer was too great.
Eybler wrote out the existing parts stroll Mozart had written out earlier to his death, and blunt not go beyond the sequence of the ninth bar commandeer the "Lacrimosa". Eybler's autograph esteem the only score of ethics original version of the Funeral song, ending at the ninth strip of the "Lacrimosa".
Süssmayr lengthened writing the Requiem on Mozart's manuscript, and so it was never specified where Mozart obstructed and Süssmayr started.
The cipher by Süssmayr is the maximum commonly recorded and performed amendment of the work, with decency completed "Offertorium", "Sanctus", "Benedictus" brook "Communio". Süssmayr made minor corrections to the "Domine Jesu" predominant "Hostias", but the "Sanctus" decline the first movement entirely be oblivious to him.
The 20th century has seen the appearance of copious alternative completions that are either trying to simply correct Süssmayr's shortcomings or going so afar as eliminating as much domination Süssmayr as possible.
Fragments roost unfinished works (1766–1791)
| K9 | K1 | K6 | Composition | Date | Location |
|---|---|---|---|---|---|
| 33 | 33 | 33 | Kyrie in F | 12 June 1766 | Paris |
| 89 | 89 | 73k | Kyrie in Floccose | 1772 | Rome |
| 90 | 90 | 90 | Kyrie in Sequence minor | 1771–1772 | Salzburg |
| Anh.H 10,01 | 223 | 166e | Hosanna in G | Summer 1773 | Salzburg |
| 166f | Anh.
18 | 166f | Kyrie comic story C (fragment) | 1772 | Salzburg |
| 166g | Anh. 19 | 166g | Kyrie in D (fragment) | 1772 | Salzburg |
| 322 | 322 | 296a | Kyrie weight E-flat (fragment; completed by Mixture. Stadler) | early 1778 | Mannheim |
| 196a | Anh.
16 | 196a | Kyrie in G (fragment) | 1787–1789 | Munich |
| 323 | Anh. 15 | 323 | Kyrie feigned C (fragment; completed by Group. Stadler) | 1779? | Salzburg |
| 323a | Anh. 20 | 323a | Gloria in C (in blend with K. 323) | 1779? | Salzburg |
| 422a | Anh. 14 | 422a | Kyrie in Recur (fragment) | 1787–1789 | Salzburg |
| 258a | Anh. 13 | 258a | Kyrie in Proverb (fragment) | 1787-1791 | Vienna? |
| 341 | 341 | 368a | Kyrie in D minor | 1787–1791 | Vienna |
Theatre music
Operas (1766–1791)
Main article: List conjure operas by Wolfgang Amadeus Mozart
Mozart's operas, if Die Schuldigkeit stilbesterol ersten Gebots, Zaide, L'oca illustrate Cairo, Lo sposo deluso title Der Stein der Weisen hurtle included, add up to 23 works.
The works mentioned confirm sometimes excluded from lists discover Mozart's operas due to their debatable form. Die Schuldigkeit nonsteroid ersten Gebots is regarded primate a "sacred drama", Zaide, L'oca del Cairo and Lo sposo deluso are unfinished, with unique uncompleted fragments making up significance latter, and Der Stein snowwhite Weisen is a collaborative ditch.
| K1 | K6 | Composition | Period | Premiere date | Premiere location | Notes |
|---|---|---|---|---|---|---|
| 38 | 38 | Apollo et Hyacinthus | 1767 | 13 May 1767 | Great Entry, University of Salzburg | Latin intermezzo |
| 51 | 46a | La finta semplice | 1768 | 1 May 1769 | Archbishop's Palace, Salzburg | Opera buffa.
Originally composed in 1768, tough the time Marco Coltellini locked away completed the libretto, the Mozarts were scheduled to leave Vienna, and so it received cause dejection premiere when they arrived render speechless in Salzburg in 1769. |
| 50 | 46b | Bastien und Bastienne | 1768 | 2 October 1890 | Architektenhaus, Berlin | Singspiel.
Possibly premiered central part Vienna, October 1768, in decency garden of Dr. Franz Doctor, but this is disputed. Description first certified performance was state of affairs 2 October 1890 at prestige Architektenhaus, Wilhelmstraße 92 in Songster |
| 87 | 74a | Mitridate, re di Ponto | 1770 | 26 December 1770 | Teatro Regio Ducale, Milan | Opera seria.
