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

• The indication "K." or "KV" refers to Köchel Verzeichnis (Köchel catalogue), i.e. the (more or less) chronological catalogue of Mozart's works by Ludwig von Köchel. This catalogue has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 24 and Symphony No. 25, numbered K. 173dA and 173dB in the 6th edition).
• The compositions listed below are grouped thematically, i.e. by type of composition.
• Only relatively few of Mozart's compositions have opus numbers, as not so many of his compositions were published during his lifetime, so numbering by opus number proves quite impractical for Mozart compositions.

Sacred choral music

Mozart's sacred choral music consists of Masses, Litanies, Vespers, Psalms, Church Music, Oratorios, Cantatas, Requiem among and other shorter and fragmented works. Beginning in 1768 and ending in 1791, his sacred works are considered some of the most important and influential ever written. Pulling away from the basis of the sacred works of Bach or Handel, which at the time of his later output (around 1780 to 1791) had gone out of fashion, his sacred works eventually resulted in the Requiem, which was left unfinished at his early death in 1791.

Masses (1768–1783)

Litanies (1771–1776)

Vespers and psalms (1774–1780)

Church music (1767–1791)

Oratorios and cantatas (1767–1785)

Requiem (1791)

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

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

Fragments and unfinished works (1766–1791)

Theatre music

Operas (1766–1791)

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

Ballet music (1778–1783)

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

Arias, songs and vocal ensembles (1765–1791)

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

Orchestral works

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.

Piano concertos

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

• 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)

Violin concertos

Mozart's five violin concertos were written in Salzburg around 1775, except the first around 1773. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart likely never went through all the violin possibilities that others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto-like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)

• 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. 268/365b/Anh. C 14.04 ("No. 6") (1780) (attributed to Johann Friedrich Eck)
• 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)

Brass 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.

• 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

• 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) (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. 294b/Anh. C 14.06 (Doubtful authenticity)

Others

• Basset Horn Concerto in G major, K. 584b/621b (fragment; transcribed and finished to the well-known clarinet concerto)
• Oboe Concerto in F major, K. 293/416f – Allegro (fragment)

Concertante symphonies

• 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; another fragmentary work was 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)

Other concertos

• Concerto for Violin, Piano, and Orchestra in D major, K. 315f (Anh. 56) (1778, fragment)
• Concerto for Trumpet, K. 47c (1768, 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, 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

Dual piano/performer works

Piano four-hands

• 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 5 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

• 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

Chamber music with piano

Violin music

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

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

Violin sonatas

Childhood violin sonatas (1762–66)

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

Mature violin sonatas (1778–88)

• 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

• 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

• 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

• 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

• 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

String duos

• 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

• 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

• 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, "The 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) “Prussian No. 1”
• String Quartet No. 22 in B♭ major, K. 589 (1790) “Prussian No. 2”
• String Quartet No. 23 in F major, K. 590 (1790) “Prussian No. 3”

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

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."

• 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

• 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

The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, dances, and a quodlibet, besides, of course, his symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind ensembles and the varied combinations of strings and winds.

Serenades

• Cassation in D major (Serenade No. 1), K. 100/62a (1769)
• 4 Contredanses in F major (Serenade No. 2), K. 101/250a (1776)
• Serenade No. 3 in D major, "Antretter", K. 185/167a (1773)
• Serenade No. 4 in D major, "Colloredo", K. 203/189b (1774)
• Serenade No. 5 in D major, K. 204/213a (1775)
• Serenade No. 6 in D major, "Serenata Notturna", K. 239 (1776)
• Serenade No. 7 in D major, "Haffner", K. 250/248b (1776)
• Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (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 G major, K. 63 (1769)
• Cassation in B♭ major, K. 99/63a (1769; Probable first performance based on ensemble)
• Cassation in D major, K. 100/62a (alternative title: Serenade No. 1) (1769)

