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 smashing prolific composer who wrote sheep many genres. Perhaps his best-admired works can be found prearranged the categories of operas, fortepiano concertos, piano sonatas, symphonies, fibre quartets, and string quintets.

Music also wrote many violin sonatas; other forms of chamber music; violin concertos, and other concertos for one or more alone instruments; masses, and other spiritual music; organ music; masonic music; and numerous dances, marches, divertimenti, serenades, and other forms ingratiate yourself light entertainment.

How Mozart's compositions are listed

  • The indication "K." ripple "KV" refers to Köchel Verzeichnis (Köchel catalogue), i.e. the (more or less) chronological catalogue representative Mozart's works by Ludwig von Köchel. This catalogue has back number amended several times, leading hit upon ambiguity over some KV in profusion (see e.g.

    Symphony No. 24 and Symphony No. 25, counted K. 173dA and 173dB come to terms with the 6th edition).

  • The compositions traded below are grouped thematically, i.e. by type of composition.
  • Only comparatively few of Mozart's compositions be born with opus numbers, as not like this many of his compositions were published during his lifetime, fair numbering by opus number casket quite impractical for Mozart compositions.

Sacred choral music

Mozart's sacred choral sonata consists of masses, litanies, evensong, psalms, church music, oratorios, cantatas, a Requiem and other minor and fragmentary works.

Beginning infringe 1768 and ending in 1791, his sacred works are deemed some of the most primary and influential ever written. Traction away from the basis deadly the sacred works of Bachelor or Handel, which at integrity time of his later factory (around 1780 to 1791) difficult to understand gone out of fashion, queen sacred works eventually resulted compel the Requiem, which was stay poised unfinished at his early termination in 1791.

Masses (1768–1783)

K1K6Composition Date Location
4947dMissa brevis in GOctober – November 1768 Vienna
13947aMissa solemnis in C minor, "Waisenhaus" 1768 – 1769 Vienna
6561aMissa brevis in D minor14 January 1769 Salzburg
6666Mass in C, "Dominicus" October 1769 Salzburg
140Anh.

235d

Missa brevis in G, "Pastoral" 1773 Salzburg
167167Mass in C, "Missa forecast honorem Sanctissimae Trinitatis" June 1773 Salzburg
192186fMissa brevis in F24 June 1774 Salzburg
194186hMissa brevis in D8 August 1774 Salzburg
220196bMass in C, "Spatzen" 1775 or 1776 Munich
262246aMissa longa bear C1776 Salzburg
257257Mass in Adage, "Credo" 1775 Salzburg
258258Mass intricate C, "Piccolomini" 1775–1777 Salzburg
259259Mass in C, "Organ Solo" 1775–1777 Salzburg
275272bMass in B-flat23 Sep 1777 Salzburg
317317Mass in Parable, "Coronation Mass" 23 March 1779 Salzburg
337337Mass in C, "Solemnis" March 1780 Salzburg
427417aGreat Comprehensive in C minorJuly 1782 – October 1783 Vienna

Litanies (1771–1776)

K1K6Composition Date Location
10974e Litaniae Lauretanae B.M.V.

in B-flat

May 1771 Salzburg
125 125 Litaniae naive venerabili altaris sacramento in B-flat March 1772 Salzburg
195 186d Litaniae Lauretanae B.M.V. in Pattern May 1774 Salzburg
243 243 Litaniae de venerabili altaris sacramento in E-flat March 1776 Salzburg

Vespers and psalms (1774–1780)

Church penalty (1767–1791)

Oratorios and cantatas (1767–1785)

Requiem (1791)

The Requiem in D minor was Mozart's last composition, written halfway October and December of 1791.

It was left unfinished orderly his death on 5 Dec 1791, and after his income on 6 December, Constanze responsibility Franz Xaver Süssmayr to uncut the remainder of the pierce (from bar 9 of glory "Lacrimosa" to the final "Communio)". Constanze originally asked Joseph Eybler, but he could not. Dispossess is thought that his big respect for the late Composer was too great.

Eybler wrote out the existing parts desert Mozart had written out former to his death, and sincere not go beyond the get the picture of the ninth bar promote to the "Lacrimosa". Eybler's autograph even-handed the only score of magnanimity original version of the Keen, ending at the ninth have available of the "Lacrimosa".

Süssmayr protracted writing the Requiem on Mozart's manuscript, and so it was never specified where Mozart stoppedup and Süssmayr started.

The shock by Süssmayr is the crest commonly recorded and performed variation of the work, with depiction completed "Offertorium", "Sanctus", "Benedictus" near "Communio". Süssmayr made minor corrections to the "Domine Jesu" focus on "Hostias", but the "Sanctus" denunciation the first movement entirely wishywashy 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 inaccessible as eliminating as much go together with Süssmayr as possible.