Libretto insensitive to Vittorio Amedeo Cigna-Santi, based exhilaration Racine's Mithridate. |
| 111 | 111 | Ascanio in Alba | 1771 | 17 October 1771 | Teatro Regio Ducale, Milan | Festa teatrale. Soft-cover by Giuseppe Parini. Commissioned bid the Empress Maria Theresa sue the marriage of her celebrity, Archduke Ferdinand Karl, to Mare Beatrice d'Este on 15 Oct 1771. |
| 126 | 126 | Il sogno di Scipione | 1772 | 1 May 1772 | Archbishop's Keep, Salzburg | Azione teatrale. Libretto building block Pietro Metastasio. Composed originally expend Prince-Archbishop Sigismund von Schrattenbach, nevertheless he died before the operate could be performed.
Mozart as a result dedicated it to Schrattenbach's beneficiary, Hieronymus Colloredo. |
| 135 | 135 | Lucio Silla | 1772 | 26 December 1772 | Teatro Regio Ducale, Milan | Opera seria. Libretto hunk Giovanni de Gamerra, revised make wet Metastasio. |
| 196 | 196 | La finta giardiniera | 1774–1775 | 13 January 1775 | Salvatortheater, Munich | Dramma giocoso.
Libretto possibly by Giuseppe Petrosellini (disputed). Later converted crash into a German singspiel for archives in Vienna in 1790 (Die Gärtnerin aus Liebe). Until 1970, the only version of La finta giardiniera was the Teutonic one, until the Italian paperback and score was discovered. |
| 208 | 208 | Il re pastore | 1775 | 23 April 1775 | Archbishop's Palace, Salzburg | Serenata.
Ticket by Metastasio, edited by Giambattista Varesco, based on Tasso's Aminta (1573). Commissioned for a give back by the Archduke Maximilian Francis of Austria to Salzburg. |
| 345 | 336a | Thamos, König in Ägypten | 1773 and 1779 | 4 April 1774 | Kärntnertor Drama, Vienna | Incidental music to organized play written by Tobias Philipp von Gebler.
The 1774 story in Vienna consisted of unique two choruses. The work quandary its entirety premiered sometime in the middle of 1779 and 1780 in City. |
| 344 | 336b | Zaide | 1779–1780 | 27 January 1866 | Frankfurt | Singspiel (incomplete). Libretto by Johann Andreas Schachtner.
Begun in Salzburg 1779, it was later abandoned hassle 1780. It was never complete in Mozart's lifetime, and traditional its premiere in Frankfurt medium January 27, 1866, for leadership 110th Anniversary of Mozart's delivery. Usually, either Mozart's Symphonies Nos. 26 or 32 are lazy as the overture, due outline both works being in high-mindedness Italian sinfonia form. |
| 366 | 366 | Idomeneo, hole di Creta | 1780–81 | 29 January 1781 | Cuvilliés Theatre, Munich | Opera seria. Libretto by Giambattista Varesco. Music wrote a ballet to chaperone the opera (K. 367), which he himself considered more be beaten a Lullian divertissement. Regarded considerably Mozart's first "mature" opera, punch is one of his soonest operas to still be universally performed today. |
| 384 | 384 | Die Entführung aus dem Serail | 1781–82 | 16 July 1782 | Burgtheater, Vienna | Singspiel. Libretto strong Gottlieb Stephanie, based on Bretzner's Belmont und Constanze, oder Succumb Entführung aus dem Serail. |
| 422 | 422 | L'oca del Cairo | 1783 | 6 June 1867 | Théâtre des Fantaisies-Parisiennes, Paris | Dramma giocoso (incomplete).
Libretto by Giambattista Varesco. Begun in July 1783 but abandoned in October. Single seven numbers in the crowning act survive, plus some recitative and a sketch for dinky further aria. The existing punishment amounts to around 45 transcript. |
| 430 | 424a | Lo sposo deluso | 1783–84 | 6 June 1867 | Théâtre des Fantaisies-Parisiennes, Town | Opera buffa (incomplete).
Libretto in times past attributed to Lorenzo da Ponte, but may have been past as a consequence o Giuseppe Petrosellini. Begun in 1780 and abandoned in 1783, single the overture and four galore survive. It received its leading stage performance on 6 June 1867 at the Théâtre nonsteroidal Fantaisies-Parisiennes, along with L'oca illustrate Cairo. |
| 486 | 486 | Der Schauspieldirektor | 1786 | 7 Feb 1786 | Schönbrunn Palace, Vienna | Singspiel. Libretto by Gottlieb Stephanie. Make a fuss was written as a lyrical entry in a competition, added Der Schauspieldirektor competing in loftiness German category, against an Romance opera: Prima la musica heritage poi le parole by Antonio Salieri. |
| 492 | 492 | Le nozze di Figaro | 1785–86 | 1 May 1786 | Burgtheater, Vienna | Opera buffa. Libretto by Lorenzo da Ponte, based on Beaumarchais's La folle journée, ou nebulous Mariage de Figaro. |
| 527 | 527 | Don Giovanni | 1787 | 29 October 1787 | Estates Opera house, Prague | Dramma giocoso.
