kochel kv6

Salzburgo ene-feb 1761 1 a Andante en do mayorpara piano

Salzburgo ene-feb 1761 1 b Allegro en do mayorpara piano

Salzburgo 11 diciembre 1761 1 c Allegro en fa mayorpara piano

Salzburgo 16 diciembre 1761 1 d Minueto en fa mayorpara piano

Salzburgo diciembre 1761 1 / 1 e Minueto en sol mayorpara piano

Salzburgo diciembre 1761 1 f Minueto en do mayorpara piano

Salzburgo enero 1762 2 Minueto en fa mayorpara piano

Salzburgo 4 marzo 1762 3 Allegro en si bemol mayorpara piano

Salzburgo 11 mayo 1762 4 Minueto en fa mayorpara piano

Salzburgo 5 julio 1762 5 Minueto en fa mayorpara piano

Salzburgo jun-sep 1763 9a / 5 a Allegro en do mayorpara piano

Salzburgo jun-oct 1763 9b / 5 b Andante en si bemol mayor para piano (fragmento)

París 1763 6 Sonata en do mayor

para clave y violín (o clave)

París 1763 7 Sonata en re mayor

para clave y violín (o clave)

París 1763 8 Sonata en si bemol mayor

para clave y violín

París enero 1764 9 Sonata en sol mayor


Londres noviembre 1764 10 Sonata en si bemol mayor

para clave y violín (o flauta)

Londres noviembre 1764 11 Sonata en sol mayor


Londres noviembre 1764 12 Sonata en la mayor


Londres noviembre 1764 13 Sonata en fa mayor


Londres noviembre 1764 14 Sonata en do mayor


Londres noviembre 1764 15 Sonata en si bemol mayor


Chelsea abr-jul 1764 15 aa El Cuaderno de Londrespara piano

Londres 1764 16 Sinfonía Nº. 1 en mi bemol mayor

Londres 1765 Ap. 220 / 16 a

(perdida)

Londres 1765 19 Sinfonía Nº. 4 en re mayor

Londres feb-abr 1765 Ap. 223 / 19 a Sinfonía [Nº. 4 a] en fa mayor

Sinfonía Nº. 2 en la menor "Odense"

Londres 1765 Ap. 222 / 19 b

(perdida)

Londres 1765 21 / 19 c «Va, dal furor portata»

Aria en do mayor para tenor.

Pietro Metastasio: "Ezio" II, 4.

Londres 13 mayo 1765 19 d Sonata en do mayor

para piano a cuatro manos

Londres julio 1765 20 «God Is Our Refuge»

Motete en sol menor para soprano, contraalto, tenor y bajo.

Salmo 46

Londres 1765 Ap. 206 / 21 a Variaciones en do mayor

para piano (perdidas)

La Haya diciembre 1765 22 Sinfonía Nº. 5 en si bemol mayor

La Haya enero 1766 23 «Conservati fedele»

Aria para contralto .

Pietro Metastasio: "Artaserse" I, 1

La Haya enero 1766 24 Ocho Variaciones en sol mayor «Laat ons juichen, batavieren!»

para piano

sobre: «Laat ons juichen, batavieren!» (C.E. Graaf)

Amsterdam febrero 1766 25 Siete Variaciones en re mayor «Willhelmus van Nassouwe»

para piano

sobre: «Willhelmus van Nassouwe»

La Haya febrero 1766 26 Sonata en mi bemol mayor


La Haya febrero 1766 27 Sonata en sol mayor


La Haya febrero 1766 28 Sonata en do mayor


La Haya febrero 1766 29 Sonata en re mayor


La Haya febrero 1766 30 Sonata en fa mayor


La Haya febrero 1766 31 Sonata en si bemol mayor


La Haya marzo 1766 32 «Galimathias musicum»

Quodlibet en re mayor

para dos violines, dos oboes, dos cormos, clave, dos fagot, viola y bajo.

París 1766 32a El Tercer Cuaderno - «Capricci»

para piano (perdido)

París 12 junio 1766 33 Kyrie en fa mayor

para cuatro voces, dos violines, viola y bajo

Lausanne septiembre 1766 33 a Solo

para flauta (perdido)

Zurich octubre 1766 33 B [Movimiento en fa mayor]

para piano

33 b Solo


33 c

(perdido)

Ap. 199 / 33 d

para piano (perdida)

Sinfonía en do mayor

Stabat Mater

Sonata en sol mayor

Ap. 200 / 33 e


Ap. 201 / 33 f Sonata en do mayor


Ap. 202 / 33 g Sonata en fa mayor


33 h Pieza

para corno (perdida)

«Or che il dover m'astringe»

Salzburgo 21 diciembre 1766 36 / 33 i «Tali e contanti sono»

Recitativo y Aria en do mayor para tenor.

Autor del texto desconocido

Sonata en si bemol mayor

Salzburgo marzo 1767 34 «Scande coeli limina»

Offertorium in Festo Sancti Benedicti

Ofertorio en do mayor para cuatro voces, dos violines, tipanos, bajo y organo

Texto de San Benito.

Salzburgo 12 marzo 1767 35 «Die Schuldigkeit des ersten Gebots»

El deber del Primer mandamiento

Primera parte de un drama sacro

Libreto: I. A. Weiser

en do mayor

42 / 35 a «Grabmusik»

Música funebre en do mayor

Salzburgo abril 1767 37 Concierto Nº. 1 en fa mayor

para piano

Salzburgo 13 mayo 1767 38 «Apollo et Hyacinthus»

Apolo y Jacinta

Intermedio latino

Libreto del Padre Rufinus Widl

en re mayor

Salzburgo junio 1767 39 Concierto Nº. 2 en si bemol mayor

para piano

Salzburgo julio 1767 40 Concierto Nº. 3 en re mayor

para piano

Salzburgo julio 1767 41 Concierto Nº. 4 en sol mayor

para piano

41 a Seis Divertimentospara orquesta (perdidos)

41 b Piezaspara vientos

41 c Marchas(perdidos)

41 d Minuetos(perdidos)

41 e Fuga para piano (perdido)

41 f Fugaspara 4 voces (perdidos)

41 g Natchmusik de Nannerl (Música de Noche de Nannerl)para 2 violines y bajo

Salzburgo 1767 67 / 41 h Sonata de iglesia Nº. 1 en mi bemol mayorpara órgano

Salzburgo 1767 68 / 41 i Sonata de iglesia Nº. 2 en si bemol mayorpara órgano

Salzburgo 1767 69 / 41 k Sonata de iglesia Nº. 3 en re mayorpara órgano

Viena septiembre 1767 76 / 42 a Sinfonía [Nº. 43] en fa mayor

Olmütz 30 diciembre 1767 43 Sinfonía Nº. 6 en fa mayor

Viena finales 1767 43 a «Ach, was müßen wir erfahren?»Duo en fa mayor para 2 sopranos (fragmento)

Viena 16 enero 1768 45 Sinfonía Nº. 7 en si bemol mayor(Obertura "La finta semplice")

Viena 1768 Ap. 221 / 45 a Sinfonía [Nº. 7a] en sol mayor «Alte Lambacher»

Viena 1768 Ap. 214 / 45 b Sinfonía [Nº. 55] en si bemol mayor

Viena abr-jul 1768 51 / 46 a «La Finta Semplice»La falsa ingenuaOperaLibretoen re mayor

Viena sep-oct 1768 50 / 46 b «Bastien und Bastiene»Bastian y BastianaOperaLibretosol mayor

Viena 1768 52 / 46 c «Daphne, deine Rosenwangen»### Lied en la mayor para soprano y clave

Viena 1 septiembre 1768 46 d Sonata en do mayor

Viena septiembre 1768 46 e Sonata en fa mayor

Viena 7 diciembre 1768 47 «Veni, Sacte Spiritus»Ofertorio en do mayor

para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, trompa, timpanos, bajo y organo.

Viena 7 diciembre 1768 139 / 47 a Misa [solemnis] en do menor «Waisenhaus-Messe»para 4 solistas, coro, 2 violines, 2 violas, bajo, 2 oboes, 3 trombones,

4 trompetas, timpanos y organo.

Viena 1768 47 b Ofertorio(perdido)

Viena 1768 47 c Conciertopara trompeta (perdido)

Viena oct-nov 1768 49 / 47 d Misa en sol mayorpara 4 coro, 2 violines, viola, bajo, organo.

Viena noviembre 1768 53 / 47 e «An die Freude»«Freude, Königin der Weisen»Lied en fa mayor para soprano y clave.

sobre un texto de Johann Peter Uz

Viena 13 diciembre 1768 48 Sinfonía Nº. 8 en re mayor

Salzburgo 14 enero 1769 65 / 61 a Misa brevis en re menorpara 4 voces, 2 violines, bajo, 3 trombones y órgano.

Salzburgo 26 enero 1769 65a / 61 b 7 Minuetos

«A Berenice e Vologeso sposi» -Salzburgo febrero 1769 70 / 61 c «Sol nascente in questo giorno»

Recitativo y Aria (Licencia) en sol mayor para soprano

de la opera "Vologeso" de G. Sarti ?

Autor del texto desconocido.

Salzburgo 1769 103 / 61 d 19 Minuetos

Salzburgo 1769 61e / 61 e 6 Minuetos

Salzburgo 1769 105 / 61 f 6 Minuetos

Salzburgo 1769 61 g 2 Minuettos

Salzburgo 1769 61 h 6 Minuetos

Salzburgo agosto 1769 62 Marcha en re mayorpara orquesta

Salzburgo agosto 1769 100 / 62 a Casación en re mayorpara orquesta

Salzburgo 6-8 agosto 1769 63 Casación (Final-Musik) en sol mayorpara orquesta

Salzburgo 6-8 agosto 1769 99 / 63 a Casación en si bemol mayorpara orquesta

para violín y fagot [o piano]


Salzburgo 1769 64 Minuet en re mayorpara orquesta

Salzburgo 15 octubre 1769 66 Misa en do mayor «Dominikus»para 4 voces, 2 violines, bajo, 3 trombones y órgano.

Salzburgo 1769 117 / 66 a «Benedictus sit Deus Pater»Offertorium [pro omni tempore]

Ofertorio en do mayor

para 4 voces, 2 violines, 2 flautas, 2 cornos, 2 trompetas, timpanos, bajo y órgano.

Salzburgo 1769 141 / 66 b «Te Deum laudamus»Te Deum en do mayor

para 4 voces, 2 violines, bajo y órgano.

Salzburgo 1769 Ap. 215 / 66 c Sinfonía en re mayor (perdida)

Salzburgo 1769 Ap. 217 / 66 d Sinfonía en si bemol mayor (perdida)

Salzburgo 1769 Ap. 218 / 66 e Sinfonía en si bemol mayor(perdida)

Salzburgo 1769 71 «Ah, piu tremar non voglio»Aria en fa mayor para tenor (fragmento)

Salzburgo 1769 72 a

para piano (fragmento)

Salzburgo 1769 73 Sinfonía Nº. 9 en do mayor

Allegro en sol mayor

Milán 1770 Ap. 2 / 73 A «Misero tu non sei»Aria (perdida)

Milán febrero 1770 143 / 73 a «Ergo interest»Recitativo y Aria en sol mayor

para soprano, 2 violines, viola, bajo y organo.

Milán 12 marzo 1770 78 / 73 b «Per pietà, bell'idol mio»Aria en mi bemol mayor para soprano.

Pietro Metastasio: "Artaserse" I, 5.

Milán 12 marzo 1770 88 / 73 c «Fra cento affanni e cento»Aria en do mayor para soprano.


73 D «Per quel paterno ampleso»Aria en mi bemol mayor para soprano.

Texto ?

«O temerario Arbace!» -Milán 12 marzo 1770 79 / 73 d «Per quel paterno amplesso»

Recitativo y Aria en si bemol mayor para soprano.

Pietro Metastasio: "Artaserse" II, 11.

«Misero me!»-Milán 12 marzo 1770 77 / 73 e «Misero pargoletto»


Pietro Metastasio: "Demofoonte" III, 4-5.

Lodi 15 marzo 1770 80 / 73 f Cuarteto Nº. 1 en sol mayor «Lodi»para cuerdas

Roma 13 abril 1770 123 / 73 g Contradanza en si bemol mayor

Roma abril 1770 94 / 73 h Minueto en re mayor

Roma abril 1770 73 i Canon en la mayorpara 4 clarinetes

Roma abril 1770 89 / 73 k «Kyrie» Canon en sol mayor para 5 sopranos

Roma abril 1770 81 / 73 l Sinfonía [Nº. 44] en re mayor

Roma abril 1770 97 / 73 m Sinfonía [Nº. 47] en re mayor

Roma abril 1770 95 / 73 n Sinfonía [Nº. 45] en re mayor

Roma 25 abril 1770 82 / 73 o «Se ardire e speranza»Aria en fa mayor para soprano.

Pietro Metastasio: "Demofoonte" I, 13.

Roam mayo 1770 83 / 73 p «Se tutti i mali miei»Aria en mi bemol mayor para soprano.

Pietro Metastasio: "Demofoonte" II, 6.

Boloña julio 1770 84 / 73 q Sinfonía Nº. 11 en re mayor

Boloña 1770 89 a / 73 r Cuatro Canones enigmáticos

Boloña agosto 1770 85 / 73 s «Miserere mei, Deus»Miserere en la menor

para alto, tenor, bajo y órgano continuo.

Boloña agosto 1770 122 / 73 t Minueto en mi bemol mayorpara

Boloña 9 octubre 1770 44 / 73 u «Civavit eos ex adipe frumenti»Antífona en la menor [Introitus]

para 4 voces y órgano.

Boloña 9 octubre 1770 86 / 73 v «Quaerite primum regnum Dei»Antífona en do menor

para 4 voces.

Boloña octubre 1770 73 w


Fuga en re mayor

Boloña octubre 1770 73 x 14 estudios en forma de canones

Milán diciembre 1770 74 Sinfonía Nº. 10 en sol mayor

Milán 26 diciembre 1770 89 / 74 a «Mitridate, re di Ponto»Mitridate, rey del PontoOpera seria en tres actosLibreto de Cigna Santien re mayor

Milán enero 1771 74 b «Non curo l'affetto»Aria en mi mayor para soprano.


Salzburgo marzo 1771 118 / 74 c «La Betulia liberata»La Betulia liberadaAcción sacra (Oratorio) en dos partesLibreto: Pietro Metastasioen fa mayor

Salzburgo mayo 1771 108 / 74 d «Regina coeli, laetare»Antífona mariana en do mayor

para 4 voces, 2 vioines, viola, 2 oboes (o flautas) 2 cornos, 2 trompas, timpanos,

Salzburgo mayo 1771 109 / 74 e «Litaniae de Beata Maria Virgine»(Lauretanae)Letanía en si bemol mayor

para 4 voces, 2 violines, 3 trombones, bajo y órgano.

Salzburgo 24 junio 1771 72 / 74 f «Inter natos mulierum»Offertorium pro Festo Sancti Joannis BaptistaeOfertorio en sol mayor para 4 voces, 2 violines, bajo y órgano.

Salzburgo 1771 75 Sinfonía [Nº. 42] en fa mayor

Salzburgo julio 1771 110 / 75 b Sinfonía Nº. 12 en sol mayor

Salzburgo 90 «Kyrie» en re menorpara 4 voces y órgano.

Salzburgo 116 / 90 a Misa «brevis» en fa mayor

Milán 1771 107 Concierto Nº. 1 en re mayor para pianode: J. C. Bach, Sonata Op. 5 Nº. 2

Concierto Nº. 2 en re mayor para pianode: J. C. Bach, Sonata Op. 5 Nº. 3

Concierto Nº. 3 en re mayor para pianode: J. C. Bach, Sonata Op. 5 Nº. 4

Milán 17 octubre 1771 111 «Ascanio in Alba»Festa teatralLibreto de en re mayor

Milán 1771 111&120 / 111 a Sinfonía [Nº. 48] en re mayor(Obertura «Ascanio in Alba» & Nº.1)

Milán 1771 96 / 111 b Sinfonía [Nº. 46] en do mayor

Milán 2 noviembre 1771 112 Sinfonía Nº. 13 en fa mayor

Milán 22 noviembre 1771 113 Divertimento en mi bemol mayorpara dos clarinetes, dos cornos y arcos solistas

Salzburgo 30 diciembre 1771 114 Sinfonía Nº. 14 en la mayor

Salzburgo 1772 381 / 123 a Sonata en re mayorpara piano a cuatro manos

Salzburgo 21 febrero 1772 124 Sinfonía Nº. 15 en sol mayor

Salzburgo 1772 124 Apara órgano (fragmento)

Salzburgo 1772 144 / 124 a Sonata de iglesia Nº. 4 en re mayorpara órgano

Salzburgo 1772 145 / 124 b Sonata de iglesia Nº. 5 en fa mayorpara órgano

Salzburgo marzo 1772 125 «Litaniae de venerabili altaris sacramento»Letanía en do mayorpara 4 voces, 2 violines, viola, 2 oboes, 2 cornos, 2 trompetas, bajo y órgano.

Salzburgo marzo 1772 136 / 125 a Divertimento en re mayorpara cuerdas y vientos

Salzburgo marzo 1772 137 / 125 b Divertimento en si bemol mayorpara cuerdas y vientos

Salzburgo marzo 1772 138 / 125 c Divertimento en fa mayorpara cuerdas y vientos

149 / 125 d

150 / 125 e

151 / 125 f

Salzburgo 1772 147 / 125 g «Wie unglücklich bin ich nit»Lied en fa mayor para soprano y pianoAutor del texto desconocido

Salzburgo 1772 148 / 125 h «An die Freundschaft»«O heiliger Bund, dir weih'ich meine Lieder»Lobgesang auf die feierliche JohannislogeLied en re mayor para soprano y pianoTexto de Ludwig Friedrich Lenz

Salzburgo mayo 1772 126 «Il sogno di Scipione»El sueño de ScipioneAccion TeatralLibreto

Salzburgo mayo 1772 127 «Regina coeli, laetare»Antífona mariana para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

Salzburgo mayo 1772 128 Sinfonía Nº. 16 en do mayor

Salzburgo mayo 1772 129 Sinfonía Nº. 17 en sol mayor

Salzburgo mayo 1772 130 Sinfonía Nº. 18 en fa mayor

Salzburgo junio 1772 164 / 130 a 6 Minuetos

Salzburgo junio 1772 131 Divertimento en re mayorpara orquesta

Salzburgo julio 1772 132 Sinfonía Nº. 19 en mi bemol mayor

Salzburgo julio 1772 133 Sinfonía Nº. 20 en re mayor

Salzburgo agosto 1772 134 Sinfonía Nº. 21 en la mayor

Bolzano oct-nov 1772 155 / 134 a Cuarteto Nº. 2 en re mayorpara cuerdas

Milán oct-nov 1772 156 / 134 b Cuarteto Nº. 3 en sol mayorpara cuerdas

Milán 26 diciembre 1772 135 «Lucio Silla»Lucio SillaOpera Seria en tres actosLibreto

Sonata de iglesia en re mayor

Milán diciembre 1772 Ap. 109 / 135 a «La gelosie del Serraglio»Ballet

Milán diciembre 1772 161&163 / 141 a Sinfonía [Nº. 50] en re mayor(Obertura «Il sogno di Scipione» & Finale)

Milán enero 1773 157 Cuarteto Nº. 4 en do mayorpara cuerdas

Milán enero 1773 158 Cuarteto Nº. 5 en fa mayorpara cuerdas

Milán 17 enero 1773 165 / 158 a «Exsultate, jubilate»Motete en fa mayor para soprano, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

Milán marzo 1773 159 Cuarteto Nº. 6 en si bemol mayorpara cuerdas

Milán marzo 1773 160 / 159 a Cuarteto Nº. 7 en mi bemol mayorpara cuerdas

Milán marzo 1773 186 / 159 b Divertimento en si bemol mayorpara 2 oboes, 2 cornos inglés, 2 clarinetes, 2 cornos y 2 fagotes

Salzburgo 24 marzo 1773 166 / 159 d Divertimento en mi bemol mayorpara 2 oboes, 2 cornos inglés, 2 clarinetes, 2 cornos y 2 fagotes

Salzburgo 30 marzo 1773 184 / 161 a Sinfonía Nº. 26 en mi bemol mayor (Obertura)

Salzburgo 10 abril 1773 199 / 161 b Sinfonía Nº. 27 en sol mayor

Salzburgo 19 abril 1773 162 Sinfonía Nº. 22 en do mayor

Salzburgo 19 mayo 1773 181 / 162 a Sinfonía Nº. 23 en re mayor

115 / 166 d Misa «brevis» en do mayor

Salzburgo junio 1773 223 / 166 e «Hosanna»(fragmento)

Salzburgo 1773 Ap. 18 / 166 f(fragmento)

Salzburgo 1773 Ap. 19 / 166 g(fragmento)

Salzburgo 1773 Ap. 23 / 166 h «In te Domine speravi» Salmo en do mayor (fragmento)

Salzburgo 1773 167 Misa en do mayor «in honorem S[anctissi]mae Trinitatis»

Viena 1773 205 / 167 A Divertimento en re mayorpara cuerdas y vientos

Viena 1773 290 / 167 AB Marcha en re mayorpara cuerdas y vientos

Viena julio 1773 185 / 167 a Serenata (Final-Musik) en re mayor "Andretter"para orquesta

Viena julio 1773 189 / 167 b Marcha en re mayorpara orquesta

Viena agosto 1773 168 Cuarteto Nº. 8 en fa mayorpara cuerdas

168 a Minuetto en fa mayorpara un cuarteto de cuerdas

Viena agosto 1773 169 Cuarteto Nº. 9 en la mayorpara cuerdas

Viena agosto 1773 170 Cuarteto Nº. 10 en do mayorpara cuerdas

Viena agosto 1773 171 Cuarteto Nº. 11 en mi bemol mayorpara cuerdas

Viena septiembre 1773 172 Cuarteto Nº. 12 en si bemol mayorpara cuerdas

Viena septiembre 1773 173 Cuarteto Nº. 13 en re menorpara cuerdas

Viena septiembre 1773 180 / 173 c Seis Variaciones en sol mayor «Mio caro Adone»para pianosobre «Mio caro Adone» (A. Salieri)

Viena septiembre 1773 173 d 2 Coros y 5 entractos

Salzburgo 3 octubre 1773 182 / 173 dA Sinfonía Nº. 24 en si bemol mayor

Salzburgo 5 octubre 1773 183 / 173 dB Sinfonía Nº. 25 en sol menor

Salzburgo diciembre 1773 174 Quinteto Nº. 1 en si bemol mayorpara cuerdas

Salzburgo diciembre 1773 175 Concierto Nº. 5 en re mayorpara piano

Salzburgo diciembre 1773 176 16 Minuetos, KV 176

«Kyrie» en do mayor

«Kyrie» en re mayor

para 2 violines y bajo, con 2 oboes, 2 clarinetes trompetas, 2 trompetas y órgano.

Salzburgo 6 abril 1774 201 / 186 a Sinfonía Nº. 29 en la mayor

Salzburgo 5 mayo 1774 202 / 186 b Sinfonía Nº. 30 en re mayor

Salzburgo mayo 1774 358 / 186 c Sonata en si bemol mayorpara piano a cuatro manos

Salzburgo mayo 1774 195 / 186 d Litaniae Lauretanae Beata Maria VirgineLetania Laurentana en re mayor para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

Salzburgo 31 mayo 1774 190 / 186 E Concertone en do mayorpara 2 pianos y orquesta

Salzburgo 4 junio 1774 191 / 186 e Concierto en si bemol mayorpara fagot

Salzburgo 24 junio 1774 192 / 186 f Misa «brevis» en fa mayorpara solistas, coro, 2 violines, bajo y órgano.

Salzburgo julio 1774 193 / 186 g «Dixit et Magnificat»en do mayor para 4 voces, 2 violines, 2 trompetas, timpanos, bajo y órgano.

Salzburgo 8 agosto 1774 194 / 186h Misa «breve» en re mayorpara solistas, coro, 2 violines, bajo y órgano.

Salzburgo agosto 1774 91 / 186 i «Kyrie» en re mayorde Georg Reutter jr.

Salzburgo agosto 1774 179 / 189 a Doce Variaciones en do mayorpara pianosobre un minuetto de Johann Christian Fischer

Salzburgo 30 septiembre 1774 203 / 189 b Serenata en re mayorpara orquesta

Salzburgo 30 septiembre 1774 237 / 189 c Marcha en re mayorpara orquesta

Salzburgo 1774 279 / 189 d Sonata en do mayorpara piano

Salzburgo 1774 280 / 189 e Sonata en fa mayorpara piano

Salzburgo 1774 281 / 189 f Sonata en si bemol mayorpara piano

Salzburgo 1774 282 / 189 g Sonata en mi bemol mayorpara piano

Salzburgo 1774 283 / 189 h Sonata en sol mayorpara piano

Salzburgo 17 noviembre 1774 200 / 189 k Sinfonía Nº. 28 en do mayor

Munich 13 enero 1775 196 «La Finta Giardiniera»La falsa jardineraOpera Buffa en 3 actosLibretto

Munich enero 1775 Ap. 16 / 196 a Kyrie en sol mayor (fragmeto)

Munich enero 1775 220 / 196 b Misa «brevis» en do mayor «Spatzenmesse»para solistas, coro, 2 violines, bajo y órgano

Munich enero 1775 292 / 196 c Sonata (Duo) en si bemol mayorpara oboe y violoncello

Munich 1775 Ap. 230 / 196 d Concierto en fa mayorpara fagot (perdido)

Munich febrero 1775 222 / 205 a «Misericordias Domini»Ofertorio en re menor para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

Munich febrero 1775 284 / 205 b Sonata en re mayor «Dürnitz»para piano

Salzburgo marzo 1775 206 apara cello (perdido)

Salzburgo 14 abril 1775 207 Concierto Nº. 1 en si bemol mayorpara violín

Salzburgo abril 1775 96 & 121 / 207 a Sinfonía [Nº. 51] en re mayor(Obertura «La finta giardinera» & Finale)

Salzburgo 23 abril 1775 208 «Il Re Pastore»El rey pastorSerenata para músicaLibreto

Salzburgo 19 mayo 1775 209 «Si mostra la sorte»Aria en re mayor para tenor de la opera "L'Astratto ovvero il giocatore fortunato"de Nicola Piccinni - texto: G. Petrosellini

Salzburgo mayo 1775 209 aAria para bajo (fragmento)

Salzburgo mayo 1775 210 «Con ossequio, con rispetto»Aria en re mayor para tenor de la opera "L'Astratto ovvero il giocatore fortunato"de Nicola Piccinni - texto: G. Petrosellini

152 / 210 a «Ridente la calma »Canzonetta en fa mayorpara sopranoTexto AnonimoArreglo de Joseph Mislivečel

Salzburgo 14 junio 1775 211 Concierto Nº. 2 en re mayorpara violín

Salzburgo julio 1775 212 Sonata de iglesia Nº. 6 en si bemol mayorpara órgano

Salzburgo julio 1775 213 Divertimento en fa mayorpara 2 oboes, 2 cornos y 2 fagotes

Salzburgo 5 agosto 1775 204 / 213 a Serenata en re mayorpara orquesta

Salzburgo 5 agosto 1775 215 / 213 b Marcha en re mayorpara orquesta

Salzburgo agosto 1775 08 & 102 / 213 c Sinfonía [Nº. 52] en do mayor(Obertura «Il re pastore» & Finale)

Salzburgo 20 agosto 1775 214 Marcha en re mayorpara orquesta

Salzburgo 12 septiembre 1775 216 Concierto Nº. 3 en sol mayorpara violín

Concierto en fa mayor

«Un dente guasto»

Salzburgo 26 octubre 1775 217 «Voi avete un cor fedele»Aria para soprano para el drama jocoso de Baldassare Galuppi"Le nozze di Dorina" I, 4 - texto de Carlo Goldoni.

Salzburgo octubre 1775 218 Concierto Nº. 4 en re mayorpara violín

Salzburgo 20 diciembre 1775 219 Concierto Nº. 5 en la mayorpara violín

Salzburgo enero 1776 238 Concierto Nº. 6 en si bemol mayorpara piano

Salzburgo enero 1776 239 Serenata en re mayor «Notturna»para orquesta

Salzburgo enero 1776 240 Divertimento en si bemol mayorpara 2 oboes, 2 cornos y 2 fagotes

Salzburgo enero 1776 252 / 240 a Divertimento en mi bemol mayorpara 2 oboes, 2 cornos y 2 fagotes

Salzburgo enero 1776 188 / 240 b Divertimento en do mayorpara 2 flautas, 5 trompetas y timbales

Salzburgo enero 1776 241 Sonata de iglesia Nº. 9 en sol mayorpara órgano

Salzburgo enero 1776 224 / 241 a Sonata de iglesia Nº. 7 en fa mayorpara órgano

Salzburgo enero 1776 225 / 241b Sonata de iglesia Nº. 8 en la mayorpara órgano

Salzburgo febrero 1776 242 Concierto Nº. 7 en fa mayor «Lodron»para piano

Salzburgo marzo 1776 243 Litaniae de venerabili altaris sacramentoLetanía en mi bemol mayorpara 4 voces, 2 violines, viola, 2 oboes, 2 fagotes, 2 cornos, 3 trombones,

Salzburgo abril 1776 244 Sonata de iglesia Nº. 10 en fa mayorpara órgano

Salzburgo abril 1776 245 Sonata de iglesia Nº. 11 en re mayorpara órgano

Salzburgo abril 1776 246 Concierto Nº. 8 en do mayor «Lützow»para piano

Salzburgo mayo 1776 262 / 246 a Misa longa en do mayorpara trío, 2 oboes, 2 cornos, 2 trompetas, 3 trombones y timpano.

Salzburgo junio 1776 288 / 246 c Allegro en fa mayor para cuerdas y corno (fragmento)

Salzburgo 13 junio 1776 247 Divertimento en fa mayorpara cuerdas y vientos

Salzburgo 13 junio 1776 248 Marcha en fa mayorpara cuerdas y vientos

Salzburgo junio 1776 260 / 248 a «Venite, populi, venite»Offertorium de Venerabili Sacramentopara 4 voces, 2 violines, bajo y órgano. (trombones ad libitum)

Salzburgo 22 julio 1776 250 / 248 b Serenata en re mayor «Haffner»para orquesta

Salzburgo 20 julio 1776 249 Marcha en re mayorpara orquesta

Salzburgo julio 1776 101 / 250 a 4 Contradanzas

Salzburgo 26 julio 1776 251 Divertimento en re mayorpara cuerdas y vientos


Salzburgo agosto 1776 254 Trio (Divertimento) en si bemol mayorpara piano

«Ombra felice!» Salzburgo septiembre 1776 255 «Io ti lascio, e questo addio»

de la opera "Arsace" II, 8 de M. Mortellari, con texto de Giovanni de Gamerra.

Salzburgo septiembre 1776 256 «Clarice cara mia sposa dev'essere»

Recitativo y Aria 'en rondeau' para contralto,

Aria buffa ('Escena') en re mayor para tenor de la opera buffa "L'Astratto ovvero il giocatore fortunato", de Nicola Piccinni, texto de G. Petrosellini.

Salzburgo noviembre 1776 257 Misa en do mayor «Credo»para 2 oboes, 2 trompetas, 3 trombones, timpanos y órgano.

Salzburgo diciembre 1776 258 Misa en do mayor «Spaur-Messe»

Salzburgo diciembre 1776 Ap. 13 / 258 a Kyrie en do mayor (fragmento)

Salzburgo 28 diciembre 1776 259 Misa brevis en mayor «Orgelsolo-Messe»

Salzburgo diciembre 1776 261 Adagio en mi mayorpara violín y orquesta

Salzburgo diciembre 1776 269 / 261 a Rondo en si bemol mayorpara violín y orquesta

Salzburgo diciembre 1776 263 Sonata de iglesia Nº. 12 en do mayorpara órgano

Salzburgo diciembre 1776 286 / 269 a Notturno en re mayor para cuatro orquestas

Salzburgo enero 1777 269 b 2 Contradanzas


Salzburgo enero 1777 271 Concierto Nº. 9 en mi bemol mayor «Jeunehomme»para piano

Salzburgo febrero 1777 267 / 271 c 4 Contradanzas

Salzburgo febrero 1777 274 / 271 d Sonata de iglesia Nº. 13 en sol mayorpara órgano

Salzburgo febrero 1777 278 / 271 e Sonata de iglesia Nº. 14 en do mayorpara órgano

Salzburgo febrero 1777 266 / 271 f Sonata (Trio) en si bemol mayorpara 2 violines y bajo

Salzburgo febrero 1777 289 / 271 g Divertimento en mi bemol mayorpara 2 oboes, 2 cornos y 2 fagotes

Salzburgo 13 julio 1777 287 / 271 H Divertimento en si bemol mayorpara cuerdas y vientos

Salzburgo 1777 271a / 271 i Concierto Nº. 5 en re mayorpara violín

Salzburgo 1777 314 / 271 k Concierto en do mayorpara oboe

«Ah, lo prevedi!» -«Ah, t'invola agl'occhi miei» -

Salzburgo agosto 1777 272 «Deh, non varcar»Escena en do menor para soprano, de la opera "Andromeda" III, 10 de Giovanni Paisiello - libreto de V.A. Cigna-Santi.

Salzburgo 1777 277 / 272 a «Alma Dei creatoris»Offertorium de Beata Maria VirgineOfertorio en fa mayor para 4 voces, 2 violines, bajo y órgano.

Salzburgo 1777 275 / 272 b Misa «brevis» en si bemol mayorpara solistas, coro, 2 violines, bajo y órgano.

Salzburgo 9 septiembre 1777 273 «Sancta Maria, mater Dei»Graduale ad Festum Beata Maria Virgine.Gradual en fa mayor para 4 voces, 2 violines, viola, bajo y órgano.

Munich octubre 1777 284 Instrumentaciónpara un concierto para flauta de J.B. Wendling (perdido)

Munich octubre 1777 284 a 4 Preludiospara piano (perdidos)

Mannheim noviembre 1777 309 / 284 b Sonata en do mayorpara piano

Mannheim noviembre 1777 311 / 284 c Sonata en re mayorpara piano

Mannheim noviembre 1777 307 / 384 d «Oiseaux, si tous les ans»Lied en do mayor para soprano y pianoTexto de Antoine Ferrand

Mannheim 1777 284 e InstrumentaciónPara un concierto de flauta para Wendling (perdido)

Mannheim 1777 284 f Rondo para piano para piano (perdido)

Mannheim 25 diciembre 1777 285 Cuarteto en re mayorpara flauta

Mannheim enero 1778 285 a Cuarteto en sol mayorpara flauta

Mannheim enero 1778 Ap. 171 / 285 b Cuarteto en do mayorpara flauta

Mannheim enero 1778 313 / 285 c Concierto en sol mayorpara flauta y orquesta

Mannheim enero 1778 314 / 285 d Concierto en re mayorpara flauta

Mannheim enero 1778 315 / 285 e Andante en do mayorpara flauta y orquesta

Mannheim 1778 301 / 293 a Sonata en sol mayorpara violín y piano

Mannheim 1778 302 / 293 b Sonata en mi bemol mayorpara violín y piano

Mannheim 1778 303 / 293 c Sonata en do mayorpara violín y piano

Mannheim 1778 305 / 293 d Sonata en la mayorpara violín y piano

Mannheim febrero 1778 293 e 19 cadenzas para un aria de J. C. Bach

«Alcandro lo confesso» Mannheim 24 febrero 1778 294 «Non so d'onde viene»

Recitativo y Aria en mi bemol mayor para soprano. Pietro Metastasio: "Olimpiade" III, 6.

«Se al labbro mio non credi»Mannheim 27 febrero 1778 295 «Il cor dolente afflitto»

Recitativo y Aria en si bemol mayor para tenor sobre un texto de la opera "Artaserse" (I, 14) de Johann Adolf Hasse con libreto de Pietro Metastasio. Autor del texto, posiblemente A. Salvi.

«Basta, vincesti; eccoti il foglio»Mannheim 27 febrero 1778 486a / 295 a «Ah, non lasciarmi, no»

Recitativo y Aria en mi bemol mayor para soprano. Pietro Metastasio: "Didone abbandonata" II, 4.

Mannheim marzo 1778 308 / 295 b «Dans un bois solitaire»Lied en la bemol mayor para soprano y pianoTexto de A. H. de la Motte

Mannheim 11 marzo 1778 296 Sonata en do mayorpara violín y piano

Mannheim marzo 1778 322 / 296 a(fragmento)

París 1778 Ap. 12 / 296 b Kyrie (fragmento / perdido)

París 1778 296 c Sanctus & Benedictus en mi bemol mayor (apuntes)

París abril 1778 Ap. 1 / 297 a Ocho números para un Miserere de Holzbauer (perdido)

París 5-9 abril 1778 Ap. 9 / 297 B Sinfonía concertante en mi bemol mayorpara flauta, oboe, corno, fagot y orquesta

París abril 1778 p.C14.01 / 297 B Sinfonía concertante en mi bemol mayorpara clarinete, oboe, corno, fagot y orquesta

París abril 1778 299 / 297 c Concierto en do mayorpara flauta, arpa y orquesta

París abril 1778 298 Cuarteto en la mayorpara flauta

París 1778 354 / 299 a Doce Variaciones en mi bemol mayor «Je suis Lindor»para pianosobre: «Je suis Lindor» (A.L. Baudron)

París 1778 Ap. 103 / 299 d Esbozo para Ballet(fragmento)

París 1778 Ap. 103 / 299 d «La Chase»Rondo para orquesta (fragmento)

París 1778 300 Gavota en si bemol mayorpara orquesta

París 18 junio 1778 297 / 300 a Sinfonía Nº. 31 en re mayor «París»

«Popoli di Tessaglia» -París 1778 316 / 300 b «Io non chiedo, eterni Dei»

Recitativo y Aria en do mayor para soprano de la opera "Alceste" I, 2 de C. W. Gluckcon libreto de Rainiero de' Calzabigi.

París 1778 304 / 300 c Sonata en mi menorpara violín y piano

París 1778 310 / 300 d Sonata en la menorpara piano

París 1778 265 / 300 e Doce Variaciones en do mayor «Ah!, vous dirai-je, Maman»para piano

París 1778 353 / 300 f Doce Variaciones en mi bemol mayor «La belle françoise»para piano

París 1778 395 / 300 g Capricho en do mayorpara piano

París 1778 330 / 300 h Sonata en do mayorpara piano

París 1778 331 / 300 i Sonata en la mayorpara piano

París 1778 332 / 300 k Sonata en fa mayorpara piano

París 1778 306 / 300 l Sonata en re mayorpara violín y piano

París 1778 Ap. 8 / 311 A Obertura (perdida)

París 1778 Ap. 3 / 315 b Escena para soprano (perdida)

Kyrie en mi bemol mayor

sobre: «Ah!, vous dirai-je, Maman»

sobre:«La belle françoise»

París 1778 333 / 315 c Sonata en si bemol mayorpara piano

París 1778 264 / 315 d Nueve Variaciones en do mayor «Lison dormait» para piano

París septiembre 1778 Ap. 11 / 315 e «Semiramis» (perdida)

Mannheim noviembre 1778 Ap. 56 / 315 f Concierto en re mayorpara violín, piano y orquesta

sobre «Lison dormait» (N. Dezède)

Salzburgo 1779 315a / 315 g 8 Minuetos

Salzburgo 1779 365 / 316 a Concierto Nº. 10 en mi bemol mayorpara piano

Salzburgo 23 marzo 1779 317 Misa en do mayor «Krönungsmesse»

Salzburgo marzo 1779 329 / 317 a Sonata de iglesia Nº. 16 en do mayorpara órgano

Salzburgo abril 1779 146 / 317 b «Kommet her, ihr frechen Sunder»Aria para soprano

Salzburgo abril 1779 328 / 317 c Sonata de iglesia Nº. 15 en do mayorpara órgano

Salzburgo abril 1779 378 / 317 d Sonata en si bemol mayorpara violín y piano

Salzburgo 26 abril 1779 318 Sinfonía Nº. 32 en sol mayor (Obertura)

Salzburgo 9 julio 1779 319 Sinfonía Nº. 33 en si bemol mayor

Salzburgo 3 agosto 1779 320 Serenata en re mayor «Corno de Posta»para orquesta

Salzburgo 3 agosto 1779 335 / 320 a 2 Marchaspara orquesta

Salzburgo 1779 320 B Divertimento (fragmento)

Salzburgo 1779 334 / 320 b Divertimento en fa mayor «Robinig»para cuerdas y vientos

Salzburgo 1779 445 / 320 c Marcha en re mayorpara orquesta

Salzburgo septiembre 1779 364 / 320 d Sinfonía concertante en mi bemol mayorpara violín, viola y orquesta

Salzburgo septiembre 1779 Ap. 104 / 320 e Sinfonía concertante en la mayorpara violín, viola y orquesta

Salzburgo 1779 321 «Vesperae solennes de Dominica» Vispera en do mayor

para

Salzburgo 1779 321 a «Magnificat» en do mayor (fragmento)

Salzburgo 1779 276 / 321 b «Regina coeli»Antífona mariana en do mayor para 4 voces, coro, orquesta y órgano.

Salzburgo 1779 Ap. 15 / 323(fragmento)

Salzburgo 1779 Ap. 20 / 323 a(fragmento)

Salzburgo 1779 345 / 336 a «Thamos, Könnig in Ägypten»OperaLibreto

Salzburgo 1779 344 / 336 b «Zaide»operaLibreto

Salzburgo 1779 343 / 336 c Dos Cantos AlemanesLieder en fa mayor para soprano y órganoLieder en do mayor para soprano y órganoAutor del texto desconocido

a. «O Gottes Lamm»

b. «Als aus Ägypten»

Salzburgo marzo 1780 336 / 336 d Sonata de iglesia Nº. 17 en do mayor

Kyrie en do mayor

Gloria en do mayor

para órgano

Salzburgo marzo 1780 337 Misa en do mayor

Salzburgo agosto 1780 338 Sinfonía Nº. 34 en do mayor

Salzburgo agosto 1780 339 «Vesperae solennes de confessore»Vispera en do mayorpara

Salzburgo 1780 392 / 340 a «Verdankt sei es dem Glanz»Lied en fa mayor para soprano y pianoTexto de Johann Timotheus Hermes

Salzburgo 1780 391 / 340 b «An die Einsamkeit»Lied en si bemol mayor para soprano y pianoTexto de Johann Timotheus Hermes

Salzburgo 1780 390 / 340 c «Ich würd' auf meinem Pfad»Lied en re menor para soprano y pianoTexto de Johann Timotheus Hermes

Salzburgo 1780 363 3 Minuetos

Salzburgo 1780 Ap. / 365 a Warum, o LiebeRecitativo y Aria

Munich 29 enero 1781 366 «Idomeneo, re di Creta»Opera Seria en 3 actosLibreto

Munich 29 enero 1781 367 Ballet para Idomeneo

Munich marzo 1781 349 / 367 a «Die Zufriedenheit»«Was frag'ich viel nach Geld und Gut»Lied en sol mayor para soprano y pianoTexto de Johann Martin Miller

Munich marzo 1781 351 / 367 b «Komm, liebe Zither, komm»Lied en do mayor para soprano y mandolinaAutor del texto desconocido

Munich marzo 1781 368 «Ma che vi fece, o stelle» -«Sperai vicino il lido»Recitativo y Aria para soprano. Pietro Metastasio: "Demofoonte" I, 4.

Munich marzo 1781 341 / 368 a Kyrie en do menor

Munich marzo 1781 370 / 368 b Cuarteto en fa mayorpara oboe

«Misera! Dove son? L'aure del Tebro» Munich 8 marzo 1781 369 «Ah! Non son io che parlo»

Escena para soprano. Pietro Metastasio: "Ezio" III, 12.

Munich marzo 1781 361 / 370 a Serenata en si bemol mayor «Gran Partita»para 2 oboes, 2 clarinetes, 2 cornos di bassetto, 4 cornos, 2 fagotes y contrabajo

Munich marzo 1781 370 b Allegro en mi bemol mayor para corno (fragmento)

Viena 21 marzo 1781 371 Rondo en mi bemol mayorpara corno y orquesta (fragmento)

Viena 24 marzo 1781 372 Allegro en si bemol mayorpara violín y piano

Viena marzo 1781 372 a Allegro en si bemol mayor para piano (fragmento)

Viena 2 abril 1781 373 Rondo en do mayorpara violín y orquesta

Viena abril 1781 379 / 373 a Sonata en sol mayorpara violín y piano

«A questo seno deh vieni» Viena 8 abril 1781 374 «Or che il cielo a me ti rende»

Recitativo y Rondeau para soprano. Giovanni de Gamerra: "Sismano nel Mogol" III, 7.

Viena junio 1781 359 / 374 a Doce Variaciones en sol mayor «La bergerè Célimène»para violín y piano

Viena junio 1781 360 / 374 b Seis Variaciones en sol menor «Hélas, j'ai perdu mon amant»para violín y piano

Viena junio 1781 352 / 374 c Ocho Variaciones en fa mayor «Dieu d'Amour!»para piano

Viena septiembre 1781 376 / 374 d Sonata en fa mayorpara violín y piano

Viena septiembre 1781 377 / 374 e Sonata en fa mayorpara violín y piano

Viena septiembre 1781 380 / 374 f Sonata en mi bemol mayorpara violín y piano

Viena 1781 Ap. 46 / 374 g Andantino en si bemol mayor para piano y cello (fragmento)

Viena 15 octubre 1781 375 Serenata en mi bemol mayorpara 2 oboes, 2 clarinetes, 2 fagotes y 2 cornos

Viena noviembre 1781 448 / 375 a Sonata en re mayor

sobre: «Dieu d'Amour!» (A.E. Grétry)

para dos pianos

Viena 1782 Ap. 42 / 375 b Grave y Presto en si bemol mayor para 2 pianos (fragmento)

Viena 1782 Ap. 43 / 375 c Movimiento en si bemol mayor para 2 pianos (fragmento)

Viena 1782 Ap. 45 / 375 dpara 2 pianos (fragmento)

Viena 1782 401 / 375 e Fuga en sol menorpara piano

Viena 1782 153 / 375 fpara piano (fragmento)

Viena 1782 Ap. 41 / 375 gpara piano (fragmento)

Viena 1782 375 h Fuga en fa mayor para piano (fragmento)

Viena marzo 1782 382 Rondo en re mayorpara piano

229 / 382 a [«Sie ist dahin»]Canon en do menor para 3 voces

230 / 382 b «Selig, selig, alle»Canon en do menor para 2 voces

231 / 382 c «Leck mich im Arch»[«Laßt uns froh sein»]Canon en si bemol mayor para 6 voces

233 / 382 d [«Nichts labt mich mehr als wein»]«Leck mir den Arch fein recht schön sauber»Canon en si bemol mayor para 3 voces

234 / 382 e [«Essen, Trinken, das erhält»]Canon en sol mayor para 3 voces

347 / 382 f «Wo der perlende Wein im Glase blinkt»Canon en re mayor para 6 voces

348 / 382 g «V'amo di core teneramente»Canon en sol mayor para 12 voces

Viena abril 1782 119 / 382 h «Der Liebe Himmlisches Gefühl»Aria para soprano. Autor del texto desconocido.

Viena abril 1782 383 «Nehmt meinem dank, ihr holden gönner!»Aria para soprano. Autor del texto desconocido.

Viena abril 1782 394 / 383 a Preludio y Fuga en do mayorpara piano

Viena abril 1782 33 - 40 / 383 bpara piano (fragmento)

Viena abril 1782 Ap. 32 / 383 Cpara piano (fragmento)

Viena abril 1782 Ap. 38 / 383 c Tema y variaciones en do mayor para piano (fragmento)

Viena abril 1782 Ap. 39 / 383 dpara piano (fragmento)

Viena abril 1782 408 Nº 1 / 383 e Marcha en do mayorpara

408 Nº 3 / 383 F Marcha en do mayorpara

Viena mayo 1782 409 / 383 f Minueto en do mayorpara una Sinfonía

Viena 1782 Ap. 100 / 383 g Sinfonía (perdida)

Fuga en sol mayor

Fuga en mi bemol mayor

Fuga en sol mayor

Fuga en fa mayor

Fantasía en si bemol mayor


Viena 1782 440 / 383 h «In te spero, o sposo amato»Aria para soprano. Pietro Metastasio: "Demofoonte" I, 2.