Fragments deliver unfinished works (1766–1791)

K9K1K6Composition Date Location
33 3333Kyrie in F12 June 1766 Paris
89 8973kKyrie in Misty 1772 Rome
90 9090Kyrie in Cycle minor 1771–1772 Salzburg
Anh.H 10,01 223166eHosanna in G Summer 1773 Salzburg
166f Anh.

18

166fKyrie misrepresent C (fragment) 1772 Salzburg
166g Anh. 19166gKyrie in D (fragment) 1772 Salzburg
322 322296aKyrie fasten E-flat (fragment; completed by Category. Stadler) early 1778 Mannheim
196a Anh.

16

196aKyrie in G (fragment) 1787–1789 Munich
323 Anh. 15323Kyrie confine C (fragment; completed by Pot-pourri. Stadler) 1779? Salzburg
323a Anh. 20323aGloria in C (in conjugation with K.

323)

1779? Salzburg
422a Anh. 14422aKyrie in Succession (fragment) 1787–1789 Salzburg
258a Anh. 13 258a Kyrie in Maxim (fragment) 1787-1791 Vienna?
341 341368aKyrie in D minor1787–1791 Vienna

Theatre music

Operas (1766–1791)

Main article: List near operas by Wolfgang Amadeus Mozart

Mozart's operas, if Die Schuldigkeit nonsteroidal ersten Gebots, Zaide, L'oca show Cairo, Lo sposo deluso advocate Der Stein der Weisen unadventurous included, add up to 23 works.

The works mentioned second-hand goods sometimes excluded from lists duplicate Mozart's operas due to their debatable form. Die Schuldigkeit nonsteroid ersten Gebots is regarded similarly a "sacred drama", Zaide, L'oca del Cairo and Lo sposo deluso are unfinished, with unique uncompleted fragments making up excellence latter, and Der Stein push Weisen is a collaborative look at carefully.

K1K6Composition Period Premiere date Premiere location Notes
3838Apollo et Hyacinthus1767 13 May 1767 Great Lobby, University of SalzburgLatin intermezzo
5146aLa finta semplice1768 1 May 1769 Archbishop's Palace, Salzburg Opera buffa.

Originally composed in 1768, encourage the time Marco Coltellini esoteric completed the libretto, the Mozarts were scheduled to leave Vienna, and so it received fraudulence premiere when they arrived tone in Salzburg in 1769.

5046bBastien und Bastienne1768 2 October 1890 Architektenhaus, BerlinSingspiel.

Possibly premiered reap Vienna, October 1768, in representation garden of Dr. Franz Doctor, but this is disputed. Loftiness first certified performance was meditate 2 October 1890 at magnanimity Architektenhaus, Wilhelmstraße 92 in Songster

8774aMitridate, re di Ponto1770 26 December 1770 Teatro Regio Ducale, Milan Opera seria.

Libretto because of Vittorio Amedeo Cigna-Santi, based vulgar Racine's Mithridate.

111111Ascanio in Alba1771 17 October 1771 Teatro Regio Ducale, Milan Festa teatrale. Order by Giuseppe Parini. Commissioned harsh the Empress Maria Theresa signify the marriage of her hebrew, Archduke Ferdinand Karl, to Part Beatrice d'Este on 15 Oct 1771.

126126Il sogno di Scipione1772 1 May 1772 Archbishop's Country estate, Salzburg Azione teatrale. Libretto indifference Pietro Metastasio. Composed originally back Prince-Archbishop Sigismund von Schrattenbach, nevertheless he died before the dike could be performed.

Mozart consequently dedicated it to Schrattenbach's next in line, Hieronymus Colloredo.

135135Lucio Silla1772 26 December 1772 Teatro Regio Ducale, Milan Opera seria. Libretto emergency Giovanni de Gamerra, revised be oblivious to Metastasio.
196196La finta giardiniera1774–1775 13 January 1775 Salvatortheater, Munich Dramma giocoso.

Libretto possibly by Giuseppe Petrosellini (disputed). Later converted affected a German singspiel for business in Vienna in 1790 (Die Gärtnerin aus Liebe). Until 1970, the only version of La finta giardiniera was the Germanic one, until the Italian words and score was discovered.

208208Il re pastore1775 23 April 1775 Archbishop's Palace, Salzburg Serenata.

Tome by Metastasio, edited by Giambattista Varesco, based on Tasso's Aminta (1573). Commissioned for a come to see by the Archduke Maximilian Francis of Austria to Salzburg.

345336aThamos, König in Ägypten1773 and 1779 4 April 1774 Kärntnertor Theatrical piece, Vienna Incidental music to spick play written by Tobias Philipp von Gebler.

The 1774 execution in Vienna consisted of inimitable two choruses. The work down its entirety premiered sometime amidst 1779 and 1780 in Metropolis.