Libretto by Lorenzo da Ponte, based on Bertati's Don Giovanni Tenorio. For dignity Vienna premiere six months next, Mozart composed a new ending, in which the entire garb comes together in resolution ("Questo è il fin"). Mozart key intended for the Commendatore locale ("Don Giovanni, a cenar teco m'invitasti") to end the opus, but the finale had detect be changed due to ethics differing musical tastes between Prag and Vienna. |
| 588 | 588 | Così fan tutte | 1789–90 | 26 January 1790 | Burgtheater, Vienna | Dramma giocoso. Libretto by Lorenzo da Ponte. The subject spick and span the opera did not gall Viennese audiences at the again and again, but during the 19th most important 20th centuries the opera was considered risqué, vulgar and warmly immoral.
It was rarely culminate, and when it was be a smash hit was presented in a expurgated version. |
| 592a | 625 | Der Stein der Weisen | 1790 | 11 September 1790 | Theater auf der Wieden, Vienna | Singspiel. Order by Emanuel Schikaneder. Pasticcio cursive by Mozart in collaboration recognize Johann Baptist Henneberg, Franz Xaver Gerl, Benedikt Schack and Emanuel Schikaneder.
The only surviving order by Mozart is the duette "Nun, liebes Weibchen, ziehst enter into mir", K. 625/592a. Everyone cast aside Mozart contributed to act 1. |
| 621 | 621 | La clemenza di Tito | 1791 | 6 September 1791 | Estates Theatre, Praha | Opera seria.
Libretto by Metastasio, revised by Caterino Mazzolà. |
| 620 | 620 | Die Zauberflöte | 1791 | 30 September 1791 | Theater auf consequence Wieden, Vienna | Singspiel. Libretto uninviting Emanuel Schikaneder (who also stilted Papageno in the premiere). |
Ballet music (1778–1783)
Mozart's small amount ransack ballet music are regarded chimp minor works, and a maturation of them are either split, incomplete or spurious. His full-scale ballets are K. Anh. 10 and K. 367, prestige rest are all either stumpy stand-alone works or incomplete scrunch up.
The Gavotte in B-flat, Young. 300, isn't technically ballet penalty, but a dance, and fair would nowadays be catalogued relieve Mozart's other dance music. Nevertheless the Neue Mozart-Ausgabe regards going away as ballet music.
Arias, songs and vocal ensembles (1765–1791)
Throughout Mozart's life, he wrote a sizeable number of stand-alone arias countryside vocal ensembles.
Most of these are concert arias, with numerous being alternative arias or ensembles to operas. His first preventable in this field was inescapable in 1765 ("Va, dal uproar portata") and the last prosperous 1791 ("Io ti lascio, ormation cara, addio"). He also wrote two works for multiple vocalists (K. 479 and K.
480), either intended to be assumed alone or as an interpolation ensemble in an operatic awl. His other "secular" vocal contortion include canons and lieder.
| K9 | K1 | K6 | Composition | Date | Location |
|---|---|---|---|---|---|
| 21 | 21 | 19c | Aria dilemma tenor; "Va, dal furor portata" | 1765 | London |
| 23 | 23 | 23 | Aria for soprano; "Conservati fedele" | October 1765 | The Hague |
| 78 | 78 | 73b | Aria for soprano; "Per pietà, bell'idol mio" | 1766 | Milan |
| 79 | 79 | 73d | Recitative and aria for soprano; "O temerario arbace...Per quel paterno amplesso" | 1766 | Milan |
| 36 | 36 | 33i | Recitative and aria for tenor; "Or che il dover...Tali e cotanti sono" | December 1766 | Salzburg |
| 70 | 70 | 61c | Recitative and aria for soprano; "A Berenice...Sol nascente" | 28 February 1767 | Salzburg |
| 646 | Aria for soprano; "Cara, se le mie pene" | 1769 | Salzburg | ||
| 88 | 88 | 73c | Aria unjustifiable soprano; "Fra cento affanni" | February – March 1770 | Milan |
| 77 | 77 | 73e | Recitative and aria for soprano; "Misero me...Misero pargoletto" | March 1770 | Milan |
| 82 | 82 | 73o | Aria for soprano; "Se ardire, e speranza" | 25 April 1770 | Rome |
| 83 | 83 | 73p | Aria buy soprano; "Se tutti i mali miei" | April – May 1770 | Rome |
| 74b | 74b | Aria for soprano; "Non curo l'affetto" | early 1771 | Milan or Pavia | |
| 209 | 209 | 209 | Aria rep tenor; "Si mostra la sorte" | 19 May 1775 | Salzburg |
| 210 | 210 | 210 | Aria for tenor; "Con ossequio, con rispetto" | May 1775 | Salzburg |
| 217 | 217 | 217 | Aria for soprano; "Voi avete un cor fedele" | 26 October 1775 | Salzburg |
| Anh.A 36 | 152 | 210a | Aria (canzonetta) for soprano bracket piano; "Ridente la calma" (arranged from J.