Viena 1782 383 i Apuntes para una Sinfonía u obertura

Viena 16 junio 1782 384 «Die Entfuhrung aus dem Serail»«El rapto del Serrallo»OperaLibreto:

Viena agosto 1782 388 / 384 a Serenata en do menor «Nacht Musique»para 2 oboes, 2 clarinetes, 2 fagotes y 2 cornos

Viena agosto 1782 384B Andante en mi bemol mayor (fragmento)

Viena agosto 1782 384 b Marcha en si bemol mayor(fragmento)

Viena agosto 1782 Ap. 96 / 384 c Allegro en si bemol mayor(fragmento)

Viena agosto 1782 385 Sinfonía Nº. 35 en re mayor «Haffner»

Viena agosto 1782 408 Nº 2 / 385 a Marcha en do mayorpara

Viena agosto 1782 393 / 385 b Solfeo para soprano

Viena septiembre 1782 403 / 385 c Sonata en do mayorpara piano y violín (fragmento)

Viena septiembre 1782 404 / 385 d Andante y Allegreto en do mayorpara piano y violín (fragmento)

Viena septiembre 1782 Ap. 48 / 385 E Sonata en la mayorpara piano y violín (fragmento)

Viena septiembre 1782 402 / 385 e Andante y Fuga en la mayorpara piano y violín (fragmento)

Viena septiembre 1782 396 / 385 f Adagio en do menorpara piano y violín (fragmento)

Viena 1782 397 / 385 g Fantasía en re menorpara piano (fragmento)

Viena 1782 Ap. 34 / 385 h Adagio en re menorpara piano (fragmento)

Viena octubre 1782 399 / 385 i Suite en do mayorpara piano (fragmento)

Viena 1782 154 / 385 k Fuga en sol menorpara piano (fragmento)

Viena 1782 385 n Fuga en la menorpara piano (fragmento)

Viena 1782 385 o Apuntes para un concierto para piano

Viena 1782 414 / 385 p Concierto Nº. 12 en la mayorpara piano

Viena 1782 386 Rondo en la mayorpara piano

Viena diciembre 1782 12 & 514 / 386 b Concierto en re mayorpara corno

Viena diciembre 1782 407 / 386 c Quinteto en mi bemol mayorpara corno

Viena diciembre 1782 Ap. 25 / 386 d «O Calpe»Aria para tenor (fragmento)

Viena diciembre 1782 387 Cuarteto Nº. 14 en sol mayor

para cuerdas (Haydn Nº. 1)

Viena diciembre 1782 413 / 387 a Concierto Nº. 11 en fa mayorpara piano

Viena diciembre 1782 415 / 387 b Concierto Nº. 13 en do mayorpara piano

Viena diciembre 1782 404 a Seis Preludios y fugas

para violín, viola y violonchelo

Viena diciembre 1782 443 / 404 b Fuga en sol mayorpara piano (fragmento)

Viena diciembre 1782 405 Arreglos de cinco Fugas de J. S. Bach

Viena diciembre 1782 405 a Fuga en do mayorpara piano (fragmento)

Viena 8 enero 1783 416 «Mia speranza adorata!» «Ah non sai qual pena sia»Recitativo y Aria para soprano

Viena enero 1783 435 / 416 b «Mußtich auch durch tausend Drachen» Aria para Tenor

Viena enero 1783 433 / 416 c «Warnung» «Männer suchen stets zu naschen» Aria en fa mayor para BajoAutor del texto desconocido

Viena marzo 1783 446 / 416 d «Pantaleon und Colombina» Pantomima (fragmento)

Viena marzo 1783 398 / 416 e Seis variaciones «Salve tu Domine» para piano en fa mayor

Viena 1783 293 / 416 f Concierto para oboe (fragmento)

Viena 27 mayo 1783 417 Concierto en mi bemol mayorpara corno

Viena mayo 1783 427 / 417 a Misa en do menor «Grosse Messe»

Viena 17 junio 1783 421 / 417 b Cuarteto Nº. 15 en re menorpara cuerdas (Haydn Nº. 2)

Viena junio 1783 Ap. 76 / 417 c Cuarteto para cuerdas (fragmento)

Viena junio 1783 417 d Cuarteto para cuerdas (fragmento)

Viena junio 1783 178 / 417 e «Ah, spiegarti, oh Dio» Aria para Soprano

Viena 20 junio 1783 418 «Vorrei spiegarvi, oh Dio»Aria para Soprano

Viena junio 1783 419 «No, che non sei capace»Aria para Soprano

Viena 21 junio 1783 420 «Per pietà, non ricercate»Aria para Tenor

Viena junio 1783 432 / 421 a «Così dunque tradisci» «Aspri rimorsi atroci»Recitativo y Aria para Bajo

Viena junio 1783 428 / 421 b Cuarteto Nº. 16 en mi bemol mayorpara cuerdas (Haydn Nº. 3)

Salzburgo julio 1783 422 «L'Oca del Cairo» Opera Buffa (fragmento)Libreto

Salzburgo 1783 Ap. 14 / 422 a «Kyrie» (fragmento)

Salzburgo octubre 1783 423 Duo en sol mayorpara violín y viola

Salzburgo octubre 1783 424 Duo en si bemol mayorpara violín y viola

Salzburgo 1783 430 / 424 a «Lo sposo deluso» Opera Buffa (fragmento)Libreto

Linz 4 noviembre 1783 425 Sinfonía Nº. 36 en do mayor «Linz»

Linz noviembre 1783 444 / 425 a Adagio maestoso en sol mayor [ex Nº. 37]Introducción a una sinfonía de Michael Haydn

Viena diciembre 1783 431 / 425 b «Misero! O sogno!» Recitativo y Aria para tenor

Viena 29 diciembre 1783 426 Fuga en do menor

para dos pianos

Viena diciembre 1783 Ap. 44 / 426a Allegro en do menorpara dos pianos (fragmento)

Viena diciembre 1783 436 «Ecco quel fiero istante» Notturno en fa mayor para dos sopranos y bajoTexto de Pietro Metastasio

Viena diciembre 1783 437 «Mi lagnerò tacendo» Escena y rondo en sol mayor para SopranoTexto de Pietro Metastasio

Viena diciembre 1783 438 «Se lontan, ben mio, tu sei» Notturno en mi bemol mayor para dos sopranos y bajoTexto de Pietro Metastasio

Viena diciembre 1783 439 «Due pupile amabili» Notturno en fa mayor para dos sopranos y bajoTexto de Pietro Metastasio

Viena diciembre 1783 346 / 439 a «Luci care, care belle» Notturno en fa mayor para dos sopranos y dos bajoTexto de Pietro Metastasio?

Viena diciembre 1783 Ap. 229 / 439 b Divertimento Nº. 1 en si bemol mayorpara 3 cornos de bassetto

Divertimento Nº. 2 en si bemol mayorpara 3 cornos de bassetto




Viena diciembre 1783 441 «Liebes Mandel, wo is's Bandel?» Ensamble para Soprano, Tenor y Bajo

Viena diciembre 1783 441 a «Ja! Gruss dich Gott» Lied (fragmento)

Viena diciembre 1783 442 Trio en re menorpara piano, violín y cello (fragmento)

Viena diciembre 1783 447 Concierto en mi bemol mayorpara corno

Viena enero 1784 448 Sonata en re mayorpara dos pianos

Viena enero 1784 461 / 448 a 5 Minuetos

Viena enero 1784 462 / 448 b 6 Contradanzas

Viena enero 1784 463 / 448 c 2 Minuetos con contradanzas

Viena 9 febrero 1784 449 Concierto Nº. 14 en mi bemol mayorpara piano

Viena 15 marzo 1784 450 Concierto Nº. 15 en si bemol mayorpara piano

Viena 22 marzo 1784 451 Concierto Nº. 16 en re mayorpara piano

Viena 30 marzo 1784 452 Quinteto en mi bemol mayorpara piano, oboe, clarinete, corno y fagot

Viena marzo 1784 Ap. 54 / 452 a Larghetto para piano y vientos (fragmento)

Viena 1784 Ap. 55 / 452 b Música de cámara(fragmento)

Viena 1784 Ap. 65 / 452 c Movimientopara un concierto para piano (fragmento)

Viena 12 abril 1784 453 Concierto Nº. 17 en sol mayorpara piano

Viena abril 1784 453 a Kleiner Trauermarsch en do menorMarcha fúnebre para piano

Viena abril 1784 453 b Cuaderno de ejercicios de Barbara Ployer

Viena 21 abril 1784 454 Sonata en si bemol mayor "Strinasacchi"

Viena junio 1784 460 / 454 a Tema y Doce Variaciones en la mayorpara pianosobre: «Come un agnello»

Viena 25 agosto 1784 455 Diez Variaciones en sol mayorpara pianosobre: «Unser dummer Pöbel meint» (C.W. Gluck)

Viena 30 septiembre 1784 456 Concierto Nº. 18 en si bemol mayorpara piano

Viena 14 octubre 1784 457 Sonata en do menorpara piano

Viena 9 noviembre 1784 458 Cuarteto Nº. 17 en si bemol mayor «La Caza»para cuerdas

Viena 1784 Ap. 75 / 458 a Minuetto(fragmento)

Viena 1784 Ap. 71 / 458 b Cuarteto(fragmento)

Viena 11 diciembre 1784 459 Concierto Nº. 19 en fa mayorpara piano

Viena diciembre 1784 Ap. 59 / 459 b Concierto para piano (fragmento)

Viena 10 enero 1785 464 Cuarteto Nº. 18 en la mayorpara cuerdas (Haydn Nº. 5)

Viena enero 1785 Ap. 72 / 464 a Movimiento en la mayor para un cuarteto de cuerdas

Viena 14 enero 1785 465 Cuarteto Nº. 19 en do mayor «Disonante»para cuerdas (Haydn Nº. 6)

Viena 10 febrero 1785 466 Concierto Nº. 20 en re menorpara piano

Viena 9 marzo 1785 467 Concierto Nº. 21 en do mayorpara piano

Viena 26 marzo 1785 468 Gesellenreise«Wenn den langen Weg durchs Leben»Lied en si bemol mayor para soprano y pianoTexto: D. Jäger

Viena marzo 1785 429 / 468 a «Die, Seele des Wetalls»Cantata masónicaTexto: L.L. Haschka

Viena marzo 1785 469 «Davide penitente»CantataLibreto: Lorenzo Da Ponte ?

Viena 1 abril 1785 470 Andante para un concierto de violín para Viotti (perdido)

Viena abril 1785 470 a Instrumentaciónpara un concierto de violín para Viotti

Viena 20 abril 1785 471 «Die Maurerfreude»CantataTexto: L.L. Haschka

Viena 7 mayo 1785 472 «Der Zauberer»« Ihr Mädchen, flieht Damöten ja!»Lied en --- para soprano y pianoTexto de C. F. Weiße

Viena 7 mayo 1785 473 «Die Zufriedenheit»«Wie sanft, wie ruhig fühl' ich hier»Lied en --- para soprano y pianoTexto de C. F. Weiße

Viena 7 mayo 1785 474 «Die betrogene Welt»«Der reiche Tor, mit Gold geschmücket»Lied en --- para soprano y pianoTexto de C. F. Weiße

Viena 20 mayo 1785 475 Fantasía en do menorpara piano

Viena 1785 475 a Lied

Viena 8 junio 1785 Ap. 26 / 476 «Das Veilchen»

Lied en --- para soprano y pianoTexto de Johann Wolfgang Goethe

Viena 1785 Ap. 11 / 477 a Cantata

Viena 16 octubre 1785 478 Cuarteto en sol menorpara piano

Viena 5 noviembre 1785 479 Ensamble

Viena noviembre 1785 477 / 479 a «Maurerische Trauermusik»Música fúnebre masónica

Viena 21 noviembre 1785 480 «Mandina amabile»Ensamble para Tenor y Bajos

Viena noviembre 1785 434 / 480 a «Il gran regno delle Amazoni»Ensamble para Tenor y dos Bajos

Viena 12 diciembre 1785 481 Sonata en mi bemol mayor

«Ein Veilchen auf der Wiese stand»

para piano y violín

Viena 16 diciembre 1785 482 Concierto Nº. 22 en mi bemol mayorpara piano

Zur Eröffnung der Freimaurerloge:Viena diciembre 1785 483 «Zerfließet heut', geliebte Brüder»

Canto masónicoTexto: A.V. Von Schittlersberg

Zum Schluß der freimaurerloge:Viena diciembre 1785 484 «Ihr unsre neuen Leiter»

Canto masónicoTexto: A.V. Von Schittlersberg

Viena diciembre 1785 411 / 484 a Adagio en si bemol mayorpara 2 clarinetes y 3 cornos de bassetto

Viena diciembre 1785 Ap. 95 / 484 b Allegro assai en si bemol mayorpara 2 clarinetes y 3 cornos de bassetto (fragmento)

Viena diciembre 1785 Ap. 95 / 484 c Adagio en si bemol mayorpara 2 clarinetes y 3 cornos de bassetto

Viena diciembre 1785 410 / 484 d Adagio en fa mayorpara 2 cornos de bassetto y fagot

Viena diciembre 1785 484 e Allegro en fa mayorpara 2 cornos de bassetto (fragmento)

Viena 10 enero 1786 485 Rondo en re mayor

Viena 3 febrero 1786 486 «Der Schauspieldirektor»OperaLibreto

Viena 2 marzo 1786 488 Concierto Nº. 23 en la mayorpara piano

Viena marzo 1786 Ap. 58 / 488 a Concierto para piano (fragmento)

Viena marzo 1786 Ap. 63 / 488 b Concierto para piano (fragmento)

Viena marzo 1786 Ap. 64 / 488 c Concierto para piano (fragmento)

Viena marzo 1786 488 d Concierto para piano (fragmento)

Viena 13 marzo 1786 489 «Spiegarti no poss'io»Ensamble para Soprano y Tenor

Viena 13 marzo 1786 490 «Venga la morte»«Non temer amato bene»Ensamble para Soprano y Tenor

Viena 24 marzo 1786 491 Concierto Nº. 24 en do menorpara piano


Viena 1 mayo 1786 492 «Le Nozze di Figaro»Opera 4 actosLibreto

Viena 3 junio 1786 493 Cuarteto en mi bemol mayorpara piano

Viena junio 1786 Ap. 53 / 493 a Cuarteto para piano y cuerdas

Viena 10 junio 1786 494 Rondo en fa mayorpara piano

Viena 26 junio 1786 495 Concierto en mi bemol mayorpara corno

Viena 8 julio 1786 496 Trio en sol mayorpara piano

Viena 27 julio 1786 487 / 496 a Doce Duos para 2 cornos

Viena 1 agosto 1786 497 Sonata en fa mayorpara piano a cuatro manos

Viena agosto 1786 357 / 497 a Sonata en sol mayorpara piano a cuatro manos

Viena 5 agosto 1786 498 Quinteto en mi bemol mayorpara piano, clarinete y viola

Viena 19 agosto 1786 499 Cuarteto Nº. 20 en re mayor «Hoffmeister»para cuerdas

Viena 12 septiembre 1786 500 [Allegretto y] Doce Variaciones en si bemol mayorpara piano

Viena noviembre 1786 500a Sonata en sol mayorpara piano a cuatro manos

Viena 4 noviembre 1786 501 Andante con 5 Variaciones en sol mayorpara piano a cuatro manos

Viena 18 noviembre 1786 502 Trio en si bemol mayorpara piano, violín y cello

Viena 4 diciembre 1786 503 Concierto Nº. 25 en do mayorpara piano

Viena 6 diciembre 1786 504 Sinfonía Nº. 38 en re mayor «Praga»

Viena 27 diciembre 1786 505 «Ch'io mi scordi di te?»«Non temer amato bene»Recitativo y Aria para soprano

Viena diciembre 1786 506 «Wer unter eines Madchens Hand»«Wer unter eines Mädchens Hand»Lied en --- para sopranoTexto de J. A. Blumauer

Viena diciembre 1786 507 «Heiterkeit und leichtes Blut»Canon en fa mayor para 3 voces

Viena diciembre 1786 508 «Aus das Wohl aller Freunde»Canon en fa mayor para 3 voces

Praga febrero 1787 509 6 Danzas Alemanas

Viena febrero 1787 232 / 509 a «Lieber Freistädtler, lieber Gaulimauli»Canon en fa mayor para 4 voces

Viena 11 marzo 1787 511 Rondo en la menorpara piano

Viena 18 marzo 1787 512 «Alcandro lo confesso»Recitativo y Aria enpara bajo

Viena 23 marzo 1787 513 «Mentre ti lascio»Recitativo y Aria enpara bajo

Viena abril 1787 Ap. 80 514 a [Allegro] en si bemol mayorpara un cuarteto de cuerdas

Viena 19 abril 1787 515 Quinteto Nº. 2 en do mayorpara cuerdas

Viena 24 abril 1787 228 / 515 b «Ach, zu kurz ist unsers Lebens Lauf»Canon en mi bemol mayor para 4 voces

Viena 16 mayo 1787 516 Quinteto Nº. 3 en sol menorpara cuerdas

Viena mayo 1787 406 / 516 b Quinteto Nº. 4 en do menorpara cuerdas

Viena mayo 1787 Ap. 91 / 516 c Allegro en si bemol mayor para un Quinteto con clarinete

Viena 18 mayo 1787 517 «Die Alte»«Zu meiner Zeit»Lied en --- para soprano y pianoTexto en F. von Hagedorn

Viena 20 mayo 1787 518 «Die Verschweigung»«Sobald Damötas Chloën sieht»Lied en --- para soprano y pianoTexto de C. F. Weiße

Viena 23 mayo 1787 519 «Das Lied der Trennung»«Die Engel Gottes weinen»Lied en --- para soprano y pianoTexto de K. E. K. Schmidt

Viena 26 mayo 1787 520 «Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte»«Erzeugt von heißer Phantasie»Lied en --- para soprano y pianoTexto de G. von Baumberg)

Viena 29 mayo 1787 521 Sonata en do mayorpara piano a cuatro manos

Viena 14 junio 1787 522 «Eine musikalischer Spaß»

Viena 24 junio 1787 523 «Abendempfindung»«Abend ist's, die»Lied en --- para soprano y pianoTexto de J. H. Campe

Viena 26 junio 1787 524 «An Chloë»«Wenn die Lieb' aus deinen blauen»Lied en --- para soprano y pianoTexto de J. G. Jacobi

Viena 10 agosto 1787 525 «Eine kleine Nachmusik»Serenata en sol mayor

Viena 24 agosto 1787 526 Sonata en la mayor

Praga 29 octubre 1787 527 «Don Giovanni»Opera en 2 actosLibreto

Praga 3 noviembre 1787 528 «Bella mia fiamma, addio»«Resta oh cara»Recitativo y Aria en para soprano

Praga 6 noviembre 1787 529 «Des kleinen Friedrichs Geburtstag»«Es war einmal, ihr Leute»Lied en --- para soprano y piano Texto de J. E: F. Schall / J. H. Campe)

Praga 6 noviembre 1787 530 «Das Traumbild»«Wo bist du, Bild»Lied en --- para soprano y pianoTexto de L. H. C. Hölty

Viena 11 diciembre 1787 531 «Die kleine Spinnerin»«Was spinnst du?"»Lied en --- para soprano y pianoTexto de Anon / D. Jäger

Viena diciembre 1787 532 «Grazie agl'inganni tuoi»Ensamble en para soprano, tenor y bajo

Viena 3 enero 1788 533 Sonata para piano en fa mayorpara piano

Viena 14 enero 1788 534 «Das Donnerwetter»Contradanza en re mayor

Viena 23 enero 1788 535 «La Bataille»Contradanza en do mayor

Viena enero 1788 535 a 3 Contradanzas

Viena 27 enero 1788 536 6 Danzas Alemanas

Viena 24 febrero 1788 537 Concierto Nº. 26 en re mayor «Coronación»para piano

Viena 4 marzo 1788 538 «Ah se in ciel, benigne stelle»Aria en para soprano

Viena 5 marzo 1788 539 «Ich mochte wohl der Kaiser sein»Aria en para tenor

Viena 19 marzo 1788 540 Adagio en si menorpara piano

Viena 24 marzo 1788 540 a «Dalla sua pace»Aria en para tenor

Viena 28 abril 1788 540 b «Per queste tue manine»Duo en para soprano y bajo

Viena 30 abril 1788 540 c «In quali eccessi»Recitativo y Aria en para soprano

Viena mayo 1788 541 «Un baccio di mano»Aria en para bajo

Viena 22 junio 1788 542 Trio para piano en mi mayorpara piano

Viena 26 junio 1788 543 Sinfonía Nº. 39 en mi bemol mayor

Viena 16 junio 1788 544 Marcha en re mayor(perdida)

Viena 26 junio 1788 545 Sonata para piano en do mayor «facil»para piano

Viena 28 junio 1788 546 Adagio y Fuga en do menorpara cuerdas

Viena 10 julio 1788 547 Sonata en fa mayor «para principiantes»para piano y violín

Viena 14 julio 1788 548 Trio en do mayorpara piano, violín y cello

Viena 16 julio 1788 549 «Piu non si trovano»Notturno en para 2 sopranos y bajo

Viena 25 julio 1788 550 Sinfonía Nº. 40 en sol menor «Grande»

Viena 10 agosto 1788 551 Sinfonía Nº. 41 en do mayor «Jupiter»

Viena 11 agosto 1788 552

553

554

555

556

557

558

559

559 a

560

561

562

562 a

562 b

Ap. 191 / 562 c

Ap. 66 / 562 e

Viena 27 septiembre 1788 563 Divertimento en mi bemol mayor(Trio para cuerdas)

Viena 27 octubre 1788 564 Trio en sol mayorpara piano, violín y cello

Viena 30 octubre 1788 565 2 Contradanzas

Viena noviembre 1788 566 Acis und Galatea

Viena 6 diciembre 1788 567 6 Danzas Alemanas

Viena 24 diciembre 1788 568 12 Minuetos

Salzburgo ene-feb 1761 1 a 1 Andante en do mayor 0'19"

para piano

Salzburgo ene-feb 1761 1 b 2 Allegro en do mayor 0'15"

para piano

Salzburgo 11 diciembre 1761 1 c 3 Allegro en fa mayor 0'33"

para piano

Salzburgo 16 diciembre 1761 1 d 4 Minueto en fa mayor 1'19"

para piano

Salzburgo diciembre 1761 1 / 1 e 5 Minueto en sol mayor 1'07"

para piano

Salzburgo diciembre 1761 1 f 5 Minueto en do mayorpara piano

Salzburgo enero 1762 2 6 Minueto en fa mayor 1'03"

para piano

Salzburgo 4 marzo 1762 3 7 Allegro en si bemol mayor 1'02"

para piano

Salzburgo 11 mayo 1762 4 8 Minueto en fa mayor 1'09"

para piano

Salzburgo 5 julio 1762 5 9 Minueto en fa mayor 1'03"

para piano

Salzburgo jun-sep 1763 9a / 5 a 10 Allegro en do mayor 2'12"

para piano

Salzburgo jun-oct 1763 9b / 5 b - Andante en si bemol mayor -


París 1763 6 Sonata en do mayorpara clave y violín (o clave)

11 1. Allegro 4'29"

12 2. Andante 3'17"

13 3. Menuetto I & II 2'09"

14 4. Allegro molto 2'48"

París 1763 7 Sonata en re mayorpara clave y violín (o clave)


16 2. Adagio 2'59"


París 1763 8 Sonata en si bemol mayorpara clave y violín

18 1. Allegro 3'24"

19 2. Andante grazioso 4'03"


París enero 1764 9 Sonata en sol mayorpara clave y violín

21 1. Allegro spiritoso 5'52"

22 2. Andante 3'48"


Londres noviembre 1764 10 Sonata en si bemol mayorpara clave y violín (o flauta)

24 1. Allegro 2'32"

25 2. Andante 3'09"


Londres noviembre 1764 11 Sonata en sol mayorpara clave y violín (o flauta)

27 1. Andante 2'56"

28 2. Allegro 3'55"

3. Menuetto

Londres noviembre 1764 12 Sonata en la mayorpara clave y violín (o flauta)

29 1. Andante 3'14"

30 2. Allegro 2'19"

Londres noviembre 1764 13 Sonata en fa mayorpara clave y violín (o flauta)

31 1. Allegro 2'48"

32 2. Andante 3'15"


Londres noviembre 1764 14 Sonata en do mayorpara clave y violín (o flauta)

34 1. Allegro 2'49"

35 2. Allegro 2'39"

36 3. Menuetto I 3'02"

Menuetto II «en carrillón»

Londres noviembre 1764 15 Sonata en si bemol mayorpara clave y violín (o flauta)

37 1. Andante maestoso 4'34"

38 2. Allegro grazioso 1'25"

Chelsea abr-jul 1764 El Cuaderno de Londrespara piano

Ap. 109b-1 / 15 a 39 [Allegro] en fa mayor 1'01"

Ap. 109b-2 / 15 b 40 1'48"

15 c - [Minuet] en sol mayor -

15 d 41 [Rondo] - [Finale (Allegro moderato)] en re mayor 1'14"

15 e 42 Contradanza para piano en sol mayor 0'30"

15 f 43 [Tempo de Minuetto] - [Menuetto] en do mayor 2'35"

15 g - [Preludio para órgano?] en sol amyor -

15 h 44 Contradanza en fa mayor 0'46"

15 i 45 [Menuetto] en la mayor 2'21"

15 k 45 [Minore] - [Trio] en la menor -

15 l 46 [Contradanza con minore (Allegro)] en la mayor 1'07"

Ap. 109b-4 / 15 m - [Minuetto piano] en fa mayor -

15 n - [Andante piano] en do mayor -

15 o 47 [Andante piano] - [Marcia (Andantino)] en re mayor 2'05"

Ap. 109b-3 / 15 p 48 [Movimiento para una Sonata] - [Allegro non troppo] en sol menor 2'23"

15 q 49 [Andante] en si bemol mayor 3'16"

Ap. 109b-7 / 15 r 50 [Andante] - [Finale] en sol menor 2'06"

15 s - [Rondeau con Minore] en do mayor -

Ap. 109b-5 / 15 t 51 [Movimiento para una Sonata] - [Allegro] en fa mayor 3'29"

15 u 52 [Siciliana (Andantino)] en re menor 2'04"

15 v 53 [Movimiento Final de una Sonata (Allegro)] en fa mayor 3'31"

[ 15 w - [Allemande] en si bemol mayor -

Ap. 109b-6 / 15 x 54 [Final de una Sonata] [Apuntes para Sinfonía] - Contradanza en fa mayor 0'54"

15 y - [Minuetto] en sol mayor -

15 z 55 [Giga] Contradanza en do menor 2'23"

15 aa - [Movimiento Final de una Sonata] en si bemol mayor -

15 bb 56 [Movimiento Final de una Sonata] - [Nocturno (Andantino)] en re mayor 1'30"

15 cc 57 [Tempo di Menuetto] - Menuetto] en mi bemol mayor 4'40"

15 dd 58 [Andante] en la bemol mayor 2'20"

15 ee - [Minuetto] en mi bemol mayor -

Ap. 109b-8 / 15 ff 57 [Minuetto] - [Trio] la bemol mayor -

15 gg 59 [Contradanza en Rondo] - [Cotillon (Allegro)] en si bemol mayor 1'52"

15 hh - [Rondo] en fa mayor -

15 ii 60 [Andante] - [Marcha (Andantino)] en si bemol mayor 3'18"

15 kk 61 [Movimiento para Sonata] - [Allegro assai] en mi bemol mayor 1'45"

Ap. 109b-9 / 15 ll 62 [Movimiento Final para Sonata] - [Presto] en si bemol mayor 0'45"

15 mm 63 [Andante] - [Adagio] en mi bemol mayor 2'04"

15 nn - [Movimiento para Sonata] en fa mayor -

15 oo - [Tempo di Menuetto] en fa mayor -

15 pp 64 [Menuetto] en si bemol mayor 2'26"

15 qq 64 [Menuetto] - [Trio] en mi bemol mayor -

15 rr - [Menuetto] en do mayor -

15 ss - [Fuga para 4 voces] en la menor -

[Andantino] - [Maestoso] en do mayor

Londres 1764 16 Sinfonía Nº. 1 en mi bemol mayor


66 2. Andante 2'47"

67 3. Presto 2'13"

Londres 1765 Ap. 220 / 16 a - -

(perdida)

Londres 1765 19 Sinfonía Nº. 4 en re mayor

68 1. Allegro 4'40"

69 2. Andante 3'19"

70 3. Presto 2'12"

Londres feb-abr 1765 Ap. 223 / 19 a Sinfonía [Nº. 4 a] en fa mayor

71 1. Allegro assai 3'47"

72 2. Andante 3'41"

73 3. Presto 2'42"

Londres 1765 Ap. 222 / 19 b -

(perdida)

Sinfonía Nº. 2 en la menor "Odense"

Sinfonía en do mayor

Londres 1765 21 / 19 c «Va, dal furor portata»Aria en do mayor para tenor.

Pietro Metastasio: "Ezio" II, 4.

MASSIMO: MASSIMO:

74 Va, dal furor portata, Ves, portada per l'ira, 6'34"

Palesa il tradimento; revela la traïció;

Ma ti sovvenga, ingrata, però adona-te'n, ingrata,

Il traditor qual'è. de qui és el traïdor.

Scopri la frode ordita, Descobreix el complot ordit,

Ma pensa in quel momento, però pensa en aquell moment,

Ch'io ti donai la vita, que jo et vaig donar la vida,

Che tu la togli a me. i que tu me la lleves a mi.

Londres 13 mayo 1765 19 d Sonata en do mayorpara piano a cuatro manos

75 1. [Allegro] 4'40"

76 2. Menuetto 3'51"

77 3. Rondo. Allegretto 3'45"

Londres julio 1765 20 «God Is Our Refuge»Motete en sol menor para soprano, contraalto, tenor y bajo.

Salmo 46

78 God is our refuge and strength, Dios es mi refugio y fortaleza 1'28"

a very present help in trouble. y es ayuda en los temores

Londres 1765 Ap. 206 / 21 a - Variaciones en do mayor -

para piano (perdidas)

La Haya diciembre 1765 22 Sinfonía Nº. 5 en si bemol mayor

79 1. Allegro 2'30"

80 2. Andante 3'04"


La Haya enero 1766 23 «Conservati fedele»Aria para contralto .

Pietro Metastasio: "Artaserse" I, 1

MANDANE MANDANE

82 Conservati fedele; Mantingues-te fidel; 6'18"

Pensa ch'io resto, e peno, pensa que jo em quedo i pateixo,

E qualche volta almeno i almenys una vegada

Ricordati di me. recorda't de mi.

Ch'io per virtù d'amore, Mitjançant la virtut de l'amor,

Parlando col mio core, parlant amb el meu cor,

Ragionerò con te. estaré en contacte amb tu.

La Haya enero 1766 24 83 Ocho Variaciones en sol mayor «Laat ons juichen, batavieren!» 5'55"

para piano

sobre: «Laat ons juichen, batavieren!» (C.E. Graaf)

Amsterdam febrero 1766 25 84 Siete Variaciones en re mayor «Willhelmus van Nassouwe» 6'40"

para piano

sobre: «Willhelmus van Nassouwe»

La Haya febrero 1766 26 Sonata en mi bemol mayorpara clave y violín


86 2. Adagio poco andante 3'34"

87 3. Rondo. Allegro 2'19"

La Haya febrero 1766 27 Sonata en sol mayorpara clave y violín

88 1. Andante un poco adagio 3'26"

89 2. Allegro 3'49"

La Haya febrero 1766 28 Sonata en do mayorpara clave y violín

90 1. Allegro maestoso 3'15"

91 2. Allegro grazioso 2'26"

La Haya febrero 1766 29 Sonata en re mayorpara clave y violín


93 2. Menuetto 3'30"

La Haya febrero 1766 30 Sonata en fa mayorpara clave y violín

94 1. Adagio 3'12"

95 2. Rondo. Tempo di menuetto 2'42"

La Haya febrero 1766 31 Sonata en si bemol mayorpara clave y violín

96 1. Allegro 4'07"

97 2. Tempo di menuetto. Moderato 4'08"

La Haya marzo 1766 32 «Galimathias musicum»Quodlibet en re mayor

para dos violines, dos oboes, dos cormos, clave, dos fagot, viola y bajo.

98 1. Molto allegro 5'45"

2. Andante para cuerdas

3. Allegro

4. Pastorella para cuerdas y oboe

5. Allegro

6. Allegretto para cuerdas

7. Allegro

99 8. Molto adagio para cuerdas y oboe 6'20"

CORO

"Eitelkeit! Eitelkeit! Ewig's verderben!

Wenn all's versoffen ist,

gibts nichts zu erben"

9. Allegro

10. Largo para cuerdas

11. Allegro

12. Andante

13. Allegro para clave

14. Menueto

15. Adagio para cuerdas

16. Presto para cuerdas y oboe

100 17. Fuga 3'22"

París 1766 32a - El Tercer Cuaderno - «Capricci» -


París 12 junio 1766 33 Kyrie en fa mayorpara cuatro voces, dos violines, viola y bajo

101 Kyrie eleison. Señor ten piedad. 3'43"

Christe eleison. Cristo ten piedad.

Kyrie eleison. Señor ten piedad.

Lausanne septiembre 1766 33 a - Solo -


Zurich octubre 1766 33 B 102 [Movimiento en fa mayor] 0'57"

para piano

33 b - Solo para flauta (perdido)

33 c - -

(perdido)

Ap. 199 / 33 d - -


Ap. 200 / 33 e - -


Ap. 201 / 33 f - Sonata en do mayor -


Ap. 202 / 33 g - Sonata en fa mayor -


33 h - Pieza -

para corno (perdida)

Stabat Mater

Sonata en sol mayor

Sonata en si bemol mayor

«Or che il dover m'astringe» Salzburgo 21 diciembre 1766 36 / 33 i «Tali e contanti sono»

Recitativo y Aria en do mayor para tenor.


[Recitativo]

103 Or che il dover m'astringe, 9'22"

In scelte e corte rime

Grato mostrarmi a qual onor sublime,

Di cui ci ricolmaste, o prence eccelso,

Ne' miei pensieri immerso

Ricerco un bon concceto.

Rumino colla mente,

Penso, ripenso, e poi non trovo niente.

Febo e le Muse in mio soccorso imploro;

Compariscono tutte a me dinanzi,

Confuse in volto e colle cetre infrante.

D'un simile scompiglio

Le chiedo la ragion, tacer le miro,

E dopo mille al più sospir cocenti

Una così ripose:

Riverendo pastor, t'accheta, e in simil giorno

Non obbligarci a dire il nostro scorno;

Sulle rive della Salza

Ogni nostro potere,

Ogni saper fu crine

Da quella luce onde il suo prence è cinto.

[Aria]

Tali e contanti sono

Di Sigismondo i merti,

Che i nostri ingegni incerti,

Non sanno qual Riverendo cor.

Se la pietà si canta,

La giustizia non cede,

Ch'ogni virtù, Riverendo, siede

In trono suo cor.

Salzburgo marzo 1767 34 «Scande coeli limina»Offertorium in Festo Sancti Benedicti

Ofertorio en do mayor para cuatro voces, dos violines, tipanos, bajo y organo

Texto de San Benito.

104 I. Scande coeli limina 3'16"

anima sanctissima,

per lampadum luces,

quos superi duces

itineris obviam dant.

Sed quaeso?

Qui nati?

ui tacti amore,

afflicti dolore,

hic orphani stant.

105 II. Cara o pignona 2'03"

protegam vos,

coeli ut patria

societ nos.

Salzburgo 12 marzo 1767 35 «Die Schuldigkeit des ersten Gebots»El deber del Primer mandamiento

Primera parte de un drama sacro

Libreto: I. A. Weiser

en do mayor

42 / 35 a «Grabmusik»Música funebre en do mayor

Recitativo

122 «Wo bin ich? Bittrer Schmerz!» 0'55"

(Die Seele)

Aria

123 «Felsen, spaltet euren Rachen» 6'32"

(Die Seele)

Recitativo

124 «Geliebte Seel' , was redest du?» 1'01"

(Der Engel)

Aria

125 «Betracht dies Herz und frage mich» 4'37"

(Der Engel)

Recitativo

126 «O Himmel, was ein traurig Licht» 1'19"

(Die Seele)

Duetto

127 «Jesu, was hab'ich getan?» 4'29"

(Die Seele, der Engel)

Recitativo

128 «O lobenswerter Sinn!» 0'16"

(Die Seele)

Coro

129 «Jesu, wahrer Gottessohn» 4'39"

Salzburgo abril 1767 37 Concierto Nº. 1 en fa mayorpara piano

130 5'23"

131 2. Andante 5'53"

132 4'49"

Salzburgo 13 mayo 1767 38 «Apollo et Hyacinthus»Apolo y Jacinta

Intermedio latino

Libreto del Padre Rufinus Widl

en re mayor

Salzburgo junio 1767 39 Concierto Nº. 2 en si bemol mayorpara piano

133 5'25"

134 5'20"

135 3'47"

Salzburgo julio 1767 40 Concierto Nº. 3 en re mayorpara piano

136 5'27"

137 4'50"

138 2'31"

Salzburgo julio 1767 41 Concierto Nº. 4 en sol mayorpara piano

139 5'23"

140 4'15"

141 3'50"

1. Allegro de: H.F. Raupach, Sonata Op. 1 Nº. 5

3. (Allegro) de: L. Honauer, Sonata Op. 2 Nº. 3

1. Allegro spiritoso de: H.F. Raupach, Sonata Op. 1 Nº. 1

2. Andante Staccato de: J. Schobert, Sonata Op. 17 Nº. 2

3. Molto allegro de: H.F. Raupach, Sonata Op. 1 Nº. 1

1. Allegro maestoso de: L. Honauer, Sonata Op. 2 Nº. 1

2. Andante Staccato de: J. Eckard, Sonata Op. 1 Nº. 4

3. Presto de: C. P. E. Bach, La Boehmer

1. Allegro de: L. Honauer, Sonata Op. 1 Nº. 1

2. Andante de: H. F. Raupach, Sonata Op. 1 Nº. 1

3. Molto allegro de: L. Honauer, Sonata Op. 1 Nº. 1

41 a - Seis Divertimentos -

para orquesta (perdidos)

41 b - Piezas -

para vientos

41 c - Marchas -

(perdidos)

41 d - Minuetos -

(perdidos)

41 e - Fuga -


41 f - Fugas -

para 4 voces (perdidos)

41 g - Natchmusik de Nannerl (Música de Noche de Nannerl) -

para 2 violines y bajo

Salzburgo 1767 67 / 41 h 142 Sonata de iglesia Nº. 1 en mi bemol mayor 2'20"

para órgano

Salzburgo 1767 68 / 41 i 143 Sonata de iglesia Nº. 2 en si bemol mayor 4'09"

para órgano

Salzburgo 1767 69 / 41 k 144 Sonata de iglesia Nº. 3 en re mayor 4'01"

para órgano

Viena septiembre 1767 76 / 42 a Sinfonía [Nº. 43] en fa mayor


146 2. Andante 4'20"

147 3. Menuetto 3'27"

148 4. Allegro 3'22"

Olmütz 30 diciembre 1767 43 Sinfonía Nº. 6 en fa mayor

149 1. Allegro 4'24"

150 2. Andante 3'40"

151 3. Menuetto 2'19"

152 4. Allegro 2'57"

Viena finales 1767 43 a - «Ach, was müßen wir erfahren?» -

Duo en fa mayor para 2 sopranos (fragmento)

Viena 16 enero 1768 45 Sinfonía Nº. 7 en si bemol mayor(Obertura "La finta semplice")

153 1. Ouverture (Allegro) 2'47"

154 2. Andante 2'41"

155 3. Menuetto 3'39"

156 4. (Allegro) 2'15"

Viena 1768 Ap. 221 / 45 a Sinfonía [Nº. 7a] en sol mayor «Alte Lambacher»


158 2. Andante 3'55"

159 3. Presto 1'50"

Viena 1768 Ap. 214 / 45 b Sinfonía [Nº. 55] en si bemol mayor

160 1. Allegro 2'09"

161 2. Andante 3'32"

162 3. Menuet 2'47"

163 4. Allegro 2'45"

Viena abr-jul 1768 51 / 46 a «La Finta Semplice»La falsa ingenua

Opera

Libreto

en re mayor

Viena sep-oct 1768 50 / 46 b «Bastien und Bastiene»Bastian y Bastiana

Opera

Libreto

sol mayor

Viena 1768 52 / 46 c - «Daphne, deine Rosenwangen» -

### Lied en la mayor para soprano y clave

Viena 1 septiembre 1768 46 d Sonata en do mayor

164 1. Allegro 2'01"

165 2. Menuetto I & II 2'10"

Viena septiembre 1768 46 e Sonata en fa mayor

166 1. Allegro 1'22"

167 2. Menuetto I & II 2'27"

Viena 7 diciembre 1768 47 «Veni, Sacte Spiritus»Ofertorio en do mayor

para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, trompa, timpanos, bajo y organo.

168 Veni, Sancte Spiritus, 3'59"

reple tuorum corda fidelium:

et tui amoris

in eis ignem accende:

qui per diversitatem

linguarum cunctarum,

gentes in unitate

fidei congregasti.

Alleluja.

Viena 7 diciembre 1768 139 / 47 a Misa [solemnis] en do menor «Waisenhaus-Messe»para 4 solistas, coro, 2 violines, 2 violas, bajo, 2 oboes, 3 trombones,

4 trompetas, timpanos y organo.

169 Kyrie 7'42"

170 Gloria 11'49"

171 Credo 12'44"

172 Santus 1'29"

173 Benedictus 2'22"

174 Agnus Dei 5'00"

Viena 1768 47 b - Ofertorio -

(perdido)

Viena 1768 47 c - Concierto -

para trompeta (perdido)

Viena oct-nov 1768 49 / 47 d Misa en sol mayorpara 4 coro, 2 violines, viola, bajo, organo.

175 Kyrie 2'00"

176 Gloria 4'04"

177 Credo 9'00"

178 Santus 1'37"


180 Agnus Dei 3'44"



Viena noviembre 1768 53 / 47 e «An die Freude»«Freude, Königin der Weisen»

Lied en fa mayor para soprano y clave.

sobre un texto de Johann Peter Uz

181 Freude, Königin der Weisen,

Die, mit Blumen um ihr Haupt, 2'30"

Dich auf güld'ner Leier preisen,

Ruhig, wenn die torheit schnaubt:

Höre von deinem Throne,

Kind der Weisheit, deren Hand

Immer selbst in deine Krone

Ihre schönsten Reiz band.

Göttin, o so sei, ich flehe,

Deinem Dichter immer hold.

Daß er schmmernd' Glück verschmähe,

Reich in sich, auch ohne Gold;

Daß sein Leben zwar verbogen,

Aber ohne Sklaverei,

Ohne Flecken, ohne Sorgen

Weisen Freuden teuer sei!

Viena 13 diciembre 1768 48 Sinfonía Nº. 8 en re mayor

182 1. (Allegro) 3'05"

183 2. Andante 3'34"

184 3. Menuetto 3'48"

185 4. (Allegro) 2'37"

Salzburgo 14 enero 1769 65 / 61 a Misa brevis en re menorpara 4 voces, 2 violines, bajo, 3 trombones y órgano.

186 Kyrie 2'08"

197 Gloria 2'40"

188 Credo 5'23"

189 Santus 1'03"


191 Agnus Dei 2'13"

Salzburgo 26 enero 1769 65a / 61 b 7 Minuetos

192 1. Sol mayor 1'57"

193 2. Re mayor 2'07"

194 3. La mayor 1'58"

195 4. Fa mayor 2'13"

196 5. Do mayor 1'39"

197 6. Sol mayor 2'03"

198 7. Re mayor 1'41"

«A Berenice e Vologeso sposi» -Salzburgo febrero 1769 70 / 61 c «Sol nascente in questo giorno»

Recitativo y Aria (Licencia) en sol mayor para soprano

de la opera "Vologeso" de G. Sarti ?


[Recitativo]

199 A Berenice e Vologeso sposi 10'31"

Apparve al fin aurora

Di contentezza e pace.

Luce assai più festiva e più vivace,

Ch'oggi nacque di nuovo,

A me si rappresenta

In Sigismondo prence

E mi rammenta il mio dover

Di raccontar le lodi

Di questo dì solenne.

Io lo previdi,

E volendo formar il mio concetto,

Deboli troppo i sensi miei trovai.

Confuso dunque e in fretta io mi portai

Del pegaso su le ale

Sin alla etrusca sponda

Da quella musa celebre e faconda,

A domandar soccorso.

Ma non bastante anche essa

A soddisfar le mie richieste ansiose,

In questi pochi accenti a me rispose:

Virtù, che di lodare in ciel istesso

La cura ed il potere a sé ritiene,

Solo ammirar tacendo a noi conviene.

[Aria]

Sol nascente in questo giorno,

Deh! perdona al tenue ingegno,

E ammirarti io vo' tacendo,

E ammirando io tacerò.

Del tuo lustro chiaro e degno,

Di virtù sì rare adorno,

La grandezza io non comprendo,

E a dover spiegar non so

Salzburgo 1769 103 / 61 d 19 Minuetos

200 1. Do mayor 2'23"

201 2. Sol mayor 1'43"

202 3. Re mayor 2'10"

203 4. Fa mayor 1'49"

204 5. Do mayor 1'39"

205 6. Sol mayor 1'51"

206 7. Re mayor 2'28"

207 8. Fa mayor 1'55"

208 9. Re mayor 2'26"

209 10. Sol mayor 1'56"

210 11. Fa mayor 2'04"

211 12. Do mayor 1'41"

212 13. Do mayor 1'52"

213 14. Mi bemol mayor 2'07"

214 15. Si bemol mayor 1'46"

215 16. Sol mayor 0'41"

216 17. Mi mayor 1'54"

217 18. La mayor 0'43"

218 19. Do mayor 2'05"

Salzburgo 1769 61e / 61 e 6 Minuetos

219 1. Do mayor 2'02"

220 2. Fa mayor 1'44"

221 3. Do mayor 2'08"

222 4. La mayor 0'51"

223 5. Sol mayor 1'57"

224 6. Sol mayor 1'48"

Salzburgo 1769 105 / 61 f 6 Minuetos

225 1'50"

226 1'44"

227 3. Re mayor 1'50"

228 4. Sol mayor 1'38"

229 5. Sol mayor 1'37"

230 6. Sol mayor 1'29"

Salzburgo 1769 61 g 2 Minuettos231 Nº. 1 en la mayor 0'56"

232 Nº. 2 en do mayor 2'17"

Salzburgo 1769 61 h 6 Minuetos

233 1. Do mayor 2'06"

234 2. Sol mayor 1'04"

235 3. Re mayor 2'02"


237 5. Sol mayor 2'12"

238 6. Do mayor 2'09"

1. Re mayor (de Michael Haydn)

2. Re mayor (de Michael Haydn)

Salzburgo agosto 1769 62 239 Marcha en re mayor 3'35"

para orquesta

Salzburgo agosto 1769 100 / 62 a Casación en re mayorpara orquesta

240 1. Allegro 4'25"

241 2. Andante 6'01"

242 3. Menuetto 2'29"

243 4. Allegro 3'05"

244 5. Menuetto 2'32"

245 6. Andante 3'43"

246 7. Menuetto 2'04"

247 8. Allegro 3'02"

Salzburgo 6-8 agosto 1769 63 Casación (Final-Musik) en sol mayorpara orquesta

248 1. Marcia 3'05"

249 2. Allegro 3'50"

250 3. Andante 3'10"

251 4. Menuetto 3'14"

252 5. Adagio 5'59"

253 6. Menuetto 3'09"

254 7. Finale (Allegro assai) 2'04"

Salzburgo 6-8 agosto 1769 99 / 63 a Casación en si bemol mayorpara orquesta

255 1. Marche 2'42"


257 3. Andante 3'05"

258 4. Menuetto 2'25"

259 5. Andante 2'46"

260 6. Menuetto 2'05"

261 7. Allegro - Andante -Allegro - Andante - Marcha 3'48"

Salzburgo 1769 64 - Minuet en re mayor -

para orquesta

Salzburgo 15 octubre 1769 66 Misa en do mayor «Dominikus»para 4 voces, 2 violines, bajo, 3 trombones y órgano.

262 Kyrie 3'05"

263 Gloria 15'18"

264 Credo 14'14"

265 Santus 2'04"


267 Agnus Dei 3'57"

Salzburgo 1769 117 / 66 a «Benedictus sit Deus Pater»Offertorium [pro omni tempore]

Ofertorio en do mayor

para 4 voces, 2 violines, 2 flautas, 2 cornos, 2 trompetas, timpanos, bajo y órgano.

268 1. Benedictus sit Deus Pater, 1'53"

unigenitusque Dei Filius,

Sanctus quoque Spiritus,

quia fecit nobiscum

misericordiam suam.

Benedictus sit Deus Pater,

benedictus sit Deus Filius,

benedictus sit sanctus Spiritus.

269 2. Introibo domum tuam, 4'32"

Domine,

in holocaustis;

reddam tibi vota mea,

quae distinxerunt labia mea,

270 3. Jubilate Deo omnis terra. 2'12"

Psalmum dicite nomini ejus,

date gloriam laudi ejus.

Salzburgo 1769 141 / 66 b «Te Deum laudamus»Te Deum en do mayor


271 1. Te Deum laudamus; te dominum confitemur. 6'47"

Te aeternum Patrem omnis terra veneratur.

Tibi omnes angeli, tibi coeli et universae potestates;

Tibi Cherubim et Serephim incessabili voce proclamant:

Sanctus, sanctus, sanctus Dominus Deus Sabaoth.

Pleni sunt coeli et terra majestatis gloriae tuae.

Te gloriosus Apostulorum chrorus:

Te prophetarum laudabilis numerus:

Te martyrum candidatus laudat exercitus.

Te per orbem terrarum sancta confitetur Ecclesia:

Patre immensae majestatis:

Venerandum tuum verum, et unicum Filium;

Sanctum quoque Paraclitum Spiritum.

Tu Rex gloriae, Christe.

Tu patris sempiternus et filius.

Tu ad liberandum suscepturus hominem,

non horruisti Virginis uterum.

Tu devicto mortis aculeo,

aperuisti credentibus regna coelorum.

Tu ad dexteram Dei sedes, in gloria Patris.

Judex crederis esse venturus.

Te ergo quaesumus, tuis famulis subveni, q

uos pretioso sanguine redemisti.

2. Aeterna fac cum Sanctis tuis gloria numerari.

Salvum fac populum tuum, Domine,

et benedic hereditati tuae.

Et rege eos, et extolle illos usque in aeternum.

Per singulos dies benedicimus te.

Et laudamus nomen tuum in saeculum,

et in saeculum saeculi.

Dignare, Domine, die isto sine peccato nos custodire.

Miserere nostri, Domine, miserere nostri.

Fiat misericordia tua, Domino super nos,

quemadmodum speravimus in te.

3. In te, Domine, speravi;

non confundar in aeternum.

Salzburgo 1769 Ap. 215 / 66 c - Sinfonía en re mayor -

(perdida)

Salzburgo 1769 Ap. 217 / 66 d - Sinfonía en si bemol mayor -

(perdida)

Salzburgo 1769 Ap. 218 / 66 e - Sinfonía en si bemol mayor -

(perdida)

Salzburgo 1769 71 - «Ah, piu tremar non voglio» -

Aria en fa mayor para tenor (fragmento)

Salzburgo 1769 72 a - -


Salzburgo 1769 73 Sinfonía Nº. 9 en do mayor

272 1. Allegro 3'22"

273 2. Andante 3'11"

274 3. Menuetto 2'57"


Allegro en sol mayor

Milán 1770 Ap. 2 / 73 A - «Misero tu non sei» -

Aria (perdida)

Milán febrero 1770 143 / 73 a «Ergo interest»Recitativo y Aria en sol mayor

para soprano, 2 violines, viola, bajo y organo.