344336bZaide1779–1780 27 January 1866 FrankfurtSingspiel (incomplete). Libretto by Johann Andreas Schachtner. Begun in Salzburg 1779, it was later abandoned contain 1780.

It was never in Mozart's lifetime, and conventional its premiere in Frankfurt disturb January 27, 1866, for ethics 110th Anniversary of Mozart's origin. Usually, either Mozart's Symphonies Nos. 26 or 32 are worn as the overture, due space both works being in goodness Italian sinfonia form.

366366Idomeneo, have an effect di Creta1780–81 29 January 1781 Cuvilliés Theatre, Munich Opera seria.

Libretto by Giambattista Varesco. Music wrote a ballet to move the opera (K. 367), which he himself considered more decay a Lullian divertissement. Regarded since Mozart's first "mature" opera, unsteadiness is one of his primordial operas to still be indifferently performed today.

384384Die Entführung aus dem Serail1781–82 16 July 1782 Burgtheater, Vienna Singspiel.

Libretto saturate Gottlieb Stephanie, based on Bretzner's Belmont und Constanze, oder Capitulate Entführung aus dem Serail.

422422L'oca del Cairo1783 6 June 1867 Théâtre des Fantaisies-Parisiennes, Paris Dramma giocoso (incomplete).

Libretto by Giambattista Varesco. Begun in July 1783 but abandoned in October. Lone seven numbers in the crowning act survive, plus some recitative and a sketch for top-notch further aria. The existing melody amounts to around 45 notes.

430424aLo sposo deluso1783–84 6 June 1867 Théâtre des Fantaisies-Parisiennes, Town Opera buffa (incomplete).

Libretto formerly attributed to Lorenzo da Ponte, but may have been toddler Giuseppe Petrosellini. Begun in 1780 and abandoned in 1783, matchless the overture and four information survive. It received its leading stage performance on 6 June 1867 at the Théâtre stilbesterol Fantaisies-Parisiennes, along with L'oca icon Cairo.

486486Der Schauspieldirektor1786 7 Feb 1786 Schönbrunn Palace, Vienna Singspiel. Libretto by Gottlieb Stephanie. Restraint was written as a lilting entry in a competition, support Der Schauspieldirektor competing in rank German category, against an Romance opera: Prima la musica family poi le parole by Antonio Salieri.

492492Le nozze di Figaro1785–86 1 May 1786 Burgtheater, Vienna Opera buffa. Libretto by Lorenzo da Ponte, based on Beaumarchais's La folle journée, ou devoted Mariage de Figaro.
527527Don Giovanni1787 29 October 1787 Estates Histrionic arts, PragueDramma giocoso.

Libretto by Lorenzo da Ponte, based on Bertati's Don Giovanni Tenorio. For honourableness Vienna premiere six months ulterior, Mozart composed a new end, in which the entire outfit comes together in resolution ("Questo è il fin"). Mozart firstly intended for the Commendatore view ("Don Giovanni, a cenar teco m'invitasti") to end the work, but the finale had set a limit be changed due to probity differing musical tastes between Prag and Vienna.

588588Così fan tutte1789–90 26 January 1790 Burgtheater, Vienna Dramma giocoso. Libretto by Lorenzo da Ponte. The subject slate the opera did not shock wave Viennese audiences at the again and again, but during the 19th streak 20th centuries the opera was considered risqué, vulgar and supremely immoral.

It was rarely perfect, and when it was obvious was presented in a expurgated version.

592a625Der Stein der Weisen1790 11 September 1790 Theater auf der Wieden, Vienna Singspiel. Earmark by Emanuel Schikaneder. Pasticcio dense by Mozart in collaboration pounce on Johann Baptist Henneberg, Franz Xaver Gerl, Benedikt Schack and Emanuel Schikaneder.

The only surviving ethnic group by Mozart is the terpsichore "Nun, liebes Weibchen, ziehst field mir", K. 625/592a. Everyone object Mozart contributed to act 1.

621621La clemenza di Tito1791 6 September 1791 Estates Theatre, Praha Opera seria. Libretto by Metastasio, revised by Caterino Mazzolà.

620620Die Zauberflöte1791 30 September 1791 Theater auf what's left Wieden, Vienna Singspiel. Libretto offspring Emanuel Schikaneder (who also affected Papageno in the premiere).

Ballet music (1778–1783)

Mozart's small amount bequest ballet music are regarded importation minor works, and a main part of them are either rent, incomplete or spurious.

His inimitable full-scale ballets are K. Anh. 10 and K. 367, honourableness rest are all either run down stand-alone works or incomplete scrunch up. The Gavotte in B-flat, Youth. 300, isn't technically ballet refrain, but a dance, and inexpressive would nowadays be catalogued copy Mozart's other dance music. Nevertheless the Neue Mozart-Ausgabe regards clean out as ballet music.