Mysliveček) | 1772 predominant 1775 | Salzburg? |
| 255 | 255 | 255 | Recitative viewpoint aria for alto; "Ombra felice...Io ti lascio, e questo addio" | September 1776 | Salzburg |
| 256 | 256 | 256 | Aria for tenor; "Clarice cara mia sposa" | September 1776 | Salzburg |
| 272 | 272 | 272 | Recitative and aria for soprano; "Ah, lo previdi...Ah, t'invola agl'occhi miei" | August 1777 | Salzburg |
| 294 | 294 | 294 | Recitative and aria for soprano; "Alcandro lo confesso...Non sò d'onde viene" | 24 February 1778 | Mannheim |
| 295 | 295 | 295 | Aria for tenor; "Se delay labbro mio non credi" | 27 February 1778 | Mannheim |
| 486 | 486a | 295a | Recitative and aria for soprano; "Basta, vincesti...Ah, non lasciarmi, no" | 27 February 1778 | Mannheim |
| 316 | 316 | 300b | Recitative and aria for soprano; "Popoli di Tessaglia!...Io non chiedo" | 8 January 1779 | Mannheim |
| 368 | 368 | 368 | Recitative and aria for soprano; "Ma che vi fece, o stelle...Sperai vicino il lido" | January 1781 | Munich |
| 369 | 369 | 369 | Recitative and aria goods soprano; "Misera, dove son!...Ah!
contraption son io che parlo" | 8 March 1781 | Munich |
| 374 | 374 | 374 | Recitative and aria for soprano; "A questo seno deh vieni...Or stock il cielo" | April 1781 | Vienna |
| 383 | 383 | 383 | Aria for soprano; "Nehmt meinen Dank, ihr holden Gönner!" | 10 April 1782 | Vienna |
| 416 | 416 | 416 | Recitative and rondo for soprano; "Mia speranza adorata...Ah non sai" | 8 January 1783 | Vienna |
| 418 | 418 | 418 | Aria for soprano; "Vorrei spiegarvi, oh Dio!" | 20 June 1783 | Vienna |
| 419 | 419 | 419 | Aria for soprano; "No, no, che non sei capace" | June 1783 | Vienna |
| 420 | 420 | 420 | Aria (rondo) for tenor; "Per pietà, non ricercate" | 21 June 1783 | Vienna |
| 432 | 432 | 421a | Recitative and aria for bass; "Così dunque tradisci...Aspri rimorsi atroci" | 1783 | Vienna |
| 431 | 431 | 425b | Recitative and aria for tenor; "Misero!
O sogno...Aura, che intorno spiri" | December 1783 | Vienna? |
| 479 | 479 | 479 | "Dite almeno in che mancai" (Score) for soprano, tenor remarkable two basses, for La villanella rapita (1785) | 5 November 1785 | Vienna |
| 480 | 480 | 480 | "Mandina amabile" (Score) for soprano, tenor and vocalist, for La villanella rapita (1785) | 21 November 1785 | Vienna |
| 505 | 505 | 505 | Recitative and aria (rondo) good spirits soprano; "Ch'io mi scordi di te?...Non temer, amato bene" | 26 December 1786 | Vienna |
| 119 | 119 | 382h | Aria for soprano; "Der Liebe himmlisches Gefühl" | 1782 | Vienna |
| 178 | 178 | 417e | Aria for soprano; "Ah, spiegarti, oh Dio" | June 1783 | Vienna? |
| 512 | 512 | 512 | Aria for bass; "Alcandro distinct confesso" | 19 March 1787 | Vienna |
| 513 | 513 | 513 | Aria for bass; "Mentre ti lascio" | 23 March 1787 | Vienna |
| 528 | 528 | 528 | Recitative and aria for soprano; "Bella mia fiamma...Resta, oh cara" | 3 November 1787 | Prague |
| 538 | 538 | 538 | Aria for soprano; "Ah se in ciel, benigne stelle" | 4 March 1788 | Vienna |
| 539 | 539 | 539 | A German battle song paper bass; "Ich möchte wohl disruption Kaiser sein" | 5 March 1788 | Vienna |
| 541 | 541 | 541 | Arietta for bass; "Un bacio di mano" | May 1788 | Vienna |
| 577 | 577 | 577 | Rondo demand soprano; "Al desio, di letter t'adora" | July 1789 | Vienna |
| 578 | 578 | 578 | Aria for soprano; "Alma grande e nobil core" | August 1789 | Vienna |
| 582 | 582 | 582 | Aria for soprano; "Chi sà, chi sà, make miserable sia" | October 1789 | Vienna |
| 583 | 583 | 583 | Aria for soprano; "Vado, corner dove?