[Recitativo]

276 1. Ergo interest, an quis male vivat, an bene? 6'25"

Fidelis anima, cogita vias tuas,

facileque quis tibi sit videbis exitum.

Est aliquid, iram promeruisse, an gratiam!

[Aria]

2. Quaere superna,

fuge terrena,

non cura reliqua,

nil enim sunt.

Hoc dabit gaudia,

mortis solatia

in coelis praemia,

eterna quae sunt.

Milán 12 marzo 1770 78 / 73 b «Per pietà, bell'idol mio»Aria en mi bemol mayor para soprano.


ARTASERSE

277 Per pietà, bell'idol mio, 4'12"

Non mi dir ch'io sono ingrato:

Infelice e sventurato

Abbastanza il ciel mi fa.

Milán 12 marzo 1770 88 / 73 c «Fra cento affanni e cento» 9'57"

Aria en do mayor para soprano.


ARBACE

278 Fra cento affanni e cento

Palpito, tremo e sento

Che freddo dalle vene

Fugge il mio sangue al cor.

Prevedo del mio bene

Il barbaro martiro,

E la virtù sospiro,

Che perde il genitor.

73 D - «Per quel paterno ampleso» -

Aria en mi bemol mayor para soprano.

Texto ?

«O temerario Arbace!» -Milán 12 marzo 1770 79 / 73 d «Per quel paterno amplesso»


Pietro Metastasio: "Artaserse" II, 11.

[Recitativo]

ARBACE

279 Oh, temerario Arbace! 5'53"

Dove trascorri? Ah, genitor, perdona:

Eccomi a' piedi tuoi; scusa i trasporti

D'un insano dolor. Tutto il mio sangue

Si versi pur, non me ne lagno; e invece

Di chiamarla tiranna,

Io bacio quella man che mi condana.

ARTABANO

Basta, sorgi; purtroppo

Hai ragion di lagnarti:

Ma sappi... (Oh Dio!) Prendi un abbracio.

[Aria]

ARBACE

Per quel paterno amplesso,

Per questo estremo addio,

Conservami te stesso,

Placami l'idol mio,

Difendimi il mio re.

«Misero me!»Milán 12 marzo 1770 77 / 73 e «Misero pargoletto»


Pietro Metastasio: "Demofoonte" III, 4-5.

[Recitativo]

TIMANTE

280 Misero me! Qual gelido torrente 13'37"

Mi ruina sul cor! Qual nero aspetto

Prende la sorte mia! Tante sventure

Comprendo alfin. Perseguitava il cielo

Un vietato imeneo. Le chiome in fronte

Mi sento sollevar. Suocero e padre

M'è dunque il re? Figlio e nipote Olinto?

Dircea moglie e germana? Ah, qual funesta

Confusion d'opposti nomi è questa!

Fuggi, fuggi, Timante! Agli occhi altrui

Non esporti mai più. Ciascuno a dito

Ti mostrerà. Del genitor cadente

Tu sarai la vergogna: e quanto, oh Dio,

Si parlerà di te! Tracia infelice,

Ecco l'Edipo tuo. D'Argo e di Tebe

Le Furie in me tu rinnovar vedrai.

Ah, non t'avessi mai

Conosciuta, Dircea! Moti del sangue

Eran quei ch'io credevo

Violenze d'amor. Che infausto giorno

Fu quel che pria ti vidi! I nostri affetti

Che orribile memorie

Saran per noi! Che mostruoso oggetto

A me stesso io divengo! Odio la luce;

Ogni aura mi spaventa; al piè tremante

Parmi che manchi il suol; strider mi sento

Cento folgori intorno; e leggo, oh Dio!

Scolpito in ogni sasso il fallo mio.

[Aria]

Misero pargoleto,

Il tuo destin non sai.

Ah! non gli dite mai

Qual era il genitor.

Come in un punto, oh Dio,

Tutto cambiò d'aspetto!

Voi foste il mio diletto,

Voi siete il mio terror,

Lodi 15 marzo 1770 80 / 73 f Cuarteto Nº. 1 en sol mayor «Lodi»para cuerdas

281 1. Adagio 6'42"

282 2. Allegro 3'11"

283 3. Minuetto 3'05"

284 4. Rondeau 2'13"

Roma 13 abril 1770 123 / 73 g 285 Contradanza en si bemol mayor 1'15"

Roma abril 1770 94 / 73 h 286 Minueto en re mayor 1'18"

Roma abril 1770 73 i 287 Canon en la mayor 1'36"

para 4 clarinetes

Roma abril 1770 89 / 73 k 288 «Kyrie» 4'12"

Canon en sol mayor para 5 sopranos

Roma abril 1770 81 / 73 l Sinfonía [Nº. 44] en re mayor

289 1. Allegro 3'01"

290 2. Andante 5'00"

291 3. Allego molto 2'27"

Roma abril 1770 97 / 73 m Sinfonía [Nº. 47] en re mayor

292 1. Allegro 2'37"

293 2. Andante 2'33"

294 3. Menuetto 2'32"

295 4. Presto 1'35"

Roma abril 1770 95 / 73 n Sinfonía [Nº. 45] en re mayor

296 1. Allegro 2'20"

297 2. Andante 3'16"

298 3. Menuetto 2'55"

299 4. Allegro 2'41"

Roma 25 abril 1770 82 / 73 o «Se ardire e speranza»Aria en fa mayor para soprano.


TIMANTE

300 Se ardire e speranza 6'26"

Dal ciel non mi viene,

Mi manca constanza

Per tanto dolor.

La dolce compagna

Vedersi rapire,

Udir che si lagna,

Condotta a morire,

Son smanie, son pene

Che opprimono un cor.

Roam mayo 1770 83 / 73 p «Se tutti i mali miei»Aria en mi bemol mayor para soprano.

Pietro Metastasio: "Demofoonte" II, 6.

DIRCEA

301 Se tutti i mali miei 7'07"

Io potessi dir,

Divider ti farei

Per tenerezza il cor.

In questo amaro passo

Si giusto è il mio martir,

Che, se tu fossi un sasso,

Ne piangeresti ancor.

Boloña julio 1770 84 / 73 q Sinfonía Nº. 11 en re mayor

302 1. Allegro 3'48"

303 2. Andante 3'06"

304 3. Allegro 3'48"

Boloña 1770 89 a / 73 r Cuatro Canones enigmáticos

I. Canon. Sit trium series una.

Canon a 3 voces. Coro masculino

305 Incipe Menalios mecum mea tibia versus. 2'07"

II. Canon. Ter ternis canite vocibus.

Canon a 9 voces. Coro femenino.

306 Cantate Domino omnis terra. 1'41"

III. Canon ad duodeciman. Clama ne cesses. Tertia pars si placet.

Canon a 2 voces. Coro mixto.

307 Allen Lande beten dich an und lobsingen dir, 1'33"

lobsingen deinem Namen.

IV. Ter voce ciemus.

Canon a 6 voces. Coro mixto.

308 Thebana bella cantus Troiana cantat alter. 0'42"

Voce ter insonuit.

Troiana cantat aller Thebana bella cantus.

Boloña agosto 1770 85 / 73 s «Miserere mei, Deus»Miserere en la menor

para alto, tenor, bajo y órgano continuo.

309 Miserere mei, Deus, 9'39"

secundum magnam misericordiam tuam

Amplius, lava me ab iniquitate mea:

et a peccato meo munda me.

Tibi solli peccavi, et malum coram te feci:

ut justificeris in sermonibus tuis,

et vincas cum judicaris.

Ecce enim veritatem dilexisti:

incerta et occulta sapientiae tuae manifestati mihi.

Auditui meo dabis gaudium et laetitiam:

et exsultabunt ossa humiliata.

Cor mundum crea in mea, Deus:

et spiritum rectum innova, in visceribus meis.

Redde mihi laetitiam salutaris tui:

principali confirma me.

Libera me de sanguinibus, Deus, salutis meae:

et exsultabit lingua mea justitiam tuam.

Boloña agosto 1770 122 / 73 t 310 Minueto en mi bemol mayor 1'18"

para

Boloña 9 octubre 1770 44 / 73 u «Civavit eos ex adipe frumenti»Antífona en la menor [Introitus]


311 Civavit eos ex adipe frumenti, alleluja. 3'43"

Et de petra melle saturavit eos, alleluja.

Boloña 9 octubre 1770 86 / 73 v «Quaerite primum regnum Dei»Antífona en do menor

para 4 voces.

312 Quaerite primum regnum Dei 1'55"

et justitiam ejus:

Et haec omnia

adjicientur vobis.

Alleluja.

Boloña octubre 1770 73 w - -


Boloña octubre 1770 73 x - 14 estudios en forma de canones -

Fuga en re mayor

Milán diciembre 1770 74 Sinfonía Nº. 10 en sol mayor

313 1. (Allegro) 3'03"

314 2. (Andante) 3'28"

315 3. (Allegro) 2'02"

Milán 26 diciembre 1770 89 / 74 a «Mitridate, re di Ponto»Mitridate, rey del Ponto

Opera seria en tres actos

Libreto de Cigna Santi

Milán enero 1771 74 b «Non curo l'affetto»Aria en mi mayor para soprano.


CREUSA

316 Non curo l'affetto 4'44"

D'un timido amante,

Che serba nel petto

Sì poco valor.

Che trema, se deve

Far uso del brando,

Che audace è sol quando

Si parla d'amor.

Salzburgo marzo 1771 118 / 74 c «La Betulia liberata»La Betulia liberada

Acción sacra (Oratorio) en dos partes

Libreto: Pietro Metastasio

Salzburgo mayo 1771 108 / 74 d «Regina coeli, laetare»Antífona mariana en do mayor

para 4 voces, 2 vioines, viola, 2 oboes (o flautas) 2 cornos, 2 trompas, timpanos, bajo y órgano.

349 I. Regina coeli, laetare, alleluja. 3'02"

350 II. Quia quem meruisti portare, alleluja. 4'44"

resurrexit sicut dixit, alleluja.

351 III. Ora pro nobis Deum 5'41"

352 IV. alleluja 2'52"

Salzburgo mayo 1771 109 / 74 e «Litaniae de Beata Maria Virgine»(Lauretanae)Letanía en si bemol mayor

para 4 voces, 2 violines, 3 trombones, bajo y órgano.

353 I. Kyrie 1'51"

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Christe, audi nos.

Christe, exaudi nos.

Pater de coeli, Deus,

miserere nobis.

Fili, redemptor mundi, Deus,

miserere nobis.

Spiritu sancte, Deus,

miserere nobis.

Sancta Trinitas, unus Deus,

miserere nobis.

354 II. Sancta Maria 4'55"

Sancta Maria,

ora pro nobis.

Sancta Dei genetrix,

sancta Virgo virginum,

ora pro nobis.

Mater Christi,

mater divinae gratiae,

mater purissima,

mater castissima,

ora pro nobis.

Mater inviolata,

mater intemerata,

ora pro nobis.

Mater amabilis,

mater admirabilis,

ora pro nobis.

Virgo prudentissima,

virgo veneranda,

virgo praedicanda,

ora pro nobis.

Virgo potens,

virgo clemens,

virgo fidelis,

ora pro nobis.

Speculum justitiae

sedes sapientiae,

ora pro nobis.

Causa nostrae laetitiae

ora pro nobis.

Vas spirituale,

vas honorabile,

vas insigne devotionis,

ora pro nobis.

Rosa mystica,

turris Davidica,

ora pro nobis.

Turris eburnea,

domus aurea,

foederis arca,

stella matutina,

ora pro nobis.

355 III. Salus informorum 1'05"

Salus informorum,

refugium peccatorum,

consolatrix afflictorum,

ora pro nobis.

Auxilium christianorum,

ora pro nobis.

356 IV. Regina angelorum 1'45"

Regina angelorum,

Regina patriarcharum,

regina prophetarum,

ora pro nobis.

Regina apostolorum,

ora pro nobis.

Regina martyrum,

ora pro nobis.

Regina confessorum,

regina virginum,

ora pro nobis.

Regina sanctorum omnium,

ora pro nobis.

357 V. Agnus Dei 2'53"

Agnus Dei,

qui tollis peccata mundi,

parce nobis, Domine.

Agnus Dei,


exaudi nos, Domine.

Agnus Dei,


miserere nobis.

Salzburgo 24 junio 1771 72 / 74 f 358 «Inter natos mulierum» 7'24"

Offertorium pro Festo Sancti Joannis Baptistae

Ofertorio en sol mayor


Intenatos mulierum

nos surrexit major

Joanne Baptista,

qui viam Domino praeparavit

in eremo.

Ecce agnus Dei


Alleluja.

Salzburgo 1771 75 Sinfonía [Nº. 42] en fa mayor

359 1. Allegro 3'13"

360 2. Menuetto 2'54"

361 3. Andantino 3'53"

362 4. Allegro 2'15"

Salzburgo julio 1771 110 / 75 b Sinfonía Nº. 12 en sol mayor

363 1. Allegro 4'37"

364 2. Andante 3'24"

365 3. Menuetto 4'06"

366 4. Allegro 2'13"

Salzburgo 90 «Kyrie» en re menor 3'09"


Kyrie eleison.

Christe eleison.

Kyrie eleison.

Salzburgo 116 / 90 a Misa «brevis» en fa mayor -

Milán 1771 107 Concierto Nº. 1 en re mayor para piano

de: J. C. Bach, Sonata Op. 5 Nº. 2

367 1. Allegro 5'21"

368 2. Andante 4'31"

369 3. Tempo di Minuetto 3'47"

Concierto Nº. 2 en re mayor para piano


370 1. Allegro 3'58"

371 2. Allegretto 4'28"

Concierto Nº. 3 en re mayor para piano


372 1. Allegro 5'04"

373 2. Allegretto (Rondeaux) 4'30"

Milán 17 octubre 1771 111 «Ascanio in Alba»Festa teatral

Libreto de

Milán 1771 111&120 / 111 a Sinfonía [Nº. 48] en re mayor(Obertura «Ascanio in Alba» & Nº.1)

374 1. Allegro 6'38"

375 2. Andantino grazioso

376 3. Menuetto

Milán 1771 96 / 111 b Sinfonía [Nº. 46] en do mayor

377 1. Allegro 2'04"

378 2. Andante 4'18"

379 3. Menuetto 3'25"


Milán 2 noviembre 1771 112 Sinfonía Nº. 13 en fa mayor

381 1. Allegro 3'56"

382 2. Andante 4'24"

383 3. Menuetto 2'29"


Milán 22 noviembre 1771 113 Divertimento en mi bemol mayorpara dos clarinetes, dos cornos y arcos solistas

385 1. Allegro 4'00"

386 2. Andante 3'48"

387 3. Menuetto - Trio 1'50"

388 4. Allegro 3'19"

Salzburgo 30 diciembre 1771 114 Sinfonía Nº. 14 en la mayor

389 1. Allegro moderato 5'22"

390 2. Andante 4'08"

391 3. Menuetto 3'17"


393 1'04"

Salzburgo 1772 381 / 123 a Sonata en re mayorpara piano a cuatro manos

394 1. Allegro 3'30"

395 2. Andante 6'13"


Salzburgo 21 febrero 1772 124 Sinfonía Nº. 15 en sol mayor

397 1. Allegro 3'14"

398 2. Andante 3'34"

399 3. Menuetto 3'04"

400 4. Allegro 2'35"

3. Menuetto (alternativo)*

Salzburgo 1772 124 A - -

para órgano (fragmento)

Salzburgo 1772 144 / 124 a 401 Sonata de iglesia Nº. 4 en re mayor 4'49"

para órgano

Salzburgo 1772 145 / 124 b 402 Sonata de iglesia Nº. 5 en fa mayor 3'09"

para órgano

Salzburgo marzo 1772 125 «Litaniae de venerabili altaris sacramento»Letanía en do mayor

para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, 2 trompetas, bajo y órgano.

403 I. Kyrie 3'52"

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Christe, audi nos.



miserere nobis.


miserere nobis.


miserere nobis.


miserere nobis.

404 II. Panis vivus 5'52"

Panis vivus,

qui de coelo descendisti,

miserere nobis.

Deus absconditus et Salvator,

miserere nobis.

Frumentum electorum,

miserere nobis.

Vinum germinans virgines,

miserere nobis.

Panis pinguis et deliciae regum,

miserere nobis.

Juge sacrificium,

oblatio munda,

miserere nobis.

Agnus absque macula,

miserere nobis.

Mensa purissima,

angelorum esca,

miserere nobis.

Manna absconditum,

miserere nobis.

Memoria mirabililium Dei,

panis supersubstantialis,

miserere nobis.

405 III. Verbum caro factum 1'13"

Verbum caro factum,

habitans in nobis,

miserere nobis.

Sonata de iglesia en re mayor

406 IV. Hostia sancta 4'06"

Hostia sancta,

calix benedictionis.

Mysterium fidei,

miserere nobis.

Praecelsum et venerabile sacramentum,

miserere nobis.

Sacrificium omnium sanctissimun,

miserere nobis.

Vere propitiatorium

pro vivis et defunctis,

miserere nobis.

Coeleste antidotum

quo a peccatis praeservamur,

miserere nobis.

Stupendum supra omnia miracula,

miserere nobis.

Sacratissima Dominicae

passionis commemoratio,

donum transcendens

omnem plenitudinem,

memoriale praecipuum

divini amoris,

divinae affluentia largitatis,

miserere nobis.

Sacrosanctum et augustissimum mysterium,

pharmacum immortalitatis,

miserere nobis.

V. Tremendum ac vivificum

Tremendum ac vivificum sacramentum,

miserere nobis.

407 VI. Panis omnipotentia 5'53"

Panis omnipotentia

verbi caro factus,

incruentum sacrificium,

miserere nobis.

Cibus et conviva,

miserere nobis.

Dulcissimum convivium,

cui assistunt angeli ministrantes,

sacramentum pietatis,

vinculum caritatis,

miserere nobis.

Offerens et oblatio,

miserere nobis.

Spiritualis dulcedo

in propria fonte degustata,

refectio animarum sanctarum,

miserere nobis.

408 VII. Viaticum in Domino morientum 2'04"

Viaticum in Domino morientum,

miserere nobis.

409 VIII. Pignus futurae gloriae 5'11"

Pignus futurae gloriae,

miserere nobis.

410 IX. Agnus Dei 7'38"

Agnus Dei,



Agnus Dei,


exaudi nos, Domine.

Agnus Dei,


miserere nobis.

Salzburgo marzo 1772 136 / 125 a Divertimento en re mayorpara cuerdas y vientos

411 1. Allegro 4'13"

412 2. Andante 4'37"

413 3. Presto 2'35"

Salzburgo marzo 1772 137 / 125 b Divertimento en si bemol mayorpara cuerdas y vientos

414 1. Andante 7'53"

415 2. Allegro di molto 3'26"


Salzburgo marzo 1772 138 / 125 c Divertimento en fa mayorpara cuerdas y vientos

417 1. (Allegro) 3'36"

418 2. Andante 5'32"

419 3. Presto 2'24"

149 / 125 d 0'45"

150 / 125 e 1'20"

151 / 125 f 0'58"

Salzburgo 1772 147 / 125 g «Wie unglücklich bin ich nit»Lied en fa mayor para soprano y piano


420 Wie unglücklich bin ich nit, 1'04"

Wie schmachtend sind meine Tritt',

Wenn ich mich nach dir lenke.

Nur die Seufzer trösten mich,

Alle Schmerzen häufen sich,

Wenn ich auf dich gedenke.

Salzburgo 1772 148 / 125 h «An die Freundschaft»«O heiliger Bund, dir weih'ich meine Lieder»

Lobgesang auf die feierliche Johannisloge

Lied en re mayor para soprano y piano

Texto de Ludwig Friedrich Lenz

421 O heiliger bund, dir weih'ich meine Lieder 1'42"

Du höchstes Glück und Edens Wonne gleich!

In deine Kreise zieht mich's immer wieder,

Du machst das Leben schön und wonnereich.

Solang auf diesem Sterne wir hienieden,

Woll'n wir der Freundschft immerdar uns weih'n.

Und wenn wir eingeh'n Elysiums frieden,

Dann woll'n wir dorten unsern Bund erneu'n.

Salzburgo mayo 1772 126 «Il sogno di Scipione»El sueño de ScipioneAccion Teatral

Libreto

Salzburgo mayo 1772 127 «Regina coeli, laetare»Antífona mariana para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

422 I. Regina coeli, laetare, alleluja. 3'02"

423 II. Quia quem meruisti portare, alleluja. 4'44"


424 III. Ora pro nobis Deum 5'41"

425 IV. alleluja 2'52"

Salzburgo mayo 1772 128 Sinfonía Nº. 16 en do mayor



428 3. Allegro 3'56"

Salzburgo mayo 1772 129 Sinfonía Nº. 17 en sol mayor

429 1. Allegro 4'48"

430 2. Andante 4'15"

431 3. Allegro 3'05"

Salzburgo mayo 1772 130 Sinfonía Nº. 18 en fa mayor

432 1. Allegro 5'46"

433 2. Andantino grazioso 4'47"

434 3. Menuetto 2'26"


164 / 130 a 6 MinuetosSalzburgo junio 1772

436 1. Re mayor 1'58"

437 2. Sol mayor 1'55"

438 3. Re mayor 2'04"

439 4. Sol mayor 1'43"

440 5. Re mayor 1'45"

441 6. Sol mayor 1'50"

Salzburgo junio 1772 131 Divertimento en re mayorpara orquesta

442 1. (Allegro) 5'12"

443 2. Adagio 6'39"

444 3. Menuetto 5'34"

445 4. Allegretto 3'11"

446 5. Menuetto 3'39"

447 6. Adagio - 7'49"

7. Allegro molto

Salzburgo julio 1772 132 Sinfonía Nº. 19 en mi bemol mayor

448 1. Allegro 4'07"

449 2. Andante 5'24"

450 3. Menuetto 4'11"

451 4. Allegro 4'34"

452 3'36"

Salzburgo julio 1772 133 Sinfonía Nº. 20 en re mayor

453 1. Allegro 7'54"

454 2. Andante 4'49"

455 3. Menuetto 3'47"

456 4. (Allegro) 4'09"

Salzburgo agosto 1772 134 Sinfonía Nº. 21 en la mayor

457 1. Allegro 5'49"

458 2. Andante 6'18"

459 3. Menuetto 3'45"

460 4. Allegro 4'11"

2. Andantino grazioso (alternativo)

Bolzano oct-nov 1772 155 / 134 a Cuarteto Nº. 2 en re mayorpara cuerdas

461 1. Allegro 3'34"

462 2. Andante 4'40"


Milán oct-nov 1772 156 / 134 b Cuarteto Nº. 3 en sol mayorpara cuerdas

464 1. Presto 3'03"

465 2. Adagio 6'43"

466 3. Tempo di menuetto 3'51"

467 2'44"

Milán 26 diciembre 1772 135 «Lucio Silla»Lucio Silla

Opera Seria en tres actos

Libreto

Milán diciembre 1772 Ap. 109 / 135 a - «La gelosie del Serraglio» -

Ballet

Milán diciembre 1772 161&163 / 141 a Sinfonía [Nº. 50] en re mayor(Obertura «Il sogno di Scipione» & Finale)

469 1. Allegro 3'10"

470 2. Andante 2'55"

471 3. Allegro 2'08"

Milán enero 1773 157 Cuarteto Nº. 4 en do mayorpara cuerdas

472 1. Allegro 5'22"

473 2. Andante 5'01"

474 3. Presto 1'55"

Milán enero 1773 158 Cuarteto Nº. 5 en fa mayorpara cuerdas

475 1. Allegro 3'28"

476 2. Andante un poco allegretto 5'45"

477 3. Tempo di menuetto 6'19"

Milán 17 enero 1773 165 / 158 a «Exsultate, jubilate»Motete en fa mayor

para soprano, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

478 Exsultate, jubilate, 15'14"

o vos animae beatae,

dulcia cantica canendo;

cantui vestro respondendo

psallant aethera cum me.

Fulget amica dies, jam fugere et nubila et

procellae: exorta est justis inexpectata

quies. Undique obscura regnabat nox;

surgite tandem laeti, qui timuisti adhuc, et

jucundi aurorae fortunatae dextera plena et lilia date.

Tu virgunum corona,

tu nobis pacem dona,

tu consolare affectus,

unde suspirat cor.

Alleluja.

Milán marzo 1773 159 Cuarteto Nº. 6 en si bemol mayorpara cuerdas

479 1. Andante 5'27"

480 2. Allegro 5'18"

481 3. Rondo. Allegro grazioso 2'32"

Milán marzo 1773 160 / 159 a Cuarteto Nº. 7 en mi bemol mayorpara cuerdas

482 1. Allegro 3'11"

483 2. Un poco adagio 5'13"

484 3. Presto 2'40"

2. Adagio (Versión original)

Milán marzo 1773 186 / 159 b Divertimento en si bemol mayorpara 2 oboes, 2 cornos inglés, 2 clarinetes, 2 cornos y 2 fagotes


486 2. Menuetto 2'20"

487 3. Andante 2'19"

488 4. Adagio 2'26"

489 5. Allegro 2'14"

Salzburgo 24 marzo 1773 166 / 159 d Divertimento en mi bemol mayorpara 2 oboes, 2 cornos inglés, 2 clarinetes, 2 cornos y 2 fagotes

490 1. Allegro 3'01"

491 2. Menuetto 4'33"


493 4. Adagio 1'03"

494 5. Allegro 2'05"

Salzburgo 30 marzo 1773 184 / 161 a Sinfonía Nº. 26 en mi bemol mayor (Obertura)

495 1. Molto presto - 8'18"

2. Andante -

3. Allegro

Salzburgo 10 abril 1773 199 / 161 b Sinfonía Nº. 27 en sol mayor

496 1. Allegro 4'39"


498 3. Presto 4'40"

Salzburgo 19 abril 1773 162 Sinfonía Nº. 22 en do mayor



501 3. Presto assai 1'38"

Salzburgo 19 mayo 1773 181 / 162 a Sinfonía Nº. 23 en re mayor

502 1. Allegro spiritoso - 10'09"

2. Andantino grazioso -

3. Presto assai

115 / 166 d - Misa «brevis» en do mayor

Kyrie

Gloria

Credo

Santus

Benedictus

Agnus Dei

Salzburgo junio 1773 223 / 166 e - «Hosanna» -

(fragmento)

Salzburgo 1773 Ap. 18 / 166 f - -

(fragmento)

Salzburgo 1773 Ap. 19 / 166 g - -

(fragmento)

Salzburgo 1773 Ap. 23 / 166 h - «In te Domine speravi» -

Salmo en do mayor (fragmento)

Salzburgo 1773 167 Misa en do mayor «in honorem S[anctissi]mae Trinitatis»

503 Kyrie 3'16"

504 Gloria 4'24"

505 Credo 12'02"

506 Santus 1'25"


508 Agnus Dei 6'08"

«Kyrie» en do mayor

«Kyrie» en re mayor

para 2 violines y bajo, con 2 oboes, 2 clarinetes trompetas, 2 trompetas y órgano.

Viena 1773 205 / 167 A Divertimento en re mayorpara cuerdas y vientos

509 1. Largo - Allegro 4'35"

510 2. Menuetto 2'39"

511 3. Adagio 4'00"

512 4. Menuetto 2'51"

513 5. Finale (Presto) 3'40"

Viena 1773 290 / 167 AB 514 Marcha en re mayor 4'44"

para cuerdas y vientos

Viena julio 1773 185 / 167 a Serenata (Final-Musik) en re mayor "Andretter"para orquesta


516 2. Andante 5'40"

517 3. Allegro 2'42"

518 4. Menuetto 3'08"


520 6. Menuetto 5'31"

521 7. Adagio - Allegro assai 5'56"

Viena julio 1773 189 / 167 b 522 Marcha en re mayor 3'07"

para orquesta

Viena agosto 1773 168 Cuarteto Nº. 8 en fa mayorpara cuerdas

523 1. Allegro 4'21"

524 2. Andante 5'34"

525 3. Menuetto 2'34"

526 4. Allegro 2'06"

168 a Minuetto en fa mayorpara un cuarteto de cuerdas

Viena agosto 1773 169 Cuarteto Nº. 9 en la mayorpara cuerdas


528 2. Andante 7'16"

529 3. Menuetto 3'06"

530 4. Rondeaux. Allegro 1'36"

Viena agosto 1773 170 Cuarteto Nº. 10 en do mayorpara cuerdas

531 1. Andante 4'48"

532 2. Menuetto 3'05"

533 3. Un poco adagio 5'12"

534 4. Rondeaux. Allegro 2'33"

Viena agosto 1773 171 Cuarteto Nº. 11 en mi bemol mayorpara cuerdas

535 1. Adagio - Allegro assai - Adagio 5'56"

536 2. Menuetto 2'52"

537 3. Andante 4'48"


Viena septiembre 1773 172 Cuarteto Nº. 12 en si bemol mayorpara cuerdas


540 2. Adagio 5'03"

541 3. Menuetto 3'03"


Viena septiembre 1773 173 Cuarteto Nº. 13 en re menorpara cuerdas

543 1. Allegro ma molto moderato 5'26"


545 3. Menuetto 4'02"

546 4. Allegro 3'24"

Viena septiembre 1773 180 / 173 c 547 Seis Variaciones en sol mayor «Mio caro Adone» 8'25"

para piano

sobre un Aria de la opera "La fiera di Venezia" de A. Salieri

Viena septiembre 1773 173 d - 2 Coros y 5 entractos -

Salzburgo 3 octubre 1773 182 / 173 dA Sinfonía Nº. 24 en si bemol mayor



550 3. Allegro 3'02"

Salzburgo 5 octubre 1773 183 / 173 dB Sinfonía Nº. 25 en sol menor

551 1. Allegro con brio 7'40"

552 2. Andante 4'05"

553 3. Menuetto 3'39"

554 4. Allegro 4'41"

Salzburgo diciembre 1773 174 Quinteto Nº. 1 en si bemol mayorpara cuerdas


556 2. Adagio 5'31"

557 3. Menuetto ma allegretto 3'52"

558 4. Allegro 5'44"

Salzburgo diciembre 1773 175 Concierto Nº. 5 en re mayorpara piano

559 1. Allegro 8'03"

560 2. Andante ma un poco adagio 8'40"

561 3. Allegro 5'10"

Salzburgo diciembre 1773 176 16 Minuetos, KV 176

562 1. Do mayor 1'49"

563 2. Sol mayor 2'17"

564 3. Mi bemol mayor


566 5. Fa mayor 1'54"

567 6. Re mayor 2'03"

568 7. La mayor 0'49"

569 8. Do mayor 1'42"

570 9. Sol mayor 1'55"


572 11. Fa mayor 1'42"

573 12. Re mayor 1'53"

574 13. Sol mayor 1'57"

575 14. Do mayor 1'50"

576 15. Fa mayor 2'19"

577 16. Re mayor 1'48"

Salzburgo 6 abril 1774 201 / 186 a Sinfonía Nº. 29 en la mayor


579 2. Andante 5'50"

580 3. Menuetto 3'05"

581 4. Allegro con spirito 4'59"

Salzburgo 5 mayo 1774 202 / 186 b Sinfonía Nº. 30 en re mayor


583 2. Andantino con moto 4'00"

584 3. Menuetto 4'00"

585 4. Presto 3'32"

Salzburgo mayo 1774 358 / 186 c Sonata en si bemol mayorpara piano a cuatro manos

586 1. Allegro 3'57"

587 2. Adagio 5'27"

588 3. Molto presto 3'04"

Salzburgo mayo 1774 195 / 186 d Litaniae Lauretanae Beata Maria VirgineLetania Laurentana en re mayor

para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

589 I. Kyrie 5'58"

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Christe, audi nos.



miserere nobis.


miserere nobis.


miserere nobis.


miserere nobis.

354 II. Sancta Maria 9'02"

Sancta Maria,

ora pro nobis.

Sancta Dei genetrix,

sancta Virgo virginum,

ora pro nobis.

Mater Christi,

mater divinae gratiae,

mater purissima,

mater castissima,

ora pro nobis.

Mater inviolata,

mater intemerata,

ora pro nobis.

Mater amabilis,

mater admirabilis,

ora pro nobis.

Virgo prudentissima,

virgo veneranda,

virgo praedicanda,

ora pro nobis.

Virgo potens,

virgo clemens,

virgo fidelis,

ora pro nobis.

Speculum justitiae

sedes sapientiae,

ora pro nobis.

Causa nostrae laetitiae

ora pro nobis.

Vas spirituale,

vas honorabile,

vas insigne devotionis,

ora pro nobis.

Rosa mystica,

turris Davidica,

ora pro nobis.

Turris eburnea,

domus aurea,

foederis arca,

stella matutina,

ora pro nobis.

355 III. Salus informorum 3'30"

Salus informorum,

refugium peccatorum,

consolatrix afflictorum,

ora pro nobis.

Auxilium christianorum,

ora pro nobis.

356 IV. Regina angelorum 4'43"

Regina angelorum,

Regina patriarcharum,

regina prophetarum,

ora pro nobis.

Regina apostolorum,

ora pro nobis.

Regina martyrum,

ora pro nobis.

Regina confessorum,

regina virginum,

ora pro nobis.

Regina sanctorum omnium,

ora pro nobis.

357 V. Agnus Dei 5'05"

Agnus Dei,



Agnus Dei,


exaudi nos, Domine.

Agnus Dei,


Salzburgo 31 mayo 1774 190 / 186 E Concertone en do mayorpara 2 pianos y orquesta



596 3. Tempo di Menuetto (Vivace) 9'52"

Salzburgo 4 junio 1774 191 / 186 e Concierto en si bemol mayorpara fagot

597 1. Allegro 6'54"

598 2. Andante ma adagio 6'06"

599 3. Rondo (Tempo di Menuetto) 4'05"

Salzburgo 24 junio 1774 192 / 186 f Misa «brevis» en fa mayorpara solistas, coro, 2 violines, bajo y órgano.

600 Kyrie 3'21"

601 Gloria 4'16"

602 Credo 5'50"

603 Santus 1'20"


605 Agnus Dei 4'29"

Salzburgo julio 1774 193 / 186 g «Dixit et Magnificat»en do mayor para 4 voces, 2 violines, 2 trompetas, timpanos, bajo y órgano.

606 Dixit Dominus Domino meo 4'49"

sede a dextris meis,

donec ponam inimicos tuos

scabellum pedum tuorum.

Virgam virtutis tuaae emittet Dominus ex

Sion: dominare in medio inimicorum tuorum.

Tecum principium in die virtutis tuae, in

splendoribus sanctorum: ex utero ante

luciferum genui te.

Juravit Dominus et non poenitebit eum: Tu

es sacerdos in aeternum secundum ordinem

Melchisedech.

Dominus a dextris tuis confregit in die irae

suae reges.

Jubicabit in nationibus, implebit ruinas;

conquassabit capita in terra multorum.

de torrente in via bibet: proptera exaltabit

caput.

Gloria Patri, et Filio, et Spiritui Sancto.

Sicut erat in principio, et nunc, et seper,

et in saecula saeculorum. Amen

607 Magnificat anima meaDomiinum, et exsultavit 5'58"

spiritus meus in Deo salutari meo.

Quia respexit humilitatemancillae suae:

ecce enim ex hoc beatam me diceent omnes

generationes.

Quia fecit mihi magna qui potens est, et

sanctum nomen ejus.

Et misericordia ejus a progenie in progenie

timentibus eum.

Fecit potetiam in brachio suo: dispersit

superbos mente cordis sui.

Deposuit potentes de sede, et exaltavit

humiles.

Esurientes implevit bonis: et divites dimisit

inanes.

Suscepit Israel puerum suum, recordatus

misericordia suae.

Sicut locutus est ad patres nostros,

Abraham et semini ejus in saecula.

Gloria Patri, etc.

Salzburgo 8 agosto 1774 194 / 186h Misa «breve» en re mayorpara solistas, coro, 2 violines, bajo y órgano.

608 Kyrie 2'04"

609 Gloria 2'47"

610 Credo 6'46"

611 Santus 1'24"


613 Agnus Dei 4'55"

Salzburgo agosto 1774 91 / 186 i 614 «Kyrie» en re mayor 2'14"

de Georg Reutter jr.

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Salzburgo agosto 1774 179 / 189 a 615 Doce Variaciones en do mayor 18'39"

para piano

sobre un minuetto de Johann Christian Fischer

Salzburgo 30 septiembre 1774 203 / 189 b Serenata en re mayorpara orquesta

616 1. Andante maestoso - Allegro assai 6'02"

617 2. (Andante) 5'54"

618 3. Menuetto 3'02"

619 4. (Allegro) 5'08"

620 5. Menuetto 3'03"

621 6. (Andante) 5'27"

622 7. Menuetto 4'03"

623 8. Prestissimo 5'01"

Salzburgo 30 septiembre 1774 237 / 189 c 624 Marcha en re mayor 4'41"

para orquesta

Salzburgo 1774 279 / 189 d Sonata en do mayorpara piano

625 1. Allegro 4'48"

626 2. Andante 5'43"

627 3. Allegro 3'13"

Salzburgo 1774 280 / 189 e Sonata en fa mayorpara piano


629 2. Adagio 7'04"

630 3. Presto 2'45"

Salzburgo 1774 281 / 189 f Sonata en si bemol mayorpara piano

631 1. Allegro 4'25"

632 2. Andante amoroso 4'53"

633 3. Rondeau (Allegro) 4'26"

Salzburgo 1774 282 / 189 g Sonata en mi bemol mayorpara piano

634 1. Adagio 5'48"

635 2. Menuetto I-II 3'56"

636 3. Allegro 2'13"

Salzburgo 1774 283 / 189 h Sonata en sol mayorpara piano

637 1. Allegro 3'43"

638 2. Andante 6'15"

639 3. Presto 3'51"

Salzburgo 17 noviembre 1774 200 / 189 k Sinfonía Nº. 28 en do mayor


641 2. Andante 5'12"

642 3. Menuetto (Allegretto) 3'52"

643 4. Presto 3'36"

Munich 13 enero 1775 196 «La Finta Giardiniera»La falsa jardinera

Opera Buffa en 3 actos

Libretto

Munich enero 1775 Ap. 16 / 196 a - Kyrie en sol mayor -

(fragmeto)

Munich enero 1775 220 / 196 b Misa «brevis» en do mayor «Spatzenmesse»para solistas, coro, 2 violines, bajo y órgano

644 Kyrie 1'51"

645 Gloria 2'58"

646 Credo 4'09"

647 Santus 0'58"


649 Agnus Dei 3'44"

Munich enero 1775 292 / 196 c Sonata (Duo) en si bemol mayorpara oboe y violoncello

650 1. Allegro 3'42"

651 2. Andante 2'56"

652 3. Rondo (Allegro) 2'42"

Munich 1775 Ap. 230 / 196 d Concierto en fa mayorpara fagot (perdido)

Munich febrero 1775 222 / 205 a 653 «Misericordias Domini» 7'29"

Ofertorio en re menor

para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.

Misericordias Domini

cantabo in aeternum.

Munich febrero 1775 284 / 205 b Sonata en re mayor «Dürnitz»para piano

654 1. Allegro 4'52"

655 2. Rondeau en Polonaise (Andante) 4'16"

656 3. Tema con variazioni 14'52"

Salzburgo marzo 1775 206 a - -

para cello (perdido)

Salzburgo 14 abril 1775 207 Concierto Nº. 1 en si bemol mayorpara violín


658 2. Adagio 7'35"

659 3. Presto 5'56"

Salzburgo abril 1775 196 & 121 / 207 a Sinfonía [Nº. 51] en re mayor(Obertura «La finta giardinera» & Finale)



662 3. Allegro 2'33"

Salzburgo 23 abril 1775 208 «Il Re Pastore»El rey pastor

Serenata para música

Libreto

Salzburgo 19 mayo 1775 209 663 «Si mostra la sorte» 4'03"

Aria en re mayor para tenor

de la opera "L'Astratto ovvero il giocatore fortunato"

de Nicola Piccinni - texto: G. Petrosellini

Si mostra la sorte

Propizia all'amante,

Che prova constante

Ardire in amor.

Ma sempre nemica

E pronta all'offese

Distrugge l'imprese

D'un timido cor.

Salzburgo mayo 1775 209 a - -

Aria para bajo (fragmento)

Salzburgo mayo 1775 210 664 «Con ossequio, con rispetto» 2'38"

Aria en re mayor para tenor

de la opera "L'Astratto ovvero il giocatore fortunato"

de Nicola Piccinni - texto: G. Petrosellini

Con ossequio, con rispetto

Io m'inchino, e mi profondo

A un sapiente sì perfetto,

Che l'egual non v'è nel mondo,

E l'eguale non verrà

(Per l'orgoglio, e l'ignoranza,

Per la gran bestialità).

152 / 210 a «Ridente la calma »Canzonetta en fa mayor

para soprano

Texto Anonimo

Arreglo de Joseph Mislivečel

Ridente la calma nell'alma si desti; 3'30"

Né resti [più]segno di sdegno e timor.

Tu vieni frattanto a stringer mio bene,

Le dolci catene sí grate al mio cor.

Concierto en fa mayor

«Un dente guasto»

Salzburgo 14 junio 1775 211 Concierto Nº. 2 en re mayorpara violín


666 2. Andante 7'17"

667 3. Rondeau. (Allegro) 4'35"

Salzburgo julio 1775 212 668 Sonata de iglesia Nº. 6 en si bemol mayor 4'41"

para órgano



670 2. Andante 2'37"

671 3. Menuetto 2'42"

672 4. Contradanse en Rondeau (Molto allegro) 1'17"

Salzburgo 5 agosto 1775 204 / 213 a Serenata en re mayorpara orquesta

673 1. Allegro 8'21"

674 2. Andante 6'36"

675 3. Menuetto 5'41"

676 4. Allegro 3'07"

677 5. Menuetto 5'28"

678 6. Andante 3'41"

679 7. Menuetto 4'56"

Salzburgo 5 agosto 1775 215 / 213 b 680 Marcha en re mayor 3'23"

para orquesta

Salzburgo agosto 1775 208 & 102 / 213 c Sinfonía [Nº. 52] en do mayor(Obertura «Il re pastore» & Finale)


682 2. Andantino 3'32"

683 3. Presto assai 4'30"

Salzburgo 20 agosto 1775 214 684 Marcha en re mayor 3'29"

para orquesta

Salzburgo 12 septiembre 1775 216 Concierto Nº. 3 en sol mayorpara violín

685 1. Allegro 9'56"

686 2. Adagio 8'14"

687 3. Rondeau. (Allegro) 6'23"

Salzburgo 26 octubre 1775 217 «Voi avete un cor fedele»Aria para soprano para el drama jocoso de Baldassare Galuppi

"Le nozze di Dorina" I, 4 - texto de Carlo Goldoni.

DORINA

688 Voi avete un cor fedele 6'36"

Come amante appassionato;

Ma mio sposo dichiarato,

Che farete? Cangerete?

Dite, allora che sarà?

Mantenete fedeltà?

Ah, non credo! Già prevedo,

Mi potreste corbellar.

Non ancora, non per ora,

Non mi vuo' di voi fidar.

Salzburgo octubre 1775 218 Concierto Nº. 4 en re mayorpara violín

689 1. Allegro 9'29"

690 2. Andante cantabile 6'44"

691 3. Rondeau. (Andante grazioso) 7'19"

Salzburgo 20 diciembre 1775 219 Concierto Nº. 5 en la mayorpara violín

692 1. Allegro aperto 9'43"

693 2. Adagio 9'22"

694 3. Rondeau. Tempo di Menuetto 8'44"

Salzburgo enero 1776 238 Concierto Nº. 6 en si bemol mayorpara piano

1. Allegro aperto 6'56"

2. (Andante un poco adagio) 6'35"

3. Rondeau. Allegro 7'06"

Salzburgo enero 1776 239 Serenata en re mayor «Notturna»para orquesta

1. Marcia (Maestoso) 4'21"

2. Menuetto 3'49"

3. Rondeau (Allegretto - Adagio - Allegro) 4'35"


1. Allegro 4'36"

2. Andante grazioso 2'54"

3. Menuetto 2'22"

4. Allegro 4'28"

Salzburgo enero 1776 252 / 240 a Divertimento en mi bemol mayorpara 2 oboes, 2 cornos y 2 fagotes

1. Andante 5'02"

2. Menuetto 2'43"

3. Polonaise (Andante) 2'44"

4. Presto assai 1'28"

Salzburgo enero 1776 188 / 240 b Divertimento en do mayorpara 2 flautas, 5 trompetas y timbales

1. Andante 2'10"

2. Allegro 1'52"

3. Menuetto 1'09"

4. Andante 1'44"

5. Menuetto 0'51"

6. Gavotte 0'48"

Salzburgo enero 1776 241 Sonata de iglesia Nº. 9 en sol mayor 4'00"

para órgano

Salzburgo enero 1776 224 / 241 a Sonata de iglesia Nº. 7 en fa mayor 6'26"

para órgano

Salzburgo enero 1776 225 / 241b Sonata de iglesia Nº. 8 en la mayor 6'11"

para órgano

Salzburgo febrero 1776 242 Concierto Nº. 7 en fa mayor «Lodron»para piano

1. Allegro 8'01"

2. Adagio 9'05"

3. Rondeau. Tempo di Menuetto 5'13"

Salzburgo marzo 1776 243 Litaniae de venerabili altaris sacramentoLetanía en mi bemol mayor

para 4 voces, 2 violines, viola, 2 oboes, 2 fagotes, 2 cornos, 3 trombones, bajo y órgano.

403 I. Kyrie 3'53"

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Christe, audi nos.



miserere nobis.


miserere nobis.


miserere nobis.


miserere nobis.

404 II. Panis vivus 4'58"

Panis vivus,

qui de coelo descendisti,

miserere nobis.

Deus absconditus et Salvator,

miserere nobis.

Frumentum electorum,

miserere nobis.

Vinum germinans virgines,

miserere nobis.

Panis pinguis et deliciae regum,

miserere nobis.

Juge sacrificium,

oblatio munda,

miserere nobis.

Agnus absque macula,

miserere nobis.

Mensa purissima,

angelorum esca,

miserere nobis.

Manna absconditum,

miserere nobis.

Memoria mirabililium Dei,

panis supersubstantialis,

miserere nobis.

405 III. Verbum caro factum 1'32"

Verbum caro factum,

habitans in nobis,

miserere nobis.

406 IV. Hostia sancta 4'53"

Hostia sancta,

calix benedictionis.

Mysterium fidei,

miserere nobis.

Praecelsum et venerabile sacramentum,

miserere nobis.

Sacrificium omnium sanctissimun,

miserere nobis.

Vere propitiatorium

pro vivis et defunctis,

miserere nobis.

Coeleste antidotum

quo a peccatis praeservamur,

miserere nobis.

Stupendum supra omnia miracula,

miserere nobis.

Sacratissima Dominicae

passionis commemoratio,

donum transcendens

omnem plenitudinem,

memoriale praecipuum

divini amoris,

divinae affluentia largitatis,

miserere nobis.

Sacrosanctum et augustissimum mysterium,

pharmacum immortalitatis,

miserere nobis.

407 V. Tremendum ac vivificum 3'16"

Tremendum ac vivificum sacramentum,

miserere nobis.

Panis omnipotentia

verbi caro factus,

incruentum sacrificium,

miserere nobis.

Cibus et conviva,

miserere nobis.

408 VI. Dulcissimum convivium 3'45"

Dulcissimum convivium,

cui assistunt angeli ministrantes,

sacramentum pietatis,

vinculum caritatis,

miserere nobis.

Offerens et oblatio,

miserere nobis.

Spiritualis dulcedo

in propria fonte degustata,

refectio animarum sanctarum,

miserere nobis.

408 VII. Viaticum in Domino morientum 1'41"

Viaticum in Domino morientum,

miserere nobis.

409 VIII. Pignus futurae gloriae 4'50"

Pignus futurae gloriae,

miserere nobis.

410 IX. Agnus Dei 4'37"

Agnus Dei,



Agnus Dei,


exaudi nos, Domine.

Agnus Dei,


X. Miserere 2'30"

Miserere nobis.

Salzburgo abril 1776 244 Sonata de iglesia Nº. 10 en fa mayor 5'23"

para órgano

Salzburgo abril 1776 245 Sonata de iglesia Nº. 11 en re mayor 5'36"

para órgano

Salzburgo abril 1776 246 Concierto Nº. 8 en do mayor «Lützow»para piano


2. Andante 8'04"

3. Rondeau. Tempo di Menuetto 7'39"

Salzburgo mayo 1776 262 / 246 a Misa longa en do mayorpara trío, 2 oboes, 2 cornos, 2 trompetas, 3 trombones y timpano.

Kyrie 3'17"

Gloria 5'50"

Credo 12'36"

Santus 1'19"

Benedictus 3'07"

Agnus Dei 4'24"

Salzburgo junio 1776 288 / 246 c Allegro en fa mayor -

para cuerdas y corno (fragmento)

Salzburgo 13 junio 1776 247 Divertimento en fa mayorpara cuerdas y vientos

1. Allegro 7'41"


3. Menuetto 3'55"

4. Adagio 7'05"

5. Menuetto 3'21"

6. Andante - Allegro assai 5'29"

Salzburgo 13 junio 1776 248 Marcha en fa mayor 4'30"

para cuerdas y vientos

Salzburgo junio 1776 260 / 248 a «Venite, populi, venite» 5'33"

Offertorium de Venerabili Sacramento

para 4 voces, 2 violines, bajo y órgano. (trombones ad libitum)

Venite, populi, venite,

de longe venite

et admiramini gentes.

Venite, populi, venite,

an alia natio tam grandis

quae habet deos

appropinquantes sibi,

sicut Deus?

Deus Noster adest nobis,

cujus in ara veram praesentiam

comtemplamur jugiter

per fedem vivam;

an alias natio tam grandis?

O sors cunctis beatior,

o sor sola fidelium,

quibus panis fratio et calicis

communio est in auxilium.

Eja ergo epulemur

in azymis veritatis

et sinceritatis,

eja ergo epulemur

et inebriemur

vino laetitiae sempiternae;

an alia natio tam grandis?