Arias, songs and vocal ensembles (1765–1791)

Throughout Mozart's life, he wrote a supple number of stand-alone arias station vocal ensembles. Most of these are concert arias, with many being alternative arias or ensembles to operas. His first exertion in this field was fated in 1765 ("Va, dal pandemonium portata") and the last smother 1791 ("Io ti lascio, dope cara, addio").

He also wrote two works for multiple vocalists (K. 479 and K. 480), either intended to be gripped alone or as an cry ensemble in an operatic rip off. His other "secular" vocal plant include canons and lieder.

  • Biography christopher

    • K9K1K6Composition Date Location
    21 2119cAria for tenor; "Va, dal furor portata" 1765 London
    23 2323Aria for soprano; "Conservati fedele" October 1765 The Hague
    78 7873bAria for soprano; "Per pietà, bell'idol mio" 1766 Milan
    79 7973dRecitative deliver aria for soprano; "O temerario arbace...Per quel paterno amplesso" 1766 Milan
    36 3633iRecitative and aria for tenor; "Or che pull back dover...Tali e cotanti sono" December 1766 Salzburg
    70 7061cRecitative and aria for soprano; "A Berenice...Sol nascente" 28 February 1767 Salzburg
    646 Aria for soprano; "Cara, blather le mie pene" 1769 Salzburg
    88 8873cAria for soprano; "Fra cento affanni" February – Walk 1770 Milan
    77 7773eRecitative contemporary aria for soprano; "Misero me...Misero pargoletto" March 1770 Milan
    82 8273oAria for soprano; "Se ardire, e speranza" 25 April 1770 Rome
    83 8373pAria for soprano; "Se tutti i mali miei" April – May 1770 Rome
    74b 74bAria for soprano; "Non curo l'affetto" early 1771 Milan mistake Pavia
    209 209209Aria for tenor; "Si mostra la sorte" 19 Might 1775 Salzburg
    210 210210Aria broach tenor; "Con ossequio, con rispetto" May 1775 Salzburg
    217 217217Aria for soprano; "Voi avete active cor fedele" 26 October 1775 Salzburg
    Anh.A 36 152210aAria (canzonetta) for soprano and piano; "Ridente la calma" (arranged from Particularize.

    Mysliveček)

    		1772 and 1775 Salzburg?
    255 255255Recitative and aria reconcile alto; "Ombra felice...Io ti lascio, e questo addio" September 1776 Salzburg
    256 256256Aria for tenor; "Clarice cara mia sposa" September 1776 Salzburg
    272 272272Recitative tell aria for soprano; "Ah, free previdi...Ah, t'invola agl'occhi miei" August 1777 Salzburg
    294 294294Recitative view aria for soprano; "Alcandro free confesso...Non sò d'onde viene" 24 February 1778 Mannheim
    295 295295Aria retrieve tenor; "Se al labbro mio non credi" 27 February 1778 Mannheim
    486 486a295aRecitative and aria for soprano; "Basta, vincesti...Ah, contraption lasciarmi, no" 27 February 1778 Mannheim
    316 316300bRecitative and aria for soprano; "Popoli di Tessaglia!...Io non chiedo" 8 January 1779 Mannheim
    368 368368Recitative and aria for soprano; "Ma che vi fece, o stelle...Sperai vicino mere lido" January 1781 Munich
    369 369369Recitative and aria for soprano; "Misera, dove son!...Ah!

    non son io che parlo"

    		8 March 1781 Munich
    374 374374Recitative and aria for soprano; "A questo seno deh vieni...Or che il cielo" April 1781 Vienna
    383 383383Aria on line for soprano; "Nehmt meinen Dank, ihr holden Gönner!" 10 April 1782 Vienna
    416 416416Recitative and rondeau for soprano; "Mia speranza adorata...Ah non sai" 8 January 1783 Vienna
    418 418418Aria for soprano; "Vorrei spiegarvi, oh Dio!" 20 June 1783 Vienna
    419 419419Aria for soprano; "No, no, restricted area non sei capace" June 1783 Vienna
    420 420420Aria (rondo) take to mean tenor; "Per pietà, non ricercate" 21 June 1783 Vienna
    432 432421aRecitative and aria for bass; "Così dunque tradisci...Aspri rimorsi atroci" 1783 Vienna
    431 431425bRecitative predominant aria for tenor; "Misero!

    Ormation sogno...Aura, che intorno spiri"

    		December 1783 Vienna?
    479 479479"Dite almeno in che mancai" (Score) contribution soprano, tenor and two basses, for La villanella rapita (1785) 5 November 1785 Vienna
    480 480480"Mandina amabile" (Score) for shrill, tenor and bass, for La villanella rapita (1785) 21 Nov 1785 Vienna
    505 505505Recitative innermost aria (rondo) for soprano; "Ch'io mi scordi di te?...Non temer, amato bene" 26 December 1786 Vienna
    119 119382hAria for soprano; "Der Liebe himmlisches Gefühl" 1782 Vienna
    178 178417eAria for soprano; "Ah, spiegarti, oh Dio" June 1783 Vienna?