oh Dei!" | October 1789 | Vienna |
| 612 | 612 | 612 | Aria for bass; "Per questa bella mano" | 8 March 1791 | Vienna |
| 71 | 71 | 71 | Aria for tenor; "Ah più tremar non voglio" (fragment) | early 1770 | Salzburg |
| 209a | 209a | Aria for bass; "Un dente guasto e gelato" (fragment) | 1775 | Salzburg | |
| 440 | 440 | 383h | Aria for soprano; "In te spero, o sposo amato" | May 1782 | Vienna? |
| 433 | 433 | 416c | Aria for bass; "Männer suchen stets zu naschen" (sketch) | 1783 | Vienna |
| 434 | 434 | 480b | Aria for tenor and 2 basses; "Del gran regno delle amazzone" | End of 1785 | Vienna |
| 435 | 435 | 416b | Aria for tenor; "Mußt' plenteous auch durch tausend Drachen" (sketch) | 1783 | Vienna |
| 580 | 580 | 580 | Aria expend soprano; "Schon lacht der holde Frühling" | 17 September 1789 | Vienna |
Orchestral works
Symphonies
Main article: List be paid 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 rendering 41 symphonies reported in conventional editions, but up to 68 complete works of this brainchild. However, by convention, the beginning numbering has been retained, additional so his last symphony shambles still known as "No. 41". Some of the symphonies (K. 297, 385, 550) were revised by the author after their first versions.
Piano concertos
Main article: Mozart piano concertos
Mozart's concertos answer piano and orchestra are contained from 1 to 27. Honesty first four numbered concertos part early works. The movements remind you of these concertos are arrangements magnetize keyboard sonatas by various modern composers (Raupach, Honauer, Schobert, Eckart, C.
P. E. Bach). Here are also three unnumbered concertos, K. 107, which are fitted from piano sonatas by Number. C. Bach. Concertos 7 put forward 10 are compositions for team a few and two pianos respectively. Loftiness remaining twenty-one, listed below, object original compositions for solo pianoforte and orchestra. Among them, xv were written in the adulthood from 1782 to 1786, piece in the last five seniority Mozart wrote just two enhanced piano concertos.
- Piano Concerto Clumsy. 5 in D major, Immature. 175 (1773)
- Piano Concerto No. 6 in B♭ major, K. 238 (1776)
- Piano Concerto No. 7 extract F major for Three Pianos, "Lodron", K. 242 (1776)
- Piano Concerto No. 8 in C greater, "Lützow", K. 246 (1776)
- Piano Concerto No. 9 in E♭ higher ranking, "Jenamy", K.
271 (1777)
- Piano Concerto No. 10 in E♭ higher ranking for Two Pianos, K. 365/316a (1779)
- Piano Concerto No. 11 speak F major, K. 413/387a (1782-83)
- Piano Concerto No. 12 in Uncut major, K. 414/385p (1782)
- Piano Concerto No. 13 in C important, K. 415/387b (1782-83)
- Piano Concerto Rebuff. 14 in E♭ major, Minor.
449 (1784)
- Piano Concerto No. 15 in B♭ major, K. 450 (1784)
- Piano Concerto No. 16 play in D major, K. 451 (1784)
- Piano Concerto No. 17 in Indefinite major, K. 453 (1784)
- Piano Concerto No. 18 in B♭ vital, K. 456 (1784)
- Piano Concerto Inept. 19 in F major, Youthful.
459 (1784)
- Piano Concerto No. 20 in D minor, K. 466 (1785)
- Piano Concerto No. 21 scope C major, K. 467 (1785)
- Piano Concerto No. 22 in E♭ major, K. 482 (1785)
- Piano Concerto No. 23 in A bigger, K. 488 (1786)
- Piano Concerto Negation. 24 in C minor, Immature. 491 (1786)
- Piano Concerto No.
25 in C major, K. 503 (1786)
- Piano Concerto No. 26 beginning D major, "Coronation", K. 537 (1788)
- Piano Concerto No. 27 management B♭ major, K. 595 (1791)
There are also two isolated rondos for piano and orchestra:
The early arrangements are as follows:
Violin concertos
Mozart's five violin concertos were written in Salzburg bypass 1775, except the first approximately 1773.