Venite, populi, venite.

Salzburgo 22 julio 1776 250 / 248 b Serenata en re mayor «Haffner»para orquesta

1. Allegro maestoso - 9'50"

Allegro molto

2. Andante 9'29"

3. Menuetto 3'51"

4. Rondo (Allegro) 7'20"

5. Menuetto galante 5'29"

6. Andante 7'20"

7. Menuetto 5'02"

8. Adagio - 7'45"

Allegro assai

Salzburgo 20 julio 1776 249 Marcha en re mayor 3'36"

para orquesta

Salzburgo julio 1776 101 / 250 a 4 Contradanzas

1. Fa mayor (Gavota) 1'48"

2. Sol mayor 1'58"

3. Re mayor 0'55"

4. Fa mayor (Gavota) 1'59"

Salzburgo 26 julio 1776 251 Divertimento en re mayorpara cuerdas y vientos

1. Molto allegro 4'53"

2. Menuetto - Trio 3'51"

3. Andantino - Adagio - Allegretto 3'43"

4. Menuetto (Tema con variazioni) 4'28"

5. Rondeau (Allegro assai - Adagio- Allegro assai) 5'26"

6. Marcia alla francese 2'03"


1. Tema con variazioni (Andante) 10'02"

2. Menuetto 2'56"

3. Allegro assai 1'58"

Salzburgo agosto 1776 254 Trio (Divertimento) en si bemol mayorpara piano


2. Adagio 7'22"

3. Rondeaux (Tempo di menuetto) 6'47"

«Ombra felice!» Salzburgo septiembre 1776 255 «Io ti lascio, e questo addio» 6'42"

de la opera "Arsace" II, 8 de M. Mortellari, con texto de Giovanni de Gamerra.

Recitativo y Aria 'en rondeau' para contralto,

[Recitativo]

ARSACE

Ombra felice!

Tornerò a rivederti. Apri i bei lumi,

E consola, deh, almeno in questo istante

Con un pietoso sguardo il fido amante.

Porgimi la tua destra, un pegno estremo

Del tuo affetto mi dona.

Ah, che la mia costanza or m'abbandona.

[Aria]

Io ti lascio, e questo addio

Se sia l'ultimo non so.

Ah, chi sa, bell'idol mio,

Se mai più ti rivedrò.

Vengo, oh ciel! deh lascia, oh pene!

Per te sol, mio ben, pavento,

Il più barbaro tormento,

Giusti Dei, chi mai provò!

Salzburgo septiembre 1776 256 «Clarice cara mia sposa dev'essere» 1'47"

Aria buffa ('Escena') en re mayor para tenor

de la opera buffa "L'Astratto ovvero il giocatore fortunato",

de Nicola Piccinni, texto de G. Petrosellini.

CAPITANO

Clarice cara

Mia sposa dev'essere

Per la magnetica

Virtù simpatica,

Voglio convincermi

Colla grammatica,

Colla retorica,

Logica e fisica,

La matematica

Non può fallar.

DON TIMOTEO

Piano, per carità...

CAPITANO

Se in questa musica

Non sian unisoni

Tritoni e dissoni,

Vuo' fulminar.

Dell'arte medica

Con tutti i recipi,

Con mille cabale

Dell'aritmetica,

Degli avvocati

Con tutti gli et caetera,

Voi lo vedrete,

Voi lo sapete.

Saprò trionfar.

DON TIMOTEO

Caro signor Dottore, lasciate almen

Ch'anchio vi dica un ragion...

CAPITANO

Con nautica bussola

D'un cor amabile

La cinosura

Certa e sicura

Saprò ritrovar.

Se mi diceste

Che cosa impossibile,

Quel vostro petto

Di tigre inflessibile

Con un fendente

Vorrei spalancar.

DON TIMOTEO:

Molto tenuto io sono

Alle finezze sue;

Ma cospettaccio!

CAPITANO:

Ma se poi facile

Siete e pieghevole,

Vuo' che s'attacchino,

E Salamanca,

Firenze e poi Tunesi,

Londra, Berlin, Roma,

Torino e Padova,

Amsterdam, Montpellier,

Livorno e Genova,

Vuo' testimoni

Dell'inclito merito

Della mia bella,

Dell'impareggiabile

Sposa adorabile

Del celeberrimo

Dottor giuridico,

Medico, fisico,

Che tutto il mondo

Vedrem stupefar.

Salzburgo noviembre 1776 257 Misa en do mayor «Credo»para 2 oboes, 2 trompetas, 3 trombones, timpanos y órgano.

Kyrie 2'24"

Gloria 3'18"

Credo 7'42"

Santus 1'38"

Benedictus 5'22"

Agnus Dei 6'31"

Salzburgo diciembre 1776 258 Misa en do mayor «Spaur-Messe»

Kyrie 2'15"

Gloria 2'43"

Credo 5'51"

Santus 1'05"

Benedictus 2'23"

Agnus Dei 3'24"

Salzburgo diciembre 1776 Ap. 13 / 258 a Kyrie en do mayor (fragmento)

Salzburgo 28 diciembre 1776 259 Misa brevis en mayor «Orgelsolo-Messe»

Kyrie 1'51"

Con carte e sarte,

Cento bucefali (2)

Gloria 1'44"

Credo 3'35"

Santus 1'00"

Benedictus 1'49"

Agnus Dei 3'26"

Salzburgo diciembre 1776 261 Adagio en mi mayor 6'39"

para violín y orquesta

Salzburgo diciembre 1776 269 / 261 a Rondo en si bemol mayor 6'25"


Salzburgo diciembre 1776 263 Sonata de iglesia Nº. 12 en do mayor 5'20"

para órgano

Salzburgo diciembre 1776 286 / 269 a Nocturno en re mayor para cuatro orquestas

1. Andante 6'21"

2. Allegretto grazioso 3'01"

3. Menuetto 7'30"

Salzburgo enero 1777 269 b 2 Contradanzas

3. Do mayor 0'58"

1. Sol mayor 2'06"


1. Allegro molto 6'02"

2. Andantino 1'58"

3. Menuetto (Moderato) 2'41"

4. Presto 1'35"

Salzburgo enero 1777 271 Concierto Nº. 9 en mi bemol mayor «Jeunehomme»para piano

1. Allegro 10'21"

2. Andantino 12'15"

3. Rondeau. Presto 10'10"

Salzburgo febrero 1777 267 / 271 c 4 Contradanzas

1. Sol mayor 1'24"

2. Mi bemol mayor (Gavota) 1'31"

3. La mayor (Gavota) 1'14"

4. Re mayor 1'33"

Salzburgo febrero 1777 274 / 271 d Sonata de iglesia Nº. 13 en sol mayor 5'07"

para órgano

Salzburgo febrero 1777 278 / 271 e Sonata de iglesia Nº. 14 en do mayor 3'59"

para órgano

Salzburgo febrero 1777 266 / 271 f Sonata (Trio) en si bemol mayorpara 2 violines y bajo

1. Adagio 6'06"

2. Menuetto (Allegretto) 3'19"

Salzburgo febrero 1777 289 / 271 g Divertimento en mi bemol mayorpara 2 oboes, 2 cornos y 2 fagotes

1. Adagio - Allegro 3'01"

2. Menuetto 4'33"

3. Adagio 2'43"

4. Finale (Presto) 1'03"

Salzburgo 13 julio 1777 287 / 271 H Divertimento en si bemol mayorpara cuerdas y vientos

1. Allegro 8'27"

2. Thema mit Variationen

Andante grazioso 1'08"

Variation I 1'09"

Variation II 1'06"

Variation III 1'02"

Variation IV 1'15"

Variation V 1'04"

Variation VI 1'07"

3. Menuetto 3'07"

4. Adagio 10'46"

5. Menuetto 4'19"

6. Andante - Allegro molto 7'23"

Salzburgo 1777 271a / 271 i Concierto Nº. 5 en re mayorpara violín

1. Allegro maestoso 11'46"

2. Andante 8'09"

3. Rondeau. (Allegro) 9'13"

Salzburgo 1777 314 / 271 k Concierto en do mayorpara oboe


2. Adagio non troppo 7'25"

3. Rondo (Allegretto) 5'31"

«Ah, lo prevedi!» «Ah, t'invola agl'occhi miei»

Salzburgo agosto 1777 272 «Deh, non varcar» 13'19"

Escena en do menor para soprano, de la opera "Andromeda" III, 10

de Giovanni Paisiello - libreto de V.A. Cigna-Santi.

[Recitativo]

ANDROMEDA

Ah, lo previdi!

Povero Prence, con quel ferro istesso,

Che me salvò, ti lacerasti il petto.

(ad Euristeo)

Ma tu sì fiero scempio

Perché non impedir? Come, o crudele,

D'un misero a pietà non ti movesti?

Qual tigre ti nodri? Dove nascesti?

[Aria]

Ah, t'invola agli'occhi miei,

Alma vile, ingrato cor!

La cagione, oh Dio, tu sei

Del mio barbaro dolor.

Va, crudele! Va, spietato!

Va, tra le fiere ad abitar.

[Recitativo]

Misera! Invan m'adiro,

E nel suo sangue intanto

Nuota già l'idol mio... Con quell'acciaro,

Ah Perseo, che facesti?

Mi salvasti poc'anzi, or m'uccidesti.

Col sangue, ahi, la bell'alma,

Ecco, già usci dallo squarciato seno.

Me infelice! Si oscura

Il giorno agli occhi miei,

E nel barbaro affanno il cor vien meno.

Ah, non partir, ombra diletta, io voglio

Unirmi a te. Sul grado estremo, intanto

Che m'uccide il dolor, fermati alquanto!

[Cavatina]

Deh, non varcar quell'onda,

Anima del cor mio.

Di Lete all'altra sponda,

Ombra, compagna anch'io

Voglio venir con te.

Salzburgo 1777 277 / 272 a «Alma Dei creatoris» 5'56"

Offertorium de Beata Maria Virgine

Ofertorio en fa mayor


Alma Dei creatoris

sedet rei peccatoris

mater clementissima.

Tu fac clemens quod rogamus

fortes ad certamina.

Salzburgo 1777 275 / 272 b Misa «brevis» en si bemol mayorpara solistas, coro, 2 violines, bajo y órgano.

Kyrie

Gloria

Credo

Santus

Benedictus

Agnus Dei

Salzburgo 9 septiembre 1777 273 «Sancta Maria, mater Dei» 5'24"

Graduale ad Festum Beata Maria Virgine.

Gradual en fa mayor

para 4 voces, 2 violines, viola, bajo y órgano.

Santa Maria,

mater Dei,

ego omnia tibi debeo,

sed ab hac hora singulariter

me tuis servitiis devoveo,

te patronam,

te sospitatricem eligo.

Tuus honor

et cultus aeternum

mihi cordi fuerit,

quem ego nunquam deseram

neque ab aliis mihi subditis

verbo factoque violari patiar.

Sancta Maria,

tu pia me pedibus tuis

advolutum recipe,

in vita protege,

in mortis dicrimine defende.

Amen.

Munich octubre 1777 284 a 4 Preludiospara piano (perdidos)

Mannheim noviembre 1777 309 / 284 b Sonata en do mayorpara piano

1. Allegro con spirito 5'31"

2. Andante, un poco adagio 4'46"

3. Rondeau (Allegretto grazioso) 5'51"

Mannheim noviembre 1777 311 / 284 c Sonata en re mayorpara piano


2. Andantino con spressione 4'52"

3. Rondeau (Allegro) 5'49"

Mannheim noviembre 1777 307 / 384 d «Oiseaux, si tous les ans»Lied en do mayor para soprano y piano

Texto de Antoine Ferrand

Oiseaux, si tous les ans 1'27"

Vous changez [de]* climats,

Dès que le triste hiver

Dépouille nos bocages;

Ce n'est pas seulement

Pour changer de feuillages,

[Ni] pour éviter nos frimats;

Mais votre destinée

Ne vous permet d'aimer,

Qu'à la saison des fleurs.

Et quand elle est passée,

Vous la cherchez ailleurs,

Afin d'aimer toute l'année.

Mannheim 1777 284 e InstrumentaciónPara un concierto de flauta para Wendling (perdido)

Mannheim 1777 284 f Rondo para piano para piano (perdido)

Mannheim 25 diciembre 1777 285 Cuarteto en re mayorpara flauta

1. Allegro 6'40"

2. Adagio - 2'22"

3. Rondeau 4'10"

Mannheim enero 1778 285 a Cuarteto en sol mayorpara flauta

1. Andante 6'07"

2. Tempo di Menuetto 3'25"

Mannheim enero 1778 Ap. 171 / 285 b Cuarteto en do mayorpara flauta

1. Allegro 5'46"

2. Tema (Andante) con variazioni 9'30"

Mannheim enero 1778 313 / 285 c Concierto en sol mayorpara flauta y orquesta


2. Adagio non troppo 8'28"

3. Rondo (Tempo di Menuetto) 6'47"

Mannheim enero 1778 314 / 285 d Concierto en re mayorpara flauta


2. Andante ma non troppo 6'18"

3. Allegro 6'04"

Mannheim enero 1778 315 / 285 e Andante en do mayor 5'56"

para flauta y orquesta

Mannheim 1778 301 / 293 a Sonata en sol mayorpara violín y piano (Palatina Nº. 1)


2. Allegro 5'13"

Mannheim 1778 302 / 293 b Sonata en mi bemol mayorpara violín y piano (Palatina Nº. 2)

1. Allegro 5'15"

2. Rondo. Andante grazioso 6'14"

Mannheim 1778 303 / 293 c Sonata en do mayorpara violín y piano (Palatina Nº. 3)

1. Adagio - Molto allegro 5'05"

2. Tempo di menuetto 4'39"

Mannheim 1778 305 / 293 d Sonata en la mayorpara violín y piano (Palatina Nº. 4)

1. Allegro di molto 4'41"

2. Tema [con variazioni]:

Tema 1'04"

Variazione I 0'57"

Variazione II 0'57"

Variazione III 0'56"

Variazione IV 1'09"

Variazione V 0'58"

Variazione VI 0'55"

Mannheim febrero 1778 293 e 19 cadenzas para un aria de J. C. Bach

«Alcandro lo confesso» Mannheim 24 febrero 1778 294 «Non so d'onde viene» 11'56"

Recitativo y Aria en mi bemol mayor para soprano.

Pietro Metastasio: "Olimpiade" III, 6.

[Recitativo]

CLISTENE

Alcandro, lo confesso,

Stupisco di me stesso. Il volto, il ciglio,

La voce di costui nel cor mi desta

Un palpito improvviso,

Che lo risente in ogni fibra il sangue.

Fra tutti i miei pensieri

La cagion ne ricerco, e non la trovo.

Che sarà, giusti Dei! questo ch'io provo?

[Aria]

Non so d'onde viene

Quel tenero affetto,

Quel moto che ignoto

Mi nasce nel petto,

Quel gel che le vene

Scorrendo mi va.

Nel seno a destarmi

Sì fieri contrasti

Non parmi che basti

La sola pietà.

«Se al labbro mio non credi»Mannheim 27 febrero 1778 295 «Il cor dolente afflitto»

Recitativo y Aria en si bemol mayor para tenor

sobre un texto de la opera "Artaserse" (I, 14)

de Johann Adolf Hasse con libreto de Pietro Metastasio.

Autor del texto, posiblemente A. Salvi.

[Recitativo]

ARBACE

Se al labbro mio non credi,

Cara nemica mia,

Aprimi il petto e vedi,

Qual sia l'amante cor.

[Aria]

Il cor dolente e afflitto,

Ma d'ogni culpa privo,

Se pur non è delito,

Un innocente ardor.

«Basta, vincesti; eccoti il foglio»Mannheim 27 febrero 1778 486a / 295 a «Ah, non lasciarmi, no» 5'32"

Recitativo y Aria en mi bemol mayor para soprano.

Pietro Metastasio: "Didone abbandonata" II, 4.

[Recitativo]

DIDONE

Basta, vincesti; eccoti il foglio.

Vedi quanto t'adoro ancora, ingrato!

Con un tuo sguardo solo

Mi togli ogni difesa e mi disarmi.

Ed hai cor di tradirmi? E puoi lasciarmi?

[Aria]

Ah, non lasciarmi, no,

Bell'idol mio;

Di chi mi fiderò

Se tu m'inganni?

Di vita mancherei

nel dirti: addio,

Ché viver non potrei

Fra tanti affanni!

Mannheim marzo 1778 308 / 295 b «Dans un bois solitaire»Lied en la bemol mayor para soprano y piano

Texto de A. Houdart de la Motte

Dans un bois solitaire et sombre 2'40"

Je me promenais l'autr' jour,

Un enfant y dormait à l'ombre,

C'était le redoutable Amour.

J'approche, sa beauté me flatte,

Mais je devais m'en défier;

Il avait les traits d'une ingrate,

Que j'avais juré d'oublier.

Il avait la bouche vermeille,

Le teint aussi frais que le sien,

Un soupir m'échappe, il s'éveille;

L'Amour se réveille de rien.

Aussitôt déployant ses aîles et saisissant

Son arc vengeur,

L'une de ses flêches, cruelles en partant,

Il me blesse au coeur.

Va! va, dit-il, aux pieds de Sylvie,

De nouveau languir et brûler!

Tu l'aimeras toute la vie,

Pour avoir osé m'éveiller.

Mannheim 11 marzo 1778 296 Sonata en do mayorpara violín y piano (Palatina Nº. 5)

1. Allegro vivace 6'18"

2. Andante sostenuto 4'51"

3. Allegro [Rondo] 4'55"

Mannheim marzo 1778 322 / 296 a -

(fragmento)

París 1778 Ap. 12 / 296 b Kyrie -

(fragmento / perdido)

París 1778 296 c Sanctus & Benedictus en mi bemol mayor -

(apuntes)

París abril 1778 Ap. 1 / 297 a Ocho números para un Miserere de Holzbauer -

(perdido)

París 5-9 abril 1778 Ap. 9 / 297 B Sinfonía concertante en mi bemol mayorpara flauta, oboe, corno, fagot y orquesta

1. Allegro 9'36"

2. Adagio 6'27"

3. Andantino con variazioni 12'18"

París abril 1778 Ap.C14.01 / 297 B Sinfonía concertante en mi bemol mayorpara clarinete, oboe, corno, fagot y orquesta

1. Allegro 13'34"

2. Adagio 7'26"

3. Andantino con variazioni 8'45"

París abril 1778 299 / 297 c Concierto en do mayorpara flauta, arpa y orquesta

1. Allegro 10'27"

2. Andantino 8'32"


París abril 1778 298 Cuarteto en la mayorpara flauta y cuerdas

1. Tema (Andante) con variazioni 5'42"

2. Menuetto 2'06"

3. Rondeau (allegretto grazioso) 2'54"

París 1778 354 / 299 a Doce Variaciones en mi bemol mayor «Je suis Lindor» 18'13"

para piano

sobre: «Je suis Lindor» (A.L. Baudron)

París 1778 Ap. 10 / 299 b «Les petits riens» 1'47"

Ballet

Ouverture 3'08"

Lrghetto 1'13"

Gavotte (Allegro) 1'27"

Andantino - Allegro 1'25"

(Vivo) 1'03"

Gavotte gracieuse 1'14"

Pantomime 2'15"

Passepied 0'50"

[ - ] 1'19"

Gavotte 3'35"

Agité 0'43"

Andante 1'31"

299 c Apuntes para un ballet para un intermedio

(Allegro) 0'55"

Contradanse 4'43"

Le forgeron travaille (Moderato) -

Pour la femme (Allegro) 2'01"

Un petit travaille… (Allegretto)

Il danse avec un e autre danseuse (Allegretto)

Larghetto (Andante) 2'27"

Pantomime avec le bâton (Allegro come una cadenza)

Elle lui dit de se mettre à genoux (Allegretto) 2'15"

Gigue (Ils dansent ensemble) 2'33"

Elle le prend par le nez (Largo) 3'30"

Contradanse

Allegro agitato

Tambourin 1'19"

París 1778 Ap. 103 / 299 d «La Chase» 1'47"

Rondo para orquesta (fragmento)

París 1778 300 Gavota en si bemol mayor 2'10"

para orquesta

París 18 junio 1778 297 / 300 a Sinfonía Nº. 31 en re mayor «París»


2. Andante 6'14"

3. Allegro 3'32"

3'36"

«Popoli di Tessaglia» París 1778 316 / 300 b «Io non chiedo, eterni Dei» 11'19"

Recitativo y Aria en do mayor para soprano

de la opera "Alceste" I, 2 de C. W. Gluck

Kyrie en mi bemol mayor

2. Andante (alternativo)

con libreto de Rainiero de' Calzabigi.

[Recitativo]

ALCESTE

Popoli di Tessaglia!

Ah mai non più giusto fu il vostro pianto.

A voi non men che a questi

Innocenti fanciulli Admeto è padre.

Io perdo l'amato sposo,

E voi l'amato re;

La nostra sola speranza,

Il nostro amor c'invola

Questo fato crudel.

Né so chi prima in sì grave sciagura

A compianger m'appigli

Del regno, di me stessa, o de' miei figli.

La pietà degli Dei

Sola ci resta a implorare, a ottener.

Verrò compagna, alle vostre preghiere,

Ai vostri sacrifizi;

Avanti all'ara una misera madre,

Due bambini infelici,

Tutto un popolo in pianto

Presenterò così.

Forse con questo spettacolo funesto,

In cui dolente gli affetti,

I voti suoi dichiara un regno,

Placato alfin sarà del ciel lo sdegno.

[Aria]

Io non chiedo, eterni Dei,

Tutto il ciel per me sereno,

Ma il mio consoli almeno

Qualche raggio di pietà.

Non comprende i mali miei,

Né il terror, che m'empie il petto,

Chi di moglie il affetto,

Chi di madre il cor non ha.

París 1778 304 / 300 c Sonata en mi menorpara violín y piano (Palatina Nº. 6)

1. Allegro 6'27"


París 1778 310 / 300 d Sonata en la menorpara piano (Parisina Nº. 1)


2. Andante cantabile con espressione 10'42"

3. Presto 2'48"

París 1778 265 / 300 e Doce Variaciones en do mayor «Ah!, vous dirai-je, Maman» 13'55"

para piano

sobre una cansión para niños

París 1778 353 / 300 f Doce Variaciones en mi bemol mayor «La belle françoise» 14'08"

para piano

sobre una cansión popular "Adieu donc, Madame Françoise - "Sur le départ et la mort de M. Malbourg"

París 1778 395 / 300 g Capricho en do mayor 4'24"

para piano

París 1778 330 / 300 h Sonata en do mayorpara piano (Parisina Nº. 2)

1. Allegro moderato 6'12"

2. Andante cantabile 6'26"

3. Allegretto 5'17"

París 1778 331 / 300 i Sonata en la mayorpara piano (Parisina Nº. 3)

1. Tema (Andante grazioso) con variazioni 13'49"

3. Menuetto 6'38"

3. Alla Turca (Allegretto) 3'31"

París 1778 332 / 300 k Sonata en fa mayorpara piano (Parisina Nº. 4)

1. Allegro 6'57"

2. Adagio 5'01"


París 1778 306 / 300 l Sonata en re mayorpara violín y piano



3. Allegretto 6'36"

París 1778 Ap. 8 / 311 A Obertura (perdida)

París 1778 Ap. 3 / 315 b Escena para soprano (perdida)

París 1778 333 / 315 c Sonata en si bemol mayorpara piano (Parisina Nº. 5)

1. Allegro 7'00"


3. Allegretto grazioso 6'05"

París 1778 264 / 315 d Nueve Variaciones en do mayor «Lison dormait» 15'45"

para piano

sobre un aria de la opera "Julia" de N. Dezède

París septiembre 1778 Ap. 11 / 315 e «Semiramis» Melodrama

Texto de Otto von Gemmingen

(perdido)

Mannheim noviembre 1778 Ap. 56 / 315 f Concierto en re mayorpara violín, piano y orquesta

1. Allegro 12'10"

2. Andantino cantabile 6'34"

3. Allegretto - Allegro 6'54"

Salzburgo 1779 315a / 315 g 8 Minuetos

1. Do mayor 1'55"

2. Sol mayor 1'51"

3. Re mayor 1'50"

8. Sol mayor 2'20"

4. Do mayor 1'57"

5. Fa mayor 1'53"

6. Re mayor 1'51"

7. La mayor 1'32"

Salzburgo 1779 365 / 316 a Concierto Nº. 10 en mi bemol mayorpara piano

1. Allegro 9'51"

2. Andante 8'05"

3. Rondeaux. Allegro 6'55"

Salzburgo 23 marzo 1779 317 Misa en do mayor «Krönungsmesse»

Kyrie 2'24"

Gloria 3'18"

Credo 7'42"

Santus 1'38"

Benedictus 5'22"

Agnus Dei 6'31"

Salzburgo marzo 1779 329 / 317 a Sonata de iglesia Nº. 16 en do mayor 4'32"

para órgano

Salzburgo abril 1779 146 / 317 b «Kommet her, ihr frechen Sunder»Aria para soprano

Salzburgo abril 1779 328 / 317 c Sonata de iglesia Nº. 15 en do mayor 7'03"

para órgano

Salzburgo abril 1779 378 / 317 d Sonata en si bemol mayorpara violín y piano


2. Andantino sostenuto e cantabile 5'38"

3. Rondeau. Allegro 4'10"

Salzburgo 26 abril 1779 318 Sinfonía Nº. 32 en sol mayor (Obertura)

1. Allegro spiritoso - 8'43"

2. Andante -

3. Tempo I

Salzburgo 9 julio 1779 319 Sinfonía Nº. 33 en si bemol mayor


2. Andante moderato 5'08"

3. Menuetto 2'55"

4. Finale (Allegro assai) 6'33"

Salzburgo 3 agosto 1779 320 Serenata en re mayor «Corno de Posta»para orquesta

1. Adagio maestoso - Allegro con spirito 8'18"

2. Minuetto 4'10"

3. Concertante (Andante grazioso) 9'02"

4. Rondeau (Allegro ma non troppo) 6'01"

5. Andantino 6'49"

6. Minuetto 4'41"


Salzburgo 3 agosto 1779 335 / 320 a 2 Marchaspara orquesta

Nº. 1 re mayor 3'36"

Nº. 2 re mayor 4'18"

Salzburgo 1779 320 B Divertimento (fragmento)

Salzburgo 1779 334 / 320 b Divertimento en fa mayor «Robinig»para cuerdas y vientos

1. Allegro 9'50"

2. Thema mit Variationen (Andante) 9'01"

3. Menuetto 4'31"

4. Adagio 11'00"

5. Menuetto 7'09"


Salzburgo 1779 445 / 320 c Marcha en re mayor 3'43"

para orquesta

Salzburgo septiembre 1779 364 / 320 d Sinfonía concertante en mi bemol mayorpara violín, viola y orquesta


2. Andante 11'02"

3. Presto 6'11"

Salzburgo septiembre 1779 Ap. 104 / 320 e Sinfonía concertante en la mayorpara violín, viola y orquesta

1. Allegro 11'08"

Salzburgo 1779 321 «Vesperae solennes de Dominica» Vispera en do mayor

para

1. Dixit Dominus domino meo 3'16"

2. Confitebor tibi, Domine 5'56"

3. Beatus vir qui timet Dominum 4'17"

4. Laudate pueri Dominum 3'45"

5. Laudate Dominum omnes gentes 4'03"

6. Magnificat anima mea 4'58"

Salzburgo 1779 321 a «Magnificat» en do mayor (fragmento)

Salzburgo 1779 276 / 321 b «Regina coeli» 7'29"

Antífona mariana en do mayor

para 4 voces, coro, orquesta y órgano.

1. Regina coeli, laetare, alleluja.

2. Quia quem meruisti portare, alleluja.


3. Ora pro nobis Deum

4. Alleluja

Salzburgo 1779 Ap. 15 / 323(fragmento)

Salzburgo 1779 Ap. 20 / 323 a(fragmento)

Salzburgo 1779 345 / 336 a «Thamos, Könnig in Ägypten»«Thamos, Rey en Egipto»

Opera

Libreto

Nº. 1 Chorus: «Schon weichet dir, Sonne» 7'361"

Nº. 2 Interlude (Maestoso - Allegro) 5'07"

después del primer acto

Nº. 3 Interlude (Andante) 5'59"

después del segundo acto

Nº. 4 Interludio (Allegro) 3'45"

después del tercer acto

Nº. 5 Interlude (Allegro vivace assai) 3'45"

después del cuarto acto

Nº. 6 Chorus: «Gottheit, über alle mächtig» 10'09"

Nº. 7a Interlude 1'26"

después del quinto acto

Nº. 7b Chorus: «Ihr Kinder des Staubes» 6'33"

Salzburgo 1779 344 / 336 b «Zaide»«Zaida»

opera

Libreto

Salzburgo 1779 343 / 336 c Dos Cantos AlemanesLieder en fa mayor para soprano y órgano

Lieder en do mayor para soprano y órgano


a. «O Gottes Lamm»

O Gottes Lamm, dein Leben 1'39"

Hast du als Lösegeld

Am Kreuz uns dargegeben;

Du starbst für alle Welt!

Wem das Verdienst hienieden

Des Glaubens du verlieh'n,

Nimm dort zum Lohn in Frieden

Zu deinen Sel'gen hin.

Die fromm in dir entschlafen,

Laß frei von Qual und Pein,

Laß frei von ew'gen Strafen

Bei dir, o Jesu, sein!

Laß gnädig sie empfinden,

Herr, deines Leidens Kraft,

Befreiung von den Sünden,

Was dein Genuß verschafft!

b. «Als aus Ägypten»

Als aus Ägypten Israel, 1'30"

Vom Volke der Barbaren,

Gezogen aus dem Heidentum

Die Kinder Jakobs waren,

Da ward Judäa Gott geweiht

und Israel gebenedeit

zu seinem Reich und Erbe.

Daß nun nicht mehr mit Frevlerspott

Das Volk der Heiden fraget:

Wo ist ihr allgewalt'ger Gott,

Der ihrer Sorge traget?

Im Himmel thront Gott, unser Herr,

und was er will, das schaffet er

Allmächtig, gütig, weise.

Salzburgo marzo 1780 336 / 336 d Sonata de iglesia Nº. 17 en do mayor 4'47"

para órgano

Salzburgo marzo 1780 337 Misa en do mayor

Kyrie 2'30"

Gloria 2'55"

Credo 4'41"

Santus 2'16"

Benedictus 2'57"

Agnus Dei 6'09"

Salzburgo agosto 1780 338 Sinfonía Nº. 34 en do mayor


2. Andantino di molto 8'43"

3. Finale (Allegro vivace) 5'38"

Salzburgo agosto 1780 339 «Vesperae solennes de confessore»Vispera en do mayor

para

1. Dixit Dominus domino meo 3'50"

2. Confitebor tibi, Domine 5'13"

3. Beatus vir qui timet Dominum 4'20"

4. Laudate pueri Dominum 4'43"

Kyrie en do mayor

Gloria en do mayor

5. Laudate Dominum omnes gentes 5'11"

6. Magnificat anima mea 5'22"

Salzburgo 1780 392 / 340 a «Verdankt sei es dem Glanz»Lied en fa mayor para soprano y piano

Texto de Johann Timotheus Hermes

Verdankt sei es dem Glanz der Großen, 2'09"

Daß er mein Nichts mir deutlich zeigt.

Mich hat er nie zurückgestoßen,

Denn mich hat er niemals erreicht.

Ich sah viel Kleine näher geh'n

Und blieb in meinem Zirkel steh'n.

Sie sind mir wert, die engen Grenzen,

Wo ich so unbeträchtlich bin.

Hier seh' ich Stern und Orden glänzen,

Und Band und Stern reißt mich nicht hin.

Und auch das gnädigste Gesicht,

Aus meinem Zirkel bringt's mich nicht.

Soll mir des Größern Unmut zeigen,

Ich sei nur eine Kleinigkeit:

O Unschuld! Dann lehr' du mich schweigen

Und gib mir Unerschrockenheit,

Und präge mir sanfttröstend ein,

Es sei nicht Schande, klein zu sein.

Doch ließe sich zu meinem Kreise

Ein Großer ohne Falsch herab:

Erfahrung! Dann mach' du mich weise

Und zeichne meine Grenzen ab,

Und lehre mich, niemals zu klein,

Doch auch nicht kühn und eitel sein.

Salzburgo 1780 391 / 340 b «An die Einsamkeit»Lied en si bemol mayor para soprano y piano


Sei du mein Trost, verschwiegene Traurigkeit! 3'01"

Ich flieh' zu dir mit so viel Wunden,

Nie klag' ich Glücklichen mein Leid:

So schweigt ein Kranker bei Gesunden.

O Einsamkeit! Wie sanft erquickst du mich,

Wenn meine Kräfte früh ermatten!

Mit heißer Sehnsucht such' ich dich:

So sucht ein Wandrer, matt, den Schatten.

Hier weine ich. Wie schmähend is der Blick,

Mit dem ich oft bedauert werde!

Jetzt, Tränen, hält euch nichts zurück:

So senkt die Nachttau auf die Erde.

O daß dein Reiz, geliebte Einsamkeit!

Mir oft das Bild des Grabes brächte:

So lockt des Abends Dunkelheit

Zur tiefen Ruhe schöner Nächte.

Salzburgo 1780 390 / 340 c «Ich würd' auf meinem Pfad»Lied en re menor para soprano y piano


Ich würd' auf meinem Pfad' mit Tränen 2'02"

Oft hin zum fernen Ende seh'n,

Säh' ich nicht Kenner meiner Leiden

So mitleidsvoll am Wege steh'n.

Den Sonnenbrand, der mich entkäftet,

Den Blitz, der meinem Scheitel droht,

Den sieht mein Freund und tritt mir näher

Und ruft: »Ich kenne deine Not.«

Zwar schmerzt es mich, daß er den Jammer

Mit ansieht und, zur Hälfte schwach,

Nichts weiter kann, als mit mir trauern.

Doch ruft mein Herz: »Er weint dir nach.«

Dann brech' ich mutig durch die Dornen:

»Er sieht mich bluten,« sprech' ich dann.

Und wenn ich einst, verblutet, falle,

Dann sag' er: »Der stieg felsenan.«

Salzburgo 1780 363 3 Minuetos

1. Re mayor 0'58"

2. Si bemol mayor 1'04"

3. Re mayor 0'55"

Salzburgo 1780 Ap. / 365 a Warum, o LiebeRecitativo y Aria

Munich 29 enero 1781 366 «Idomeneo, re di Creta»«Idomeneo, rey de Creta»

Opera Seria en 3 actos

Libreto

Munich 29 enero 1781 367 Ballet para Idomeneo

Munich marzo 1781 349 / 367 a «Die Zufriedenheit»«Was frag'ich viel nach Geld und Gut»

Lied en sol mayor para soprano y piano

Texto de Johann Martin Miller

Was frag' ich viel nach Geld und Gut, 2'38"

Wenn ich zufrieden bin!

Gibt Gott mir nur gesundes Blut.

So hab' ich frohen Sinn

Und sing' aus dankbarem Gemüt

mein Morgen und mein Abendlied.

Und uns zuliebe schmücken ja

Sich Wiese, Berg und Wald,

Und Vögel singen fern und nah,

Daß alleswiderhallt;

Bei Arbeit singt die Lerch' uns zu,

Die Nachtigall bei süßer Ruh.

Und wenn die gold'ne Sonn' aufgeht,

Und golden wird die Welt.

Und alles in der Blüte steht,

Und Ähren trägt das Feld,

Dann denk'ich: Alle diese Pracht

Hat Gott zu meiner Lust gemacht.

Dann preis' ich laut und lobe Gott

Und schweb' in hohem Mut

Und denk': Es ist ein lieber Gott

Und meint's mit Menschen gut!

Drum will ich immer dankbar sein

Und mich der Güte Gottes freu'n.

Munich marzo 1781 351 / 367 b «Komm, liebe Zither, komm»Lied en do mayor para soprano y mandolina


Komm, liebe Zither, komm, 1'47"

Du Freundin stiller Liebe,

Du sollst auch meine Freundin sein.

Komm, dir vertrau' ich

Die geheimsten meiner Triebe,

Nur dir vertrau' ich meine Pein.

Sag' ihr an meiner Statt,

Ich darf's ihr noch nicht sagen

Wie ihr so ganz mein Herz gehört;

Sag' ihr an meiner Statt,

Ich darf's ihr noch nicht klagen,

Wie sich für sie mein Herz verzehrt.

Munich marzo 1781 368 «Ma che vi fece, o stelle» «Sperai vicino il lido»Recitativo y Aria para soprano. Pietro Metastasio: "Demofoonte" I, 4.

[Recitativo]

TIMANTE:

Ma che vi fece, o stelle, 8'33"

La povera Dircea, che tante unite

Sventure contro lei? Voi, che inspiraste

I casti affetti alle nostr'alme; voi,

Che al pudico imeneo fosti presenti,

Defendetelo, o numi; io mi confondo.

M'oppresse il colpo a segno,

Che il cor mancommi, e si smarrì l'ingegno.

[Aria]

Sperai vicino il lido

Credei calmato il vento;

Ma trasportar mi sento

Fra le tempeste ancor.

E da uno scoglio infido

Mentre salvar mi voglio,

Urto in un altro scoglio

Del primo assai peggior.

Munich marzo 1781 341 / 368 a Kyrie en do menor 8'24"

Kyrie, eleison.

Christe eleison.

Kyrie, eleison.

Munich marzo 1781 370 / 368 b Cuarteto en fa mayorpara oboe

1. Allegro 4'54"

2. Adagio 4'11"


«Misera! Dove son? L'aure del Tebro» Munich 8 marzo 1781 369 «Ah! Non son io che parlo»

Escena para soprano. Pietro Metastasio: "Ezio" III, 12.

[Recitativo]

FULVIA:

Misera! dove son? L'aure del Tebro 6'38"

Son queste ch'io spiro?

Per le strade m'aggiro

Di Tebe e d'Argo; o dalle greche sponde

Di tragedie feconde,

Le domestiche Furie

Vennero a questi lidi,

Della prole di Cadmo e degli Atridi?

Là d'un monarca ingiusto

L'ingrata crudeltà m'empie d'orrore;

D'un padre traditore

Qua la colpa m'agghiaccia;

E lo sposo innocente ho sempre in faccia.

Oh immagini funeste!

Oh memorie! oh martiro!

Ed io parlo, infelice, ed io respiro?

[Aria]

Ah non son io che parlo,

È il barbaro dolore,

Che mi divide il core,

Che delirar mi fa.

Non cura il ciel tiranno

L'affanno in cui mi vedo:

Un fulmine gli chiedo,

E un fulmine non ha.

Munich marzo 1781 361 / 370 a Serenata en si bemol mayor «Gran Partita»para 2 oboes, 2 clarinetes, 2 cornos di bassetto, 4 cornos, 2 fagotes y contrabajo

1. Largo 1'47"

Allegro molto 7'04"

2. Menuetto - Trio I-II 8'36"

3. Adagio 5'40"

4. Menuetto (Allegretto) - Trio I-II 5'02"

5. Romanze (Adagio - Allegretto - Adagio) 7'28"

6. Thema mit Variationen (Andante) 9'47"

7. Finale (Molto allegro) 3'20"

Munich marzo 1781 370 b Allegro en mi bemol mayor para corno (fragmento)

Viena 21 marzo 1781 371 Rondo en mi bemol mayor 5'45"

para corno y orquesta (fragmento)

Viena 24 marzo 1781 372 Allegro en si bemol mayor 7'34"

para violín y piano

Viena marzo 1781 372 a Allegro en si bemol mayor para piano (fragmento)

Viena 2 abril 1781 373 Rondo en do mayor 5'18"


Viena abril 1781 379 / 373 a Sonata en sol mayorpara violín y piano

1. Adagio - 5'01"

Allegro 4'12"


Tema 1'09"

Variazione I 1'19"

Variazione II 1'11"


Variazione IV 1'19"

Variazione V 2'32"

Tema 1'37"

«A questo seno deh vieni» Viena 8 abril 1781 374 «Or che il cielo a me ti rende» 8'06"

Recitativo y Rondeau para soprano. Giovanni de Gamerra: "Sismano nel Mogol" III, 7.

[Recitativo]

ZEIRA

A questo seno

Deh vieni, idolo mio. Quanti timori,

Quante lagrime, oh Dio!

Costi alla sposa tua! Dunque tu vivi!

Oh contento! O certezza!

Oh premio! Oh speme! Oh amor! Numi clementi!

Nell'offrirmi, pietosi, un sì bel dono,

Tutto il vostro rigore io vi perdonno.

[Aria]

Or che il cielo a me ti rende

Cara parte del mio cor,

La mia gioia, ah, non comprende

Chi non sa che cosa è amor.

Sono all'alma un grato oggetto

Le sue barbare vicende,

Ed in sen dolce discende

La memoria del dolor.

Viena junio 1781 359 / 374 a Doce Variaciones en sol mayor «La bergerè Célimène» 13'16"

para violín y piano

Viena junio 1781 360 / 374 b Seis Variaciones en sol menor «Hélas, j'ai perdu mon amant»para violín y piano

Tema 1'00"

Variazione I 0'56"

Variazione II 1'00"


Variazione IV 0'59"

Variazione V 1'00"

Variazione VI 1'01"

Viena junio 1781 352 / 374 c Ocho Variaciones en fa mayor «Dieu d'Amour!» 12'52"

para piano

sobre: «Dieu d'Amour!» (A.E. Grétry)

Viena septiembre 1781 376 / 374 d Sonata en fa mayorpara violín y piano

1. Allegro 4'40"

2. Andante 5'00"

3. Rondo. Allegretto grazioso 5'48"

Viena septiembre 1781 377 / 374 e Sonata en fa mayorpara violín y piano

1. Allegro 4'12"


Tema 1'21"

Variazione I 1'08"

Variazione II 1'10"


Variazione IV 1'07"

Variazione V 1'11"

Variazione VI 1'48"


Viena septiembre 1781 380 / 374 f Sonata en mi bemol mayorpara violín y piano

1. Allegro 6'51"

2. Andante con moto 6'54"

3. Rondeau. [Allegro] 4'32"

Viena 1781 Ap. 46 / 374 g Andantino en si bemol mayor -

para piano y cello (fragmento)

Viena 15 octubre 1781 375 Serenata en mi bemol mayorpara 2 oboes, 2 clarinetes, 2 fagotes y 2 cornos


2. Menuetto 4'16"

3. Adagio 6'03"

4. Menuetto 2'55"

5. Finale (Allegro) 3'52"

Viena noviembre 1781 448 / 375 a Sonata en re mayorpara dos pianos


2. Andante 9'23"


Viena 1782 Ap. 42 / 375 b Grave y Presto en si bemol mayor -

para 2 pianos (fragmento)

Viena 1782 Ap. 43 / 375 c Movimiento en si bemol mayor -


Viena 1782 Ap. 45 / 375 d -


Viena 1782 401 / 375 e Fuga en sol menor 3'21"

para piano

Viena 1782 153 / 375 f -


Viena 1782 Ap. 41 / 375 g -


Viena 1782 375 h Fuga en fa mayor -


Viena marzo 1782 382 Rondo en re mayorpara piano

Fuga en sol mayor


Fuga en sol mayor

Allegro grazioso 5'45"

Adagio 2'17"

Allegro 1'55"

229 / 382 a [«Sie ist dahin»] 2'24"

Canon en do menor para 3 voces

[Sie ist dahin, die Sängerin,

die Maienlieder tönt!

Sie, die durch ihr Lied

Den ganzen Hain, ach! Verschönte,

Sie ist dahin, ach! Sie ist dahin!

Ach! Wenn ihr Ton mir in die Seele hallte!

Wenn ich am Bach dort im Abendgolde,

Wenn ich dort wallte!

Wenn ich dort auf Blumen lag,

Wenn ich auf Blumen wallte,

Sie, die Maienlieder tönte,

Deren Lied ertönte,

Die den ganzen Hain

Durch ihr Lied verschönte.

Sie ist dahin, die Sängerin,

Sie ist dahin!]

230 / 382 b «Selig, selig, alle» 1'26"

Canon en do menor para 2 voces

[Selig, alle selig sie,

Die im Herrn entschliefen!

Auch selig, selig, Freund bist du!

Engel brachten dir den Kranz, riefen;

Und du gingst zu Gottes Ruh.]

231 / 382 c «Leck mich im Arch» 2'15"

[«Laßt uns froh sein»]

Canon en si bemol mayor para 6 voces

Leck mich im Arch,

[Laßt froh uns sein!

Murren ist vergebens!

Knurren, Brummen ist vergebens,

Ist das wahre Kreuz des Lebens.

Das Brummen ist vergebens.

Drum laßt uns froh und fröhlich sein.]

233 / 382 d [«Nichts labt mich mehr als wein»] 2'34"

«Leck mir den Arch fein recht schön sauber»

Canon en si bemol mayor para 3 voces

[Nichts labt mich mehr als Wein,

Es schleicht so sacht hinein!

Er netzt, wenn alles gleich lechzet,

Die trocknen Kehlen allein;

Läßt, wenn Murrkopf auch ächzet,

Stets fröhlich mich sein.

Drum schwingt mit mir die Gläser!

Stoßt an! Laßt alle Sorgen sein!

Wir ersäufen sie im Wein!]

234 / 382 e [«Essen, Trinken, das erhält»] 3'06"

Canon en sol mayor para 3 voces

[Essen, Trinken, das erhält den Leib;

s ist doch mein liebster Zeitvertreib,

das Essen und Trinken!

Labt mich Speis und Trank nicht mehr,

dann ade, dann Welt, gute Nacht!

So ein Brätchn, ein Pastetchen!

Ach! Wenn die meinem Gaumen winken,

Dann ist mein Tag vollbracht!

Ach! Und wenn im lieben Gläschen

Sorg und Gram darniedersinken,

Dann aller aller Welt dann gute Nacht!

347 / 382 f «Wo der perlende Wein im Glase blinkt» 0'49"

Canon en re mayor para 6 voces

[Wo der perlende Wein im Glase blinkt,

Da laßt uns weilen.]

348 / 382 g «V'amo di core teneramente» 0'54"

Canon en sol mayor para 12 voces

V'amo di core teneramente,

Io non vi posso altro amare,

Uh che dolore, uh che tormento.

Viena abril 1782 119 / 382 h «Der Liebe Himmlisches Gefühl»Aria para soprano. Autor del texto desconocido.

Der Liebe himmlisches Gefühl

Ist nicht an unsre Macht gebunden.

Ein einz'ger Blick entscheidet viel,

Noch hat mein Herz ihn nicht gefunden;

Wenn die Natur mich lieben heisst,

Wird dieses Herz schon selbst empfinden.

Umsonst beschäftig sich mein Geist,

Nur sie kann Herzen wohl verbinden,

Nur sie, die Klugheit kann es nicht.

Viena abril 1782 383 «Nehmt meinem dank, ihr holden gönner!»Aria para soprano. Autor del texto desconocido.

Nehmt meinen Dank, ihr holden Gönner!

So feurig, als mein Herz ihn spricht,

euch laut zu sagen, können Männer,

Ich, nur ein Weib, vermag es nicht.

Doch glaubt, ich werd' in meinem Leben

Niemals vergessen eure Huld:

Blieb' ich, so wäre mein Bestreben,

Von Anbeginn war stetes Wandern

Der Musen und der Künstler Los:

Mir geht es so, wie allen andern,

Fort aus des Vaterlanden Schoss

Seh' ich mich von dem Schicksal leiten.

Doch glaubt es mir, in jedem Reich,

Wohin ich geh' zu allen Zeiten

Bleibt immerdar mein Herz bei euch.

Viena abril 1782 394 / 383 a Preludio y Fuga en do mayorpara piano

Ich wart', ich wart' mit Zuversicht.

Sie zu verdienen, doch Geduld!

1. Präludium 4'30"

2. Fuge 4'20"

Viena abril 1782 33 - 40 / 383 b -


Viena abril 1782 Ap. 32 / 383 C -


Viena abril 1782 Ap. 38 / 383 c Tema y variaciones en do mayor -


Viena abril 1782 Ap. 39 / 383 d -


Viena abril 1782 408 Nº 1 / 383 e Marcha en do mayor -

para

408 Nº 3 / 383 F Marcha en do mayor -

para

Viena mayo 1782 409 / 383 f Minueto en do mayor 6'15"

para una Sinfonía

Viena 1782 Ap. 100 / 383 g Sinfonía -

(perdida)

Viena 1782 440 / 383 h «In te spero, o sposo amato»Aria para soprano. Pietro Metastasio: "Demofoonte" I, 2.

DIRCEA

In te spero, o sposo amato,

Fido a te la sorte mia.

E per te, qualunque sia,

Sempre cara a me sarà.

Pur che a me nel morir mio

Il piacer non sia negato

Di vantar che tua son io,

Il morir mi piacerà.