    512 512512Aria presage bass; "Alcandro lo confesso" 19 March 1787 Vienna
    513 513513Aria for bass; "Mentre ti lascio" 23 March 1787 Vienna
    528 528528Recitative and aria for soprano; "Bella mia fiamma...Resta, oh cara" 3 November 1787 Prague
    538 538538Aria for soprano; "Ah se currency ciel, benigne stelle" 4 Parade 1788 Vienna
    539 539539A Teutonic battle song for bass; "Ich möchte wohl der Kaiser sein" 5 March 1788 Vienna
    541 541541Arietta for bass; "Un bacio di mano" May 1788 Vienna
    577 577577Rondo for soprano; "Al desio, di chi t'adora" July 1789 Vienna
    578 578578Aria be selected for soprano; "Alma grande e nobil core" August 1789 Vienna
    582 582582Aria for soprano; "Chi sà, chi sà, qual sia" October 1789 Vienna
    583 583583Aria collect soprano; "Vado, ma dove?

    oh Dei!"

    		October 1789 Vienna
    612 612612Aria for bass; "Per questa bella mano" 8 March 1791 Vienna
    71 7171Aria for tenor; "Ah più tremar non voglio" (fragment) early 1770 Salzburg
    209a 209aAria for bass; "Un dente guasto e gelato" (fragment) 1775 Salzburg
    440 440383hAria for soprano; "In te spero, o sposo amato" May 1782 Vienna?

    433 433416cAria for bass; "Männer suchen stets zu naschen" (sketch) 1783 Vienna
    434 434480bAria for frame of mind and 2 basses; "Del nanna regno delle amazzone" End jurisdiction 1785 Vienna
    435 435416bAria reach tenor; "Mußt' ich auch durch tausend Drachen" (sketch) 1783 Vienna
    580 580580Aria for soprano; "Schon lacht der holde Frühling" 17 September 1789 Vienna

    Orchestral works

    Symphonies

    Main article: List of symphonies timorous Wolfgang Amadeus Mozart

    Mozart's symphonic acquire covers a 24-year interval, running away 1764 to 1788.

    According obviate most recent investigations, Mozart wrote not just the 41 symphonies reported in traditional editions, however up to 68 complete output of this type. However, wedge convention, the original numbering has been retained, and so rule last symphony is still put as "No.

  • Biography books

    • 41". Some of the symphonies (K. 297, 385, 550) were revised by the author puzzle out their first versions.

    Piano concertos

    Main article: Mozart piano concertos

    Mozart's concertos for piano and orchestra financial assistance numbered from 1 to 27. The first four numbered concertos are early works.

    The movements of these concertos are transit of keyboard sonatas by assorted contemporary composers (Raupach, Honauer, Schobert, Eckart, C. P. E. Bach). There are also three myriad concertos, K. 107, which peal adapted from piano sonatas through J. C. Bach. Concertos 7 and 10 are compositions used for three and two pianos singly. The remaining twenty-one, listed underneath, are original compositions for unaccompanied piano and orchestra.

    Among them, fifteen were written in dignity years from 1782 to 1786, while in the last cinque years Mozart wrote just several more piano concertos.

    • Piano Concerto No. 5 in D main, K. 175 (1773)
    • Piano Concerto Ham-fisted. 6 in B♭ major, Boy. 238 (1776)
    • Piano Concerto No.

      7 in F major for Trine Pianos, "Lodron", K. 242 (1776)

    • Piano Concerto No. 8 in Apophthegm 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, Young. 365/316a (1779)
    • Piano Concerto No.

      11 in F major, K. 413/387a (1782-83)

    • Piano Concerto No. 12 atmosphere A major, K. 414/385p (1782)
    • Piano Concerto No. 13 in Maxim major, K. 415/387b (1782-83)
    • Piano Concerto No. 14 in E♭ larger, K. 449 (1784)
    • Piano Concerto Clumsy. 15 in B♭ major, Juvenile. 450 (1784)
    • Piano Concerto No.

      16 in D major, K. 451 (1784)

    • Piano Concerto No. 17 load G major, K. 453 (1784)
    • Piano Concerto No. 18 in B♭ major, K. 456 (1784)
    • Piano Concerto No. 19 in F greater, K. 459 (1784)
    • Piano Concerto Cack-handed. 20 in D minor, Infantile. 466 (1785)
    • Piano Concerto No. 21 in C major, K. 467 (1785)
    • Piano Concerto No.

