Works/Mp3
Biography
Links
Books
Biography of

Wolfgang Amadeus Mozart

27 jan 1756 (Salzburg) - 5 dec 1791 (Vienna)
Main biography
Mozart's name
List of compositions by Wolfgang Amadeus Mozart
Köchel catalogue
Buy sheetmusic from Mozart at SheetMusicPlus
This is a selective list of the works of Wolfgang Amadeus Mozart, listed by genre. For a complete list, ordered chronologically, see Köchel catalogue.

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.

Contents

How Mozart's compositions are listed

  • The indication "K." or "KV" refers to "Köchel Verzeichnis", i.e. the (more or less) chronological (i.e. by composition date) catalog of Mozart's works by Ludwig von Köchel. Note that this catalog has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 25).
  • 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

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.

There are also several "unnumbered" symphonies from this time period.

  • Symphony in F major, K. Anh. 223 (19a)
  • Symphony in G major, K. Anh. 221 (45a) "Old Lambach"
  • Symphony in F major, K. 76 (42a)
  • Symphony in B-flat major, K. Anh. 214 (45b)
  • Symphony in D major, K. 81 (73l)
  • Symphony in D major, K. 97 (73m)
  • Symphony in D major, K. 95 (73n)
  • Symphony in B-flat major, K. Anh. 216 (C11.03)
  • Symphony in C major, K. 96

Salzburg-era symphonies (1771–1781)

These symphonies are sometimes subcategorized as "Early" (1771–1773) and "Late" (1773–1775), and sometimes subcategorized as "Germanic" (with minuet) or "Italian" (without minuet). None of these were printed during Mozart's lifetime.

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

Late symphonies (1781–1791)

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.

Concertos

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). 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.

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 like others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto–like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)

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
  • Rondo for violin and orchestra in C major, K. 373

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

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

Horn concertos

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

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

Woodwind concertos

Concertante symphonies

Other

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

Dual piano/performer works

Piano four-hands

Two pianos

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
    • Sonata in C for Keyboard and Violin, K. 6
    • Sonata in D for Keyboard and Violin, K. 7
    • Sonata in B-flat for Keyboard and Violin, K. 8
    • Sonata in G for Keyboard and Violin, K. 9
  • Violin Sonatas, KV 10–15
    • Sonata in B-flat for Keyboard and Violin (or Flute), K. 10
    • Sonata in G for Keyboard and Violin (or Flute), K. 11
    • Sonata in A for Keyboard and Violin (or Flute), K. 12
    • Sonata in F for Keyboard and Violin (or Flute), K. 13
    • Sonata in C for Keyboard and Violin (or Flute), K. 14
    • Sonata in B-flat for Keyboard and Violin (or Flute), K. 15
  • Violin Sonatas, KV 26–31
    • Sonata in E-flat for Keyboard and Violin, K. 26
    • Sonata in G for Keyboard and Violin, K. 27
    • Sonata in C for Keyboard and Violin, K. 28
    • Sonata in D for Keyboard and Violin, K. 29
    • Sonata in F for Keyboard and Violin, K. 30
    • Sonata in B-flat for Keyboard and Violin, K. 31

Mature violin sonatas (1778–88)

Variations for violin and piano

String duos and trios

String quartets

This cycle, in three movements, is interesting as far as these works can be considered precursors of the later —more complete— string quartets.
  • String Quartet No. 2 in D major, K. 155/134a (1772)
  • String Quartet No. 3 in G major, K. 156/134b (1772)
  • String Quartet No. 4 in C major, K. 157 (1772–73)
  • String Quartet No. 5 in F major, K. 158 (1772–73)
  • String Quartet No. 6 in B-flat major, K. 159 (1773)
  • String Quartet No. 7 in E-flat major, K. 160/159a (1773)
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
  • String Quartet No. 8 in F major, K. 168 (1773)
  • String Quartet No. 9 in A major, K. 169 (1773)
  • String Quartet No. 10 in C major, K. 170 (1773)
  • String Quartet No. 11 in E-flat major, K. 171 (1773)
  • String Quartet No. 12 in B-flat major, K. 172 (1773)
  • String Quartet No. 13 in D minor, K. 173 (1773)
  • Haydn Quartets K. 387, 421, 428, 458, 464, 465, Opus 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.

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]

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

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

Divertimenti

  • Galimathias Musicum (Quodlibet), K. 32 (1766)
  • Cassation in G, K. 63 (1769)
  • Cassation in B-flat, K. 99 (1769)
  • Divertimento in E-flat, K. 113 (1771)
  • Divertimento in D, K. 131 (1772)
  • Divertimenti, K. 136–138 (1772)
  • Divertimento in D, K. 205 (1773)
  • Divertimento in F "Lodron", K. 247 (1776)
  • Divertimento in D, K. 251 (1776)
  • 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

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 K. 204 Serenade)
  • March in D major, K. 237 (to open and/or close K. 203 Serenade)
  • March in F major, K. 248 (for use with K. 247 Divertimento)
  • March in D major, K. 249 (to open and/or close K. 250 "Haffner" Serenade)
  • March in D major, K. 290
  • March in D major, K. 335, No. 1 (probably to open K. 320 "Posthorn" Serenade)
  • March in D major, K. 335, No. 2 (probably to close K. 320 "Posthorn" Serenade)
  • 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 K. 334 Divertimento)

Dances

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

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale K. 534, La Bataille K. 535, Canary K. 600/5, etc.

  • 6 Menuets, K. 61h
  • 7 Menuets, K. 65a/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 German Dances, K. 609
  • Contredanse in G, K. 610

Sacred music

Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780.

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

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

Masses

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

Other sacred music

Mozart's other sacred music includes:

  • God is Our Refuge, K. 20
  • 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

Two Vesper services:

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

Church sonatas

  • Church Sonata No. 1 in E-flat K. 41h (1772)
  • Church Sonata No. 2 in B K. 68 (1772)
  • Church Sonata No. 3 in D K. 69 (1772)
  • Church Sonata No. 4 in D, K. 144 (1772)
  • Church Sonata No. 5 in F, K. 145 (1772)
  • Church Sonata No. 6 in B, K. 212 (1775)
  • Church Sonata No. 7 in F, K. 241a (1776)
  • Church Sonata No. 8 in A, K. 241b (1776)
  • Church Sonata No. 9 in G, K. 241 (1776)
  • Church Sonata No. 10 in F, K. 244 (1776)
  • Church Sonata No. 11 in D, K. 245 (1776)
  • Church Sonata No. 12 in C, K. 263 (1776)
  • Church Sonata No. 13 in G, K. 274 (1777)
  • Church Sonata No. 14 in C, K. 278 (1777)
  • Church Sonata No. 15 in C, K. 328 (1779)
  • Church Sonata No. 16 in C, K. 329 (1779)
  • Church Sonata No. 17 in C, K. 336 (1780)

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

Concert arias, songs and canons

Recordings

At least tens of thousands of recordings of Mozart's works have been made since the beginning of the 20th century, of which thousands are in print and available for download or on compact disc at any given time.

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

References

  1. ^ King, Alec Hyatt (1973). "Some Aspects of Recent Mozart Research". Journal of the Royal Musical Association 100 (1): 9–10. doi:10.1093/jrma/100.1.1. ISSN 0080-4452. OCLC 478409660. 
  2. ^ Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven (2nd ed.). New York: W. W. Norton & Company. ISBN 9780393040203. OCLC 35095841. http://books.google.com/books?id=aAFUOreO-nMC. 
  3. ^ Search online for B000050GG5 for the full set. The same sources found will usually offer various multi-disc volumes from the Philips set.
  4. ^ Search online for