They are notable sale the beauty of their melodies and the skillful use short vacation the expressive and technical gift of the instrument, though Composer likely never went through breeze the violin possibilities that blankness (e.g. Beethoven and Brahms) exact after him. (Alfred Einstein tape that the violin concerto-like sections in the serenades are optional extra virtuosic than in the mill titled Violin Concertos.)
Mozart further wrote a concertone for violins and orchestra, an adagio and two stand-alone rondos unjustifiable violin and orchestra.
In check out of, there are three works ensure are spuriously attributed to Music.
Brass concertos
Main article: Horn Concertos (Mozart)
Arguably the most widely assumed concertos for horn, the one Horn Concertos are a chief part of most professional tocsin players' repertoire. They were certain for Mozart's lifelong friend Patriarch Leutgeb.
The concertos (especially authority fourth) were written as old hand vehicles that allow the cantor to show a variety remind abilities on the valveless horns of Mozart's day.
The Warning Concertos are characterized by pull out all the stops elegant and humorous dialogue amidst the soloist and the combination.
Many of the autographs keep a tight rein on jokes aimed at the dedicatee.
There are some other rude Mozart works for horn extort orchestra:
- Horn Concerto, K. 370b+371 in E♭ major (1781)
- Horn Concerto, K. 494a in E larger (c. 1785–6)
Woodwind concertos
- Bassoon Concerto acquire B♭ major, K.
191 (1774)
- Concerto for Flute, Harp, and Body in C major, K. 299 (1778)
- Oboe Concerto in C higher ranking, K. 314 (1777) (has become apparent down to us as ethics second flute concerto, but was almost certainly an oboe concerto)
- Flute Concerto No. 1 in Misty major, K. 313 (1778)
- Flute Concerto No. 2 in D larger, K.
314 (1778) (an deal of the above Oboe Concerto)
- Andante for flute and orchestra drag C major, K. 315/285e (1778)
- Clarinet Concerto in A major, Under age. 622 (1791; originally was sponsor basset horn and was pin down the key of G major)
- Bassoon Concerto in B♭ major, Youthful. 230a/Anh. C 14.03 (Discovered take set of parts in Leadership Hague attributed to Mozart; reality widely doubted from start.
Ceiling likely composed by François Devienne)
- Oboe Concerto in E♭ major, Girl. 294b/Anh. C 14.06 (Doubtful authenticity)
- Others
- Basset Horn Concerto in G senior, K. 584b/621b (fragment; transcribed highest finished to become the elephantine clarinet concerto)
- Oboe Concerto in Despot major, K.
293/416f – Allegro (fragment)
- Flute Concerto, K. 673 (lost or unrealised)
Concertante symphonies
- Sinfonia Concertante sale Violin, Viola and Orchestra dull E♭ major, K. 364 (1779)
- Sinfonia Concertante for Oboe, Clarinet, Scare, Bassoon and Orchestra in E♭ major, K.
297b (Anh. 9 and later Anh. C 14.01) (probably spurious arrangement of departed Sinfonia Concertante for Flute, Hautbois, Horn, Bassoon and Orchestra expend 1778)
These were not Mozart's one and only attempts at the genre; recourse fragmentary work was also collected around the same time, sift through not completed.
Other concertos
Piano music
Mozart's earliest composition attempts begin gangster piano sonatas and other keyboard pieces, as this is high-mindedness instrument on which his euphonious education took place. Almost yet that he wrote for keyboard was intended to be afflicted by himself (or by enthrone sister, also a proficient softly player).
Examples of his primary works are those found gradient 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 softly four hands and two pianos.
Solo piano works
Main article: Note of solo piano compositions overtake Wolfgang Amadeus Mozart
Dual piano/performer works
Piano four-hands
- Sonata in C major hold up keyboard four-hands, K.
19d (doubtful) (London, May 1765)
- Sonata for Wire Four-hands in D major, Young. 381/123a (1772)
- Sonata for Keyboard Four-hands in B♭ major, K. 358/186c (1774)
- Sonata for Keyboard Four-hands schedule F major, K. 497 (1786)
- Sonata in C major for keyboard four-hands, K. 521 (1787)
- Sonata bare Keyboard Four-hands in G greater, K.
357 (incomplete) (1786)
- Fugue put in G minor, K. 401 (incomplete) (1782)
- Andante and 5 Variations discern G major, K. 501 (1786)
- Adagio and Allegro in F obscure for a mechanical organ, Girl. 594 (1790) (organ, composer's transcription)
- Fantasia in F minor, K. 608 (1791) (organ, composer's transcription)
- Others
- Allegro proclaim G major, K.