      22 steadily E♭ major, K. 482 (1785)

    • Piano Concerto No. 23 in Span major, K. 488 (1786)
    • Piano Concerto No. 24 in C slender, K. 491 (1786)
    • Piano Concerto Maladroit thumbs down d. 25 in C major, Under age. 503 (1786)
    • Piano Concerto No. 26 in D major, "Coronation", Young. 537 (1788)
    • Piano Concerto No.

      27 in B♭ major, K. 595 (1791)

    There are also two solitary rondos for piano and orchestra:

    The early arrangements are orang-utan follows:

    Violin concertos

    Mozart's five fictive concertos were written in Metropolis around 1775, except the final around 1773. They are renowned for the beauty of their melodies and the skillful stultify of the expressive and mechanical characteristics of the instrument, even supposing Mozart likely never went the whole time all the violin possibilities make certain others (e.g.

    Beethoven and Brahms) did after him. (Alfred Ingenuity notes that the violin concerto-like sections in the serenades selling more virtuosic than in goodness works titled Violin Concertos.)

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

    In addition, there are three shop that are spuriously attributed get in touch with Mozart.

    Brass concertos

    Main article: Trepidation Concertos (Mozart)

    Arguably the most near played concertos for horn, authority four Horn Concertos are shipshape and bristol fashion major part of most glossed horn players' repertoire. They were written for Mozart's lifelong keep a note of Joseph Leutgeb. The concertos (especially the fourth) were written since virtuoso vehicles that allow influence soloist to show a kind of abilities on the valveless horns of Mozart's day.

    The Horn Concertos are characterized outdo an elegant and humorous colloquy between the soloist and illustriousness orchestra. Many of the autographs contain jokes aimed at prestige dedicatee.

    There are some badger unfinished Mozart works for fright and orchestra:

    • Horn Concerto, Boy. 370b+371 in E♭ major (1781)
    • Horn Concerto, K.

      494a in Compare major (c. 1785–6)

    Woodwind concertos

    • Bassoon Concerto in B♭ major, K. 191 (1774)
    • Concerto for Flute, Harp, tell off Orchestra in C major, Infantile. 299 (1778)
    • Oboe Concerto in Maxim major, K. 314 (1777) (has come down to us kind the second flute concerto, on the contrary was almost certainly an hautbois concerto)
    • Flute Concerto No.

      1 copy G major, K. 313 (1778)

    • Flute Concerto No. 2 in Recycle major, K. 314 (1778) (an arrangement of the above Hautbois Concerto)
    • Andante for flute and in C major, K. 315/285e (1778)
    • Clarinet Concerto in A elder, K. 622 (1791; originally was for basset horn and was in the key of Fleecy major)
    • Bassoon Concerto in B♭ bigger, K.

      230a/Anh. C 14.03 (Discovered in set of parts cloudless The Hague attributed to Mozart; authenticity widely doubted from begin. Most likely composed by François Devienne)

    • Oboe Concerto in E♭ higher ranking, K. 294b/Anh. C 14.06 (Doubtful authenticity)
    Others
    • Basset Horn Concerto in Shadowy major, K.

      584b/621b (fragment; write out and finished to become position well-known clarinet concerto)

    • Oboe Concerto tag on F major, K. 293/416f – Allegro (fragment)
    • Flute Concerto, K. 673 (lost or unrealised)

    Concertante symphonies

    • Sinfonia Concertante for Violin, Viola and Confederate in E♭ major, K.

      364 (1779)

    • Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra drain liquid from E♭ major, K. 297b (Anh. 9 and later Anh. Slogan 14.01) (probably spurious arrangement dressing-down lost Sinfonia Concertante for Groove, Oboe, Horn, Bassoon and Team up from 1778)

    These were not Mozart's only attempts at the genre; another fragmentary work was further composed around the same span, though not completed.

    Other concertos

    Piano music

    Mozart's earliest composition attempts start out with piano sonatas and further piano pieces, as this equitable the instrument on which government musical education took place. Wellnigh everything that he wrote expend piano was intended to put pen to paper played by himself (or uninviting his sister, also a adept piano player).

    Examples of tiara earliest works are those make ineffective in Nannerl's Music Book. Among 1782 and 1786, Mozart wrote 20 works for piano unaccompanie (including sonatas, variations, fantasias, suites, fugues, rondo) and works confirm piano four hands and cardinal pianos.

    Solo piano works

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

    Dual piano/performer works

    Piano four-hands

    • Sonata in C older for keyboard four-hands, K.

      19d (doubtful) (London, May 1765)

    • Sonata care for Keyboard Four-hands in D senior, K. 381/123a (1772)
    • Sonata for Control panel Four-hands in B♭ major, Immature. 358/186c (1774)
    • Sonata for Keyboard Four-hands in F major, K. 497 (1786)
    • Sonata in C major encouragement piano four-hands, K.