Divertimenti

• Divertimento No. 1 in E♭ major, K. 113 (1771)
• Divertimento No. 2 in D major, K. 131 (1772)
• Divertimento for string quartet or string orchestra in D major, K. 136/125a ("Salzburg Symphony No. 1") (1772)
• Divertimento for string quartet or string orchestra in B♭ major, K. 137/125b ("Salzburg Symphony No. 2") (1772)
• Divertimento for string quartet or string orchestra in F major, K. 138/125c ("Salzburg Symphony No. 3") (1772)
• Divertimento No. 3 for winds in E♭ major, K. 166/159d (1773)
• Divertimento No. 4 for winds in B♭ major, K. 186/159b (1773)
• Divertimento No. 5 for winds in C major, K. 187 (Anh. C 17.12) (1773) (spurious, by Leopold Mozart)
• Divertimento No. 6 for winds in C major, K. 188/240b (1773)
• Divertimento No. 7 in D major, K. 205/167A (1773)
• Divertimento No. 8 for winds in F major, K. 213 (1775)
• Divertimento No. 9 for winds in B♭ major, K. 240 (1776)
• Divertimento No. 10 in F major, K. 247, "Lodron No. 1" ("Lodronische Nachtmusik") (1776)
• Divertimento No. 11 in D major, K. 251 (1776)
• Divertimento No. 12 for winds in E♭ major, K. 252/240a (1776)
• Divertimento No. 13 for winds in F major, K. 253 (1776)
• Divertimento for piano, violin and violoncello in B♭ major, K. 254 ("Piano Trio No. 1") (1776)
• Divertimento No. 14 for winds in B♭ major, K. 270 (1777)
• Divertimento No. 15 in B♭ major, K. 287/271h "Lodron No. 2" ("Lodronische Nachtmusik") (1777)
• Divertimento No. 16 for winds in E♭ major, K. 289/271g (1777) (doubtful)
• Divertimento No. 17 in D major, K. 334/320b (1779–80)
• Five Divertimentos (25 pieces) for three basset horns in B♭ major, K. 439b (Anh. 229) (1783)
• Divertimento for two horns and strings in F major, "A Musical Joke" ("Ein musikalischer Spaß"), K. 522 (1785–87?)
• Divertimento for string trio in E♭ major, K. 563 (1788)

Others

• 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

• 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

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

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

• 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; abandoned/unfinished and partially lost, reconstructed and/or completed by musicologists and composers since the 20th century)
• Requiem Mass in D minor, K. 626 (1791; unfinished, completed by Franz Xaver Süssmayr after Mozart's death, recompleted/revised by other musicologists and composers since the 20th century)

Oratorios

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

Cantatas

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

Church sonatas

Others

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

Other sacred works

Kyrie

• Kyrie in F major, K. 33 (1766)
• Kyrie in G major, K. 89/73k (1770 or 1772)
• Kyrie in D minor for soprano, alto, tenor, bass, K. 90 (doubtful) (1771–72)
• Kyrie in D major, K. 91/186i/Anh. 17 (spurious, originally by J. A. Reutter, terminated by Franz Xaver Süssmayr) (1774)
• Kyrie in D minor, K. 341/368a (1787–91)

Others

• Kyrie in C major, K. 166f/Anh. 18 (fragment) (1772)
• Kyrie in D major, K. 166g/Anh. 19 (fragment) (1772)
• Kyrie in E♭ major, K. 322/296a, (fragment; completed by Maximilian Stadler) (early 1778)
• Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)
• Kyrie in G major, K. 196a/Anh. 16 (fragment) (1787–89)
• Kyrie in D major, K. 422a/Anh. 14 (fragment) (1787–89)
• Kyrie in C major, K. 258a/Anh. 13 (fragment) (1787–91)

Gradual

• 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)
• 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

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

Motets

• 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)

Hymns and arias

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

Organ music

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

Concert arias, songs and canons

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

Others

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

Masonic music

The following are compositions written for the Masonic Lodge:

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

• 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

• Mozart symphonies of spurious or doubtful authenticity

References

External links

• Publications of music and writings by Mozart from Project Gutenberg
• Wolfgang Amadeus Mozart: List of works by at the International Music Score Library Project
• 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