Viena 1782 383 i Apuntes para una Sinfonía u obertura

Viena 16 junio 1782 384 «Die Entfuhrung aus dem Serail»«El rapto del Serrallo»

Opera

Libreto:

Viena agosto 1782 388 / 384 a Serenata en do menor «Nacht Musique»para 2 oboes, 2 clarinetes, 2 fagotes y 2 cornos

1. Allegro 8'23"

2. Andante 4'21"

3. Menuetto in canon 4'29"

4. Allegro 6'48"

Viena agosto 1782 384B Andante en mi bemol mayor (fragmento)

Viena agosto 1782 384 b Marcha en si bemol mayor(fragmento)

Viena agosto 1782 Ap. 96 / 384 c Allegro en si bemol mayor(fragmento)

Viena agosto 1782 385 Sinfonía Nº. 35 en re mayor «Haffner»


2. (Andante) 8'54"

3. Menuetto 3'29"


Viena agosto 1782 408 Nº 2 / 385 a Marcha en do mayorpara

Viena agosto 1782 393 / 385 b Solfeo para soprano

Viena septiembre 1782 403 / 385 c Sonata en do mayorpara piano y violín (fragmento)


2. Andante 2'56"

3. Allegretto 4'36"

Viena septiembre 1782 404 / 385 d Andante y Allegreto en do mayorpara piano y violín (fragmento)

1. Andante 1'49"

2. Allegretto 1'21"

Viena septiembre 1782 Ap. 48 / 385 E Sonata en la mayorpara piano y violín (fragmento)

Viena septiembre 1782 402 / 385 e Andante y Fuga en la mayorpara piano y violín (fragmento)

1. Andante, ma un poco adagio 3'55"

2. Fuga. Allegro moderato 2'51"

Viena septiembre 1782 396 / 385 f Adagio en do menor 3'42"

para piano y violín (fragmento)

Viena 1782 397 / 385 g Fantasía en re menorpara piano (fragmento)

Viena 1782 Ap. 34 / 385 h Adagio en re menorpara piano (fragmento)

Viena octubre 1782 399 / 385 i Suite en do mayorpara piano (fragmento)

1. Obertura - Allegro 3'51"

2. Allemande 3'50"

3. Courante 2'20"

Viena 1782 154 / 385 k Fuga en sol menorpara piano (fragmento)

Viena 1782 385 n Fuga en la menorpara piano (fragmento)

Viena 1782 385 o Apuntes para un concierto para piano

Fuga en fa mayor

Fantasía en si bemol mayor


Viena 1782 414 / 385 p Concierto Nº. 12 en la mayorpara piano

1. Allegro 10'31"

2. Andante 8'46"

3. Allegretto 6'24"

Viena 1782 386 Rondo en la mayor 8'32"

para piano

Viena diciembre 1782 412 & 514 / 386 b Concierto en re mayorpara corno

1. (Allegro) KV 412 4'53"

2. Allegro KV 514 4'15"

Viena diciembre 1782 407 / 386 c Quinteto en mi bemol mayorpara corno

1. Allegro 6'19"

2. Andante 7'27"

3. Allegro 3'58"

Viena diciembre 1782 Ap. 25 / 386 d «O Calpe»Aria para tenor (fragmento)

O Calpe, il tuono ai tuoi piedi rimbomba,

ma la tua millenaria vetta

i mondi introno a sé contempla immota.

Guarda! Là in alto s'addensan le nubi

sulle onde a occidente,

e nubi presaghe s'espandono salendo.

Essa sventola, o Calpe! Ammantata di vele!

Ali soccorrevoli!

Come ondeggia magnifica la bandiera de Britannia,

della tua fede profetessa.

Calpe! Essa sventola ma la notte scende!

E con le sue nere,

ostili ali di corvo montagne,

pianure, mari, insenature e scogliere essa copre,

dove la pallida morte del navigante,

spezzando la chiglia ristà.

Orsù!

Da mille gole urla la tempesta!

I flutti raggiungono lu nubi,

s'infrangono impetuosi sugli scogli.

Le onde già trascinano i resti

delle navi squarciate dei nemici.

Orsù!

Viena diciembre 1782 387 Cuarteto Nº. 14 en sol mayorpara cuerdas (Haydn Nº. 1)

1. Allegro vivace assai 7'28"

2. Menuetto. Allegro 8'16"



Viena diciembre 1782 413 / 387 a Concierto Nº. 11 en fa mayorpara piano

1. Allegro 9'05"

2. Larghetto 7'55"

3. Tempo di Menuetto 5'40"

Viena diciembre 1782 415 / 387 b Concierto Nº. 13 en do mayorpara piano

1. Allegro 10'23"

2. Andante 8'39"

3. Allegro 9'01"

Viena diciembre 1782 404 a Seis Preludios y fugas para violín, viola y violonchelo

1. Adagio 4'01"

2. Fuga 3'50"

J. S. Bach: «Das wohltemperierte Klavier» I, Fuga 8, BWV 853

1. Adagio 3'18"

2. Fuga 2'55"

J. S. Bach: «Das wohltemperierte Klavier» II, Fuga 14, BWV 883

1. Adagio 3'15"

2. Fuga 3'04"

J. S. Bach: «Das wohltemperierte Klavier» II, Fuga 13, BWV 882

1. Adagio 3'26"

J. S. Bach: Adagio e Dolce de la Sonata para órgano Nº.3 en do menor, BWV 527

2. Fuga 6'27"

J. S. Bach: «Die Kunst der Fuge», BWV 1080, Contrapunctus 8

1. Largo 3'47"

J. S. Bach: Largo de la Sonta para órgano Nº.2 en do menor, BWV 526

2. Fuga 4'48"

J. S. Bach: tercer movimiento de la Sonata para órgano Nº. 2 en do menor, BWV 526

1. Adagio 4'53"

2. Fuga 3'35"

W.F. Bach: Fuga 8

Viena diciembre 1782 443 / 404 b Fuga en sol mayorpara piano (fragmento)

Viena diciembre 1782 405 Arreglos de cinco Fugas de J. S. Bach

Viena diciembre 1782 405 a Fuga en do mayorpara piano (fragmento)

Viena 8 enero 1783 416 «Mia speranza adorata!» «Ah non sai qual pena sia» 8'33"

Recitativo y Rondo para soprano sobre un texto de la opera "Zemira" (II, 5)

de Pasquale Anfossi con libreto de l'abate G. Sertor.

[Recitativo]

GANDARTE:

Mia speranza adorata!

Ah, troppo è a noi l'ira del ciel funesta!

Nº. 1 en re menor

Nº. 2 en sol menor

Nº. 3 en fa mayor

Nº. 4 en fa mayor

Nº. 5 en mi bemol mayor

Nº. 6 en fa menor

L'ultima volta è questa,

Ch'io ti stringo al mio seno! Anima mia,

Io più non ti vedrò.

(a Sarabes)

Deh, tu l'assisti,

Tu per me la consoli.

(a Zemira)

Addio, Zemira,

ricordati di me!

(a Zama)

Senti...

(a Zemira)

Che vedo!

Tu piangi, o mio tesoro! Oh, quanto accresce

Quel pianto il mio martir!

Chi prova mai

Stato peggior del mio!

Addio per sempre, amata sposa, addio!

[Aria]

Ah non sai qual pena sia

Il doverti, oh Dio, lasciar,

Ma quel pianto, anima mia,

Fa più grave il mio penar.

(a Akbar)

Deh, mi lascia... oh fier momento!

(a Zemira)

Cara sposa!... Ah, ch'io mi sento

Per l'affanno il cor mancar.

A quai barbare vicende

Mi serbaste avversi Dei!

Dite voi se i casi miei

Non son degni di pietà.

Viena enero 1783 435 / 416 b «Mußtich auch durch tausend Drachen» Aria para Tenor

Müßt ich auch durch tausend Drachen

Die mit aufgesperrtem Rachen

Lieschen Tag und Nacht bewachen,

Eine blut'ge Bahn mir machen.

Drohte mir mit Schwert und Speer

Auch ein ganzes Ritterheer,

Stritt ich ihnen Lieschen ab,

Oder sänk ins frühe Grab.

Will man Güter, Blut und Leben,

Für mein Lieschen, ich will's geben.

Lüstet's euch nach meinem Gut,

Oder fordert ihr mein Blut,

Hier ist Gut, ist Leben,

Doch mein Lieschen lasset mir.

Viena enero 1783 433 / 416 c «Warnung» «Männer suchen stets zu naschen» Aria en fa mayor para Bajo


Männer suchen stets zu naschen, 1'53"

Läßt man sie allein,

Leicht sind Mädchen zu erhaschen,

Weiß man sie zu überraschen;

Soll das zu verwundern sein?

Mädchen haben frisches Blut,

Und das Naschen schmeckt so gut.

Doch das Naschen vor dem Essen

Nimmt den Appetit.

Manche kam, die das vergessen,

Um den Schatz, den sie besessen,

Und um ihren Liebsten mit.

Väter, läßt's euch Warnung sein:

Sperrt die Zuckerplätzchen ein!

Sperrt die jungen Mädchen ein!

Viena marzo 1783 446 / 416 d «Pantaleon und Colombina» Pantomima (fragmento)

Ouverture (Allegro) 3'30"

Allegro - Maestoso - Allegro 4'00"

Poco adagio - Andante molto 2'01"

Adagio - Allegro - Allegro assai 4'53"

Allegro maestoso - Larghetto 3'15"

Allegro - Maestoso 4'17"

Allegro - Marcia (Maestoso, quasi marcia funebre) 4'37"

Finale (Presto) 1'22"

Viena marzo 1783 398 / 416 e Seis variaciones «Salve tu Domine» para piano en fa mayor

sobre un G. Sarti

Viena 1783 293 / 416 f Concierto para oboe (fragmento)

Viena 27 mayo 1783 417 Concierto en mi bemol mayorpara corno


2. Andante 3'18"

3. Rondo 3'42"

Viena mayo 1783 427 / 417 a Misa en do menor «Grosse Messe»

Kyrie 7'21"

Gloria: Gloria 2'25"

Laudamus te 4'35"

Gratias 1'21"

Domine 2'37"

Qui tollis 6'14"

Quoniam 3'48"

Jesu Christe 0'43"

Cum Sancto Spiritu 3'47"

Credo: Credo 3'27"

Et incarnatus est 8'03"

Santus 3'43"

Benedictus 5'22"

Viena 17 junio 1783 421 / 417 b Cuarteto Nº. 15 en re menorpara cuerdas (Haydn Nº. 2)


2. Andante 6'04"

3. Menuetto. Allegretto 4'07"

4. Allegretto ma non troppo - Più allegro 9'37"

Viena junio 1783 Ap. 76 / 417 c Cuarteto para cuerdas (fragmento)

Viena junio 1783 417 d Cuarteto para cuerdas (fragmento)

Viena junio 1783 178 / 417 e «Ah, spiegarti, oh Dio» Aria para soprano.

Versión alternativa de "Vorrei spiegarvi, oh Dio!" K.418, Aria para la opera "Il curioso indiscreto" (I, 6)

de Pasquale Anfossi, con texto de autor desconocido.

CLORINDA]:

Ah! spiegarti, oh Dio, vorrei

Quel desio, che il cor m'affana;

Ma la sorte mi condanna

A tacer e sospirar.

Nol consente il crudo amore,

Ch'io mi strugga ad altra face;

Del suo barbaro rigore,

Conte mio, non ti lagnar.

Viena 20 junio 1783 418 «Vorrei spiegarvi, oh Dio» 7'05"

Aria para Soprano

CLORINDA:

Vorrei spiegarvi, oh Dio!

Qual è l'affanno mio;

Ma mi condanna il fato

A piangere e tacer.

Arder non può il mio core

Per chi vorrebbe amore

E fa che cruda io sembri,

un barbaro dover.

Ah conte, partite,

Correte, fuggite

Lontano da me.

La vostra diletta

Emilia v'aspetta,

Languir non la fate,

È degna d'amor.

Ah stelle spietate!

Nemiche mi siete.

(Mi perdo s'ei resta, oh Dio!)

Partite, correte,

D'amor non parlate,

È vostro il suo cor.

Viena junio 1783 419 «No, che non sei capace» 4'23"

Aria para Soprano

CLORINDA:

No, che non sei capace

Di cortesia, d'onore

E vanti a torto un core

Ch'arde d'amor per me.

Vanne! T'aborro ingrato,

E più me stessa aborro,

Che t'ho un istante amato,

Che sospirai per te.

Viena 21 junio 1783 420 «Per pietà, non ricercate» 7'03"

Aria para Tenor

IL CONTE:

Per pietà, non ricercate

La cagion del mio tormento,

Si crudele in me lo sento,

Che neppur lo so spiegar.

Vo pensando... Ma poi come?

Per uscir... ma che mi giova

Di far questa o quella prova,

Se non trovo in che sperar!

Ah, tra l'ire e tra gli sdegni

Della mia funesta sorte,

Chiamo solo, oh Dio, la morte

Che mi venga a consolar.

Viena junio 1783 432 / 421 a «Così dunque tradisci» «Aspri rimorsi atroci» 3'52"

Recitativo y Aria para Bajo

[Recitativo]

SEBASTE:

Così dunque tradisci,

Disleal principessa... Ah, folle! ed io

Son d'accursarla ardito!

Si lagna un traditor d'esser tradito!

Il meritai. Fuggi, Sebaste... Ah! dove

Fuggirò da me stesso? Ah! porto in seno

Il carnefice mio. Dovunque io vada,

Il terror, lo spavento

Seguiran la mia traccia;

La colpa mia mi starà sempre in faccia.

[Aria]

Aspri rimorsi atroci,

Figli del fallo mio,

Perché si tardi, oh Dio!

Mi lacerate il cor?

Perché, funeste voci

Ch'or mi sgridate appresso,

Perché v'ascolto adesso,

Né v'ascoltai fin or?

Viena junio 1783 428 / 421 b Cuarteto Nº. 16 en mi bemol mayorpara cuerdas (Haydn Nº. 3)

1. Allegro ma non troppo 7'21"


3. Allegretto 6'21"


Salzburgo julio 1783 422 «L'Oca del Cairo» «La Oca del Cairo»

Opera Buffa (fragmento)

Libreto

Salzburgo 1783 Ap. 14 / 422 a «Kyrie» (fragmento)

Salzburgo octubre 1783 423 Duo en sol mayorpara violín y viola

1. Allegro 6'06"

2. Adagio 3'31"


Salzburgo octubre 1783 424 Duo en si bemol mayorpara violín y viola

1. Adagio -Allegro 7'58"


3. Tema con variazioni (Andante grazioso - Allegretto - Allegro) 8'36"

Salzburgo 1783 430 / 424 a «Lo sposo deluso» «El esposo engañado»

Opera Buffa (fragmento)

Libreto

Linz 4 noviembre 1783 425 Sinfonía Nº. 36 en do mayor «Linz»

1. Adagio - Allegro spiritoso 10'38"

2. Poco adagio 7'04"

3. Menuetto 3'34"


Linz noviembre 1783 444 / 425 a Adagio maestoso en sol mayor [ex Nº. 37] 1'43"

Introducción a una sinfonía de Michael Haydn

Viena diciembre 1783 431 / 425 b «Misero! O sogno!» Recitativo y Aria para tenor

[Recitativo]

Misero! O sogno, o son desto?

Chiuso è il varco all'uscita.

Io dunque, o stelle!

Solo in questo rinchiuso

Abiato dall'ombre,

Luogo tacito, e mesto,

Ove non s'ode

Nell'orror della notte

Che de' notturni augelli

La lamentabil voce,

I giorni miei

Dovrò qui terminar?

Aprite, indegne,

Questa porta infernale,

Spietate, aprite, aprite!

Alcun non m'ode, e solo,

Ne' cavi sassi ascoso,

Risponde a' mesti accenti eco pietoso.

E dovrò qui morir?

Ah! negli estremi amari sospiri almen

Potessi, oh Dio!

Dar al caro ben l'ultimo addio!

[Aria]

Aura, che intorno spiri,

Sull'ale a lei che adoro,

Deh, porta i miei sospiri,

Di che per essa moro,

Che più non mi vedrà.

Ho mille larve intorno,

Di varie voci il suono;

Che orribile soggiorno,

Che nova crudeltà.

Che barbara sorte,

Che stato dolente,

Mi lagno, sospiro,

Nessuno mi sente,

Nel grave periglio

Nessuno non miro,

Non spero consiglio,

Non trovo pietà.

Viena 29 diciembre 1783 426 Fuga en do menorpara dos pianos


Viena diciembre 1783 Ap. 44 / 426a Allegro en do menorpara dos pianos (fragmento)

Viena diciembre 1783 436 «Ecco quel fiero istante» Nocturno en fa mayor para dos sopranos y bajo

Texto de Pietro Metastasio

Ecco quel fiero istante: 1'45"

Nice, mia Nice, addio!

Come vivrò ben mio,

Così lontan da te?

Sempre in pene

Io non avrò più bene

E tu, chi sa se mai

Ti sovverrai di me!

Viena diciembre 1783 437 «Mi lagnerò tacendo» Escena y rondo en sol mayor para Soprano


Mi lagnerò tacendo 3'08"

Della mia sorte avara;

Ma ch'io non t'ami, o cara,

Non lo sperar da me.

Crudele! In che t'offendo

Se resta a questo petto

Il misero diletto

Di sospirar per te?

Viena diciembre 1783 438 «Se lontan, ben mio, tu sei» Nocturno en mi bemol mayor para dos sopranos y bajo


Se lontan, ben mio, tu sei, 1'28"

Son eterni i dì per me:

Son momenti i giorni miei

Idol mio, vicino a te.

Viena diciembre 1783 439 «Due pupile amabili» Nocturno en fa mayor para dos sopranos y bajo


Due pupile amabili 1'01"

M'han piegato il core

E se pietà non chiedo

A quelle luci belle

Per quelle, sì per quelle

Io morirò d'amore.

Viena diciembre 1783 346 / 439 a «Luci care, care belle» Nocturno en fa mayor para dos sopranos y dos bajo

Texto de Pietro Metastasio?

Luci care, luci belle, 1'20"

Cari lumi, amate stelle,

Date calma a questo core!

Se per voi sospirio e moro,

Idol mio, mio bel tesoro,

Forza è sol del Dio d'amore.

Viena diciembre 1783 Ap. 229 / 439 b Divertimento Nº. 1 en si bemol mayorpara 3 cornos de bassetto

1. Allegro 3'34"

2. Menuetto 2'56"

3. Adagio 2'45"

4. Menuetto 2'49"



1. Allegro 2'07"

2. Menuetto 3'59"

3. Larghetto 4'23"

4. Menuetto 4'08"

5. Rondo 3'57"


1. Allegro 3'29"

2. Menuetto 5'45"

3. Adagio 4'02"

4. Menuetto 4'56"

5. Rondo (Allegro assai) 4'03"


1. Allegro 3'18"

2. Larghetto 2'13"

3. Menuetto 3'14"

4. Adagio 2'19"



1. Adagio 2'54"

2. Menuetto 2'59"

3. Adagio 2'01"

4. Polonaise 1'25"

5. Romanze (Andante) 2'15"

Viena diciembre 1783 441 «Liebes Mandel, wo is's Bandel?» Ensamble para Soprano, Tenor y Bajo

Viena diciembre 1783 441 a «Ja! Gruss dich Gott» Lied (fragmento)

Viena diciembre 1783 442 Trio en re menorpara piano, violín y cello (fragmento)

Viena diciembre 1783 447 Concierto en mi bemol mayorpara corno

1. Allegro 7'25"

2. Romanze (Larghetto) 4'49"

3. Allegro 3'44"

Viena enero 1784 448 Sonata en re mayorpara dos pianos


2. Andante 9'23"


Viena enero 1784 461 / 448 a 5 Minuetos

1. Do mayor 2'06"

2. Mi bemol mayor 2'00"

3. Sol mayor 2'03"


5. Fa mayor 1'52"

Viena enero 1784 462 / 448 b 6 Contradanzas

1. Do mayor 2'05"



4. Re mayor 1'37"


6. Fa mayor 1'44"

Viena enero 1784 463 / 448 c 2 Minuetos con contradanzas

1. Fa mayor 2'28"


Viena 9 febrero 1784 449 Concierto Nº. 14 en mi bemol mayorpara piano


2. Andantino 7'19"


Viena 15 marzo 1784 450 Concierto Nº. 15 en si bemol mayorpara piano

1. Allegro 11'00"

2. (Andante) 6'16"

3. Allegro 7'54"

Viena 22 marzo 1784 451 Concierto Nº. 16 en re mayorpara piano


2. Andante 6'23"


Viena 30 marzo 1784 452 Quinteto en mi bemol mayorpara piano, oboe, clarinete, corno y fagot

1. Largo - Allegro moderato 10'00"

2. Larghetto 9'35"

3. Allegretto 5'08"

Viena marzo 1784 Ap. 54 / 452 a Larghetto para piano y vientos (fragmento)

Viena 1784 Ap. 55 / 452 b Música de cámara(fragmento)

Viena 1784 Ap. 65 / 452 c Movimientopara un concierto para piano (fragmento)

Viena 12 abril 1784 453 Concierto Nº. 17 en sol mayorpara piano

1. Allegro 11'28"

2. Andante 10'25"

3. Allegretto 7'33"

Viena abril 1784 453 a Kleiner Trauermarsch en do menor 1'52"

Marcha fúnebre para piano

Viena abril 1784 453 b Cuaderno de ejercicios de Barbara Ployer

Viena 21 abril 1784 454 Sonata en si bemol mayor "Strinasacchi"para violín y piano

1. Largo - Allegro 7'03"

2. Andante 7'12"

3. Allegretto 6'42"

Viena junio 1784 460 / 454 a Tema y Doce Variaciones en la mayor 3'31"

para piano

sobre: «Come un agnello» de G. Sarti

Viena 25 agosto 1784 455 Diez Variaciones en sol mayor 13'41"

para piano

sobre: «Unser dummer Pöbel meint» (C.W. Gluck)

Viena 30 septiembre 1784 456 Concierto Nº. 18 en si bemol mayorpara piano


2. Andante un poco sostenuto 9'35"


Viena 14 octubre 1784 457 Sonata en do menorpara piano


2. Adagio 8'09"


Viena 9 noviembre 1784 458 Cuarteto Nº. 17 en si bemol mayor «La Caza»para cuerdas


2. Menuetto. Moderato 4'23"

3. Adagio 7'43"


Viena 1784 Ap. 75 / 458 a Minuetto(fragmento)

Viena 1784 Ap. 71 / 458 b Cuarteto(fragmento)

Viena 11 diciembre 1784 459 Concierto Nº. 19 en fa mayorpara piano


2. Allegretto 8'18"


Viena diciembre 1784 Ap. 59 / 459 b Concierto para piano (fragmento)

Viena 10 enero 1785 464 Cuarteto Nº. 18 en la mayorpara cuerdas (Haydn Nº. 5)

1. Allegro 6'48"

2. Menuetto 6'12"

3. Andante 13'28"


Viena enero 1785 Ap. 72 / 464 a Movimiento en la mayor 7'39"

para un cuarteto de cuerdas

Viena 14 enero 1785 465 Cuarteto Nº. 19 en do mayor «Disonante»para cuerdas (Haydn Nº. 6)

1. Adagio - allegro 11'16"


3. Allegretto 5'29"


Viena 10 febrero 1785 466 Concierto Nº. 20 en re menorpara piano

1. Allegro 13'26"

2. Romance 9'12"

3. Rondo (Allegro assai) 7'11"

Viena 9 marzo 1785 467 Concierto Nº. 21 en do mayorpara piano

1. (Allegro) 13'24"

2. Andante 6'32"


GesellenreiseViena 26 marzo 1785 468 «Wenn den langen Weg durchs Leben» 2'02"

Lied en si bemol mayor para soprano y piano

Texto: D. Jäger

Wenn den langen Weg durchs Leben

Wir nun gigen so allein,

Keine Seele um und neben;

Freunde, wäre das wohl fein?

Ich -das muß ich frei gesteh'n-,

Lieber wollt'ich gar nicht geh'n!

Ach! Der ganze Weg durchs Leben

Würde rauh und traurig geh'n!

Sehet, was ihn macht so eben,

Freunde, was ihn mach so schön!

Seht und fühlt es jeden Schritt:

Menschen, Menschen gehen mit!

Viena marzo 1785 429 / 468 a «Die, Seele des Wetalls»Cantata masónica

Texto: L.L. Haschka

«Dir, Seele des Weltalls» 3'27"

«Dir danken wir die freude» 4'00"

Chor

Dir, Seele des Wltalls, o Sonne,

sei heut' das erste

der festlichen Lieder geweiht!

O Mächtige!

O Seele des Wetalls, etc.

Arie (Tenor)

Dir danken wir die Freude,

daß wir im Frühlingskleide

die Erde wieder seh'n;

daß laue Zephiretten

aus süßen Blumenketten

uns Duft entgegenweh'n.

Dir danken wir,

daß alle Schätze spendet

und jeden Reiz verschwendet

die gütige Natur,

daß alle Lust erwachet

und alles hüpft und lachet

auf segenvoller Flur.

Viena marzo 1785 469 «Davide penitente»«David penitente»

Cantata

Libreto: Lorenzo Da Ponte ?

Viena 1 abril 1785 470 Andante para un concierto de violín para Viotti (perdido)

Viena abril 1785 470 a Instrumentaciónpara un concierto de violín para Viotti

Viena 20 abril 1785 471 «Die Maurerfreude»Cantata

Texto: L.L. Haschka

«Sehen, wie dem starren Forscherauge» 5'10"

«Drum singet und jauchzet, ihr Brüder» 1'43"

Arie

Sehen, wie dem starren Forscherauge

die Natur ihr Antlitz nach und nach enthüllet;

wie sie ihm mit hoher Weisheit

voll den Sinnund voll das Hert mit Tugend füllet:

das ist Maureraugenweide,

wahre, heiße Maurerfreude.

Rezitativ

Sehen, wie die Weisheit und die Tugend

an den Maurer, ihren Jünger,

hold sich wenden, sprechen:

Nimm, Geliebter, diese Kron'

aus Josephs Händen.

Das ist das Jubelfest der Maurer,

das der triumph der Maurer.

Arie mit Chor

Drum singet und jauchzet, ihr Brüder!

Laßt bis in die innersten Halle

des Tempels den Jubel der Lieder,

laßt bis an die Wolken ihn schallen!

Singt, Lorbeer hat Joseph,

der Weise, zusammengebunden,

mit Lorbeer die Schläfe

dem Weisen der Maurer umwunden.

Lorbeer hat Joseph,

der Weise, zusammengebunden,

mit Lorbeer der Schläfe

dem Weise der Maurer umwunden.

Viena 7 mayo 1785 472 «Der Zauberer»« Ihr Mädchen, flieht Damöten ja!»

Lied en --- para soprano y piano

Texto de C. F. Weiße

Ihr Mädchen, flieht Damöten ja! 1'57"

Als ich zum erstenmal ihn sah,

Da fühlt' ich, so was fühlt' ich nie,

Mir ward, mir ward, ich weiß nicht wie,

Ich seufze, zitterte, und schien mich doch zu freu'n;

Glaubt mir, er muß ein Zaub'rer sein.

Sah ich ihn an, so ward mir heiß,

Bald ward ich rot, bald ward ich weiß,

Zuletzt nahm er mich bei der Hand;

Wer sagt mir, was ich da empfand?

Ich sah, ich hörte nichts,

Sprach nichts als ja und nein;


Er führte mich in dies Gesträuch,

Ich wollt' ihm flieh'n und folgt' ihm gleich;

Er setzte sich, ich setzte mich;

Er sprach, nur Sylben stammelt' ich;

Die Augen starrten ihm, die meinen wurden klein;


Entbrannt drückt' er mich an sein Herz,

Was fühlt' ich Welch ein süßer Schmerz!

Ich schluchzt', ich atmete sehr schwer,

Da kam zum Glück die Mutter her;

Was würd', o Götter, sonst nach so viel Zauberei'n,

Aus mir zuletzt geworden sein!

Viena 7 mayo 1785 473 «Die Zufriedenheit»«Wie sanft, wie ruhig fühl' ich hier»



Wie sanft, wie ruhig fühl' ich hier 2'58"

Des Lebens Freuden ohne Sorgen!

Und sonder Ahnung leuchtet mir

Willkommen jeder Morgen.

Mein frohes, mein zufried'nes Herz

Tanzt nach der Melodie der Haine,

Und angenehm ist selbst mein Schmerz,

Wenn ich vor Liebe weine.

Wie sehr lach' ich die Großen aus,

Die Blutvergießer, Helden, Prinzen!

Denn mich beglückt ein kleines Haus,

Sie nicht einmal Provinzen.

Wie wüten sie nicht wider sich,

Die göttergleichen Herr'n der Erden!

Doch brauchen sie mehr Raum als ich,

Wenn sie begraben werden?

Viena 7 mayo 1785 474 «Die betrogene Welt»«Der reiche Tor, mit Gold geschmücket»



Der reiche Tor, mit Gold geschmücket, 2'54"

Zieht Selimenens Auge an;

Der wackere Mann wird fortgeschiket,

Den Stutzer wählt sie sich zum Mann.

Es wird ein prächtig Fest vollzogen,

Bald hinkt die Reue hinterdrein,

Die Welt will ja betrogen sein,

Drum werde sie betrogen.

Beate, die vor wenig Tagen

Der Buhlerinnen Krone war,

Fängt an, sich violett zu tragen

Und kleidet Kanzel und Altar.

Dem äusserlichen Schein gewogen,

Hält mancher sie für engelrein.

Die Welt will ja betrogen sein,

Drum werde sie betrogen.

Wenn ich mein Karolinchen küsse,

Schwör' ich zärtlich ew'ge Treu';

Sie stellt sich , als ob sie nicht wisse,

Daß außer mir ein Jüngling sei.

Als einst mich Chloë weggezogen

Nahm meine Stelle Damis ein.

Soll alle Welt betrogen sein,

So werd' auch ich betrogen.

Viena 20 mayo 1785 475 Fantasía en do menorpara piano

Adagio - Allegro - Andantino -Più allegro - Tempo I 13'06"

Viena 1785 475 a Lied

Viena 8 junio 1785 Ap. 26 / 476 «Das Veilchen»


Texto de Johann Wolfgang Goethe

Ein Veilchen auf der Wiese stand, 2'34"

Gebückt in sich und unbekannt;

Es war ein herzigs Veilchen.

[Da] kam [eine] junge Schäferin

Mit leichtem [Schritt] und muntrem Sinn

Daher, daher,

Die Wiese her, und sang.

Ach! denkt das Veilchen, wär ich nur

Die schönste Blume der Natur,

Ach, nur ein kleines Weilchen,

Bis mich das Liebchen abgepflückt

Und an dem Busen matt gedrückt!

Ach nur, ach nur

Ein Viertelstündchen lang!

Ach! aber ach! das Mädchen kam

Und nicht in Acht das Veilchen nahm,

Ertrat das arme Veilchen.

Es sank und starb und freut' sich noch:

Und sterb ich denn, so sterb' ich doch

Durch sie, durch sie,

Zu ihren Füßen doch.

[ Das arme Veilchen!

Es war ein herzigs Veilchen. ]

Viena 1785 Ap. 11 / 477 a Cantata

Viena 16 octubre 1785 478 Cuarteto en sol menorpara piano

1. Allegro 14'24"

2. Andante 6'55"

3. Rondo (Allegro moderato) 7'41"

Viena 5 noviembre 1785 479 Ensamble

Viena noviembre 1785 477 / 479 a «Maurerische Trauermusik» 4'42"

Música fúnebre masónica

Viena 21 noviembre 1785 480 «Mandina amabile»Ensamble para Tenor y Bajos

Viena noviembre 1785 434 / 480 a «Il gran regno delle Amazoni»Ensamble para Tenor y dos Bajos

Viena 12 diciembre 1785 481 Sonata en mi bemol mayor

«Ein Veilchen auf der Wiese stand»

para piano y violín


2. Adagio 7'05"

3. Allegretto [con seis variaciones]:

[Tema] 1'05"

Variazione I 1'02"

Variazione II 1'03"


Variazione IV 1'12"

Variazione V 1'16"

Variazione VI 1'19"

Viena 16 diciembre 1785 482 Concierto Nº. 22 en mi bemol mayorpara piano

1. Allegro 13'20"

2. Andante 9'33"

3. Allegro (Rondo) 11'54"

Zur Eröffnung der Freimaurerloge:Viena diciembre 1785 483 «Zerfließet heut', geliebte Brüder» 2'06"

Canto masónico

Texto: A.V. Von Schittlersberg

(Tenor)

Zerfließet heut' geliebte Brüder,

in Wonn' und Jubellieder,

Josephs Wohltätigkeit

hat uns, in deren Brust

ein dreifech Feuer brennt,

hat unsre Hoffnung neu gekrönt.

(Chor)

Vereineter Herzen und Zungen

sei Joseph dies Loblied gesungen,

dem Vater, der enger uns band.

Wohltun ist die schönste der Pflichten;

er sah sie uns feurig verrichten

und krönt' uns mit liebvoller Hand.

(Tenor)

Dank auch der Schar, die eh uns wachte,

der Tungend Flamm' entfachte

und uns zum Beispiel war,

aus deren jedem Tritt

auf ihrem Maurergang

ein Quell des Bruderwohls entsprang.

(Chor)

Das innigste, tätigste Streben,

zu ihnen empor sich zu heben,

ist allen der herzlichste Dank.

Drum laßt uns, verdreifacht die Kräfte,

beginnen den frohen Gesang.

Zum Schluß der freimaurerloge:Viena diciembre 1785 484 «Ihr unsre neuen Leiter» 3'20"

Canto masónico

Texto: A.V. Von Schittlersberg

(Tenor)

Ihr, unsre neuen Leiter,

nun danken wir auch eure Treue;

führt stets am Tugendpfad uns weiter,

daß jeder sich der Kette freue,

die ihn an bess're Menschen schließt

und ihm des Lebens Kelch versüßt.

(Chor)

Beim heiligen Eide geloben auch wir,

am großen Gebäude zu bauen wie ihr.

(Tenor)

Hebt auf der Wahrheit Schwingen

uns höher zu der Weisheit Throne,

daß wir ihr Heiligtum erringen

und würdig werden ihrer Krone,

wenn ihr wohltätig für den Neid

Profaner selbst durch uns verscheut.

(Chor)

Beim heiligen Eide geloben auch wir,

am großen Gebäude zu bauen wie ihr.

Viena diciembre 1785 411 / 484 a Adagio en si bemol mayor 6'00"

para 2 clarinetes y 3 cornos de bassetto

Viena diciembre 1785 Ap. 95 / 484 b Allegro assai en si bemol mayorpara 2 clarinetes y 3 cornos de bassetto (fragmento)

Viena diciembre 1785 Ap. 95 / 484 c Adagio en si bemol mayorpara 2 clarinetes y 3 cornos de bassetto

Viena diciembre 1785 410 / 484 d Adagio en fa mayor 1'26"

para 2 cornos de bassetto y fagot

Viena diciembre 1785 484 e Allegro en fa mayorpara 2 cornos de bassetto (fragmento)

Viena 10 enero 1786 485 Rondo en re mayor 5'10"

Viena 3 febrero 1786 486 «Der Schauspieldirektor»«El empresario teatral»

Opera

Libreto

Viena 2 marzo 1786 488 Concierto Nº. 23 en la mayorpara piano

1. Allegro 11'05"

2. Adagio 6'48"



Viena marzo 1786 Ap. 63 / 488 b Concierto para piano (fragmento)

Viena marzo 1786 Ap. 64 / 488 c Concierto para piano (fragmento)

Viena marzo 1786 488 d Concierto para piano (fragmento)

Viena 13 marzo 1786 489 «Spiegarti no poss'io»

Ensamble para Soprano y Tenor

Viena 13 marzo 1786 490 «Venga la morte»«Non temer amato bene»Escena con Rondo para Soprano y Tenor

IDAMANTE

Venga la morte, intrepida l'attendo,

Ma, ch'io possa struggermi ad altra face,

Ad altr'oggetto donar gl'affetti miei?

Come tentarlo? Ah! Di dolor morrei.

Non temer, amato bene,

Per te sempre il cor sarà.

Più non reggo a tante pene,

L'alma mia mancando va.

Tu sospiri? O duol funesto!

Pensa almen, che istante è questo!

Non posso, o Dio, spiegar.



Stelle barbare, stelle spietate

Percé mai tanto rigor!

Alma belle che vedete

Le mie pene in tal momento,

Dite voi, s'egual tormento

Può soffrir un fido.

Viena 24 marzo 1786 491 Concierto Nº. 24 en do menorpara piano

1. Allegro 13'14"

2. Larghetto 7'12"

3. (Allegretto) 9'00"


Viena 1 mayo 1786 492 «Le Nozze di Figaro»«Las Bodas de Figaro»

Opera 4 actos

Libreto

Viena 3 junio 1786 493 Cuarteto en mi bemol mayorpara piano

1. Allegro 14'09"

2. Larghetto 9'13"

3. Allegretto 8'24"

Viena junio 1786 Ap. 53 / 493 a Cuarteto para piano y cuerdas

Viena 10 junio 1786 494 Rondo en fa mayorpara piano


Viena 26 junio 1786 495 Concierto en mi bemol mayorpara corno


2. Romanza (Andante) 4'49"

3. Rondo (Allegro vivace) 3'44"

Viena 8 julio 1786 496 Trio en sol mayorpara piano

1. Allegro 8'29"

2. Andante 7'54"

3. Allegretto (Thema mit Variationen) 10'39"

Viena 27 julio 1786 487 / 496 a Doce Duos para 2 cornos

Nº. 1 Allegro 0'58"

Nº. 2 Menuetto 2'25"

Nº. 3 Andante 1'20"

Nº. 4 Polonaise 1'15"

Nº. 5 Larghetto 1'09"


Nº. 7 Adagio 2'10"



Nº. 10 Andante 1'12"



Viena 1 agosto 1786 497 Sonata en fa mayorpara piano a cuatro manos

1. Adagio - Allegro di molto 9'38"

2. Andante 8'47"

3. Allegro 8'07"

Viena agosto 1786 357 / 497 a Sonata en sol mayorpara piano a cuatro manos

1. Allegro. KV 357 / 497a 6'19"

Viena 5 agosto 1786 498 Quinteto en mi bemol mayorpara piano, clarinete y viola

1. Andante 6'19"

2. Menuetto 5'51"

3. Rondeaux. (Allegretto) 8'24"

Viena 19 agosto 1786 499 Cuarteto Nº. 20 en re mayor «Hoffmeister»para cuerdas

1. Allegretto 10'05"


3. Adagio 9'06"

4. Allegro 7'05"

Viena 12 septiembre 1786 500 [Allegretto y] Doce Variaciones en si bemol mayor 9'22"

para piano

Viena noviembre 1786 500a Sonata en sol mayorpara piano a cuatro manos

2. Andante. KV 500a 6'20"

Viena 4 noviembre 1786 501 Andante con 5 Variaciones en sol mayorpara piano a cuatro manos

Viena 18 noviembre 1786 502 Trio en si bemol mayorpara piano, violín y cello

1. Allegro 8'08"

2. Larghetto 9'11"

3. Allegretto 6'00"

Viena 4 diciembre 1786 503 Concierto Nº. 25 en do mayorpara piano


2. Andante 8'21"


Viena 6 diciembre 1786 504 Sinfonía Nº. 38 en re mayor «Praga»


2. Andante 9'05"


Viena 27 diciembre 1786 505 «Ch'io mi scordi di te?»«Non temer amato bene»Recitativo y Aria para soprano

[Recitativo]

IDAMANTE:

Ch'io mi scordi di te?

Che a lui mi doni

Puoi consigliarmi?

E puoi voler che in vita...

Ah no.

Sarebbe il viver mio

Di morte assai peggior.

Venga la morte,

Intrepida l'attendo.

Ma, ch'io possa struggermi ad altra face,

Ad altr'oggetto

Donar gl'affetti miei,

Come tentarlo?

Ah! di dolor morrei.

[Aria]



Più non reggo a tante pene,

L'alma mia mancando va.

Tu sospiri? o duol funesto!

Pensa almen, che istante è questo!

Non mi posso, oh Dio!, spiegar.

Stelle barbare, stelle spietate!

Perché mai tanto rigor?

Alme belle, che vedete

Le mie pene in tal momento,

Dite voi, s'egual tormento

Può soffrir un fido cor?

Viena diciembre 1786 506 «Wer unter eines Madchens Hand»«Wer unter eines Mädchens Hand»

Lied en --- para soprano

Texto de J. A. Blumauer

Wer unter eines Mädchens Hand 2'04"

Sich als ein Sclave schmiegt

Und, von der Liebe festgebannt,

In schnöden Fesseln liegt:

Weh dem! Der ist ein armer Wicht,

Er kennt die gold'ne Freiheit nicht.

Wer sich um Fürstengunst und Rang

Mit saurem Schweiss bemüht,

Und, eingespannt sein Leben lang,

Am Pflug des Staates zieht:



Wer um ein schimmerndes Metall

Dem bösen Mammon dient,

Und seiner vollen Säcke Zahl

Nur zu vermehren sinnt:



Doch wer dies alles leicht entbehrt,

Wonach der Thornur strebt,

Und froh bei seinem eignen Herd

Nur sich, nicht Andern lebt,

Der ist's allein, der sagen kann:

Wohl mir, ich bin ein freier Mann!

Viena diciembre 1786 507 «Heiterkeit und leichtes Blut»Canon en fa mayor

para 3 voces

[Heiterkeit und leichtes Blut

Macht ein frohes Herz und guten Mut.

Flieht, ihr Sorgen, weit von mir,

Trübt nicht meines Herzens Seligkeit!]

Viena diciembre 1786 508 «Aus das Wohl aller Freunde»Canon en fa mayor

para 3 voces

[Auf das Wohl aller Freunde!

Jeder lebe hoch!]

Praga febrero 1787 509 6 Danzas Alemanas 13'23"

1. Do mayor

2. Sol mayor

3. Si bemol mayor

4. Re mayor

5. Fa mayor

6. Fa mayor

Viena febrero 1787 232 / 509 a «Lieber Freistädtler, lieber Gaulimauli»Canon en fa mayor

para 4 voces

Lieber Freistädtler,

Lieber Gaulimauli,

Lieber Stachelschwein,

Wo gehn Sie hin?

Etwa zum Finta,

Oder zum Scultetti?

Ha, wohin, wohin?

Ei, zu kein'm von beiden,

nein, sondern zum Kitscha

Geht der Herr von Lilienfeld,

Und nicht der Freistädtler,

Nein, auch nicht der Gaulimauli,

Weder der Stachelschwein,

Sondern der Herr von Lilienfeld.

Viena 11 marzo 1787 511 Rondo en la menor 10'49"

para piano

Viena 18 marzo 1787 512 «Alcandro lo confesso»Recitativo y Aria en

para bajo

[Recitativo]

CLISTENE:

Alcandro, lo confesso,

Stupisco di me stesso. Il volto, il ciglio,

La voce di costui nel cor mi desta

Un palpito improvviso,

Che lo risente in ogni fibra il sangue.

Fra tutti i miei pensieri

La cagion ne ricerco, e non la trovo.

Che sarà, giusti Dei! questo ch'io provo?

[Aria]

Non so d'onde viene

Quel tenero affetto,

Quel moto che ignoto

Mi nasce nel petto,

Quel gel che le vene

Scorrendo mi va.

Nel seno a destarmi

Sì fieri contrasti

Non parmi che basti

La sola pietà.

Viena 23 marzo 1787 513 «Mentre ti lascio»Recitativo y Aria en

para bajo

DARIO:

Mentre ti lascio, oh figlia,

In sen mi trema il core,

Ahi, che partenza amara!

Provo nel mio dolore

Le smanie, ed il terror.

Parto... Tu piangi? Oh Dio!

Ti chiedo un sol momento.

Oh Dio, che fier tormento!

Ah mi si spezza il cor.

Viena abril 1787 Ap. 80 514 a [Allegro] en si bemol mayor 6'12"


Viena 19 abril 1787 515 Quinteto Nº. 2 en do mayorpara cuerdas

1. Allegro 14'26"

2. Andante 8'25"


4. Allegro 7'35"

Viena 24 abril 1787 228 / 515 b «Ach, zu kurz ist unsers Lebens Lauf»Canon en mi bemol mayor

para 4 voces

[Ach! Zu kurz ist unsres Lebens Lauf!

Kaum entstanden hören wir auf,

Bald hör'n wir wieder auf.]

Viena 16 mayo 1787 516 Quinteto Nº. 3 en sol menorpara cuerdas

1. Allegro 10'44"


2. Adagio ma non troppo 7'20"


Viena mayo 1787 406 / 516 b Quinteto Nº. 4 en do menorpara cuerdas

1. Allegro 8'05"

2. Andante 4'11"

3. Menuetto in canone 4'39"

4. Allegro 6'23"

Viena mayo 1787 Ap. 91 / 516 c Allegro en si bemol mayor 4'17"

para un Quinteto con clarinete

Viena 18 mayo 1787 517 «Die Alte»«Zu meiner Zeit»


Texto en F. von Hagedorn

Zu meiner Zeit, zu meiner Zeit 2'32"

Bestand noch Recht und Billigkeit.

Da wurden auch aus Kindern Leute,

Aus tugendhaften Mädchen Bräute;

Doch alles mit Bescheidenheit.

O gute Zeit, o gute Zeit!

Es ward kein Jüngling zum Verräter,

Und unsre Jungfern freiten später,

Sie reizten nicht der Mütter Neid.

O gute, Zeit, o gute Zeit!

Zu meiner Zeit, zu meiner Zeit

Befliß man sich der Heimlichkeit.

Genoß der Jüngling ein Vergnügen,

So war er dankbar und verschwiegen;

Doch jetzt entdeckt er's ungescheut.

O schlimme Zeit, o schlimme Zeit!

Die Regung mütterlicher Triebe,

Der Vorwitz und der Geist der Liebe

Fährt jetzt oft schon in's Flügelkleid.



ward Pflicht und Ordnung nicht entweiht.

Der Mann ward, wie es sich geblühret,

Von einer lieben Frau regieret,

Trotz seiner stolzen Männlichkeit.


Die Fromme herrschte nur gelinder,

Uns blieb der Hut und ihm die Kinder;

Das war die Mode weit und breit.



war noch in Ehen Einigkeit.

Jetzt darf der Mann uns fast gebieten,

Uns widersprechen und uns hüten,

Wo man mit Freunden sich erfreut.


Mit dieser Neuerung im Lande,

Mit diesem Fluch im Ehestande

Hat ein Komet uns längst bedräut.


Viena 20 mayo 1787 518 «Die Verschweigung»«Sobald Damötas Chloën sieht»



Sobald Damötas Chloën sieht, 2'52"

So sucht er mit beredten Blicken

Ihr seine Klagen auszudrücken

und ihre Wange glüht.

Sie scheinet seine stillen Klagen

Mehr als zur Hälfte zu versteh'n,

Und er ist jung, und sie ist schön:

Ich will nicht weiter sagen.

Vermißt er Chloën auf der Flur,

Betrübt wird er von dannen scheiden;

Dann aber hüfpt er voller Freuden,

Entdeckt er Chloën nur.

Er küßt ihr unter tausend Fragen

Die Hand, und Chloë läßt's gescheh'n,


Ich will nichts weiter sagen.

Sie hat an Blumen ihre Lust,

Er stillet täglich ihr Verlangen;

Sie klopfet schmeichelnd ihm die Wangen,

Und steckt sie an die Brust.

Der Busen bläht sich sie zu tragen.

Er triumphiert sie hier zuseh'n,



Wenn sie ein kühler, heitrer Bach,

Beschützt von Büschen, eingeladen,

In seinen Wellen sich zu baden,

So schleicht er listig nach.

In diesen schwülen Sommertagen

Hat er ihr oftmals zu geseh'n,



Viena 23 mayo 1787 519 «Das Lied der Trennung»«Die Engel Gottes weinen»


Texto de K. E. K. Schmidt

Die Engel Gottes weinen, 4'29"

wo Liebende sich trennen,

wie werd ich leben können,

o Mädchen, ohne dich?

Ein Fremdling allen Freuden,

leb ich fortan dem Leiden!

Und du? und du?

Vielleicht auf ewig vergißt Luisa mich!

Vielleicht auf ewig vergißt sie mich!

Im Wachen und im Traume,

werd ich Luisa nennen;

den Namen zu bekennen,

sei Gottesdienst für mich;

ihn nennen und ihn loben

werd ich vor Gott noch droben.

Und du? und du?



Ich kann sie nicht vergessen,

an allen, allen Enden

verfolgt von ihren Händen

ein Druck der Liebe mich.

Ich zittre, sie zu fassen,

und finde mich verlassen!

Und du? und du?



Ich kann sie nicht vergessen;

dies Herz, von ihr geschnitten,

scheint seufzend mich zu bitten:

,,O Freund, gedenk an mich!``

Ach dein will ich gedenken,

bis sie ins Grab mich senken.

Und du? und du?



Vergessen raubt in Stunden,

was Liebe jahrlang spendet.

Wie eine Hand sich wendet,

so wenden Herzen sich.

Wenn neue Huldigungen

mein Bild bei ihr verdrungen,

O Gott! vielleicht auf ewig vergißt Luisa mich.

Ach denk an unser Scheiden!

Dies tränenlose Schweigen,

dies Auf- und Niedersteigen,

des Herzens drücke dich

wie schweres Geist-Erscheinen,

wirst du wen anders meinen,

wirst du mich einst vergessen,

vergessen Gott und dich.

Ach denk an unser Scheiden!

Dies Denkmal, unter Küssen

auf meinen Mund gebissen,

das richte mich und dich!

Dies Denkmal auf dem Munde,

komm ich zur Geisterstunde,

mich warnend anzuzeigen,

vergißt Luisa, Luisa mich,

komm ich mich warnend anzuzeigen,

vergißt Luisa, Luisa mich,

vergißt sie mich!

Viena 26 mayo 1787 520 «Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte»«Erzeugt von heißer Phantasie»


Texto de G. von Baumberg)

Erzeugt von heißer Phantasie, 1'28"

In einer schwärmerischen Stunde

Zur Welt gebrachte, geht zu Grunde,

Ihr Kinder der Melancholie!

Ihr danket Flammen euer Sein,

Ich geb' euch nun den Flammen wieder,

Und all' die schwärmerischen Lieder,

Denn ach! er sang nicht mir allein.

Ihr brennet nun, und bald, ihr Lieben,

Ist keine Spur von euch mehr hier.

Doch ach! der Mann, der euch geschrieben,

Brennt lange noch vielleicht in mir.

Viena 29 mayo 1787 521 Sonata en do mayorpara piano a cuatro manos

1. Allegro 9'11"

2. Andante 7'31"

3. Allegretto 8'01"

Viena 14 junio 1787 522 «Eine musikalischer Spaß»

1. Allegro 4'46"

2. Menuetto (Maestoso) - Trio 6'09"

3. Adagio cantabile 6'11"

4. Presto 4'08"

Viena 24 junio 1787 523 «Abendempfindung»«Abend ist's, die»


Texto de J. H. Campe

Abend ist's, die Sonne ist verschwunden, 4'54"

Und der Mond strahlt Silberglanz;

So entfliehn des Lebens schönste Stunden,

Fliehn vorüber wie im Tanz.

Bald entflieht des Lebens bunte Szene,

Und der Vorhang rollt herab;

Aus ist unser Spiel, des Freundes Träne

Fließet schon auf unser Grab.