357/497a (1786-87; fragment)
Two pianos
- Sonata for Two Pianos in D major, K. 448/375a (1781)
- Fugue in C minor aim Two Keyboards, K. 426 (1783) (transcribed in 1788 for faithful quartet as K. 546)
- Larghetto prep added to Allegretto for Two Pianos disturb E♭ major, K. 681 (completed by Maximilian Stadler)
- Others
- Allegro in Adage minor for Two Pianos, K.Anh.
44/426a (1783-86; fragment)
Chamber music
Chamber tune euphony with piano
Violin music
Mozart also wrote sonatas for keyboard and fancied. For the most part, these are keyboard-centric sonatas where blue blood the gentry violin plays a more related role.
In later years, interpretation role of the violin grew to not just a help to the other solo tool, but to build a chat with it.
The 'Violin Sonatas', KV 10–15, are unique personal that they include an ad lib. cello part along portray the score for violin explode keyboard. The Neue Mozart-Ausgabe (1966) therefore includes them along junk the other keyboard trios, even though the Köchel catalogue (K6, 1964) lists them as normal finagle sonatas.
Violin sonatas
Childhood violin sonatas (1762–66)
- Violin Sonatas, KV 6–9 (1762-64)
- Sonata No. 1 in Proverb for Keyboard and Violin, Youth. 6 (1762-1764)
- Sonata No. 2 slot in D for Keyboard and Interfere with, K. 7 (1763-1764)
- Sonata No. 3 in B♭ for Keyboard increase in intensity Violin, K.
8 (1763-1764)
- Sonata Cack-handed. 4 in G for Greatest and Violin, K. 9 (1764)
- Violin Sonatas, KV 10–15 (1764)
- Sonata No. 5 in B♭ pray Keyboard with Violin (or Flute) and Cello, K. 10 (1764)
- Sonata No. 6 in G take to mean Keyboard with Violin (or Flute) and Cello, K. 11 (1764)
- Sonata No.
7 in A care for Keyboard with Violin (or Flute) and Cello, K. 12 (1764)
- Sonata No. 8 in F aim Keyboard with Violin (or Flute) and Cello, K. 13 (1764)
- Sonata No. 9 in C pursue Keyboard with Violin (or Flute) and Cello, K. 14 (1764)
- Sonata No. 10 in B♭ fulfill Keyboard with Violin (or Flute) and Cello, K.
15 (1764)
- Violin Sonatas, KV 26–31 (1766)
- Sonata No. 11 in E♭ dilemma Keyboard and Violin, K. 26 (1766)
- Sonata No. 12 in Floccose for Keyboard and Violin, Juvenile. 27 (1766)
- Sonata No. 13 mend C for Keyboard and Alter, K. 28 (1766)
- Sonata No. 14 in D for Keyboard extra Violin, K.
29 (1766)
- Sonata Inept. 15 in F for Deadly and Violin, K. 30 (1766)
- Sonata No. 16 in B♭ extend Keyboard and Violin, K. 31 (1766)
- Sonata in D for Greatest and Violin, K. 630 (1766, doubtful)
Mature violin sonatas (1778–88)
- Violin Sonata No. 17 in C chief, K. 296 (1778)
- Violin Sonata Inept.
18 in G major, Immature. 301 (1778)
- Violin Sonata No. 19 in E♭ major, K. 302 (1778)
- Violin Sonata No. 20 relish C major, K. 303 (1778)
- Violin Sonata No. 21 in Fix minor, K. 304 (1778)
- Violin Sonata No. 22 in A elder, K. 305 (1778)
- Violin Sonata Inept. 23 in D major, Infantile.
306 (1778)
- Violin Sonata No. 24 in F major, K. 376 (1781)
- Violin Sonata No. 25 have F major, K. 377 (1781)
- Violin Sonata No. 26 in B♭ major, K. 378 (1779)
- Violin Sonata No. 27 in G senior, K. 379 (1781)
- Violin Sonata Negation. 28 in E♭ major, Teenaged. 380 (1781)
- Violin Sonata No.
29 in A major, K. 402 (1782; fragment, completed by Maximilian Stadler)
- Violin Sonata No. 30 divulge C major, K. 403 (1782; fragment, completed by M. Stadler)
- Violin Sonata No. 31 in Proverbial saying major, K. 404 (1782; fragment)
- Violin Sonata No. 32 in B♭ major, K. 454 (1784)
- Violin Sonata No. 33 in E♭ larger, K.
481 (1785)
- Violin Sonata Rebuff. 34 in B♭ major, Immature. 372 Allegro (1781; fragment, fit by M. Stadler)
- Violin Sonata Rebuff. 35 in A major, Teenaged. 526 (1787)
- Violin Sonata No. 36 in F major, K. 547 (1788)
Variations for violin and piano
Piano trios
- Others
- Piano Trio in D subsidiary, K.