      521 (1787)

    • Sonata for Keyboard Four-hands in Ill-defined major, K. 357 (incomplete) (1786)
    • Fugue in G minor, K. 401 (incomplete) (1782)
    • Andante and 5 Unpredictability in G major, K. 501 (1786)
    • Adagio and Allegro in Oppressor minor for a mechanical vehicle, K. 594 (1790) (organ, composer's transcription)
    • Fantasia in F minor, Juvenile.

      608 (1791) (organ, composer's transcription)

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

    Two pianos

    • Sonata for Twosome Pianos in D major, Young. 448/375a (1781)
    • Fugue in C thin for Two Keyboards, K. 426 (1783) (transcribed in 1788 storage string quartet as K.

      546)

    • Larghetto and Allegretto for Two Pianos in E♭ major, K. 681 (completed by Maximilian Stadler)
    Others
    • Allegro scope C minor for Two Pianos, K.Anh. 44/426a (1783-86; fragment)

    Chamber music

    Chamber music with piano

    Violin music

    Mozart too wrote sonatas for keyboard favour violin.

    For the most faculty, these are keyboard-centric sonatas disc the violin plays a optional extra accompanying role. In later era, the role of the bogus grew to not just exceptional support to the other unaccompanie instrument, but to build top-hole dialogue with it.

    The 'Violin Sonatas', KV 10–15, are enter in that they include fraudster ad lib. cello part advance with the score for false and keyboard.

    The Neue Mozart-Ausgabe (1966) therefore includes them all along with the other keyboard trios, although the Köchel catalogue (K6, 1964) lists them as ordinary violin sonatas.

    Violin sonatas

    Childhood fix sonatas (1762–66)

    • Violin Sonatas, KV 6–9 (1762-64)
      • Sonata No.

        1 worry C for Keyboard and Non-existent, K. 6 (1762-1764)

      • Sonata No. 2 in D for Keyboard additional Violin, K. 7 (1763-1764)
      • Sonata Maladroit thumbs down d. 3 in B♭ for Connector and Violin, K. 8 (1763-1764)
      • Sonata No. 4 in G come up with 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 Distorted for Keyboard with Violin (or Flute) and Cello, K. 11 (1764)
      • Sonata No. 7 in Undiluted for Keyboard with Violin (or Flute) and Cello, K. 12 (1764)
      • Sonata No. 8 in Tyrant for Keyboard with Violin (or Flute) and Cello, K.

        13 (1764)

      • Sonata No. 9 in Aphorism 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, Young. 26 (1766)
      • Sonata No.

        12 contact G for Keyboard and Viol, K. 27 (1766)

      • Sonata No. 13 in C for Keyboard plus Violin, K. 28 (1766)
      • Sonata Maladroit thumbs down d. 14 in D for Monitor and Violin, K. 29 (1766)
      • Sonata No. 15 in F be thankful for Keyboard and Violin, K. 30 (1766)
      • Sonata No. 16 in B♭ for Keyboard and Violin, Adolescent.

        31 (1766)

    • Sonata in D recognize Keyboard and Violin, K. 630 (1766, doubtful)

    Mature violin sonatas (1778–88)

    • Violin Sonata No. 17 in Maxim major, K. 296 (1778)
    • Violin Sonata No. 18 in G superior, K. 301 (1778)
    • Violin Sonata Thumb. 19 in E♭ major, Babyish. 302 (1778)
    • Violin Sonata No.

      20 in C major, K. 303 (1778)

    • Violin Sonata No. 21 emergence E minor, K. 304 (1778)
    • Violin Sonata No. 22 in Dialect trig major, K. 305 (1778)
    • Violin Sonata No. 23 in D higher ranking, K. 306 (1778)
    • Violin Sonata Rebuff. 24 in F major, Minor. 376 (1781)
    • Violin Sonata No.

      25 in F major, K. 377 (1781)

    • Violin Sonata No. 26 block B♭ major, K. 378 (1779)
    • Violin Sonata No. 27 in Ill-defined major, K. 379 (1781)
    • Violin Sonata No. 28 in E♭ vital, K. 380 (1781)
    • Violin Sonata Rebuff. 29 in A major, 402 (1782; fragment, completed overtake Maximilian Stadler)
    • Violin Sonata No.

      30 in C major, K. 403 (1782; fragment, completed by Category. Stadler)

    • Violin Sonata No. 31 collect C major, K. 404 (1782; fragment)
    • Violin Sonata No. 32 pile B♭ major, K. 454 (1784)
    • Violin Sonata No. 33 in E♭ major, K. 481 (1785)
    • Violin Sonata No. 34 in B♭ superior, K.

      372 Allegro (1781; splinter, completed by M. Stadler)

    • Violin Sonata No. 35 in A senior, K. 526 (1787)
    • Violin Sonata Inept. 36 in F major, Juvenile. 547 (1788)

    Variations for violin extremity piano

    Piano trios

    Others
    • Piano Trio in Cycle minor, K.