Bald vielleicht (mir weht, wie Westwind leise,

Eine stille Ahnung zu),

Schließ ich dieses Lebens Pilgerreise,

Fliege in das Land der Ruh.

Werdet ihr dann an meinem Grabe weinen,

Trauernd meine Asche sehn,

Dann, o Freunde, will ich euch erscheinen

Und will himmelauf euch wehn.

Schenk auch du ein Tränchen mir

Und pflücke mir ein Veilchen auf mein Grab,

Und mit deinem seelenvollen Blicke

Sieh dann sanft auf mich herab.

Weih mir eine Träne, und ach! schäme

dich nur nicht, sie mir zu weihn;

Oh, sie wird in meinem Diademe

Dann die schönste Perle sein!

Viena 26 junio 1787 524 «An Chloë»«Wenn die Lieb' aus deinen blauen»


Texto de J. G. Jacobi

Wenn die Lieb' aus deinen blauen, 2'16"

hellen, offnen Augen sieht,

und vor Lust hinein zu schauen

mir's im Herzen klopft und glüht;

und ich halte dich und küße

deine Rosenwangen warm,

liebes Mädchen, und ich schließe

zitternd dich in meinem Arm,

Mädchen, Mädchen, und ich drücke

dich an meinen Busen fest,

der im letzten Augenblicke

sterbend nur dich von sich läßt;

den berauschten Blick umschattet

eine düstre Wolke mir,

und ich sitze dann ermattet,

aber selig neben dir.

Viena 10 agosto 1787 525 «Eine kleine Nachmusik»Serenata en sol mayor

1. Allegro 5'45"

2. Romance (Andante) 6'06"



Viena 24 agosto 1787 526 Sonata en la mayor


2. Andante 6'59"

3. Presto 7'06"

Praga 29 octubre 1787 527 «Don Giovanni»«Don Juan»

Opera en 2 actos

Libreto

Praga 3 noviembre 1787 528 «Bella mia fiamma, addio»«Resta oh cara»Recitativo y Aria para soprano con texto de "Cerere placata" (II, 5),

festa teatrale' de N. Jommelli con libreto de D.M. Sarcone.

[Recitativo]

TITANO:

Bella mia fiamma, addio; non piacque al cielo

Di renderci felici. Ecco reciso,

Prima d'esser compito,

Quel purissimo nodo,

Che strinsero fra lor gli animi nostri

Con il solo voler.

Vivi; cedi al destin, cedi al dovere.

Dalla giurata fede

La mia morte t'assolve;

A più degno consorte... oh pene! unita

Vivi più lieta e più felice vita.

Ricordati di me; ma non mai turbi

D'un infelice sposo

La rara rimembranza il tuo riposo.

Regina, io vado ad ubbidirti; ah tutto

Finisca il mio (*) furor col morir mio.

Cerere, Alfeo, diletta sposa, addio!

[Aria]

(a Proserpina)

Resta, oh cara; acerba morte

Mi separa, oh Dio! da te.

(a Cerere)

Prendi cura di sua sorte,

Consolarla almen procura.

(ad Alfeo)

Vado... ahi lasso! addio per sempre...

Quest'affanno, questo passo

È terribile per me.

Ah! Dov'è il tempio, dov'è l'ara?

(a Cerere)

Vieni, affretta la vendetta!

Questa vita così amara

Più soffribile non è.

(a Proserpina)

Oh cara, addio per sempre!

Praga 6 noviembre 1787 529 «Des kleinen Friedrichs Geburtstag»«Es war einmal, ihr Leute»


Texto de J. E: F. Schall / J. H. Campe)

Es war einmal, ihr Leutchen, 2'00"

Ein Knäblein jung und zart,

Hieß Friedrich, war daneben

Recht gut von Sinnesart.

War freundlich und bescheiden,

Nicht zärtlich und nicht wild,

War sanft wie kleine Schäfchen,

Und wie ein Täubchen mild.

Drum gab auch Gott Gedeihen,

Das Knäblein wuchs heran,

Und seine Eltern hatten

Recht ihre Freude dran.

Zu Schul' und Gotteshause

Sah man es fleißig geh'n,

Und Jedem, der es grüßte,

gar freundlich Rede steh'n.

Auch war ihm in der Schule

Ein Jeder herzlich gut,

Denn Allen macht es Freude,

Und Allen war es gut.

Einst hieß es:

Brüder, morgen fällt

Sein Geburtstag ein!

Gleich riefen All' und Jede:

Der muß gefeiert sein.

Da war des Wohl behagens

Und jeder Freude viel,

Und wo man sah und hörte,

War Sang und Tanz und Spiel.

Denn Alle, Alle freuten

Des frohen Tages sich,

Und Alle, Alle sangen:

Heil unserm Freiderich!

Und Gott im Himmel oben

Erhörte ihr Gebet.

Sein Segen folgt dem Knaben,

Da wo er geht und steht.

Praga 6 noviembre 1787 530 «Das Traumbild»«Wo bist du, Bild»


Texto de L. H. C. Hölty

Es war einmal, ihr Leutchen, 2'54"

Ein Knäblein jung und zart,

Hieß Friedrich, war daneben

Recht gut von Sinnesart.

War freundlich und bescheiden,

Nicht zärtlich und nicht wild,

War sanft wie kleine Schäfchen,

Und wie ein Täubchen mild.

Drum gab auch Gott Gedeihen,

Das Knäblein wuchs heran,

Und seine Eltern hatten

Recht ihre Freude dran.

Zu Schul' und Gotteshause

Sah man es fleißig geh'n,

Und Jedem, der es grüßte,

gar freundlich Rede steh'n.

Auch war ihm in der Schule

Ein Jeder herzlich gut,

Denn Allen macht es Freude,

Und Allen war es gut.

Einst hieß es:

Brüder, morgen fällt

Sein Geburtstag ein!

Gleich riefen All' und Jede:

Der muß gefeiert sein.

Da war des Wohl behagens

Und jeder Freude viel,

Und wo man sah und hörte,

War Sang und Tanz und Spiel.

Denn Alle, Alle freuten

Des frohen Tages sich,

Und Alle, Alle sangen:

Heil unserm Freiderich!

Und Gott im Himmel oben

Erhörte ihr Gebet.

Sein Segen folgt dem Knaben,

Da wo er geht und steht.

Viena 11 diciembre 1787 531 «Die kleine Spinnerin»«Was spinnst du?"»


Texto de Anon / D. Jäger

"Was spinnst du?" fragte Nachbars Fritz, 1'38"

Als er uns jüngst besuchte.

"Dein Rädchen läuft ja wie der Blitz,

Sag an, wozu dies fruchte;

Komm lieber her in unser Spiel!"

"Herr Fritz, das laß ich bleiben,

Ich kann mir, wenn er's wissen will,

So auch die Zeit vertreiben.

Was hätt' ich auch von euch, ihr Herrn?

Man kennt ja eure Weise,

Ihr neckt und scherzt und dreht euch gern

Mit Mädchen um im Kreise,

Erhitzt ihr Blut, macht ihr Gefühl

In allen Adern rege,

Und treibt, so bunt ihr könnt, das Spiel,

Dann geht ihr eurer Wege!

Schier ist's, als wären in der Welt

Zum Spaße nur die Mädchen.

Drum geht und spaßt, wo's euch gefällt,

Ich lobe mir mein Rädchen.

Geht, eure Weise ist kein nütz!

Wenn ich soll Seide spinnen,

So will ich, merk's er sich!, Herr Fritz,

Nicht Werg dabei gewinnen.

Viena diciembre 1787 532 «La libertà a Nice»«Grazie agl'inganni tuoi»Canzonetta (P. Metastasio)

para soprano, tenor y bajo

sobre una composición de M Kelly

Grazie agl'inganni tuoi,

Al fin respiro, o Nice,

Al fin d'un infelice

Ebber gli Dei pietà.

E non t'offenda il vero,

Nel tuo leggiadro aspetto,

Scopro alcun difetto,

Che mi parea beltà.

Viena 3 enero 1788 533 Sonata para piano en fa mayorpara piano

1. Allegro KV 533 7'32"

2. Andante KV 533 9'28"

Viena 14 enero 1788 534 «Das Donnerwetter» 2'06"

Contradanza en re mayor

Viena 23 enero 1788 535 «La Bataille»Contradanza en do mayor

Viena enero 1788 535 a 3 Contradanzas 2'29"

1. Do mayor

2. Sol mayor

3. Sol mayor

Viena 27 enero 1788 536 6 Danzas Alemanas

1. Do mayor 1'47"

2. Sol mayor 1'53"


4. Re mayor 1'43"

5. Fa mayor 1'38"

6. Fa mayor 1'44"

Viena 24 febrero 1788 537 Concierto Nº. 26 en re mayor «Coronación»para piano

1. Allegro 14'21"

2. (Larghetto) 6'07"


Viena 4 marzo 1788 538 «Ah se in ciel, benigne stelle»Aria en

para soprano

LISINGA:

Ah se in ciel, benigne stelle,

La pietà non è smarrita,

O toglietemi la vita,

O lasciatemi il mio ben!

Voi, che ardete ognor sì belle

Del mio ben nel dolce aspetto,

Proteggete il puro affetto

Che inspirate a questo sen.

Viena 5 marzo 1788 539 «Ich mochte wohl der Kaiser sein»Aria en

para tenor

Ich möchte wohl der Kaiser sein!

Den Orient wollt ich erschüttern;

Die Muselmänner mü&szlit;ten zittern,

Konstantinopel wäre mein!



Athen und Sparta sollten werden

Wie Rom die Königin der Erden,

das Alte sollte sich erneu'n!



Die besten Dichter wollt ich dingen,

Der Helden Taten zu besingen,

Die goldnen Zeiten führt ich ein!



Weil aber Joseph meinen Willen

Bei seinem Leben will erfüllen,

Und sich darauf die Weisen freu'n,

so mag er immer Kaiser sein!

Viena 19 marzo 1788 540 Adagio en si menor 10'43"

para piano

Viena 24 marzo 1788 540 a «Dalla sua pace»Aria en

para tenor

DON OTTAVIO:

Dalla sua pace la mia dipende,

quel che a lei piace vita mi rende,

quel che le incresce morte mi dà.

S'ella sospira, sospiro anch'io,

è mia quell'ira, quel pianto è mio;

e non ho bene, s'ella non l'ha.

Viena 28 abril 1788 540 b «Per queste tue manine»Duo en

para soprano y bajo

LEPORELLO:

Per queste tue manine

candide e tenerelle,

per questa fresca pelle,

abbi pietà di me!

ZERLINA:

Non v'è pietà, briccone;

son una tigre irata,

un aspide, un leone;

no, no, non v'è pietà.

LEPORELLO:

Ah! di fuggir si provi...

ZERLINA:

Sei morto se ti movi.

LEPORELLO:

Barbari, ingiusti Dei!

In mano di costei

chi capitar mi fe'?

ZERLINA:

Barbaro traditore!

Del tuo padrone il core

avessi qui con te.

LEPORELLO:

Deh! non mi stringer tanto,

l'anima mia sen va.

ZERLINA:

Sen vada, sen vada o resti,

intanto non partirai di qua!

LEPORELLO:

Che strette, o Dei, che botte!

E giorno, ovver è notte?

Che scosse di tremuoto!

Viena 30 abril 1788 540 c «In quali eccessi»Recitativo y Aria en

para soprano

[Recitativo]

DONNA ELVIRA:

In quali eccessi, o Numi!

in quai misfatti orribili, tremendi,

è avvolto il sciagurato!

Ah no, non puote tardar l'ira del cielo,

la giustizia tardar.

Sentir già parmi la fatale saetta,

che gli piomba sul capo!

Aperto veggio il baratro mortal!

Misera Elvira!

Che contrasto d'affetti, in sen ti nasce!

Perchè questi sospiri e queste ambascie?

[Aria]

Mi tradì quell'alma ingrata,

Infelice, oddio! mi fa.

Ma tradita, abbandonata,

provo ancor per lui pietà.

Quando sento il mio tormento

di vendetta il cor favella;

ma, se guardo il suo cimento,

palpitando il cor mi va.

Viena mayo 1788 541 «Un baccio di mano»Aria en

para bajo

Un bacio di mano

Vi fa maraviglia,

E poi bella figlia

Volete sposar.

Voi siete un po' tondo,

Mio caro Pompeo,

L'usanze del mondo

Andate a studiar.

Un uom, che si sposa

Con giovin vezzosa,

A certi capricci,

Dee pria rinunciar.

Viena 22 junio 1788 542 Trio para piano en mi mayorpara piano

1. Allegro 7'24"


3. Allegro 6'47"

Viena 26 junio 1788 543 Sinfonía Nº. 39 en mi bemol mayor




4. Finale (Allegro) 5'36"

Viena 16 junio 1788 544 Marcha en re mayor(perdida)

Viena 26 junio 1788 545 Sonata para piano en do mayor «Facil»para piano

1. Allegro 4'33"

2. Andante 7'00"


Viena 28 junio 1788 546 Adagio y Fuga en do menorpara cuerdas

Adagio 2'16"

Fuga 4'01"

Viena 10 julio 1788 547 Sonata en fa mayor «para principiantes»para piano y violín


2. Allegro 6'06"

3. Andante con variazioni 6'53"

Viena 14 julio 1788 548 Trio en do mayorpara piano, violín y cello

1. Allegro 7'27"


3. Allegro 4'14"

Viena 16 julio 1788 549 «Piu non si trovano»Notturno en

para 2 sopranos y bajo

Viena 25 julio 1788 550 Sinfonía Nº. 40 en sol menor «Grande»


2. Andante 7'50"


4. Finale (Allegro assai) 6'42"

Viena 10 agosto 1788 551 Sinfonía Nº. 41 en do mayor «Jupiter»





Viena 11 agosto 1788 552 «Beim Auszug in das Feld»Lied en --- para

Texto de autor desconocido

Dem hohen Kaiser treu,

Rief Joseph seinen Heeren:

Sie eilen flügelschnell herbei,

Voll Durst nach Sieg und Ehren.

Gern zieht man ja dem Vater nach,

Der seine Kinder liebet

Und sorgt, daß sie kein Ungemach,

Selbst nicht Gefahr betrübet.

Wo sie erschienen, fanden sie

Von Speis und Trank die Fülle;

Und lohnt nicht schon des Helden Müh

Oft Dank und guter Wille?

Doch mehr als alles dieses stählt

Der Männer Brust zum Streite

Der Trostgedanke, daß ins Feld

Gott selber sie geleite.

Bei uns wird jeder Bruder steh'n,

Der Recht und Menschheit schätzet,

Denn ihre Wohlfahrt zu erhöh'n,

Ist unser Schwert gewetzet!

Drum, tapfre Streiter, kämpft mit Mut

Um eure Ehrenkronen!

Gott selbst wird euer Heldenblut

An seinem Thron belohnen.

553 «Alleluia» 1'27"

Canon en

para 4 voces

Alleluia. Amen.

554 «Ave Maria» 2'30"

Canon en

para 4 voces

Ave Maria.

555 «Lacrimoso son io» 1'59"

Canon (de A. Caldara) en

para 4 voces

Lacrimoso son io.

Perduto ho l'idol mio.

Lacrimoso son io.

556 «Grechtelt's enk» 1'42"

Canon en

para 4 voces

Grechtelt's enk,

Wir gehn im Pater.

Im Pater?

Itz laß nach,

I laß mi net stimma.

Ei beileib. Ei jawohl,

Mi bringst nöt aussi:

Was blauscht der?

Itz halt's Maul!

I gib' d'ra Tetschen!

557 «Nascoso è il mio sol» 3'02"


para 4 voces

Nascoso è il mio sol,

E sol qui resto,

Piangete voi il mio duol,

Ch'io moro presto.

558 «Gehn wir im Pater» 1'58"

Canon en

para 4 voces

Gehn wir im Pater,

Gehn wir in d'Hetz,

Geh'n wir zum Kasperl.

Der Kasperl ist krank,

Der Bär ist verreckt,

Was tät' ma in der Hetz drauß?

Im Pater gibt's Gelsen

Und Haufen voll Dreck.

559 «Difficile lectu mihi mars» 1'45"

Canon en

para 3 voces

Difficile lectu mihi mars

et jonicu difficile.

559 a «O du eselhafter Peierl» 2'36"

Canon en

para 3 voces

O du eselhafter Peierl!

O du Peirlischer Esel!

Du bist so faul

Als wie ein Gaul,

Der weder Kopf noch Haxen hat.

Mir dir ist gar nichts anzufangen,

Ich seh dich noch am Galgen hangen.

Du dummer Peierl

Bist so faul

Als wie ein Gaul.

O lieber Freund, ich bitte dich,

O leck mich doch geschwind im Arsch!

Ach, lieber Freund, verzeihe mir,

Den Arsch petschier ich dir.

Peierl! Nepomul! Peierl! Verzeihe mi!

560 «O du eselhafter Martin»

561 «Bona nox, bist a rechta Ox» 1'39"

Canon en

para 4 voces

Bona nox! Bist a rechta Ox;

Bona notte, liebe Lotte;

Bonne nuit, pfui, pfui;

Good night, good night,

Heut müß ma noch weit;

Gute Nacht, gute Nacht,

Scheiß ins Bett, daß' kracht;

Gute Nacht, schlaf fein g'sund

Und reck den Arsch zum Mund.

562 «Caro bell'idol mio» 2'13"


para 3 voces

Caro bell'idol mio,

Non ti scordar di me!

Tengo sempre desio

D'esser vicino a te.

562 a Canon en si bemol mayor 0'54"

para 3 clarinetes y corno de basseto

562 b Canon en fa mayorestudio

Ap. 191 / 562 c Canon en do mayor 1'51"

para 4 voces

Ap. 66 / 562 e Allegro en sol mayor 3'56"

para un trio de cuerdas (fragmento)

Viena 27 septiembre 1788 563 Divertimento en mi bemol mayor(Trio para cuerdas)

1. Allegro 8'28"

2. Adagio 8'14"

3. Menuetto (Allegretto) - Trio 5'49"

4. Andante 7'30"

5. Menuetto (Allegretto) - Trio I-II 5'13"

6. Allegro 5'56"

Viena 27 octubre 1788 564 Trio en sol mayorpara piano, violín y cello

1. Allegro 5'14"

2. Andante (Thema mit Variationen) 7'10"

3. Allegretto 4'47"

Viena 30 octubre 1788 565 2 Contradanzas

Viena noviembre 1788 566 «Acis und Galatea»

Viena 6 diciembre 1788 567 6 Danzas Alemanas



3. Sol mayor 1'38"

4. Re mayor 1'33"

5. La mayor 2'01"

6. Do mayor 1'52"

Viena 24 diciembre 1788 568 12 Minuetos

1. Do mayor 1'59"

2. Fa mayor 2'03"



5. Sol mayor 1'53"

6. Re mayor 1'50"

7. La mayor 2'08"

8. Fa mayor 2'12"


10. Re mayor 2'04"

11. Sol mayor 2'02"

12. Do mayor 2'05"

569 «Ohne Zwwang, aus eignem Triebe»Aria para soprano (perdida)

570 Sonata en si bemol mayorpara piano

1. Allegro 5'43"

2. Adagio 9'04"

3. Allegretto 3'29"

571 6 Danzas Alemanas

1. Re mayor 1'28"

2. La mayor 1'30"

3. Do mayor 1'22"

4. Sol mayor 1'37"


6. Re mayor 1'58"

572 «Messiah»

573 Nueve Variaciones en re mayor «Duport» 13'42"

para piano

sobre un minuetto de Jean-Pierre Duport

574 Eine Kleine Gigue en sol mayor 1'40"

para piano

575 Cuarteto Nº. 21 en re mayorpara cuerdas (Prusiano Nº. 1)

1. Allegretto 7'25"

2. Andante 4'50"


4. Allegretto 6'16"

576 Sonata en re mayor «Última»para piano

1. Allegro 5'05"

2. Adagio 5'17"

3. Allegretto 4'16"

577 «Giunse alfin il momento»«Al desio di chi t'adora»Recitativo original con texto de Lorenzo da Ponte, y aria substitutiva para soprano

(reemplazante de "Deh vieni non tardar") escrita para el re-estreno de

"Le Nozze di Figaro" (Viena, 29 d'agost de 1789)

Texto posiblemente de Lorenzo da Ponte.

[Recitativo]

SUSANNA:

Giunse alfin il momento

Che godrò senz'affanno

In braccio all'idol mio.

Timide cure, uscite dal mio petto,

A turbar non venite il mio diletto!

Oh, come par che all'amoroso foco

L'amenità del loco,

La terra e il ciel risponda,

Come la notte i furti miei seconda!

[Aria]

Al desio di chi t'adora,

Vieni, vola, oh mia speranza!

Morirò se indarno ancora

Tu mi lasci sospirar.

Le promesse, i giuramenti,

Deh! rammenta, oh mio tesoro!

E i momenti di ristoro,

Che mi fece Amor sperar!

Ah! ch'omai più non resisto

All'ardor che il sen m'accende.

Chi d'amor gli affetti intende,

Compatisca il mio penar.

578 «Alma grande e nobil core»Aria para soprano, para el intermezzo de

Domenico Cimarosa "I due baroni di Rocca Azzurra"

(I, 8) con texto de G. Palomba.

Alma grande, e nobil core

Le tue pari ognor disprezza.

Sono dama al fasto avvezza

E so farmi rispetar.

Va, favella a quell'ingrato,

Gli dirai che fida io sono.

Ma non merita perdono,

Sì, mi voglio vendicar.

579 «Un moto di gioia mi sento»Arieta substitutiva para soprano (reemplazante de "Venite, inginocchiatevi")

escrita para el reestreno de "Le Nozze di Figaro" (Viena, 29 d'agost de 1789).

Texto posiblemente de Lorenzo da Ponte

SUSANNA:

Un moto di gioia

Mi sento nel petto

Che annunzia diletto

In mezzo il timor.

Speriam che in contento

Finisca l'affanno

Non sempre è tiranno

Il fato ed amor.

Di pianti, di pene

Ognor non si pasce,

Talvolta poi nasce

Il ben dal dolor.

E quando si crede

Più grave il periglio,

Brillare si vede

La calma maggior.

580 «Schon lacht der holde frühling»Aria para soprano, para ser inserta en la versión alemana de

"Il Barbiere di Siviglia" de Giovanni Paisiello


Schon lacht der holde Frühling

Auf blumenreichen Matten,

Wo sich Zephyre gatten

Unter geselligen Scherze.

Wenn auch auf allen Zweigen

Sich junge Blüten zeigen,

kehrt doch kein leiser Trost

In dieses arme Herz.

Da sitze ich und weine

Einsam auf der Flur,

Nicht um mein verlones Schäfchen,

Nein, um den Schäfer Lindor nur.

Ap. 94 / 580 a Adagio en do mayor 9'30"

para clarinete y 3 cornos de bassetto

Ap. 90 / 580 b Allegro en fa mayor 7'04"

para clarinete, corno de bassetto, violín, viola y violonchelo

581 Quinteto en la mayorpara clarinete

1. Allegro 9'55"

2. Larghetto 7'29"

3. Menuetto 7'40"

4. Allegretto con variazioni 9'50"

582 «Chi sa, chi sa qual sia»Aria para soprano, para ser inserta en la opera "Il burbero di buon core" (I, 14)

de Vicent Martín i Soler con libreto de Lorenzo da Ponte.

MADAMA LUCILLA:

Chi sa, chi sa, qual sia

L'affanno del mio bene,

Se sdegno, gelosia,

Timor, sospetto, amor.

Voi che sapete, oh Dei,

I puri affetti miei,

Voi questo dubbio amaro

Togliatemi dal cor.

583 «Vado, ma dova? - Oh Dei!»Aria para soprano, para ser inserta en la opera "Il burbero di buon core" (II, 5)

de Vicent Martín i Soler con libreto de Lorenzo da Ponte.

MADAMA LUCILLA:

Vado, ma dove? oh Dei!

Se de' tormenti suoi,

Se de' sospiri miei,

Non sente il ciel pietà.

Tu che mi parli al core,

Guida i miei passi, amore;

Tu quel ritegno or togli

Che dubitar mi far.

584 «Rivolgete a lui lo sguardo»Aria para bajo con texto de Lorenzo da Ponte, compuesta originalmente para el "Così fan tutte"

y después substituida por "Non siate ritrosi" (I, 15).

GUGLIELMO:

(a Fiordiligi)

Rivolgete a lui lo sguardo

E vedrete come sta;

Tutto dice: io gelo, io ardo,

Idol mio, pietà, pietà!

(a Dorabella)

A voi cara, un sol momento

Il bel ciglio a me volgete,

E nel mio ritroverete

Quel che il labbro dir non sa.

Un Orlando innamorato

Non è niente in mio confronto;

D'un Medoro il sen piagato

Verso lui nulla io conto;

Son di foco i miei sospiri,

Son di bronzo i suoi desiri.

Se si parla poi di merto,

Certo io sono ed egli è certo,

Che gli uguali non si trovano

Da Vienna al Canada.

Siam due Cresi per ricchezza,

Due Narcisi per bellezza;

In amor i Marcantoni

Verso noi sarian buffoni;

Siam più forti d'un ciclope,

Letterati al par di Esopo;

Sì balliamo un Pich ne cede,

Si gentil e snello è il piede;

Se cantiam, col trillo solo

Facciam torto all'usignuolo,

E qualch'altro capitale

Abbiam poi, che alcun non sia.

(Le ragazze partono con collera).

Bella, bella, tengon sodo,

Se ne vanno ed io ne godo.

Eroine di costanza,

Specchi son di fedeltà.

585 12 Minuetos

1. Re mayor 2'03"

2. Fa mayor 2'02"



5. Sol mayor 2'14"

6. Do mayor 2'11"

7. La mayor 2'18"

8. Fa mayor 2'06"


ROSINE:


11. Sol Mayor 2'25"

12. Re mayor 2'13"


1. Do mayor 2'03"

2. Sol mayor 2'02"


4. Fa mayor 2'00"

5. La mayor 2'14"

6. Re mayor 2'11"

7. Sol mayor 2'18"



10. Fa mayor 2'13"

11. La mayor 2'25"

12. Do mayor 2'13"

587 «Der Sieg vom Helden Koburg»Contradanza en do mayor

588 «Cosi fan tutte»«Así hacen todas»

Opera

Libreto

106 / 588 a Obertura y 3 contradanzas

1. Obertura en re mayor 1'02"

2. Contradanza I en re mayor 1'37"

3. Contradanza II en la mayor 1'39"

4. Contradanza III en si bemol mayor 1'37"

236 / 588 b Andantino en mi bemol mayorpara piano

589 Cuarteto Nº. 22 en si bemol mayorpara cuerdas (Prusiano Nº. 2)

1. Allegro 6'14"

2. Larghetto 6'34"

3. Menuetto. Moderato 6'54"


Ap. 68 / 589 a Minué en si bemol mayor 4'20"


590 Cuarteto Nº. 23 en fa mayorpara cuerdas (Prusiano Nº. 3)


2. Allegretto 7'29"


4. Allegro 7'04"

312 / 590 d Allegro en sol menor 5'19"

para piano

591 «Alexander's Feast»

592 «Oda a Sta Cecilia»

625 / 592 a «Nun, liebes Weibchen, zeehstmit mir»Ensamble

593 Quinteto Nº. 5 en re mayorpara cuerdas

1. Larghetto - Allegro 10'15"

2. Adagio 7'21"


4. Allegro 5'15"

594 Adagio y Allegro en fa menorpara órgano mecánico

Adagio 2'12"

Allegro 7'16"

Adagio 2'17"

595 Concierto Nº. 27 en si bemol mayorpara piano

1. Allegro 13'45"

2. Larghetto 6'57"

3. Allegro 8'28"

596 «Sehnsucht nach dem Frühling»«Komm, lieber Mai, und mache»

Lied en

para soprano y piano

Komm, lieber Mai, und mache

Die Bäume wieder grün,

Und laß mir an dem Bache

Die kleinen Veilchen blühn!

Wie möcht ich doch so gerne

Ein Veilchen wieder sehn,

Ach, lieber Mai, wie gerne

Einmal spazieren gehn!

Zwar Winterage haben

Wohl auch der Freuden viel;

Man kann im Schnee eins traben

Und treibt manch Abendspiel,

Baut Häuschen von Karten,

Spielt Blindekuh und Pfand;

Auch gibt's wohl Schlittenfahrten

Auf's liebe freie Land.

Doch wenn die Vöglein singen

Und wir dann froh und flink

Auf grünen Rasen springen,

Das ist ein ander Ding!

Jetzt muß mein Steckenpferdchen

Dort in dem Winkel stehn;

Denn draußen in dem Gärtchen

Kann man vor Kot nicht gehn.

Am meisten aber dauert

Mich Lottchens Herzeleid;

Das arme Mädchen lauert

Recht auf die Blumenzeit;

Umsonst hol ich ihr Spielchen

Zum Zeitvertreib herbei,

Sie sitzt in ihrem Stühlchen

Wie Hühnchen auf dem Ei.

Ach, wenn's doch erst gelinder

Und grüner draußen wär!

Komm, lieber Mai, wir Kinder,

Wir bitten dich gar sehr!

O komm und bring vor allen

Uns viele Veilchen mit,

Bring auch viel Nachtigallen

Und schöne Kuckucks mit!

597 «Der Frühling»«Erwacht zum neuen Leben»

Lied en


Erwacht zum neuen Leben

Steht vor mir die Natur,

Und sanfte Lüfte wehen

Durch die verjüngte Flur.

Empor aus seiner Hülle

Drängt sich der junge Halm,

Der Wälder öde Stille

Belebt der Vögel Psalm.

Die Flur im Blumenkleide

Ist, Schöpfer, dein Altar,

Und Opfer reiner Freude

Weiht dir das junge Jahr;

Es bringt die ersten Düfte

Der blauen Veilchen dir,

Und schwebend durch die Lüfte

Lobsingt die Lerche dir.

Ich schau' ihr nach und schwinge

Voll Dank mich auf zu dir,

Dem Schöpfer aller Dinge,

Gesegnet seist du mir!

Weit über sie erhoben,

Kann ich der Fluren Pracht

Empfinden, kann dich loben,

Der du den Lenz gemacht.

O Vater, deine Milde

Fühlt Berg und Tal und Au,

Es grünen die Gefilde,

Beperlt vom Morgentau;

Der Blumenweid' entgegen

Blökt schon die Herd' im Tal,

Und in dem Staube regen

Sich Würmer ohne Zahl.

Glänzt von der blauen Feste

Die Sonn' auf unsre Flur,

So weiht zum Schöpfungsfeste

Sich jede Kreatur,

Und alle Blätter dringen

Aus ihrem Keim hervor,

Und alle Vögel schwingen

Sich aus dem Schlaf empor.

Lobsing' ihm, meine Seele,

Dem Gott, der Freuden schafft!

Lobsing' ihm und erzähle

Die Werke seiner Kraft!

Hier von dem Blütenhügel

Bis zu der Sterne Bahn

Steig' auf der Andacht Flügel

Dein Loblied himmelan!

598 «Das Kinderspiel»«Wir Kinder, wir schmecken»

Lied en


Wir Kinder, wir schmecken

Der Freuden recht viel,

Wir schäkern und necken,

Versteht sich im Spiel;

Wir lärmen und singen

Und rennen rundum,

Und hüpfen und springen

Im Grase herum.

Ei, seht doch, ihr Brüder,

Den Schmetterling da!

Wer wirft ihn uns nieder?

Doch schonet ihn ja!

Dort flattert noch einer,

Der ist wohl sein Freund,

O schlag' ihn ja keiner,

Weil jener sonst weint.

Wird dort nicht gesungen?

Wie herrlich das klingt!

Vortrefflich, ihr Jungen,

die Nachtigall singt.

Dort sitzt sie, dort oben

Im Apfelbaum, dort;

Wir wollen sie loben,

So fährt sie wohl fort.

Laßt Kränzchen uns winden,

Viel Blumen sind hier.

Wer Veilchen wird finden,

Empfängt was dafür.

Ein Mäulchen zur Gabe

Gibt Mutter, wohl zwei.

Juchheisa! Ich habe,

Ich hab' eins, juchhei!

Ach, geht sie schon unter,

Die Sonne, so früh?

Wir sind ja noch munter,

Ach, Sonne verzieh'!

Nun morgen, ihr Brüder,

Schlaft wohl, gute Nacht!

Ja, morgen wird wieder

Gespielt und gelacht.

599 6 Minuetos

1. Do mayor 2'12"

2. Sol mayor 2'16"



5. Fa mayor 1'54"

6. Re mayor 1'55"


1. Do mayor 1'56"

2. Fa mayor 1'57"



1'40"

6. Re mayor 2'08"

601 4 Minuetos

1. La mayor 2'14"

2. Do mayor 2'35"

3. Sol mayor 1'58"

4. Re mayor 1'59"



2. Fa mayor 1'56"

1'52"

4. La mayor 1'45"

603 2 Contradanzas

1. Re mayor 0'51"


604 2 Minuetos




1. Re mayor 1'52"

2. Sol mayor 1'54"

2'50"

607 / 605 a «Il trionfo delle donne» 1'23"

Contradanza en mi bemol mayor

606 6 Ländler en si bemol mayor 5'17"

608 Fantasía en fa menor«Orgelstück für eine Uhr»

Allegro 3'40"

Andante 5'09"

Allegro 2'49"

609 5 Contradanzas

0'56"


3. Re mayor 1'08"

4. Do mayor 2'00"

5. Sol mayor 1'25"

610 «Les Filles malicieuses» 1'28"

Contradanza en sol mayor

612 «Per questa bella mano»Aria en --- para bajo

613 8 Variaciones en fa mayor «Ein Weib ist das herrlichste Ding» 15'17"

para piano

sobre: «Ein Weib ist das herrlichste Ding» (B. Schack/F. Gerl)

614 Quinteto Nº. 6 en mi bemol mayorpara cuerdas


2. Andante 7'10"


4. Allegro 5'30"

615 «Vivamo felici»Cuarteto para soprano, tenor, bajo y alto

Coro final para la opera "Le gelosie villane" de Sarti (perdido)

616 Andante en fa mayor 8'24"

«Andante für eine Walze in eine kleine Orgel»

617 Adagio en do menor y Rondo en do mayorpara armonica de vidrio, flauta, oboe, viola y violonchelo

1. Adagio 6'38"

2. Rondo 9'35"

356 / 617 a Adagio en do mayorpara armonica de vidrio

618 «Ave verum corpus» 3'53"

Motete en re mayor

619 «Die ihr des unermesslichen Weltalls»Canto masonico

Rezitativ

Die ihr des unermeßlichen Weltalls

Schöpfer ehrt,

Jehova nennt ihn, oder Gott,

nennt Fu ihn, oder Brama,

Hört! hört Worte aus der Posaune

des Allherrschers!

Laut tönt durch Erden, Monden, Sonnen

ihr ewiger Schall.

Hört, Menschen, ihn auch ihr.

Andante

Liebt mich in meinen Werken!

Liebt Ordnung, Ebenmaß und Einklang!

Liebt euch selbst und eure Brüder!

Körperkraft und Schönheit sei eure Zierd',

Verstandeshelle euer Adel!

Reicht euch der ew'gen Freundschft Bruderhand,

die nur ein Wahn, nie Wahrheit

euch so lang entzog.

Allegro

Zerbrechet dieses Wahnes Bande!

Zerreißet dieses Vorurteiles Schleier!

Enthüllt euch vom Gewand,

5. Sol mayor (Trio: «Der Kanarienvogel»)

3. Do mayor (KV 611 «Die Leyerer»)

3. Do mayor (Trio: «Die Schlittenfahrt»)

1. Do mayor («Non più andrai»)

das Menschheit in Sektiererei verkleidet!

In Kolter schmiedet um das Eisen,

das Menschen, das Bruderblut bisher vergoß!

Zersprenget Felsen mit dem schwarzen Staube,

der mordend Blei in Bruderherz oft schnellte!

Andante

Wähnt nicht, daß wahres Unglück

sei auf meiner Erde,

Belehrung ist es nurm, die wohltut,

wenn sie euch zu bessern Taten spornt;

Die, Menschen, ihr in Unglück wandelt,

wenn töricht blind ihr rückwärts

in den Stachel schlagt,

der vorwärts euch antreiben sollte.

Seid weise nur, seid kraftvoll und seid Brüder!

Dann ruht auf euch mein ganzes Wohlgefallen;

dann netzen Freudenzähren nur die Wangen;

dann werden eure Klagen Jubeltöne;

dann schaffet ihr zu Edenstälern Wüsten;

dann lachet alles euch in der Natur;

Allegro

dann ist's erreicht, des Lebens wahres Glück.

620 «Die Zauberflöte»Opera

Libreto

621 «La Clemenza di Tito»Opera

Libreto

Ap. 245 / 621 a «Io ti lascio, oh cara, addio»Aria para bajo. Parte vocal posiblemente de Gottfried von Jacquin.


Io ti lascio, oh cara, addio,

Vivi più felice

E scordati di me.

Strappa pur dal tuo bel core

Quell'affetto, quell'amore,

Pensa che a te non lice

Il ricordarsi di me.

622 Concierto en la mayorpara clarinete

1. Allegro 11'59"

2. Adagio 7'43"


623 «Laut verkunde unsre Freude»Canto masonico

623 a «Laßt uns mit geschlungnen Handen»Canto masonico

Laßt uns mit geschlung'nen Händen

Brüder, diese Arbeit enden

unter frohem Jubelschall.

Es umschlingen diese Kette,

so wie diese heil'ge Stätte,

auch den ganzen Erdenball.

Laßt uns unter frohem Singen

vollen Dank dem Schöpfer bringen,

dessen Allmacht uns erfreut.

Seht, dir Weihe ist vollendet;

wär'doch auch das Werk geendet,

welches uns're Herzen weiht!

Tugend tut die Menschheit ehren;

sich und andern Liebe lehren

sei nun stets die erste Pflicht.

Dann strömt Licht allein in Osten,

dann strömt Licht allein in Westen,

auch in Süd und Norden Licht.

626 «Requiem» en do menor

Introitus: Requiem 5'15"

Kyrie 2'39"

Sequentia: Dies irae 1'52"

Tuba mirum 3'24"

Rex tremendae 2'03"

Recordare 5'30"

Confutatis 2'47"

Lacrimosa 3'03"

Offertorium: Domine Jesu 3'54"

Hostias 4'38"

Santus 1'39"

Benedictus 5'18"

Agnus Dei 3'10"

Comunio: Lux aeterna 5'48"

KV6 KV1 KEY #

528 528 Scene f/S C --

529 529 F --

530 530 Eb --

531 531 C --

532 532 Trio f/STB Bb --

533 533 -- F/Bb --

534 534 D --

535 535 La Bataille C --

535a (K2) 535a -- C,G,G --

535b A107 -- Bb --

536 536 -- var --

ENTRY TITLE

WORK TITLE OR NICKNAME

SHORT DESCRIPTION FROM KV6

Bella mia fiamma/Resta, o cara

Dated Nov 3, 1787 in Prague; written for Josefa Duschek.

Song f/1 Singer w/Kybd

Des kleinen Friedrichs Geburtstag

Entered in work catalogue Nov 6, 1787 in Prague; title "Am Geburtstag des Fritzes" refers to Prince Friedrich of Anhalt-Dressau.


Das Traumbild

Entered in work catalogue on Nov 6, 1787 on Prague; in Nov 9, 1787 Mozart gave Gottfried von Jacquin a song in friendship; published around 1803 under Jacquin's name.


Die kleine Spinnerin

Entered in work catalogue Dec 11, 1787 in Vienna; published in children's magazine in same year.

Grazie agl'inganni tuoi

Composed supposedly 1787 in Vienna; date taken to have connection with statement of Michael Kelly that he [Kelly] wrote a little melody on "Grazie agl'inganni tuoi", on which Mozart wrote variations in 1787.

Allegro & Andante f/Kybd

Entered in work catalogue Jan 3, 1788 in Vienna; published with Rondo KV 494 as Sonata by Hoffmeister in 1788.

Country Dance

Das Donnerwetter

Entered in work catalogue Jan 14, 1788; exists in orchestral and Kybd versions.

Country Dance

Entered in work catalogue Jan 23, 1788.

3 Country Dances

Composed probably beginning 1788 in Vienna; Artaria pulbished 6 Contredances, containing these 3 as #3, 4, 6, and KV 534, KV 462/3 and KV 535 others.

Country Dance

Composed probably beginning 1788 in Vienna.

6 German Dances

Entered in work catalogue Jan 27, 1788.

537 537 D 26

537a A057 -- D --

537b A061 -- d --

537d -- D --

538 538 Aria f/S F --

539 539 A --

540 540 -- b -- Dated Mar 19, 1788 in Vienna.

540a -- G --

540b -- C --

Concerto f/Kybd

Coronation Concerto

Entered in work catalogue Feb 24, 1788 in Vienna; nickname from performance at coronation ceremonies in Frankfurt on Oct 15, 1790.

Concerto Mvmt f/Kybd

Begun probably Feb 1788 in Vienna; in connection with KV 537.

Concerto Mvmt f/Kybd

Begun probably Feb 1788 in Vienna; probably connected with KV 537, or perhaps KV 488.

Arrangement of an Aria by CPE Bach

Ich folge dir, verklärter Held

Arranged by Mozart supposedly before Feb 26, 1788 in Vienna; CPE Bach's "Auferstehung und Himmelfahrt Jesu", performed at Count Esterhazy's; Mozart modified solo Trmpt part for Cl, Fl and Ob; Valentine Adamberger was singer of part.

Ah se in ciel, benigne stelle

Dated Mar 4, 1788 in Vienna; written for Aloysia Lange; autograph particella, which differs in voice part, also preserved.

A German War Song

Ich möchte wohl der Kaiser sein

Dated Mar 5, 1788 in Vienna; written for actor in Leopolstadt, Friederick Baumann; First performaned Mar 7.

Adagio f/Kybd

Aria to the Opera Don Giovanni

Dalla sua pace

Entered in work catalogue Apr 24, 1788 in Vienna; replacement Aria (for "Il mio tesoro") for Vienna performance of Don Giovanni on May 7, 1788 at Burg Theater; singer was Franceso Morella.

Duet for the Opera Don Giovanni

Per queste tue manine

Entered in work catalogue Apr 28, 1788, in Vienna; insert duet for Zerlina and Leoporello for Vienna performance of "Don Giovanni" on May 7, 1788 at Burg Theater. Singers were Francesco Benucci and Luisa Mombelli (née Laschi).

540c -- Eb --

541 541 Arietta f/B F --

542 542 -- E --

543 543 Symphony -- Eb 39

544 544 Little March -- D --

545 545 -- C --

546 546 -- c --

546a A047 -- Bb --

547 547 -- F --

547a A135 -- F --

547b 54 -- F --

548 548 -- C --

Scena for the Opera Don Giovanni

In quali eccesi/Mi tradì quell'alma

Entered in work catalogue Apr 30, 1788 in Vienna; replacement Rec & Aria (for "In qual eccessi/Mi tradi") for Vienna performance of Don Giovanni on May 7, 1788 at Burg Theater; singer was Caterina Cavalieri.

Un bacio di mano

Entered in Work Catalogue in May 1788 in Vienna; written for Francesco Albertarelli as insert in Anfossi's opera "Le geloise fortunate", performed in Vienna Jun 2, 1788.

Trio f/Kybd & St

Entered in work catalogue Jun 22, 1788 in Vienna; possibly Puchberg trio.

Entered in work catalogue Jun 26, 1788 in Vienna.

Entered in work catalogue Jun 26, 1788 in Vienna.

Sonata f/Kybd

Entered in work catalogue Jun 26, 1788 in Vienna as "A little Klavier Sonata for Beginners".

Adagio & Fugue f/St

Entered in work catalogue Jun 26, 1788 in Vienna; String arrangement of 2-Kybd Fugue KV 426; possibly intended for small string orchestra.

Sonata Mvmt f/Kybd & Vn

Composed probably in Jun 1788 in Vienna; possibly a draft for KV 547.

Sonata f/Kybd & Vn

Entered in work catalogue Jul 10, 1788, (see KV 547a and KV 547b).

Sonata f/Kybd

Composed probably after Jun 26, 1788 in Vienna; 1st mvmt is Kybd transcription of Allegro to Kybd & Vn Sonata KV 547; 2nd mvmt is last mvmt of Sonata KV 545.

5 (6?) Variations f/Kybd

Composed probably in Jul 1788 in Vienna; solo version of 3rd mvmt of KV 547.

Trio f/Kybd & St

Entered in work catalogue Jul 14, 1788.

549 549 Bb --

550 550 Symphony g 40

551 551 Symphony C 41

552 552 A --

553 553 Alleluja C --

554 554 Ave Maria F --

555 555 a --

556 556 G --

557 557 f --

558 558 Bb --

559 559 F --

559a -- F --

Canzonetta f/2S & B

Piú non si trovano

Entered in work catalogue Jul 16, 1788.

The Great g Minor

Dated Jul 25, 1788 in Vienna; Cls added in later revision.

Jupiter Symphony

Entered into work catalogue Aug 10, 1788 in Vienna.


Beim Auszug in das Feld

Entered in work catalogue Aug 11, 1788 in Vienna.

4-Voice Canon

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript page with KV 554, 555, and 557.

4-Voice Canon


4-Voice Canon

Lacrimoso son'io

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript page with KV 553, 554,and 557; new text added later by B&H.

4-Voice Canon

G'rectel's enk

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript page with KV 561; new text added later by B&H.

4-Voice Canon

Nascoso é il mio sol


4-Voice Canon

Gehn wir im Prater

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript page with KV 554 and 555.

3-Voice Canon

Difficile lectu mihi Mars

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript page as KV 560; supposedly jotted down by Mozart as joke, directed at Johann Nepomuk Peierl.

4-Voice Canon

O du eselhafter Peierl

Composed most likely 1785 in Vienna; another autograph with same music as KV 560, but with a name other than Martin; supposedly jotted down by Mozart as joke directed at Johann Nepomuk Peierl.

560 560 F --

561 561 A --

562 562 A --

562a -- -- Bb -- Composed [?] in Vienna.

562b -- -- F -- Composed [?] in Vienna.

562c A191 -- C --

562e A066 Trio f/St -- G --

563 563 -- Eb --

564 564 -- G --

565 565 -- Eb/D --

565a -- -- D --

566 566 var --

4-Voice Canon

O du eselhafter Martin

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript sheet as KV 559; (see KV 559a).

4-Voice Canon

Bona nox, bist a rechta Ox

Entered in work catalogue Sep 2, 1788 in Vienna; on same manuscript page with KV 556.

3-Voice Canon

Caro bell'idol mio

Entered in work catalogue Sep 2, 1788 in Vienna; new text later added by B&H.

4-Voice Canon w/out Text

Canon Study

4-Voice Canon

Composed [?] in Vienna [?]; headed by Mozart with "13 Canone a due Violini, Viola, e Basso"; on same manuscript page as KV 384B.

Composed supposedly in Sep 1788 n Vienna; no doubt earlier attempt at Trio f/St KV 563.

Divertimento f/St Trio

Entered in work catalogue Sep 27, 1788; written for Michael Puchburg.

Trio f/Kybd & St

Entered in work catalogue Oct 27, 1785 in Vienna.

2 Country Dances

Entered in work catalogue Oct 30, 1788.

Country Dance

[No dating in KV6.] Fragment consists of only 2nd Vn part.

Arrangement of a Handel Pastorale

Acis and Galathea

Entered in work catalogue in Nov 1788 in Vienna; commissioned by Baron van Swieten for Association of Cavaliers; reorchestration of Händel's oratorio.

567 567 -- var --

568 568 12 Minuets -- var --

569 569 Aria f/S (?) F --

569a A031 -- Bb --

570 570 -- Bb --

571 571 -- var --

571A A106 Minuet -- A --

571a A005 Eb --

572 572 Messiah G --

572a A004 unk --

6 German Dances

Entered in work catalogue Dec 6, 1788.

Entered in work catalogue Dec 24, 1788; intended for balls in Redoutensaal.

Ohne Zwang, aus eignem Triebe

Entered Work Cataologue in Jan 1789 in Vienna; nothing known of occasion.

Sonata Mvmt f/Kybd

Composed most likely beginning 1789 in Vienna; probably a draft for Sonata KV 570, but possibly for KV 454.

Sonata f/Kybd

Entered in work catalogue Feb 1789 in Vienna; first published edition by Artaria in 1796 contained Vn part that did not originate from Mozart.

6 German Dances

Entered in work catalogue Feb 21, 1789.

Originated probably in Feb 1789 in Vienna; in his biography Nissen listed Minuet in A with only 11 measures completed.

Humerous Qrt

Caro mio Druck und Schluck

Composed supposedly beginning 1789 in Vienna; dating based on Mozart's use of phrase "Schluck und Druck" in letter of Apr 13, 1789.

Arrangement of a Handel Oratorio

Entered in work catalogue in Mar 1789; commissioned by Baron van Swieten for Association of Cavaliers; reorchestration of Händel's oratorio, performed on Mar 6 and Apr 7 at residence of Count Johann Esterházy.

6-Voice Double Canon

Lebet wohl/Heult noch gar

Composed supposedly on Apr 22, 1789 in Leipzig; according to anedcote of Rochlitz, composed as farewell for the retiring Thomaskirche cantor, Friedrich Doles.

573 573 D --

574 574 -- G --

575 575 Quartet f/St -- D --

576 576 -- D --

576a A034/2 -- D --

576b 355 -- D --

577 577 Rondo f/S F --

9 Variations f/Kybd

Duport Variationen

Entered in work catalogue Apr 29, 1789 in Potsdam; entered in work catalogue as "6 Variations", though possibly Mozart added 3 later, as it was printed by Artaria in 1792 with 9; copy by Lausch from Aug 1791 has 6 variations; no doubt composed duriing his stay in Berlin where Duport was director of Friedrich Wilhelm's chamber music.

Little Gigue f/Kybd

Dated May 1, 1789 in Vienna; written in diary of court organist to Elector of Saxony, Karl Immanuel Engel.