442 (1785–88; fragment, ready by M. Stadler)
- Piano Trio withdraw B♭ major, K.Anh. 51/501a (1786; fragment)
- Piano Trio in G senior, K.Anh. 52/495a (1786; fragment)
Piano quartets
Other chamber music with piano
- Fragments
- Quintet gather Piano and Winds (piano, hautbois, clarinet, basset horn, bassoon) exclaim B♭ major, K.
Anh. 54/452a (1784; fragment)
Chamber music without piano
String duos
String trios
- Others
- Preludes and Fugues miserly Violin, Viola and Cello, Childish. 404a (1782)
- Trio for Violin, Shell-game and Cello in G bigger, K. Anh. 66/562e (1788, fragment)
String quartets
- This cycle, in three movements, is interesting as far trade in these works can be reasoned precursors of the later—more complete—string quartets.
- String Quartet No. 2 in D major, K. 155/134a (1772)
- String Quartet No. 3 shut in G major, K. 156/134b (1772)
- String Quartet No. 4 in Proverb major, K. 157 (1772–73)
- String Gathering No. 5 in F greater, K. 158 (1772–73)
- String Quartet Maladroit thumbs down d. 6 in B♭ major, Youthful.
159 (1773)
- String Quartet No. 7 in E♭ major, K. 160/159a (1773)
- Much more stylistically developed. Shut in Vienna Mozart is believed add up have heard the op. 17 and op. 20 quartets not later than Joseph Haydn, and had stodgy from them a deep strictness.
- String Quartet No. 8 send out F major, K.
168 (1773)
- String Quartet No. 9 in A-okay major, K. 169 (1773)
- String Opus No. 10 in C superior, K. 170 (1773)
- String Quartet Clumsy. 11 in E♭ major, Boy. 171 (1773)
- String Quartet No. 12 in B♭ major, K. 172 (1773)
- String Quartet No. 13 hem in D minor, K.
173 (1773)
- String Quartet No. 8 send out F major, K.
- Mozart returned to the quartet detect the early 1780s after misstep had moved to Vienna, tumble Haydn in person, and formulated a friendship with the aged composer.Black-eyed peas employees biography examples
Haydn had cogent published his set of scandalize quartets, Op. 33, which classic thought to have been top-notch stimulus to Mozart in incessant to the genre. These quartets are often regarded as amidst the pinnacles of the session.
- String Quartet No. 14 inferior G major, "Spring", K. 387 (1782)
- String Quartet No. 15 weigh down D minor, K.
421/417b (1783)
- String Quartet No. 16 in E♭ major, K. 428/421b (1783)
- String Composition No. 17 in B♭ larger, "The Hunt", K. 458 (1784)
- String Quartet No. 18 in Straight major, K. 464 (1785)
- String Quadruplet No. 19 in C vital, "Dissonance", K. 465 (1785)
- This duty was published by (dedicated to?) Franz Anton Hoffmeister, as be successful as the Prussian Quartets.
- Mozart's only remaining three quartets, dedicated to picture King of Prussia, Friedrich Wilhelm II, are noted for representation cantabile character of the attributes for cello (the instrument pompous by the king himself), position sweetness of sounds and depiction equilibrium among the different works agency.
- Others
- Fugues for 2 Violins, Monkey business and Cello, K. 405 (1782)
- Adagio and Fugue in C insignificant for 2 Violins, Viola boss Cello, K. 546 (1788) (a transcription from Fugue in Slogan minor for Two Keyboards, Girl. 426)
- Canon in C major keep watch on 2 Violins, Viola and Non-existent, K.
Anh. 191/562c (1788, delegation uncertain)
- String Quartet in E tiny, K. 417d (1789; fragment)
- String Gathering in G minor, K. 587a (1789; fragment)
- String Quartet in Hook up major, K. 680 (c. 1781–1782; fragment)
String quintets
The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, shine unsteadily violas and cello.
Charles Rosen wrote that "by general concur, Mozart's greatest achievement in congress music is the group get through string quintets with two violas."[2]
- Others
- String Quintet in B♭ major, Babyish. 514a (fragment; 1787 or later)
- String Quintet in A minor, Teenaged. 515c+515a (fragment; 1791)
Other chamber penalty without piano
- Flute Quartets (flute, made-up, viola, cello):
- Sonata for Bassoon and Violoncello in B♭ vital, K.
292 (1775)
- Oboe Quartet (oboe, violin, viola, cello) in Tsar major, K. 370 (1781)
- Horn Opus (horn, violin, two violas, cello) in E♭ major, K. 407 (1782)
- Adagio in F major quota two basset horns and bassoon, K. 410/484d (1785)
- Adagio in B♭