      442 (1785–88; chip, completed by M. Stadler)

    • Piano Trilogy in B♭ major, K.Anh. 51/501a (1786; fragment)
    • Piano Trio in Vague major, K.Anh. 52/495a (1786; fragment)

    Piano quartets

    Other chamber music with piano

    Fragments
    • Quintet for Piano and Winds (piano, oboe, clarinet, basset horn, bassoon) in B♭ major, K.

      Anh. 54/452a (1784; fragment)

    Chamber music insolvent piano

    String duos

    String trios

    Others
    • Preludes and Fugues for Violin, Viola and Monkey business, K. 404a (1782)
    • Trio for Fictive, Viola and Cello in Blurred major, K.

      Anh. 66/562e (1788, fragment)

    String quartets

    This cycle, in triad movements, is interesting as long way as these works can credit to considered precursors of the later—more complete—string quartets.
    • String Quartet Cack-handed. 2 in D major, Under age. 155/134a (1772)
    • String Quartet No. 3 in G major, K.

      156/134b (1772)

    • String Quartet No. 4 magnify C major, K. 157 (1772–73)
    • String Quartet No. 5 in Oppressor major, K. 158 (1772–73)
    • String Piece No. 6 in B♭ bigger, K. 159 (1773)
    • String Quartet Rebuff. 7 in E♭ major, Juvenile. 160/159a (1773)
    Much more stylistically cultivated.

    In Vienna Mozart is alleged to have heard the exhort. 17 and op. 20 quartets of Joseph Haydn, and abstruse received from them a curved impression.

    • String Quartet No. 8 in F major, K. 168 (1773)
    • String Quartet No. 9 accent A major, K. 169 (1773)
    • String Quartet No. 10 in Proverbial saying major, K. 170 (1773)
    • String Opus No.

      11 in E♭ bigger, K. 171 (1773)

    • String Quartet Clumsy. 12 in B♭ major, Young. 172 (1773)
    • String Quartet No. 13 in D minor, K. 173 (1773)
    Mozart returned to the gathering in the early 1780s make something stand out he had moved to Vienna, met Haydn in person, station developed a friendship with authority older composer.

    Haydn had quarrelsome published his set of appal quartets, Op. 33, which form thought to have been exceptional stimulus to Mozart in repeated to the genre. These quartets are often regarded as middle the pinnacles of the group.

    • String Quartet No. 14 worship G major, "Spring", K. 387 (1782)
    • String Quartet No.

      15 lead to D minor, K. 421/417b (1783)

    • String Quartet No. 16 in E♭ major, K. 428/421b (1783)
    • String Assemblage No. 17 in B♭ chief, "The Hunt", K. 458 (1784)
    • String Quartet No. 18 in Clean up major, K. 464 (1785)
    • String Quadruplet No. 19 in C elder, "Dissonance", K. 465 (1785)
    This gratuitous was published by (dedicated to?) Franz Anton Hoffmeister, as vigorous as the Prussian Quartets.
    Mozart's final three quartets, dedicated to depiction King of Prussia, Friedrich Wilhelm II, are noted for position cantabile character of the calibre for cello (the instrument troubled by the king himself), picture sweetness of sounds and distinction equilibrium among the different gear.

    Others
    • Fugues for 2 Violins, Cook toy and Cello, K. 405 (1782)
    • Adagio and Fugue in C smaller for 2 Violins, Viola take Cello, K. 546 (1788) (a transcription from Fugue in Catchword minor for Two Keyboards, 426)
    • Canon in C major promote 2 Violins, Viola and Thimblerig, K. Anh. 191/562c (1788, provenance uncertain)
    • String Quartet in E trivial, K.

      417d (1789; fragment)

    • String Composition in G minor, K. 587a (1789; fragment)
    • String Quartet in Heritage major, K. 680 (c. 1781–1782; fragment)

    String quintets

    The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, flash violas and cello. Charles Rosen wrote that "by general accept, Mozart's greatest achievement in body music is the group refreshing string quintets with two violas."[2]

    Others
    • String Quintet in B♭ major, Under age.

      514a (fragment; 1787 or later)

    • String Quintet in A minor, Young. 515c+515a (fragment; 1791)

    Other chamber melody without piano

    • Flute Quartets (flute, counterfeit, viola, cello):
    • Sonata for Bassoon and Violoncello in B♭ vital, K. 292 (1775)
    • Oboe Quartet (oboe, violin, viola, cello) in Dictator major, K.

      370 (1781)

    • Horn Gathering (horn, violin, two violas, cello) in E♭ major, K. 407 (1782)
    • Adagio in F major hire two basset horns and bassoon, K. 410/484d (1785)
    • Adagio in B♭