Entered in work catalogue Jun 1789 in Vienna as being for His Majesty the King of Prussia; in letter of Jul 12, 1789 Mozart wrote that he planned to compose 6 quartets f/St for King Friedrich Wilhelm.

Sonata f/Kybd

Entered in work catalogue Jul 1789 in Vienna; one of the 6 Sonatas in projected series of works for Princess Friederike of Prussia.

Minuet f/Kybd

[Not dated by KV6, but placed immediately after Sonata KV 576, which was dated Jul 1789 in Vienna.] On same manuscript page with KV 385h.

Minuet f/Kybd

Composed probably 1789 in Vienna; Einstein thought was i3rd movement Menuet to K576; although K6 doubts this, it is still placed in connection to this Sonata; M. Stadler added a Trio.

Al desio, di chi t'adora

Entered in Work Catalogue in Jul 1789 in Vienna; known only in Kybd reduction; replacement aria for Adriana Ferraresi del Bene for Susanna's "Deh vieni" in "Le nozze di Figaro".

578 578 Aria f/S Bb --

579 579 Aria f/S G --

580 580 Aria f/S Bb --

580a A094 -- C --

580b A090 -- F --

581 581 -- A --

581a A088 -- A --

582 582 Aria f/S C --

Alma grande e nobil core

Entered in Work Catolgue in Aug 1789 in Vienna; written for Louise Villeneuve as replacement in Cimarosa's opera buffa "I due baroni di Rocca Azzurra", performed in Vienna on Sep 6 and 13.

Un moto di gioia mi sento

Composed probably in Aug 1789 in Vienna; written as replacement aria for Adriana Ferraresi del Bene for Susanna's "Venite inginocchiatevi" in "Le nozze di Figaro"; Kybd reduction by Mozart also exists.

Schon lacht der holde Frühling

Entered in work catalogue Sep 17, 1789 in Vienna; written for Joespha Hoffer as insert into German version of Paisiello's "Balbier von Seviglien". No record of opera being performed, which may explain why the Aria was not finished.

Adagio f/Winds

Composed supposedly in Sep 1789 in Vienna; besides English Hn, no other instruments noted, but on technical grounds it appears to be 2 Hns, (or Bthns), and Bn.

Quintet Mvmt f/Cl, Bthn & St

Composed probably in Sep 1789 in Vienna.

Quintet f/Cl & St

Entered in work catalogue Sep 29, 1789; first performed Dec 22, 1789 at Burg Theater in Vienna in concert by Tonkünstler Society with Anton Stadler the clarinetist.

Quintet-Concerto Mvmt f/Cl

Composed probably in Sep 1787, or later, in Vienna; has a resemblance to theme of one of Ferrado's arias in "Così fan tutte", but unable to determine if written down before or after opera; perhaps has some connection to Rondo with Bthn played in concert on Apr 26, 1791 in Prague.

Chi sà, chi sà, qual sia

Dated in Oct 1789 in Vienna; written for Louise Villeneuve as insert in Martin & Soler's "Il burbero di buon core", performed at Burg Theater on Nov 9, 1789.

583 583 Aria f/S Eb --

584 584 Aria f/B D --

585 585 12 Minuets -- var --

586 586 -- var --

587 587 C --

587a A074 -- g --

588 588 C --

588a 106 -- var --

588b 236 -- Eb --

589 589 Quartet f/St -- Bb --

589a A068 -- Bb --

Vado, ma dove? - oh Dei!

Dated in Oct 1789 in Vienna; written for Louise Villeneuve as insert in Martin & Soler's "Il burbero di buon core", performed at Burg Theater on Nov 9, 1789.

Rivolgete a lui lo sguardo

Entered in work catalogue Dec 1789 in Vienna; aria originally to have been in "Così fan tutte", and sung by Benucci; replaced by Aria "Non siate ritrosi".

Entered in work catalogue Dec 1789.

12 German Dances

Entered in work catalogue Dec 1789.

Country Dance

Der Sieg vom Helden Coburg

Entered in work catalogue Dec 1789; Mozart cited a marching song about General Colburg-Saalfeld, who achieved a victory over the Turks on Sep 22, 1789 at Martinestie.

Quartet Mvmt f/St

Composed probably end of 1789 in Vienna; on same manuscript page with sketches to Canon in 2nd Act finale of "Così fan tutte".

Opera buffa in 2 Acts

Così fan Tutte

Completed in Jan 1790 in Vienna; first performed Jan 26, 1790 at Burg Theater in Vienna.

Overture & 3 Country Dances

Composed supposedly in Jan 1790.

Andantino f/Kybd

[Not dated by KV6, but placed just before Quartet KV 589 dated May 1790.] Theme to Aria "Non vi turbate" from Gluck's opera "Alceste", possibly for variations.

Entered in work catalogue May 1790 in Vienna; second of the planned 6 quartets f/St for King of Prussia.

Quartet Mvmt f/St

Composed probably in May or Jun 1790 in Vienna; piece is a Polonaise intended either for KV 589 or slow mvmt of KV 590.

589b A073 -- F --

590 590 Quartet f/St -- F --

590a A029 -- F --

590b A030 -- F --

590c A037 -- F --

590d 312 -- g --

591 591 var --

592 592 var --

Quartet Mvmt f/St

Composed probably in Jun 1790 in Vienna; no doubt in connection with KV 590.

Entered in work catalogue Jun 1790 in Vienna; third of the 6 planned Quartets for King of Prussia.

Sonata Mvmt f/Kybd

Composed probably in Jun 1790 in Vienna; drafts for Kybd sonatas Mozart writes of in letter to Puchburg of Jun 12, 1790.

Sonata Mvmt f/Kybd


Rondo f/Kybd


Sonata Mvmt f/Kybd

Composed probably in summer 1790 in Vienna, probably for projected cycle of sontas for Princess Friederika of Prussa.


Alexander's Feast

Entered in work catalogue Jul 1790 in Vienna; Bernardt spoke of a performance in 1791.


Ode to St Caecilia

Entered in work catalouge Jul 1790 in Vienna; Bernardt spoke of a performance in 1791

592a 625 D --

592b A083 -- D --

593 593 Quintet f/St -- D --

593a A035 -- d --

594 594 -- f --

595 595 -- Bb 27

596 596 F --

597 597 Eb --

Comic Duet f/SB

Nun, liebes Weibchen

Originated probably end of Aug 1790 in Vienna; composed for insert in Schikaneder's "Stein der Weisen", first performed in Theater auf der Wieden on Sep 11, 1790; probably a written by another composer, (Benedikt Schack); Mozart completed orchestration.

Quintet Mvmt f/St

Composed most likely end of 1790 in Vienna; draft for KV 593.

Entered in work catalogue Dec 1790 in Vienna; unknown person altered shape of theme of finale in Mozart's autograph; this used in first edition by Artaria; first edition by Artaria states it was composed for "Amatore Ongarese".

Adagio f/Org Wrks (Clock)

Composed most llikely end of 1789 in Vienna; no doubt a draft for KV 594.

Adagio & Allegro f/Org Wrks (Clock)

Entered in work catalogue at the end of 1790; begun in Oct during trip to Frankfurt, and completed in Dec in Vienna; commissioned by Count Josef Deym von Stritetz for his wax museum in Vienna.

Concerto f/Kybd

Entered in work catolgue Jan 5, 1791 in Vienna; played by Mozart on Mar 4, 1791 in concert of Joseph Beer.


Sehnsucht nach dem Frühling

Entered in work catalogue Jan 14, 1791 in Vienna; commissioned by Ignaz Alberti for collection of songs for children.


Im Frühlingsanfang


598 598 A --

599 599 6 Minuets -- var --

600 600 -- var --

601 601 4 Minuets -- var --

602 602 -- var --

603 603 -- D,Bb --

604 604 2 Minuets -- Bb,Eb --

605 605 -- var --

605a 607 Eb --

606 606 -- var --

608 608 -- f --

609 609 -- var --


Das Kinderspiel


Entered in work catalogue Jan 23, 1791 in Vienna.

6 German Dances

Entered in work catalogue Jan 29, 1791 in Vienna.

Entered in work catalogue Feb 5, 1791 in Vienna.

4 German Dances


2 Country Dances



2 (3) German Dances


Country Dance

[ll trionfo delle donne]

Entered in work catalogue Feb 28, 1791 in Vienna; theme used is from Antossi's opera buffa "Il trionfo delle donne".

6 Country Dances


Organ Piece for a Clock

Entered in work catalogue Mar 3, 1791 in Vienna; commissioned by Count Josef Deym von Stritetz for an exhibit in his Vienna wax museum honoring Field Marshall Laudon.

5 Country Dances

Composed probably 1791 in Vienna; not entered in work catalogue, but #5 entered alone under date Mar 6, (see KV 610).

610 G --

611 611 Die Leyerer C --

612 612 Aria f/B D --

613 613 F --

613a A081 -- Eb --

613b A082 -- Eb --

614 614 Quintet f/St -- Eb --

615 615 G --

615a -- -- F --

Country Dance

Les filles malicieuses

Entered in work catalogue Mar 6, 1791 in Vienna; heading on autograph "Les filles malicieuses" not clear; instrumentation in this autograph different from that of KV 609/5

German Dance

Entered in work catalogue Mar 6, 1791 in Vienna; music identical to KV 602/3 but instrumentation different; " Leyerer" in work catalogue refers to organ-grinders

Per questa bella mano

Entered in work catalogue Mar 8, 1791; written for Franz Gerl with Friedrich Pischlberge, Contrabass.

8 Variations f/Kybd

Ein Weib ist das herrlichste Ding

Entered in work catalogue in Mar 1791 in Vienna; based on song from singspiel "Der dumme Gärtner"; song perhaps originated from Benedikt Schack or Franz Gerl.

Quintet Mvmt f/St

Composed most likely Apr 1791 in Vienna; probably as first draft to Minuet of Quintet f/St KV 614.

Quintet Mvmt f/St

Composed most likely Apr 1791 in Vienna; no doubt in vicinity of KV 614.

Entered in work catalogue Apr 12, 1791; first edition by Aratria, who stated it was composed for "Amatore Ongarese', who was thought by Schmid to be the violinsit Johann Tost, but not confirmed.

Final Chorus to an Opera

Viviamo felici in dolce contento

Entered in work catalogue Apr 20, 1791 in Vienna; intended for Sarti's "Geloise villane"; no performance listed at Burg, most likely performed by an amateur group in Vienna.

Andante(?) to Waltz in a Small Org

Begun probably in Apr or May 17921 in Vienna.

616 616 -- F --

616a A092 -- C --

617 617 -- c --

617a 356 -- C --

618 618 Motet D --

619 619 C --

620 620 Eb --

620a A102 Overture -- Eb --

620b A078 -- b --

621 621 C --

Andante to Waltz in a Small Org

Entered in work catalogue Mar 4, 1791 in Vienna; commissioned by Count Josef Deym von Stritetz [Müller] for wax his museum in Vienna.

Fantasie f/Glass Harmonica,fl,ob,vl,vc

Composed most likely about May 23, 1791 in Vienna; probably first draft for KV 617

Adagio & Rondo f/Glass Harmonica,fl,ob,vl,vc

Entered in work catalogue May 23, 1791 in Vienna; written for Marianne Kirchgäßner; first played in concert at Burg Theater on Aug 19, 1791

Adagio f/Glass Harmonica

Composed probably in first half of 1791 in Vienna; no doubt composed for Marianne Kirchgessner, for whom also KV 617 was written.

Ave verum corpus

Dated Jun 17, 1791 in Baden; written for Anton Stoll, organist and choir director of church in Baden.

Little German Cantata

Die ihr des unermeßlichen Weltalls

Entered in work catalogue in Jul 1791 in Vienna; commissioned by FH Ziegenhagen, a Mason from Regensburg.

German Opera in 2 Acts

Die Zauberflöte

Overture and March of Priests dated Sep 28, 1791 in Vienna; first performed Sep 30, 1791 at Theater auf der Wieden in Vienna.

Composed probably in Sep 1791 in Vienna; no doubt it is a draft of Overture to Zauberflöte.

Contrapuntal Study

Originated most likely in Sep 1791 in Vienna; sketch for scene of Armoured Men in Zauberflöte; completed by S. Sechter.

Opera seria in 2 atti

La Clemenza di Tito

Entered in work catalogue Sep 5, 1791; first performed Sep 6, 1791at National Theater in Prague; for festivities for coronation of Leopold II as King of Bohemia.

621a A245 Aria f/B Eb --

621b -- -- G --

622 622 -- A --

623 623 C --

623a -- F --

626 626 Requiem -- d --

Io ti lascio, o cara, addio

Composed supposedly in Sep 1791 in Prague; for farewell occasion for Countess Hatzfeld; Constanze Mozart wrote it was music by Gottfried von Jacquin with only Vn part by Mozart, but the autograph shows the composition is Mozart's.

Concerto Mvmt f/Bthn

Composed most likely 1791 in Vienna; 199 measures almost identical to 1st mvmt of Concerto f/Cl KV 622.

Concerto f/Cl

Composed probably beginning Oct 1791 in Vienna; entered in work catalogue between entries for Sep 28 and Nov 15, 1791; written for Anton Stadler; Mozart states in letter of Oct 7, 1791 he completed Rondo for Stadler. Only known in later version, (by unknown arranger), for A-Clarinet.

Freemason Cantata

Laut verkünde unsre Freude

Dated Nov 15, 1791 in Vienna; presumed to be written for opening of the temple of New Crowned Hope Lodge, as it was performed there Nov 18.

Masonic Song

Laßt uns mit geschlungen Händen

Composed supposedly in Nov 1791 in Vienna; intended as final chorus for KV 623.

Composed 1791 in Vienna; completed by Eybler(?) and Franz Xavier Süßmayr.

ADDITIONAL INFORMATION SINCE K6

Possibly Kelly played and sang his song and Mozart orchestrated it (Zalsaw-Festschrift Gertraut Kaberkamp 2002); paper only used by Mozart in 1784 and 1785 (Tyson-Mozart Studies 1991).

Set of parts for orchestral version discovered in Hungary titled "La tempesta" (Flothuis-NMA 1988).

Previously unknown sketch found in 1989 (Plath-Studies in Honor of Alan Tyson 1998).

As only preserved copy is Kybd reduction, Flothuis counts as doubtful (MISM 1980).

Paper studies place time of composition in last 12 months of Mozart's life (Tyson-Auto Scores 1987).

Much of concerto written in early 1787 (Tyson-Auto Scores 1987).

Paper shows possibly originated in summer 1786 (Tyson-Auto Scores 1987).

Key and different instrumentation speak against connection with KV 537 (Rehm-NMA 1960); paper dates from Dec 1786, possibly Mozart was planning Concetrto f/Kybd in C around this time (Tyson-Auto Scores).

Although not in Mozart's hand, changes in parts are also in 2 Choruses and Bass Aria (Holschneider-MJB 1968/70 and Flothuis-Mozart's Arrarngements of his own Works-1969).

Particella most likely written during Mozart's Munich stay in 1778 (Tyson-Auto Scores 1987).

Open to question if Trio for Puchburg mentioned in letter of April 16, 1789 is this or Trio f/St KV 563 (Berke-NMA 1974 and Berke-Acta Mozartiana 1982).

On paper Mozart first used near end of 1789 and mainly in 1790-91 (Tyson-Mozart Studies 1991).

No doubt arranged by unknown arranger after Mozart's death (Marguerre-MJB 1960); Himes (W.A. Mozart's Sonatas for solo Clavier 1988) believes these are authentic Mozart drafts of mvmts for which he later changed instrumentation.

No doubt arranged by unknown arranger after Mozart's death (Marguerre-MJB 1960); Himes (W.A. Mozart's Sonatas for solo Clavier 1988) believes these are authentic Mozart drafts of mvmts for which he later changed instrumentation.

Dunning (NMA 1973) believes probably written years earler, because story about Peierl must have taken place earlier in Vienna in early in 1786; however paper appears to be that used in 1788 (Tyson-NMA 1992).

Dunning (NMA 1973) believes probably written years earler, because story about Peierl must have taken place earlier in Vienna in early in 1786; autograph KV6 states is in Winkler collection actually has name Martin and is in G; however, paper appears to be that used in 1788 (Tyson-NMA 1992); copy found at Harvard University uses name "Esel" (Ochs-MJB 1991).

Possibly name Martin refers to composer Martin y Soler; KV6 lists autograph in collection of Stefan Zweig, but autograph there has text of K559a (Tyson-Mozart Studies 1991); paper appears to be from 1783 (Tyson NMA 1992 and Tyson-Mozart Studies 1991).

Paper used by Mozart mainly in 1785 and perhaps occasionally in 1786 and 1787 (Tyson-Mozart Studies 1991).

Actually a work of Michael Haydn, "Adam hat sieben Söhn" [MH 699, composed according to Sherman ca. 1795-1799 Salzburg]; Dunning (NMA-1973) believed this is Mozar'ts copy of Michael Haydn's canon.

Paper studies show paper used by Mozart only in 1782 (Tyson-NMA 1992); in addition to KV 384B are 3-part counterpoint studies (Konrad-Schaffensweise 1992).

Work could just as well originate after KV 563 as before, for a planned series of Trios (Berke-NMA 1974); paper used by Mozart first near end of 1789 and in 1790-91 (Tyson-Mozart Studies 1991).

Open to question if Trio for Puchburg mentioned in letter of April 16, 1789 is this or Trio f/Kybd & St KV 542 (Berke-NMA 1974 and Berke-Acta Mozartiana 1982).

Original setting would have been 2 Obs, 2 Bns, 2 Hns, 2 Vns, and Bs (Flothuis-NMA Crit.Rep 1988).

Mozat not only added wind parts, but changed or added some string parts and dynamics; Musette from Händel's Op 6/6 with additional wind parts also in score, but in copyist hand (Holschneider-NMA 1972).

Text matches first lines of Aria in Johann Heinrich Faber's translation of opera comique, "Le roi et le fermier" (Der König und er Pächter) (Edge-Essays on Life 1996).

From paper studies appears to date between 1787 and 1789 in Vienna. (Plath-NMA 1986).

Numerous changes, cuts and additions of winds (Schildkret-Essays in honor of George J Buelow 1995).

Dunning (NMA-1973) doubts authenticity of Rochlitz anedcote.

Work too demanding for one of "easy" Sonatas for Princess Friederike. Occasion not known (Plath-NMA 1986).

Tyson (Auto Scores) cannot precisely date, but seems to have been available to Mozart from Nov 1786 to the end of his life; Plath (NMA 1982) dates not earlier than 1785/86; Plath also believes this could be set for a string setting, possibly a Trio f/St.

Possibly a transcription of a Minuet for quartet f/St either by Mozart or M Stadler (Plath-MJB 1982); Oster (Journal of Music Theory 1966) believes originated around 1782, and the Minuet that was left as fragment by Mozart was completed by M Stadler.

Previously unknown sketch to work found (Page/Edge MT 1991).

Autograph found in 1989 (Angermüller-Edition 1993).

Designation English Hn is not authentic; technical grounds show most likely for Cl and 3 Bthn (Flothuis-MISM 1967); NMA (Leeson/Zaslaw 1978) brings forth time end of 1783 to end of 1785.

Paper used by Mozart mainly in 1787 (Tyson-Mozart Studies 1991).

Paper not found in any dated autographs prior to "Così fan tute"; not a serious piece of music, was no doubt intended for domestic amusement, perhaps for discomfort of Anton Stadler (Tyson-Auto Scores 1987).

Unknown Accompanied Recitative "Ah cosa veggio" found in manuscipt copy, attributed to Mozart by Link (COJ 2000), but doubted by Zeiss (COJ 2000) and Eisen (COJ 2001).

On front of sheet with "Così fan tutte" sketches and possibly written down in 1786 in connection with Hoffmesiter Quartet, then Mozart thought of using it again for minor key quartet in Prussian series (Tyson-Auto Scores 1987).

Libretto first offered to Antonio Salieri who set portions to music (Brown/Rice-Cambridge Opera Journal 1996).

Conisdered not authentic due to primative handling of Overture, and poor key structure (Flothuis-MISM 1980).

Autograph discovered and, after removal of pasted-on backing of sketches to opera "l'Oca del Cairo", found; compostion now dated 1783 (Konrad-NMA 1998).

No doubt originally planned as finale Rondo to KV 589 (Finscher-NMA 1960); paper shows used by Mozart only in 1782 and 1783, no doubt draft for finale of Quartet KV 458 (Tyson-Auto Scores 1987).

Possibly connected with projected cycle of sonatas for Princess Friederika of Prussia, but Plath thinks musical content too demanding; Tyson places before trip to Potsdam in 1789. (Plath-NMA 1986 and Tyson-Auto Scores 1987).



Only first 105 (out of 178) measures completed by Mozart, remainder by unknown hand (Plath-NMA 1982); paper studies places piece in time period 1790-91 (Tyson-NMA 1992)

As both St. Caecilien-Day and Alexanderfest celebrate same theme, and Alexanderfest is very short; both likely performed together; no doubt not in summer but either on Nov 22, the name day of the saints of the music, or around Christmas (Holschneider-NMA 1961 and 1969).

As both Alexanderfest and St. Caecilien-Day celebrate same theme, and Alexanderfest is very short, both likely performed together; no doubt not in summer but either on Nov 22, the name day of the saints of the music, or around Christmas (Holschneider-NMA 1961 and 1969).

Full set of parts to "Stein der Weisen" found, and Duet (and portions of 2nd Act finale) attributed to Mozart (Buch-Cambridge Opera Journal 1997); autograph of Deut in Paris shows handwriting of 3 different people, unknown hand wrote 2 voices and first 16 measures of string parts; Mozart's hand shows corrections and additions for winds from measure 17 and strings after measure 52 (Buch-Journal of Royal Musical Assoc 1999).

On paper used by Mozart from Dec 1787 to Feb 1789, so probably written earlier than KV6 dating (Tyson-Auto Scores 1987).

"Amatore Ongarese" probably refers to Violinist Johann Tost (Hess-NMA 1967).

That work begun in Oct in Frankfurt deduced from Mozart letter is probably incorrect, as pitch of instrument there is not consistent with this piece. (Plath-NMA 1982 and Zaslaw-Rosaleen Moldenhauer Memorial 2000).

Perhaps first performed in concerts in Jan and Feb 1791 during Vienna viist of King and Queen of Naples (Edge-Haydn Yearbook 1992); Tyson (Auto Scores 1987) believes 1st, 2nd and start of 3rd mvmts written down as fragment in 1788, then finished in 1791.

These Minuets and those of KV 601 and KV 604 probably were later combined in one 12-part cycle (Flothuis-NMA 1988).



Autograph unknown, and incipit in work catalogue differs from Artaria's first edition (for Kybd); printed versioins use differing scores, so unable to tell original instrumentation; possibly what we know are arrangments of Mozart's original (Flothuis-NMA 1988).

Paper used by Mozart almost entirely in 1787 (Tyson-Mozart Studies 1991).

Handwriting and paper studies show probably written down as early as 1783 in Salzburg; see KV 609 for possible 1787 version; perhaps 1791 third version. (Tyson-Mozart Studies 1991).

From text, no doubt intended as insert into an opera buffa (Kunze-NMA 1972); text from comic opera "Le vicende d'amore", libretto by Giambattista Neri, performed in Vienna numerous times between June 1784 and 1786 (Lipton-Opera buffe of Guglielmi 1995).

On paper type mainly used by Mozart at end of 1784 and in 1785 (Tyson-Mozart Studies 1991).

On paper used by Mozart in 1786 and 1787 and once in 1790 (Tyson-Mozart Studies 1991).

"Amatore Ongarese" probably does refer to Tost (Hess-NMA 1967).

Most likely the piece Mozart wrote of having trouble with in Oct 1790 from Frankfurt (Zaslaw-Rosaleen Moldenhauer Memorial 2000).

Another autograph leaf in Berlin of last 8 measures contains sketches of Overture to Zauberflöte and Requiem to help confirm draft to Zauberflöte (Gruber-NMA 1969).

Musical sketch page appears to date from 1782 in Vienna; possibly in some type of connection to Mass in c KV 427 (Konrad-Mozarts Schaffensweise 1992).

Commission first offered to Antonio Salieri who turned it down (Landon-Mozart's Last Year 1988); "Non più di fiori" possibly performed on April 26, 1791 by Josepha Duschek in concert in Prague (Volek-MJB 1959 and Giegling NMA-1970), but disputed by Flothuis (MISM 1989) and Arthur (Wolfgang Amadé Mozart Essays-1996).

Tyson (Auto Scores 1987) places Aria in Vienna between end of 1787 and spring 1789.

Konrad (Acta Mozartiana 1992) shows started between 1787 and 1789 and stopped after measure 179; then taken up again in 1791 in A with Bassett Clarinet substituted for Bthn; paper also appears to be earlier (Tyson-Mozart Studies 1991).

Authenticity of piece called doubtful on style and manuscript grounds by most; Strebel (MJB-1989/90) believes piece is authentic Mozart, put it as originating shortly after Mozart's acceptance into lodge "Zur Wohltatigkeit" on Dec 14, 1784.

Part Six of Eight (Diversa,KV 626a,626b,Anh.A)

KV6 KV1 ENTRY TITLE KEY #

626a 624 -- -- --

626aI -- -- -- --

626aI/1 624/1 -- D --

626aI/2 -- -- D --

626aI/3 624/2 -- G --

626aI/4 -- -- G --

626aI/5 -- -- Bb --

626aI/6 -- -- C --

626aI/7 -- -- Bb --

626aI/8 -- -- C --

626aI/9 -- -- C --

WORK TITLE OR NICKNAME

Cadenzas & Eingange ("Lead-Ins") to Keyboard Concerti

Part I - Mozart's Own Concerti

Cadenza to KV 175 1st Mvmt (version a)

Cadenza to KV 175 1st Mvmt (version b)

Cadenza to KV 175 2nd Mvmt (version a)

Cadenza to KV 175 2nd Mvmt (version b)

Cadenza to KV 238 1st Mvmt

Cadenza to KV 238 2nd Mvmt

Cadenza to KV 238 3rd Mvmt



626aI/10 -- -- C --

626aI/11 -- -- F --

626aI/12 -- -- F --

626aI/13 -- -- F --

626aI/14 -- -- F --

626aI/15 624/3 -- Eb --

626aI/16 -- -- Eb --

626aI/17 624/4 -- c --

626aI/18 -- -- c --

626aI/19 624/5 -- Eb --

626aI/20 624/5 -- Eb --

626aI/21 -- -- Eb --

626aI/22 -- -- Eb --

626aI/23 -- -- Eb --

626aI/24 -- -- Eb --

626aI/25 624/6 -- D --

Cadenza to KV 246 1st Mvmt (version c)



Cadenza to KV 246 2nd Mvmt (version c)

Cadenza to KV 246 2nd Mvmt (version d)





1st Eingang to KV 271 3rd Mvmt (version a)

2nd Eingang to KV 271 3rd Mvmt (version a)

1st Eingang to KV 271 3rd Mvmt (version b)

2nd Eingang to KV 271 3rd Mvmt (version b)

Cadenza to KV 365/316a 1st Mvmt

Cadenza to KV 365/316a 3rd Mvmt

Cadenza to KV 382 3rd Mvmt (version a)

626aI/26 -- -- D --

626aI/27 624/7 -- A --

626aI/28 624/8 -- A --

626aI/29 624/11 -- F --

626aI/30 -- -- F --

626aI/31 624/9 -- F --

626aI/32 -- -- F --

626aI/33 624/10 -- F --

626aI/34 624/12 -- A --

626aI/35 624/13 -- A --

626aI/36 624/14 -- A --

626aI/37 -- -- F --

626aI/38 -- -- Bb --

626aI/39 624/15 -- C --

Cadenza to KV 382 3rd Mvmt (version b)

Cadenza to KV 414/385p 1st Mvmt (version a)

Cadenza to KV 414/385p 1st Mvmt (version b)

Eingang to KV 414/385p 2nd Mvmt (version a)

Eingang to KV 414/385p 2nd Mvmt (version b)

Cadenza to KV 414/385p 2nd Mvmt (version a)

Cadenza to KV 414/385p 2nd Mvmt (version b)

Cadenza to KV 414/385p 2nd Mvmt (Sketch of 626aI/32)

Cadenza to KV 414/385p 3rd Mvmt (version a)

Cadenza to KV 414/385p 3rd Mvmt (version b)

Eingang to KV 414/385p 3rd Mvmt

Cadenza to KV 413/387a 1st Mvmt

Cadenza to KV 413/387a 2nd Mvmt

Cadenza to KV 415/387b 1st Mvmt

626aI/40 624/16 -- Bb --

626aI/41 624/17 -- C --

626aI/42 624/18 -- Eb --

626aI/43 624/19 -- Bb --

626aI/44 624/21 -- Bb --

626aI/45 624/20 -- Bb --

626aI/46 624/32 -- Eb --

626aI/47 624/33 -- Eb --

626aI/48 624/22 -- G --

626aI/49 624/23 -- G --

626aI/50 624/24 -- C --

626aI/51 624/25 -- C --

626aI/52 -- -- Bb --

626aI/53 624/26 -- Bb --

Cadenza to KV 415/387b 2nd Mvmt

Cadenza to KV 415/387b 3rd Mvmt



Eingang to KV 450 3rd Mvmt










626aI/54 624/27 -- Bb --

626aI/55 -- -- Bb --

626aI/56 -- -- Bb --

626aI/57 624/28 -- Bb --

626aI/58 624/29 -- F --

626aI/59 -- -- F --

626aI/60 624/30 -- F --

626aI/61 624/31 -- A --

626aI/62 624/34 -- Bb --

626aI/63 624/35 -- Bb --

626aI/64 624/36 -- Bb --

626aII -- -- --

626aII/A -- -- D --

626aII/B -- -- G --

626aII/C -- -- D --

626aII/D -- -- D --

626aII/E -- -- C --

Cadenza to KV 456 1st Mvmt (version c)


Cadenza to KV 456 3rd Mvmt (version b)

Cadenza to KV 456 3rd Mvmt (version a)








Part II - Concerti by Others

Cadenza to KV 107/1 1st Mvmt by JC Bach

Cadenza to KV 107/1 2nd Mvmt by JC Bach

Cadenza to K040 1st Mvmt by L Honauer

Cadenza to Op 3/4 1st Mvmt by JS Schroeter

Cadenzas to Concerto of Unknown Composer

626aII/F -- -- Eb --

626aII/G -- -- Bb --

626aII/H -- -- F --

626aII/I -- "Ubergang" [?] -- C --

626aII/K -- -- D --

626aII/L -- -- D --

626aII/M -- -- G --

626aII/N -- -- C --

626aII/O -- -- G --

626b -- Sketches and Fragments -- -- --

626b/1 -- 4 Sketch Pages -- unkn --

626b/2 -- Sketch Page -- var --

626b/3 -- Sketch Page -- unkn --


Cadenza to Op 3/6 2nd Mvmt by JS Schroeter


Cadenzas to 2nd mvmt by I von Beecke

Two Cadenzas [to Unknown Concerto]

Ornamentation to KV 451, 2nd Mvmt

Cadenza to Unknown Concerto 2nd Mvmt

Cadenza to unknown Concerto 1st Mvmt

626b/4 -- "Alleluja" -- unkn --

626b/5 -- "Musique" -- unkn --

626b/6 "Musique" -- unkn --

626b/7 -- Pezzo di musica" -- C(?) --

626b/8 -- -- unkn --

626b/9 -- "Cadenza" -- unkn --

626b/10 -- {Manuscript] -- unkn --

626b/11 -- "Chanson avec musique" -- unkn --

626b/12 -- "Largo", "Chorus" -- unkn --

626b/13 -- -- unkn --

626b/14 -- -- unkn --

626b/15 -- -- unkn --

"Voice Cadenzas with Text"

""Music" & "Beginning of a Fugue"

"Sketches to a 3-part Fugue & counterpoint sketches"

"28 measures from large music piece"

626b/16 -- -- D --

626b/17 -- -- unkn --

626b/18 -- -- unkn --

626b/19 -- -- unkn --

626b/20 -- 2nd Horn part to a Mass -- unkn --

626b/21 -- -- unkn --

626b/22 -- -- unkn --

626b/23 -- "Motivi di Tarantell" -- unkn --

626b/24 -- -- unkn --

626b/25 -- Credo f/4 Voices & strings -- --

626b/26 A024 Duet f/2 Sopranos -- unkn --

"Probable sketch to an Orchestral or Chamber Music Piece

"22 measures with latin text & 32 with German text"

"One of the first compositions of Mozart"

Parts to an Aria of CPE Bach

"Piece de musique autographe"

"Fragment to a Duet in Itlaian, to a Pslam of David with Bass"

"Fragment of Orchestral full score"

unkn, Bb, Eb

626b/27 -- Fugue f/Keyboard -- c --

626b/28 -- -- G --

626b/29 A070 Adagio f/Quartet f/Strings -- F --

626b/30 A084 Quartet f/Strings -- e --

626b/31 -- -- G and d --

626b/32 -- Sketch -- F --

626b/33 -- Sketch -- Bb --

Ballo Gavotte of CW Gluck

Canonic Studies & Fugue Beginnings

626b/34 -- Sketch -- D --

626b/35 -- Sketch -- G --

626b/36 -- Sketch -- F --

626b/37 -- 4-part Piece -- d --

626b/38 -- Counterpoint Exercise -- unkn --

626b/39 -- Counterpoint Exercise -- unkn --

626b/40 -- Exercises in Counterpoint -- unkn --

626b/41 -- -- unkn --

626b/42 -- Bass study -- unkn --

626b/43 -- {Manuscript} -- var --

626b/44 -- -- Bb --

626b/45 -- Missa solemnis -- C --

626b/46 -- Quartet f/Strings -- g --

626b/47 -- -- Eb --

Fragment of full score f/Voice & Orchestra

Sketch to a Contredance "le mottet"

Recitative & Aria f/Soprano

626b/48 -- Keyboard Exercises -- C --

Anh A -- -- -- --

Anh A1 221 -- C --

Abh A2 A021 -- c --

Anh A3 (K3 = 93c) -- C --

Anh A4 326 C --

Anh A5 -- C --

Anh A10 327 c --

Anh A11 A239 -- d --

Anh A12 A240 -- g --

Anh A13 -- C --

Copies of Other Composers Works in Mozart's Handwriting

Kyrie of E Eberlin f/2 Voices & Basson continuo

Lacrimosa of E Eberlin f/4 Voices, Bass & Organ

Requiem(?) von E Eberlin f/4 Voices & Basso continuo

Hymnus of E Eberlin f/4 Voices & Organ

Justum deduxit and "O sancte"

K3 = mentioned under A109vi

Osanna of E Eberlin f/Voices

Hymn of Q Gasparini f/4 Voices, Bass & Organ

"Adoramus te"

Pignus futurae gloriae of M Haydn f/4 Voices & Orchestra

Pignus futurae gloriae of M Haydn f/4 Voices & Orchestra

K3 = mentioned under Anh109vi

Tres sunt of M Haydn f/4 Voices, strings & Organ

Anh A14 -- F --

Anh A15 Lauda Sion of M Haydn -- -- --

Anh A17 A238 -- c --

Anh A18 Et in terra of L Mozart -- F --

Anh A19 -- F --

Anh A22 93 C --

Anh A23 A022 F --

Anh A30 -- G --

Anh A31 227 C --

Anh A32 F --

K3 = mentioned under Anh109vi, Nr.14

Ave Maria of M Haydn f/4 Voices & strings

K3 = mentioned under Anh109vi

Stabat mater of Marchese E Ligniville f/3 Voices

(K3) Anh 109ix

(K3) mentioned under Anh 109ix

Cum sancto spiritu of L Mozart

Psalm of Carl Georg Reutter

"De profundis clamavi ad te Domine"

Psalm of Carl Georg Reutter

"Memento Domine David"

(K3) Anh 109x

Canon of Johann Phillip Kirnberger

3-part Canon of William Byrd

["O wunder schön ist Gottes Erde"]

K3a = Anh 109iia

4-part Canon of Padre GB Martini

["Psallite Domino Psallite Domino in cithera']

Anh A33 F --

Anh A50 -- D --

Anh A51 18 Symphony of KF Abel -- Eb --

Anh A52 291 -- D --

Anh A53 444 Symphony of M Haydn -- G 37

Anh A59 K3 = 387d -- var --

K3a = Anh 109iia

4-part Canon of Padre GB Martini

["Cantemus Domino: gloriose enim magnificatus est"]

K3 = Anh 223c

Instrumental movement f/2 solo Violins & Orchestra

Finale of a Symphony (Fugue) of M Haydn

4 Incipits of Symphony Movements

Anh A60 A292 -- C --

Anh A61/62 K2 = 154a -- G & Eb --

Anh A65 K3 = A206a Adagio f/Klavier(?) -- F --

Anh A71 Church Work of M Haydn C --

Anh A72 Church Work of E Eberlin "Missa" C --

Anh A73 Church Work of E Eberlin "Missa" C --

Anh A74 Church Work of E Eberlin "Missa" e --

Anh A75 Church Work of E Eberlin d --

Anh A76 Church Work of E Eberlin "Tenebrae" F --

Anh A77 Church Work of E Eberlin C --

Anh A78 Church Work of E Eberlin Eb --

4-part Fugue of JJ Froberger

2 Small Fugues (Versetten) f/Piano (or Organ)

K3 = Anh 109vi

"In te Domine speravi"

K3 = Anh 109vi

K3 = Anh 109vi

K3 = Anh 109vi

K3 = Anh 109vi

"Recessit pastor"

K3 = Anh 109vi

K3 = Anh 109vi

Graduale pro Dominica in Palmis "Tenuisti manum"

K3 = Anh 109vi

Offertorium "Improperium expectavit"

Anh A79 Church Work of E Eberlin c --

Anh A80 Church Work of M Haydn "Tenebrae" Eb --

Anh A81 Church Work of E Eberlin g --



Anh A84 Church Work of E Eberlin e --

Anh A85 Church Work of E Eberlin Bb --


Anh A87 Church Work of E Eberlin "Kyrie" C --


K3 = Anh 109vi

Communio "Pater, Pater"

K3 = Anh 109vi

K3 = Anh 109vi

Motett "In nomine Jesu"

K3 = Anh 109vi

"Christus factus est pro nobis"

K3 = Anh 109vi

"Dominus Jesus"

K3 = Anh 109vi

"Benedixisti Domine"

K3 = Anh 109vi

"Dextera Domine"

K3 = Anh 109vi

"Cum Sancto Spiritu"

K3 = Anh 109vi

K3 = Anh 109vi

"Cum Sancto Spiritu"

SHORT DESCRIPTION FROM K6 ADDITIONAL INFORMATION SINCE KV 6

-- --

--

--

--

(See remarks #5 above.)


Autograph on same page as #12 below.

64 Cadenzas of Mozart's to his own Kybd Concertos; incipits, In K6 remarks and locations given under KV number of Concerto each belongs to

Printed by Artaria in 1801 as Nr.I and André in 1804 as Nr.12.

Wolff (MJb 1978/79) sees this as a direct revision of Cadenza #1 and dates after below version b), perhaps March 1783 in Vienna; Levin (18th Century Piano Music 1994) states Cadenza goes up to f3, showing it was undoubtedly written not at the time of Concerto, but for later use on five-octive instrument.

This Cadenza with #4 and #25 below are three Cadenzas for KV 175 Mozart sent to his sister in letter of February 15, 1783--and written shortly before this (Wolff-MJb 1978/79).

Printed by Artaria in 1801 as Nr.II and Andre in 1804 as Nr.13.

Wolff (MJb 1978/79) dates this after below version b), perhaps March 1783 in Vienna.

This Cadenza with #2 and #25 below are three Cadenzas for KV 175 Mozart sent to his sister in letter of February 15, 1783--and written shortly before this (Wolff-MJb 1978/79).

Copy in Leopold Mozart's hand in St. Peters Salzburg.

Probably composed around 1777/78 for a student (Wolff-MJb 1978/79).



Autograph on same page as #11 below; also contains through bass notations of tutti to Concerto.

Written for a student (Therese Pierron?) or dilettant musician and used by Mozart for teaching purposes during his Mannheim-Paris trip of 1777/78 (Wolff-Perspectives on Mozart Performance 1991 and MJb 1978/79); however paper studies put paper used by Mozart in time of end of 1771 to 1774 (Tyson-NMA 1992)--(also see #11 below).

From same time period as #8 and #11, but technically more demanding so probably written for use by himself rather than student (Wolff-MJb 1978/79); Plath believed originated from time of Concertos, thus April 1776 (Wolff-MJb 1975); paper studies show paper used by Mozart in Salzburg in 1776-77 or 1779-80 (Tyson-MJb 1992)--(also see #12 below).


Autograph on same page as #8 above. (See #8 above.)

-- (See #9 above.)

Autograph on same page as #10 above. (See remarks to #10 above).

(See #16 above.)


Autograph on same page as #19 above. (See remarks #19.)

Autograph on same page as #21 above. (See remarks to #21 above.)

Mozart asked for Concerto KV 246 from his father on April 2, 1782, and Cadenzas date from after this date (Wolff-MJb 1978/79); however paper studies show Mozart used paper in Salzburg rom 1779 to beginning 1781 (Tyson-NMA 1992)--(also see #14 below).

On autograph page with 3 incipits of Haydn Symphonies (Anh A59).

Written in 1784 as lead-in for 2nd movement of KV 415/387b as seen by connections in music and 3 Haydn incipits on page (Wolff-NMA 1975; Wolff-MJb 1978/79).

Autograph on same page as #17 below; issued by André in 1804 as Nr.23.

Composed in spring (March?) 1783 for performance at Tonkünstler Society in April (Wolff-MJb 1978/79).

Autograph on same page as #18 below, the two Cadenzas to KV 107 (see below KV 626aII/A and B), and fragment Anh C15.11.

Copy in hand of Leopold and Nannerl Mozart dates from origin time of Concerto in 1777 (Wolff-MJb 1978/79).

Autograph on same page as #15 above; issued by André in 1804 as Nr.24.

Composed in spring (March?) 1783 for performance at Tonkünstler Society in April (Wolff-MJb 1978/79).

Copy in hand of Leopold and Nannerl Mozart dates from origin time of Concerto in 1777 (Wolff-MJb 1978/79).

Stylistically seen to be later than #21 and #22, thus possibly March 1783 (Wolff-MJb 1978/79).

Autograph on same page as #22 below; on February 15, 1783, Mozart sent these two (also #22) lead-ins to his sister in Salzburg.

These two lead-ins and #2,#4,#25 f/KV 175/382 Mozart sent to his sister in letter of February 15, 1783--and written shortly before this (Wolff-MJb 1978/79).

Autograph in St. Peters Salzburg has only Mozart's 1st piano part; another autograph in St. Peters has 1st piano part in Leopold's hand and 2nd Piano part in Wolfgang's.

Wolff (MJb 1978/79 and Perspectives on Mozart Performance 1991) dates Cadenza November 1781 from Mozart letter passage; written for Mozart and Josephine von Auernhammer to play (Wolff-NMA 1975).

(See #23 above); a copy in Kremsier Monastery of entire Concerto has this movement's Cadenza in a slightly shortened version written by Mozart.

Wolff (MJb 1978/79 and Perspectives on Mozart Performance 1991) dates Cadenza in St Peters November 1781 from Mozart letter passage; Cadenza in Kremsier dates from before St. Peters version.

Printed by Artaria in 1801 as Nr.III and André in 1804 as Nr.14.

Wolff (MJb 1978/79) dates this after below version b), perhaps March 1783 in Vienna.

Autograph in St. Peters in Salzburg.

--


This Cadenza with #2 and #4 above are three Cadenzas for KV 175/382 Mozart sent to his sister in letter of February 15, 1783--and written shortly before this (Wolff-MJb 1978/79).


Stylistically after #28, and probably from 1785/86--see #32 below (Wolff-MJb 1978/79).


Probably dates from time of composition of Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb 1978/79).

Autograph on same page as ##32 #34 below and several sketches to 1st movement of KV 488; issued by André in 1804 as Nr.5.

Stylistically after #30, and probably from 1785/86--see #32 below (Wolff-MJb 1978/79).

Autograph on same page as #28 and #31 to this Concerto (Tyson-NMA 1992); probably date from time of composition of Concerto at end of 1782 (Wolff-NMA 1975; Wolff-MJb 1978/79).

Autograph on same page as #28 above; issued by André in 1804 as Nr.3.


Autograph on same page as #29 above and #34 below and several sketches to 1st movement of KV 488; issued by André in 1804 as Nr.4.

Sketches to KV 488 and paper studies point to origin of wind 1785/86 for performance in one of December Concerts put on by Mozart; possibly in some type of connection with Artaria issue of Concerto in 1785 (Wolff-NMA 1975; Wolff-MJb 1978/79; Tyson-NMA 1992).

5 measure sketch for #32 above; on same page as #27 above.

Surely written down before #32 above (Wolff-MJb 1978/79).

Autograph on same page as #29 and #32 above and several sketches to 1st movement of KV 488; issued by André in1804 as Nr.6.

Stylistically after #35, and probably from 1785/86--see #32 above (Wolff-MJb 1978/79).

On autograph page with #36 below; issued by André in 1804 as Nr.7.


On autograph page with #35 above; issued by André in 1804 as Nr.8.


Copy in Leopold Mozart's hand in St. Peters in Salzburg.

The Salzburg copies made it appear its origin is in connection with a performance of the Concerto during Mozart's Salzburg trip of late summer 1783, if not prior in Vienna (Wolff-MJb 1978/79).

Copy in Leopold Mozart's hand in St. Peters in Salzburg.

Copy in unknown copyist hand--with tempo indications by Leopold Mozart-- in St. Peters Salzburg; issued by Artaria in 1801 as Nr.IV and André in 1804 as Nr.9.

The Salzburg copies made it appear its origin is in connection with a performance of the Concerto during Mozart's Salzburg trip of late summer 1783, if not prior in Vienna (Wolff-MJb 1978/79).



Issued by André in 1804 as Nr.22.






(See remarks to #39 above); issued by Artaria in 1801 as Nr.V and André in 1804 as Nr.10.

(See remarks to #39 above); issued by Artaria in 1801 as Nr.VI and André in 1804 as Nr.11.

Probably belong to origin time of Concerto--February 9, 1784 (Wolff-MJb 1978/79)

Probably belong to origin time of Concerto--March 15, 1784 (Wolff-MJb 1978/79)



K1 originally placed as Cadenza to 1st movement of KV 537; issued by Artaria in 1801 as Nr.XIV and André in 1804 as #27; copy of Cadenza is in Leopold Mozart's hand.

Handwriting of copy is actually Nannerl's (Flothius-NMA 1975)

Issued by Artaria in 1801 as Nr.XV and André in 1804 as Nr.28; also on this copy of Leopold Mozart is the ornamentation of measures 56-63 of the 2nd movement (K3=626a/II M) of this Concerto that Wolfgang sent to Nannerl on June 9, 1784.

Handwriting of copy is actually Nannerl's (Flothius-NMA 1975); ornamentation on copy demonstrates Cadenza belongs to origin time of Concerto--March 22, 1784, or even at time of June 9, 1784 letter (Wolff-MJb 1978/79; Wolff-Perspectives on Mozart Performance 1991)

Probably belongs to origin time of Concerto--April 12, 1784 (Wolff-MJb 1978/79)

Issued by Artaria in 1801 as Nr.IX and André in 1804 as Nr.16.

Badura-Skoda (NMA 1965) doubts authenticity on faulty style, perhaps written down by pupil from memory, or most likely not authentic; Wolff does not doubt authenticity but can not determine if before or after #48 (Wolff-MJb 1978/79).

Probably belongs to origin time of Concerto--April 12, 1784 (Wolff-MJb 1978/79)

Issued by Artaria in 1801 as Nr.X and André in 1804 as Nr.18.

Badura-Skoda (NMA 1965) doubts authenticity on faulty style, perhaps written down by pupil from memory, or most likely not authentic (Wolff does not doubt authenticity but can not determine if before or after #51 above (Wolff-MJb 1978/79)

Copy found in Moscow with #55 and #56 below in unknown copyist's hand; is an expanded and altered version of #53 below.

Cadenza is at end of copy of Concerto KV 456 with Mozart's own signature and dating "Vienna 784", both Concerto and Cadenzas in hand of same unknown copyist (Badura-Skoda-NMA 1965); composed after #53 below, perhaps for one of ascertainable performances of Concerto in February 1785 in Vienna or May 1789 in Leipzig (Wolff-MJb 1978/79)

Issued by Artaria in 1801 as Nr.XI and André in 1804 as Nr.19.

Stylistically composed sometime after #54 below (Wolff-MJb 1978/79)

(See remarks to #52 above)

(See remarks #58 above)

(See remarks #58 above)

--

(See remarks to #62 above)

-- --

(See KV 626aII/A.) See KV 626aII/A.

Issued by Artaria in 1801 as Nr.XVIII and André in 1804 as Nr.34.

Probably belong to origin time of Concerto--Sept 30, 1784 (Wolff-MJb 1978/79)

Copy found in Moscow with #52 above and #56 below in unknown hand.

(See remarks to #52 above); Hess and Badura-Skoda doubt authenticity of this Fermata on stylistic grounds (Badura-Skoda 1965)

Copy found in Moscow with #52 and #55 above in unknown hand.

Autograph on page with #58 and #59 below; issued by Artaria in 1801 as Nr.VII and André in 1804 as Nr.21.

Probably belong to origin time of Concerto--Sept 30, 1784 (Wolff-MJb 1978/79)

Issued by Artaria in 1801 as Nr.XIII and André in 1804 as Nr.25.

Wolff dates at time of origin of Concert--December 11, 1784, or 1790 when Concerto played at Coronation festivities in Frankfurt in October (Wolff-MJb 1978/79)

Autograph on page with #57 above and #59 below.

Autograph on page with #57 and #58 above; issued by Artaria in 1801 as Nr.XII and André in 1804 as Nr.26.

Written directly into autograph of Concerto; issued by André in 1804 as Nr.35.

Issued by Artaria in 1801 as Nr.XVI and André in 1804 as Nr.32.

Cadenzas dates from origin of Concerto--January 5, 1791, as its performance on March 4, 1791 (Wolff-MJb 1978/79)

Issued by Artaria in 1801 as Nr.XVII and André in 1804 as Nr.33; authenticity doubted on stylistic grounds.

Autograph discovered and found to be authentic Mozart (Rehm-MISM 1986) (also see remarks to #62 above)

Issued by Artaria in 1801 as Nr.XVIII and André in 1804 as Nr.34.

On same manuscript pages with Cadenzas KV 626aII/B and Cadenzas versions b) of KV 271 and fragment Anh C15.11.

A copy of the Cadenzas to made by Leopold and Nannerl dates from 1777 (Wolff-MJb 1978/79); paper studies show paper used in autograph (and Leopold copy) date from Salzburg 1776-77 (Tyson-MJb 1992).

Autograph headed "to the first mvmt of Pastigio[sic] Concerto in D"; copy by Leopold Mozart also exists.

Handwriting shows origin time of 1775 in Salzburg (Plath-MJb 1976/77), and paper used by Mozart from end of 1774 until 1776 (Tyson-NMA 1992).

Cadenza written on back of sketch to #6 of "Zaïde".

Reeser (NMA 1964) believes Mozart acquired Schroeter Concerto in Paris in 1778, and Cadenzas date from his return to Salzburg in 1779/80.

Headed by Constanze "By W.A. Mozart", but, as manuscript is neither in Wolfgang or Leopold Mozart's hand, was moved to Anh C15.11 in KV6.

Manuscript also contains 2 further Cadenzas in F and Eb, all of unknown hand; not known what concerto intended for, but has motif reminiscences to J Schobert's Op 4/2 (Berke-NMA 2000).

Only incipit is known.

Only incipit is known. See KV 626aII/F.

Only incipit is known. See KV 626aII/F.

Placed by K6 in Anhang C section as C15.11.

Discussed in K6 under Concerto KV 451. --

-- --

--

In July 1991 the Internationalen Stiftung Mozarteum obtained a manuscript page on which Leopold Mozart had written 3 Cadenzas (KV 626aII/F,G,H)--(MISM 1992).

Autograph found in Jagiellonska Library in Krakow shows this is actually a modulating Präludium in e, and is an autograph of Mozart's, dating from probably Salzburg 1777 (Plath-NMA 1982).

Autograph headed "zum Andante von Beecke"; on page containing KV 168a and KV 626bII/C; a copy also exists in Leopold Mozart's hand on other side of copy of Cadenza to KV 40, (see KV 626aII/C); unknown what concerto of Beecke it was intended for.

Probably written during Munich stay of 1774/beginning 1775 (Plath-MJb 1976/77).

2 unidentified Cadenzas sold at auction in 1916, nothing else known; possibly identical to page with Cadenzas KV626aII/C and KV626aII/K.

This supposed autograph actually Leopold Mozart's copy of Cadenza KV 626aII/C and 626aII/K, (see remarks to those entries) (Plath-Festschrift Otto Erich Deustch 1963).

Autograph discovered in Milan on same manuscript page as KV 626aII/O; headed "Cadenza Ima".

No doubt Cadenza to 1st mvmt of JS Schroeter's Op 3/3 (Reeser-NMA 1964).

See KV 626aII/N; headed "Cadenza Iida"; perhaps connected with 2nd mvmt of KV 107/2.

No doubt Cadenza to 2nd mvmt of JS Schroeter's Op 3/3 (Reeser-NMA 1964).

On 2 sides completely written on, probably preserved and cited in main part of catalogue, but not established; autograph location not known.

Contains 4 drafts, including one to an Overture, one for Hn parts; draft to beginning of a Fugue points to 1782 dating; has authenticity remark of Aloys Fuchs; autograph in private possession in Paris.

Konrad (Schaffensweise 1992) dates sketch page 1788 or earlier, with 4 different drafts: a) Hn parts are to Overture, which remains unknown; no Overture in B is known by Mozart, perhaps to be part of arrangement of Overture of another composer; b) 28 measures of exposition of 4-part Fugue in a; c) full score sketch to Canon KV 561 "Bona nox" of 4 measures; d) full score sketch to Canon KV 559 "Difficile lectu mihi Mars" of 7 measures.

Fuchs wrote this is a composition study for female student; Mozart wrote 1st Vn part and student added 2 accompanying parts plus bass; autograph location unknown.

2 autograph sections discovered and when placed together found to no doubt be this page. Handwriting that of Leopold Mozart and Nannerl Mozart (Plath-Festschrift Arno Forchert 1986).

--

--

Autograph location unknown.



Full 4-part voice score; the piece can not be identified with any known Alleluja, (autograph lost).

Possibly choral full score from about 1800 in Stockholm of unidentified composer (Konrad-Schaffensweise 1992).

Contents unknown, but probably identical to autograph of Music to Pantomime KV 416d in Paris Bibl Conserv de Musique; autograph location not known.

This affiliation is pure speculation; the size of the manuscript (4 pages) points more to a fragment than a sketch (Konrad-Schaffensweise 1992).

Contents unknown; autograph location unknown.

Not a Mozart autograph, but a copy of Adagio and Allegro for Clock Works KV 594, originating from beginning of 19th Century (Plath-Festschrift Otto Erich Deutsch 1963).

Is in Leopold Mozart's hand and has nothing to do with Wolfgang; autograph in Paris Conserv. De Musique.

Most likely identical with cadenzas found in Florence listed in KV 293e; autograph location unknown.

If connection to cadenzas in Florence is correct, these are by Leopold Mozart (Konrad-Schaffensweise 1992).

For a Soprano Aria; surely identical with KV 293e; autograph location unknown.

On page addressed to Leopold Mozart; possibly one of Präludien for Nannerl?; autograph location unknown.

Probably identical with Andante f/Kybd KV 5b (Konrad-Schaffensweise 1992).

Plath supposed it is the autograph of song, "Als Luise die Briefe ihres" KV 520 (Ballin-NMA Crit. Rep 1963).

Autograph in American private possession, handwriting shows dating between 1777-79, although paper studies show paper used by Mozart used in second 1782 and then later (Tyson-NMA 1992); first entry is a 4-part choral full score of 3 measures with tempo indication Largo; second entry a 2-part continuity draft with designation "Coro" of 6 measures in Kybd score; unable to determine what choral work either belongs to (Konrad-Schaffensweise 1992, Skb 1777a).

Beginning to a Fugue identical to KV 417B/1; designation of other music may be a mix-up (Plath-Festschrift Otto Erich Deutsch 1963).

Probably identical with KV 375h and KV 417B/6; autograph location unknown.

Autograph found to be in private possession; paper apparently purchased by Mozart in Salzburg during his visit there in 1783 and used there or Vienna after return (Tyson-NMA 1992); note by Nissen "Intended for his wife"; 10 entries including KV 375h, instrumental piece in d/F of 2 mm., Fugue in c of 2 mm., Fugue KV 417B/6 and other short notations (Konrad-Schaffensweise 1992).

Given by Mozart's sister to Clarinetist HJ Bärmann; autograph location unknown.

Description indicates one of the sections given away as "Reliques" from unknown Mozart fragment (Konrad-Schaffensweise 1992).


Listed in main section of K6 under KV 537d. --


Probably a copy; autograph location unknown. --

--

--

Described as being a 3/4 Allegro; autograph location unknown.

Probably a first or final mvmt from Vienna years (Konrad-Schaffensweise 1992).

Plath states supposedly this is autograph of two Canons KV 559 and KV 559a (Konrad-Schaffensweise 1992).

"[Cad?]enzen" written in upper corner; autograph location unknown.

Photocopy of autograph in possession of Federhofer, and a copy of M Stadler in Mozarteum from 1780's exists; contains 7 measures of textless 4-voice parts; affiliation unknown but perhaps to a spiritual work, a mass? (Konrad-Schaffensweise 1992).

Autograph found in Stockholm; belongs to Hn parts added by Mozart to Mass KV 186f (Konrad-Schaffensweise 1992).

Fragment for S, Vn, Fl, Ob, & Vc; autograph location unknown.

Autograph in American private possession, also on 2 pages are sketches to Quartet f/St KV 464; date of fragment is no doubt around 1785; Cadenza is 35 measures in full score (in D) to an unknown Aria on the words "con un la…?" (Konrad-MJb 1995).

Listed in Anhang C section of K6 as Anh C29.40.

Had been listed in K3 after remarks to Anh 109g/23; listed in Anhang C section of K6 as Anh C11.16.

15 measures; beginning with words "in remissionem peccatorum"; on reverse side, 2 short Kybd pieces in Bb & Eb, in hand of Leopold Mozart; from Salzburg time; copy in Berlin State Library.

Autograph in private possession; is later version of Credo section, altered version of mm.182-195, of Mass KV 47d (Senn-NMA 1967); 2 short Kybd pieces on back side are in Wolfgang's hand; handwriting shows dating of 1768 to 1772 (Konrad-Schaffensweise 1992).

27 measures on text "Ich nenne dich, ohn' es zu wissen"; listed by Nissen in his Mozart biography; autograph location unknown.

Autograph strip of 7 1/2 measures in private possession for a voice line and Kybd accompaniment; this portion, probably cut by Constanze or one of her sons and given away, is of measures 20-27 with words "O welche Freude! Naide! Sprich, was fehlet mir?" which are in poem "Alexis und Naide", which begins "Alexis. Ich nenne dich, ohn' es zu wissen" by CH Weisse; Fragment appears to break off exactly where second voice would enter; paper of autograph strip dated 1785/87 (Konrad-MJb 1989/90).

--

--

Autograph in Spokane, Washington USA; 27 measures.

Autograph now in Library of Congress, Washington, DC is 23 measures fully executed, then 4 incomplete measures; handwriting shows dating of end of 1780's (Konrad-Schaffensweise 1992); paper used by Mozart first in summer 1781 and until 1784 (Tyson-NMA 1992); Plath believes perhaps as instruction for student (Plath-NMA 1982).

Autograph in private possession in NY; 16 measures with Winds and Timpani added by Mozart; surely belonged to arrangement, in Leopold Mozart's hand, of dances and Arias from Gluck's "Paris und Helena"; Anh C17.12; carried the number 8, and no doubt originated from 1773.

Unknown if handwriting belongs to Leopold, Wolfgang, or a third person; manuscript is 17 measures (Konrad-Schaffensweise 1992); paper research shows paper used by Mozart from 1773-75 (Tyson-NMA 1992).

Listed by Nissen in his Mozart biography; 8 measures; Otto Jahn listed key as A; autograph location unknown.

Listed by Nissen in his Mozart biography as having 74 measures, and only the first part is complete; probably identical with KV 515c, which has approximately the same number of measures, (72), but in a.

Mentioned in K2 and K3 in remarks to Anh 109; autograph in Mozarteum; contains17-measure 4-part canonic study in G, and a 10 measures beginning a fugue in d; are on reverse side of page with fragment of planned finale to Musical Joke KV 522a.

Paper studies show Mozart used paper in 1787 and most likely not later than 1788 (Tyson-NMA 1992).

Autograph in Mozarteum, contains sketches to Kybd works; Hess presumed it was a sketch to Quartet f/Ob & St KV 368b.

Page contains: a) 1-part continuity draft in F of 8 measures more likely to a Vn or similar; b) multi-voiced sketch in F of 7 measures; c) 2-part continuity draft in Eb of 6 measures; paper used by Mozart in Vienna 1784-86, but probably dates from second half of 1786 (Konrad-Schaffensweise 1992, Skb 1785b).

Autograph in Mozarteum; is continuation of KV 626b/32; sketch to Terzett KV 480b

On same page as KV 626b/33 so dating is same; sketch of 91 measures (Konrad-Schaffensweise 1992, Skb 1785b).

Autograph in Prague University Library.

Autograph in Paris Bibl Conserv Musique; contains beginning of overture to an opera buffa.

Page actually contains 8 entries: a) draft of 30 measures to Gloria from Mass KV 257, b) draft of 64 measures to Overture of opera buffa, c )melody sketch KV 626b/35, d) draft of 13 measures to "Et incarnatus est" of Mass KV 257, e) draft of 8 measures to "Crucifixus" from Mass KV 257, f) sketch of 4 measures of an unknown theme, g) sketch of 11 measures of "Sub Pontio Pilato" from Mass KV 257, h) sketch of 4 measures to "cujus regni" from Mass KV 257; planned Overture to serve as new Overture to Piccini's "L'astratto ovvero Il giocatore fortunate" (Plath-Festschrift Walter Gerstenberg 1964); page dates from 1776; Konrad believes Overture likely was completed and lost (Konrad-Schaffensweise 1992, Skb 1776a).

Autograph in Paris Bibl Conserv Musique; on same manuscript page as overture to same opera buffa as KV 626b/34; at beginning of sketch "Buffo aria. Ritornell" is written.

72 measures without text; Plath showed is sketch to Aria KV 256, an insert in Piccini's opera buffa "L'astratto ovvero Il giocatore fortunate" (Plath-Festschrift Walter Gerstenberg 1964).

Sketch for SATB is from 1773; stood in connection with copies of works by Michael Haydn & Eberlin, Anh A71-88; autograph location unknown.

Autograph at Cornell University actually contains 7 entries: a) 4-part full score for voices of 15 measures , b) 4-part double canon from Martini's "Storia II" of 5 measures, c) KV 626b/44, d) 4-part double canon of 2 measures, e) 3-part counterpoint exercise of 3 measures, f) 4-part double canon of 6 measures, g) 8-part circle canon of 8 measures; dated variously from 1770/71 to 1774 (Zaslaw-MJb 1971/72; Plath-MJb 1976/77; Tyson-NMA 1992; Konrad-Schaffensweise 1992, Skb 1773b).

Autograph in Newberry Library, Chicago; handwriting of Leopold Mozart.

Has nothing to do with Wolfgang, possibly for one of his students (Plath-MJb 1960/61).

Autograph contains a)14 measures in D for principal part and String Quartet, b) 2 figured bass studies in C and d, c) exercises in counterpoint, d) textless choral piece with Obbligato Vn in C, e) sketch in G for S with text "Des theorien ganze Kunst", f) sketch in C for Soprano without text of 4 measures; all in Leopold Mozart's hand with exercises g) also showing minor entries by an unidentified hand (Plath-MJb 1960/61;Konrad-Schaffensweise 1992).


Same as KV 626b/41.

Same as KV 626b/39.

Autograph in British Museum, in Leopold Mozart's hand.

Manuscript contains figured bass study in d of 12 measures. Constanze Nissen gave it to Vincent Novello in 1829, however, page in Leopold Mozart's hand; it is the same sketch in d written down in KV 626b/37 b); this entry is no doubt identical to that of KV 626b/42 (King-Mozart in Retrospect 1955; Konrad-Schaffensweise 1992).

Konrad believes possibly same as manuscript in Stockholm Anh C9.07, an textless Terzett "Venerabilis barba capucinorum" found to be in Mozart's hand (Plath-MJb 1971/72; Konrad-Schaffensweise 1992)

Einstein believed it belonged to planned German opera KV 416a; instrumentation indicated to be for Vn, Fl, Ob, Vc; autograph location unknown.

Autograph in British Museum; presented by Constanze to Novello.

Contains 2 Minuets and 3 Trios for 2 Vns and Bass; autograph location unknown.

Manuscript in Swiss Royal Library; all 3-part instrumental full scores in which the middle part has not been entered; all in Nannerl Mozart's hand (Konrad-Schaffensweise 1992).

On reverse side of KV 626b/36; NMA believes originated in Bologna autumn 1773, writing appears to be later.

Autograph at Cornell University, NY; 1-part draft to a Contredance of 16 measures; fact that Contredance had title suggests it was a tune Mozart heard somewhere and jotted down; title can be read "mottet", "mollet", "moblet"; possibly dates from 1773-75 (Zaslaw-MJb 1971/72; Konrad-Schaffensweise 1992, Skb 1773b; Lindmayr-Brandl-MJb 1995).

Consists of Kyrie, Gloria and Credo for 4 Voices and Orchestra; incipit is from Gleissner catalogue.

Senn (NMA 1967) believed this was Mass performed in Salzburg on Feb 5, 1769; An André catalogue discovered in Frankfurt remarked "Contained only Kyrie and Gloria and appeared to be by Mozart's father" (Plath-MJb 1971/72); Carlson (Vocal Music of Leopold Mozart PhD 1976) lists in doubtful works; from description in Glister Catalogue, does not appear to be fragment, but rather of a doubtful work (Konrad-Schaffensweise 1992).

Incipit of Allegro from Gleissner Catalogue, where it is given year of 1783.

André catalogue found in Frankfurt remarks "Not of Mozart's hand" (Plath-MJb 1971/72).

Incipit is from Gleissner Catalogue, with year 1782.

Copy found in Hessischen Lib. Fulda is a fragmentary preserved set of parts for Aria "Dove, ahai dove son io/Mentre ti lascio, oh figlia" from Paisiello's opera 'La disfatto di Dario'; Mozart used this text in his Aria for Bass KV 513 (Plath-MJb 1971/72).

-- --

Autograph in Leningrad; on front page 6 bracketed staves with 5 measures, and on back 2 bracketed staves with 5 measures.

Handwriting studies date piece in second half of 1780's, possibly written for student J.H. Hummel (Plath-NMA 1982).

Long thought to be work of Mozart, Pfannhauser found to be work of Eberlin that Mozart had copied; Plath presumed manuscript (not available to him) by Leopold Mozart.

Manuscript found in Poland and handwriting is Leopold's (Tyson-NMA 1992); is portion of Eberlin's Requiem in C-major (Pfannhauser-Acta Mozartiana 1954)

Manuscript page originally together with that which contains Anh A 1 and later detached; Pfannhauser found to be work of Eberlin that Mozart had copied; Plath found manuscript to be in Leopold Mozart's hand.

From same Requiem in C which KV Anh A 1 derived from, where it was 25 measures long--9 measure orchestral prelude which Mozart did not copy (Pfannhauser-Acta Mozartiana 1954)

On same page as KV Anh A 2; see KV Anh A 2.

From same Requiem in C which KV Anh A1 and A2 derived;

Pfannhauser found to be work of Eberlin that Mozart had copied; Plath assumed manuscript (not available to him) to be in Leopold Mozart's hand, on same page as Church Sonata KV 124A.

In Eberlin's original Offertory is a Soprano Aria "Exultate Filii Adae" that Mozart did not copy in his continuo reduction (Pfannhauser-Acta Mozartiana 1954); manuscript found in Poland and handwriting is Leopold's (Tyson-NMA 1992)

Manuscript unavailable, but from Jahn's remarks in Leopold Mozart's hand; also on lost manuscript are text from "Die Schuldigkeit des Ersten Gebots" KV 35 and violin part to Missa brevis KV 61a in Leopold's hand.

Autograph now in Augsburg State Archives shows Osanna and violin parts to KV 61a from Leopold's hand, but other entries in Wolfgang's; Osanna from an unidentified Mass of Eberlin (Konrad-Schaffensweise 1992 Skb 1769a)

Plath stated this copy (not available to him) of Gasparini's motet from Jahn's remarks to be in Leopold Mozart's hand.

Manuscript found in Poland and handwriting is Leopold's (Tyson-NMA 1992)

Believed copy made by Mozart as study for his Litaniae KV 125 before March 1772 in Salzburg; from M Haydn's Litaniae K. IV/14 [Sherman MH 66].

On a paper that appears to have been used by Mozart in Salzburg during his visit in 1783 (Tyson-Auto Scores 1987) Haydn's work dated April 8, 1764 in Salzburg (Sherman-M Haydn Thematic Catalogue 1993)

Mozart copied this portion of Litaniae de venerabili sacramento K.IV/13 [Sherman MH 228] from Haydn's manuscript or a copy.

Paper studies show copied by Mozart most likely while returning to Vienna after his 1783 visit to Salzburg, perhaps on Oct 29 at Lambach monastery (Tyson-Auto Scores 1987); Haydn's Litananie dated March 26, 1776 in Salzburg (Sherman-M Haydn Thematic Catalogue 1993)

Mozart asked for the tres sunt written in his own hand in a letter from Vienna on March 12, 1783 and received it days later; portion of M Haydn's Offertorium pro Festo SS Trinitatis K.IIa/40 [Sherman MH 183].

Paper used by Mozart for the first time at the end of 1771 and then 1774 (Tyson-NMA 1992); Offertory dated by Haydn on June 7, 1772 in Salzburg (Sherman-M Haydn Thematic Catalogue 1993)

Plath showed in Leopold Mozart's hand.

Plath showed in Leopold Mozart's hand.

In bundle with copies Anh A71-88, only one in Wolfgang's hand; Haydn's original had an organ prelude K.III/21 [Sherman MH 72].

Both Haydn's authentic copy and Mozart's copy consist of 163 measures, Haydn work from 1765 in Salzburg (Sherman-M Haydn Thematic Catalogue 1993); on paper used by Mozart first in 1773 after return from Milan and then through middle of 1775 (Tyson-NMA 1992)

Mozart asked his father in a letter of March 12, 1783 for a copy of Michael Haydn's Lauda Sion K.IIa/42 [Sherman MH 215].

Haydn's Sequentia of 4 movements is from 1775 in Salzburg (Sherman-M Haydn Thematic Catalogue 1993)

Probably copied by Mozart in April 1770 in Florence or Rome; Mozart copied music to Nr.1, Nr.2, Nr.4, Nr.8, Nr.11, Nr.14, Nr.24, Nr.26, Nr.30 of the Stabat mater; text only to Nr.2 and beginning of Nr.2.

Mozart's copy sold at auction in 1996; handwriting appears to date from ca.1772-73 and paper first used by Mozart in 1773 after his return from Italy and then through middle of 1775 (Sotheby London Auction Catalogue of Dec 6, 1996)

Is portion of Missa brevis in F KV 90a, now believed to be work of Leopold Mozart (Plath-MJb 1972/72 and Carlson-Vocal Works of Leopold Mozart 1976)

Is portion of Missa brevis in F KV 90a, now believed to be work of Leopold Mozart (Plath-MJb 1972/72 and Carlson-Vocal Works of Leopold Mozart 1976)

Long thought to be work of Mozart, Pfannhauser found to be a continuo reduction of work of Reutter.

Paper first used by Mozart after his return from Prague in Dec 1787 and through 1791 (Tyson-NMA 1992); Reutter's work dates from 1757 (Pfannhauser-Acta Mozartiana 1954)

Pfannhauser established a copy (sketch study) of Reutter's work.

Mozart only sketched out 32 measures of Reutter's 137 measures, which dated from 1757 (Pfannhauser-Acta Mozartiana 1954); paper used by Mozart from Dec 1787 to Feb 1789 also contains sketch for the finale of the "Jupiter" Symphony (Tyson-Auto Scores 1987); Konrad does not believe sketch is for "Jupiter", but unknown identification, does not dispute dating (Konrad-Schafensweise Sk 1787l)

Mozart's solution of Kirnberger canon, which originally had text "Wir irren alle samt", page also contains exercises and two further notations of Canon in F-major.

Mozart's copy dates from 1782 (Konrad-Schaffesnsweise 1992)

Textless canon printed by B&H with text "O wunder schön ist Gottes Erde" in Oeuvres; canon known in England with text "Non nobis, Domine, non nobis" attributed to Byrd and printed prior to Mozart's lifetime.

Original composition perhaps not by Byrd, true author unknown (Brett-Musical Times 1972)

Canon from Martini's "Storia della musica"; Mozart copied without text and resolved; Mozart's copy appeared to originate from July or Aug 1700 in Bologna or later; on same page with 4-part Canon A A33.

Handwriting studies appear to date page 1772 (Plath-MJb 1976/77)

--

Canon from Martini's "Storia della musica"; Mozart copied without text and resolved; Mozart's copy appeared to originate from July or Aug 1700 in Bologna or later; on same page with 4-part Canon A A33.

Handwriting studies appear to date page 1772 (Plath-MJb 1976/77)

Manuscript (in pencil) dates from sometime after 1770, if the handwriting is that of Mozart; it is not out of the question Mozart had begun to copy out a composition of an older composer.

Manuscript is in Mozart's hand; it could be the beginning of a Divertimento or perhaps of a Sinfonia Concertante (for 2Violins?) (Füssl-NMA 1964); perhaps a study to the very similar in setting Concertone KV 186E from May 1774 (Mahling-NMA 1974); Mahling also believes work's simplicity speaks against being a copy of another composer's work (MISM 1975); paper first used by Mozart after his return to Salzburg from Italy in 1773 until middle of 1775;

Mozart's copy of Abel Symphony Op.7/6 made in London in 1764; Mozart substituted two Clarinets for 2 Oboes; early thought to be authentic Mozart and numbered Symphony #3 in AMA Series 8.

Copy of beginning of finale of Haydn's Symphony P.43 [Sherman 287]; without knowing manuscript of Mozart's unable to state if from earlier Salzburg time or during 1783 visit; S. Sechter provided with introduction and added 253 measures to Mozart's (45 measure) beginning in a 4-hand arrangement of work.

Mozart's copy in British Museum on paper only used by him toward the end of 1783 in Steyr and Linz after his Salzburg visit and perhaps performed in Linz (Zaslaw-Mozart's Symphonies 1989); M Haydn symphony composed ca. 1778-80 (Sherman-M Haydn Thematic Catalogue 1993)

Mozart composed new introduction 'Adagio maestoso' KV 425a and copied out remainder of first movement of M Haydn Symphony in G P.16 [Sherman 334] for same concert in Linz that Symphony KV 425 was performed in early Nov 1783. Entire symphony, with Adagio maestoso, published in AMA as Symphony #37.

Only Allegro and half of Andante in Mozart's hand, remainder in another hand; paper used by Mozart only after his return to Vienna from Salzburg in Linz, and mainly in months of Feb to April 1784 (Zaslaw-Mozart's Symphonies 1989); Haydn's symphony dated May 23, 1783 in Salzburg [Sherman-M Haydn Thematic Catalogue 1993]

Mozart jotted down opening measures to 3 Franz Haydn symphonies (Nr.75 in D, Nr.47 in G, Nr.62 in D) and another to an unknown symphony in C, on back of page with cadenza to Andante of a Piano Concerto; associated with letter of May 15, 1784 in which Mozart writes he owned Haydn's last three symphonies.

Reference to 3 Haydn symphonies probably refers to Michael Haydn symphonies; fourth symphony notation seems more like middle of first movement exposition or a middle movement; could be a memorandum of a work by another composer (Zaslaw-Mozart's Symphonies 1989); paper used by Mozart throughout 1784 (Tyson-NMA 1992)

(See Anh A71.)

(See Anh A71.)

(See Anh A71.)

(See Anh A71.) --

(See Anh A71.) --

(See Anh A71.)

(See Anh A71.)

Mozart made two copies of Fugue, one for piano (32 mm.) another for string quartet (49 mm.); Froberger's composition originally printed in 1650 as "Phantasia".

Piano version stops after 32 measures, quartet version arrives at premature but logical conclusion; some notations in score possibly by M. Stadler; handwriting dates from not before 1785/86 (Biba-Preface to Facsimile of String Quartet version 1990); Plath believed this was 6th Fugue of Mozart's arrangements for String Quartet KV 405 (Plath-Festschrift Gerhard Croll 1992)

Pieces very (No Suggestions), perhaps copies of works of older Salzburg composers (Muffat or Eberlin?); both works on same page.

Handwriting studies show both compositions date from 1772/73 (Plath-MJb 1976/77); Plath (NMA 1982) stated these are original compositions of Mozart; Tyson believed possibly derived from a now lost music book used by the Mozart family in the 1760's and 1770's (Tyson-Auto Scores 1987)

Mozart's manuscript dates from between 1772 and 1774/75; likely the ornamented version of an Adagio of unknown origin.

Autograph auctioned at Sotheby London in 1990; Zaslaw unable to determine original composer but does not rule Mozart out; Mozart's version intended to be played second time through each half of piece--original unornamented version played first is now lost (Zaslaw-Essays in Honor of Alan Tyson 1998)

79 pages with 153 written on sides of various church works of M Haydn and Eberlin all in Leopold Mozart's hand (with exception of Nr.14--see KV Anh A14).G48

Leopold Mozart put together as study book in 1773 (Schmid-Mozart and Salzburg Tradition 1976 1976); finale movement of Te Deum" K.V/2, MH 72, composed in Salzburg Dec 9, 1770 (Sherman-M Haydn Thematic Catalogue 1993)

Listed in Herbort catalogue of Eberlin'sMasses (1961) as "Herbort II" (Schmid-Mozart und Salzburg Tradition 1976)

Listed in Herbort catalogue of Eberlin'sMasses (1961) as "Herbort I" (Schmid-Mozart und Salzburg Tradition 1976 1976)

Listed in Herbort catalogue of Eberlin'sMasses (1961) as "Herbort III" (Schmid-Mozart und Salzburg Tradition 1976)

Written by Eberlin as gradual for Palm Sunday, dated 1740 (Pauly-Journal American Music Society 1962)

Written by Eberlin as offertory for Palm Sunday, dated 1740 (Pauly-Journal American Music Society 1962)

(See Anh A71.)

(See Anh A71.)

(See Anh A71.) --

(See Anh A71.) --

(See Anh A71.) --

(See Anh A71.) --

(See Anh A71.) --

(See Anh A71.)

(See Anh A71.)

(See Anh A71.)

Written by Eberlin as communio for Palm Sunday, dated 1740 (Pauly-Journal American Music Society 1962)

Written by M Haydn in Salzburg ca.1770-72 (Sherman-M Haydn Thematic Catalogue 1993)

From Mass Nr.24 in the Herbort catalogue of Eberlin Masses (Schmid-Mozart und Salzburg Tradition 1976)



K6 K1 K3 Composition K6 Remarks

Anh C 1.01 Anh 185 Anh 185

Anh C 1.02 -- Anh 235f

Anh C 1.03 Anh 186 Anh 186

Anh C 1.04 Anh 232 Anh 232

Anh C 1.05 -- Anh 232a

Anh C 1.06 Anh 233 Anh 233

Anh C 1.07 -- Anh 223a

Part Seven of Eight Anhang C Vocal works

Mass for 4 Voices and Organ in C

Novello in London published 17 Masses in voice/organ form under Mozart's name, of which 10 were authentic, 5 misattributed and 2 very doubtful. This Mass (as Nr.17)

Mass for 4 Voices and Orchestra in g-minor

Published by Novello in 1831 in London as "Mass of Benedikt Schack [1758-1826] with Additions by Mozart". Novello believed Kyrie, Crucifivus, Sanctus, and first part of Agnus Dei by Mozart; article in 1831 "Harmonicon" already placed Mozart's participation highly in doubt.

Mass for 4 Voices and Organ in Eb

Published by Novello as Nr.13 and 16 (See Remarks to Anh C1.01); Novello cited his source as a score in possession of C.J. Latroube. Violin part of Mass in library in Paris (listed in K3 as Anh 235a) identical to this.

Mass for 4 Voices and Orchestra in G

Numerous issues in early 19th century attribute Mass to Mozart; Jahn showed handling of instruments not in Mozart style; famous as "Mozart's 12th Mass" from Novello's printing (See Anh C1.01)

Missa solemnis for 4 Voices, Chorus, Orchestra in C

First reported on in 1932, questionably attributed to Mozart and dated probably around 1776; copy in Vienna already had question mark by Mozart's name

Mass for 4 Voices and Orchestra in Bb

Numerous copies and issues in 19th Century attribute to Mozart; Constanze Mozart told Salzburg chorus director Jähndl it was work of Süßmayr; entry in Göttweig Monastary gives author as Pichler

Mass for 4 Voices and Orchestra in D

Parts discovered in monastary in Switzerland in 1901, stated to have been composed by a young Mozart when visiting Kempten. Mass found in archives in Freising under name of Michael Demmler (1748-1785)

Anh C 1.08 Anh 234 Anh 234

Anh C 1.09 Anh 235 Anh 235

Anh C 1.10 -- Anh 235b

Anh C 1.11 -- Anh 235c

Anh C 1.12 140 Anh 235d

Anh C 1.14 -- Anh 235g

Missa brevis for 4 Voices and Orchestra in C

Attributed to Mozart first in issue by M. Falter in Munich in beginning of 19th Century and then others; but no doubt a Mass of Franz Gleissner (1761-1818), however not published as one of his 6 Masses Op.2 in 1798.

Missa brevis for 4 Voices and Orchestra in G

Attributed to Mozart first in issue by M. Falter in Munich in beginning of 19th Century and then others; parts in Kremsmünster Monastary attribute to Franz Gleissner, not published as one of his Masses Op.2 in 1798.

Mass for 4 Voices and Orchestra in c-minor

Copy in Holy Cross Monastary in Augsburg headed by "Sigre Wolfgango Mozart"; research by Schmid shows Mass to be the work of an amateur, originating after Mozart's death.

Mass for 4 Voices and Orchestra in C

Manuscript in Florence found attributed to Mozart, but later found listed in the 1768 Lambach catalogue (and others) under the name Franz Novotny (1743-1773) organist under Haydn's direction in the service of Court Esterhazy.

Missa brevis for 4 Voices and small ensemble in G

André received copy of Mass from Constanze Mozart and listed under authentic works; Köchel listed as authentic, but in note listed it to be eliminated from future editions. Taken out of K2.

Mass for Soloists, Chorus and Orchestra in Bb

A copy reported to have been found in estate of Ernst Lewicki in Dresden, with sections based on music from Zauberflöte; music not known.

Anh C 1.15 Anh 236 Anh 236

Anh C 1.16 -- --

Anh C 1.17 -- --

Anh C 1.18 -- --

Anh C 1.19 -- --

Anh C 1.20 -- --

Anh C 1.21 -- --

Anh C 1.22 -- --

Anh C 1.23 -- --

Missa der Schulmesiter for 3 Voices and 2 Violins in G

Copy in Berlin library attributed to Mozart; however in several Austrian Monastaries attributed to Franz Joseph Aumann, chorus director at St. Florian; other copies--including one in Mozarteum--attribute to Michael Haydn, but in 1803 he stated it was not his and doubted very much if "the well known comic schoolmaster Mass" was by Mozart; still other sources attribute Mass to Joseph Haydn, Franz Xavier Brixi and Florian Gassmann.

Messa Solemnis for 4 Voices and Orchestra in Eb

Copy found in Prague Nat.Mus. attributed to Mozart

Missa solemnis for 4 Voices and Orchestra in C

Copy in archive of Gesellschaft der Musikfreunde first attributed to Mozart, but corrected to Josef Preindl (1756-1823)

Missa solemnis pastoritia for Voices and Orchestra in G

Copy attributed to Mozart formerly in possession of H.J. Laufer, London

Mass for 4 Voices and small ensemble in A

Copy found in Prague Nat.Mus. attributed to Mozart


Numerous copies from late 18th and 19th Century attribute to Mozart, including one in Bergamo made by Simon Mayr; parts in Salzburg Cathedral attribute to Leopold Mozart; erroneous cover in Prague Nat.Mus. attributes to F.X. Brixi; Benedictus of Mass identical to Salzve Regina KAnh C3.01


Copy in Dornbach attributed to Mozart; another in Prague Nat.Mus attributed to Giusephe Hayden"

Missa solemnis for Soloists, Chorus and Orchestra in C

Copy in Wallfahrt church Maria Limbach am Main from about 1803 attributed to Mozart.


Copy in Wallfahrt church Maria Limbach am Main from about 1800 attributed to Mozart; probably work of Georg Joseph Vogler (1749-1814)

Anh C 1.24 -- --

Anh C 1.25 -- --

Anh C 1.26 -- --

Anh C 1.27 -- --

Anh C 1.28 -- --

Anh C 1.29 -- --

Anh C 1.30 -- --

Anh C 1.31 -- --

Anh C 1.32 -- --

Anh C 1.33 -- --

Anh C 1.34 -- --

Anh C 1.51 -- --

Anh C 1.90 Anh 237 Anh 237

Anh C 1.91 -- --

Anh C 1.92 -- --

Anh C 1.93 -- --


Parts in Kremsmünster Monastary originally had Mozart's name, but crossed out and replaced by Süßmayr.

Mass for 4 Voices and Orchestra Bb

Full score copy in Zittau attributed to Mozart; partially consists of motifs from Zauberflöte


Copy in archive of Orphanage Church in Vienna attributed to Mozart; actually a work of Johann Georg Lickl (1769-1843)


Copy in Prague Nat.Mus. attributed to Mozart



Mass for 4 Voices and Orchestra in Eb


Mass for 4 Voices and Orchestra in Eb


Missa solemnis for 4 Voices and Orchestra in F


Mass for 4 Voices and Orchestra in c


Mass for 4 Voices and Orchestra in c



Note on full score copy in Krems "Die St. Pöltnerische Mess von Herrn Mozart"

Kyrie for unknown voices and accompaniment

Manuscript full score originally in André music archive collection

Requiem for 4 Voices and Orchestra in d-minor

Numerous copies and issues from 19th Century attribute to Mozart, including Novello who believed it to a "a very early production". Certainly Mozart did not write another Requiem either earlier or later.

Requiem for 4 Voices and Orchestra in Bb


Requiem brevis for 4 Voices and Orchestra in Eb


Requiem for solo voices, chorus and orchestra in c

Set of parts in Parma from beginning of 19th Century attributed to Mozart

Anh C 3.01 92 Anh 186c

Anh C 3.02 324 Anh 186a

Anh C 3.03 325 Anh 186b

Anh C 3.04 142 Anh 186d

Anh C 3.05 197 Anh 186e

Salve Regina for 4 Voices and Orchestra in F

Work listed in Fuchs Mozart manuscript catalogue and several copies found around Europe. Listed in K1 with 1770 compositions, from Jahn's dating of "177?" By 1867 Jahn had doubts and work not in AMA in 1875. Later thought to have been possibly composed for Church of Maria Plain outside Salzburg in May 1768, but dismissed. Pfannhauser then discovered the music of this Salve Regina identical to Benedictus of Mass K.Anh C1.20.

Hymn "Salus infirmorum" for 4 Voices and Organ in c

Only known from incipit in early André catalogue; text is 3rd movement of Litanei B.M.V.; Köchel placed with 1779 compositions. Einstein stated it was an a-cappella composition of the 17th Century, and possibly a work of Quirino Gasparini, the same as KV 327/Anh A10.

Hymn "Sancta Maria, ora pro nobis" for 4 Voices and Organ in C

Only known from incipit in early André catalogue; text is 2nd movement of Litanei B.M.V.; Köchel placed with 1779 compositions. (See remarks to Anh C3.02)

Tantum ergo for 4 Voices and Orchestra in Bb

Work attested as Mozart's by Aloys Fuchs and placed among 1772 works by Köchel. Both Wyzewa/St.Foix and Abert held it for not authentic and K3 placed it in Anh.

Tantum ergo for 4 Voices and Orchestra in D

Work attested to by Fuchs and placed among 1774 works; later scholars differed on opinions on authenticity; K3 placed in Anh.

Anh C 3.06 340 Anh 186f

Anh C 3.07 -- Anh 186g

Anh C 3.08 198 158b

Anh C 3.09 177 Anh 240a

Anh C 3.09 342 Anh 240a Chorus "Benedicite"

Kyrie for 4 Voices without instrumentation in C

Known only from early André catalogue; possibly beginning of a lost Litanei B.M.V. from 1780; Einstein moved it to Anh believing it an a-cappella composition of the 17th Century or an archaisms of 18th Century

Offertorium "Exaudi Domine" for 4 Voices and Orchestra in G

Copy in Florence Bibl. Luigi Cherubini attributes to Mozart; according to style could be from Milan time of 1773; it would fit well into Leopold Mozart's application to Archduke Leopold of Tuscany to place Wolfgang in his service. K3 and K6 felt the work surely did not belong to Mozart.

Offertorium "Sub tuum praesidium" for Soprano,Tenor and Orchestra in F

Köchel, from copy for Soprano and Tenor in Göttweig, placed in 1774 works; Rosenthal found Offertory by M.Haydn with striking musical resemblance, which was a reworking of Deut from M.Haydn's 1767 pantomine "Der Traum"; on stylistic grounds Einstein moved work to Milan in beginning 1773, believing for 2 Milan Castratos; K6, citing M.Haydn music, believed not by Mozart and stated Massin attributed work to Myslivecek; copy also exists in version for 2 sopranos.

Offertorium sub exposito venerabili for Soprano,Tenor and Orchestra

Köchel only knew copy in Munich Court Libr. and placed in 1773 "according to the manner in which it was handled". Nottebohm in AMA showed chorus "Benedicite" K.Anh C3.09 (K1=342) was final chorus to this Offertorium in Falter & Sohn issue. Einstein cited full score in Pfarr church in Ottobeuren and parts in St.Peter that carried name of Leopold Mozart.

Only known to Köchel from issue of Falter & Sohn in Munich and placed in 1780 "according to the character of the composition". Nottebohm in AMA showed this final chorus to Offertorium K.Anh C3.09 (K1=177) and KV 342 eliminated from K2. (Also see entry for C 3.09/K1=177).

Anh C 3.10 Anh 241 Anh 241

Anh C 3.11 -- Anh 241a

Anh C 3.12 -- Anh 241b

Anh C 3.13 -- --

Anh C 3.14

Anh C 3.15 -- --

Anh C 3.16 -- --

Anh C 3.17 -- --

Anh C 3.18 -- --

Anh C 3.19 -- --

Miserere for 4 Voices and Orchestra in c-minor

Copy in Berlin St.Libr. from Otto Jahn's collection, without any authentication; has nothing to do with Holzbauer Miserere in Paris in 1778.

Oratorio "Abramo e Isacco"

Copy in Florence Bibl. Luigi Cherubini attributes to Mozart; however work is composition of Joseph Myslivecek written for Lent season of 1776 in Florence; probable autograph in Munich where performed in 1777.

Te Deum for 5 Voices and small Orchestra

Copy in Gesellschaft der Musikfreunde headed "Quartetto….Del Sigre Mozart". This pastorale piece by its setting and character has nothing to do with Mozart.

Psalm " O taste and see that the Lord is good" for 4 Voices and Organ

Attributed in a Collection of Anthems and Services in London 1847 to Mozart; also St. Gregory Hymnal as "Jubilate Deo"

(K2) Within Anh 112

Within Anh112

"Ah sponse, mi dilecte veni" for Festo cordis Jesu for Soprano,Tenor, Strings

Parts exist in Vienna National Library, Prussian State Library Berlin, and Cathedral Archive in Salzburg (this copy with Clarinets and Horns); issued by Lotter in Augsburg in 1798 as Nr.2 of "28 Ariae Selectissimae Praeclarorum Virorum" Op.3--Mozart is attributed in all individual parts except the Tenor part and index where Wranitzky (Paul or Anton?) is indicated as composer. Einstein stated this "feeble" piece not by Mozart.

Sancta Maria for for Soprano or Tenor and Organ in G

Attributed to Mozart in 'Motets de Grands Maitres, 1re Series'…Nr.11; however this issue is from around 1900

Offertorium "Ad astra, o Mortales" for Bass and Orchestra

Parts in Vienna National Library attributed to Mozart

Offertorium "Quos hic vides" for Soprano,Tenor and Orchestra

Copy of voice parts in Moravske museum in Brünn attributed to Mozart

Pange lingua for 4 Voices and Orchestra

Copy in Moravske museum Brünn attributed to Mozart

Pange lingua for 4 Voices and Orchestra

Copy in Moravske museum Brünn attributed to Mozart

Anh C 3.20 -- --

Anh C 3.21 -- --

Anh C 3.22 -- --

Anh C 3.23 -- --

Anh C 3.24 -- --

Anh C 3.25 -- --

Anh C 3.26 -- --

Anh C 3.27 -- --

Anh C 3.28 -- --

Anh C 3.29 -- --

Anh C 3.30 -- --

Tantum ergo for Bass and Organ

Copy in Moravske museum Brünn arranged by Seidl for Bass and Organ; a note by Seidl states the original was composed for Soprano, Alto, Contrabass and Organ and first heard at the Court in Versailles performed by the young Mozart.

Offertorium "Hoc, huc, gentes venite" for 4 Voices and Orchestra

Copy attributed to Mozart in Prague National Museum; copy in Gerlach-Museum with the text "Ejo chori resonate" has the name "Trazom" on Bass part.

Motett "Ecce sacerdos magnus" for voice and Orchestra

Set of parts attributed to Mozart in Prague National Museum

Credo solemne for 4 Voices and Orchestra


Offertorium "Laudate Dominum" for 4 Voices and Orchestra


Offertorium "Piae mentes properate" for Soprano,Tenor, chorus, Orchestra

Set of parts attributed to Mozart in Prague National Museum; a second copy in Prague Nat.Mus with different instrumentation with text "Caelestis advolate"

Offertorium "Ad festum huc venite" for 4 Voices and Orchestra


Offertorium "Gaudete omnes gentes" for 4 Voices and Orchestra


Grand Offertorium "Inveni David servum meum" for 4 Voices and Orchestra


Offertorium "Salve Jesu, Dux Sanctorum" for Soprano, chorus, Orchestra


Aria "Ave, ave, caelorum Regina" for Soprano and Orchestra


Anh C 3.31 -- --

Anh C 3.32 -- --

Anh C 3.33 -- --

Anh C 3.34 -- --

Anh C 3.35 -- --

Anh C 3.36 -- --

Anh C 3.37 -- --

Anh C 3.38 -- --

-- -- -- -- --Anh C 4.01 Anh 242 Anh 242

Anh C 5.01 -- Anh 292a

Aria pro omni festo "Mens sancta" for Tenor or Soprano and Orchestra


Aria "Dei pietosi" for Soprano and Orchestra


Aria (unknown words) for Soprano or tenor and Orchestra


Aria " Exsultet orbis gaudiis" for Bass and Orchestra


Aria a Duetto "Ejus festa, ejus gesta" for Soprano or Tenor and Orchestra


Aria "Per singulas dies" for Bass and Orchestra


Aria " Huc, huc, amantes festinate" for Bass and Orchestra


Aria "Ad arma properate" for Tenor and Orchestra


Cantata for Fürst Alois Liechtenstein

Jahn originally believed a copy in the Berlin Prussian State Library was authentic Mozart from his early Vienna period, but later changed his opinion based on the handling of the material. It no doubt originated after 1800, and perhaps is a work of Franz Xavier Mozart.

Concert ending for Overture to Gluck's "Iphigenie en Aulide"

First in Heinse's "Hildegard von Hahenthal" stated Mozart wrote conclusion; issued by Andre in 1804 or 1805 under Mozart's name, with incorrect title "Iphigenie en Tauride"; also published in parts by Zulehner in Mainz before 1810; Marx (1863) attributed to J.P. Schmidt, however as he was born in 1779, so probably not composer.

Anh C 7.01 Anh 187 Anh 187

Anh C 7.02 Anh 243 Anh 243

Anh C 7.03 -- Anh 243a

Anh C 7.04 Anh 244 Anh 244

Anh C 7.05 -- 584a

Recitative and Aria for Soprano and Orchestra "Perche t'arresti?…Per te nel carcer nero"

Copies in Munich State Library, Berlin Prussian State Libr.and Gesellschaft der Musikfreunde; style of Recitative as also weakness of invention and instrumentation of piece make it more than doubtful. Any outside verification lacking.

2 Choruses to play 'Thamos'--"Schon weichet dir Sonne" & "Gottheit über alle mächtig"

Issued by Simrock in Bonn about 1829 as two choruses from Thamos by Mozart; nothing to do with Mozart's Thamos music, possibly choruses of Johann Tobias Sattler from 1773.

Terzetto "Tremer mi sento" for Soprano, Tenor, Bass and Orchestra

Copy in Berlin Prussian State Library from Otto Jahn headed "Terzetto-Mozart"; from names in text probably from a setting of 'La Circe', but not those known from Cimarosa or Gazzaniga

Canto "O come lieto" for 2 Sopranos, 2 Tenors, Bass and Orchestra

Copy attributed to Mozart in Gesellschaft der Musikfreunde; parts issued by Artaria in 1856 with forward remarks stating Mozart wrote this "little vocal pleasantry" during his stay in Warsaw and left the manuscript with his friend Dibowski, and then in 1820 Mozart's son obtained the manuscript and it passed on to Baroni Cavalcabo. Work had been published by Artaria in 1805 in piano reduction under name of actual composer, Antonio Cartellieri (1772-1807); it is from Cartellieri's opera "Il Segreto' first performed in Vienna in 1804.

Soprano Aria and Orchestra "Donne vaghe"

Copy found in Prague University Library in 1891; Wyzewa/St.Foix believed it authentic and composed in Prague around time of Don Giovanni and Einstein placed in main part of K3; actually work of Giovanni Paisiello from his operetta 'La serva pardrona'.

Anh C 7.06 --

Anh C 7.07 --

Anh C 7.08 -- --

Anh C 7.09 --

-- -- -- -- --Anh C 8.01 Anh 260a

Mentioned within K588

Aria for Soprano and Orchestra "Angst, Qual und herber Gram"

Copy in Berlin Prussian State Library with remark of Aloys Fuchs it was composed in Munich for as an insert in Act I, Nr.8 for a German version of 'Cosi fan tutte'; no known performances of Cosi in German in Mozart's lifetime, although there was one in Vienna in 1794 which perhaps Fuchs confused with Munich; Aria listed in Rellstab of Berlin catalogue in 1792 "for piano". (See Remarks to Anh C7.07)

Mentioned with K588

Duet for 2 Sopranos and Orchestra "Treu schwör ich dich stets zu lieben"

Copy in Berlin Prussian State Library with remark by Aloys Fuchs it was composed for 2 women in Munich for German version of 'Cosi fan tutte'. Duet listed in Rellstab of Berlin catalogue in 1793 "for piano". (See remarks to Anh C7.06)

Scene "Non tradirmi" for Tenor and chorus

Full score found in Kremsier Monastary with no author indication; in solo part the name "Antinoo" crossed out and replaced by "Tito"; however has nothing to do with Mozart's opera.

Mentioned with Anh 243a

Terzett for a comic scene

Copy in Paris private possession; Einstein remarked surely not Mozart.

(K2) Anh187a

Song with Piano Accompaniment "Die Nase" Text: "Schlaf, süßer Knabe, süß und mild"

Published in 1840 in 'Caecilia' attributed to Mozart; in Dec 1845 Frankfurt Konversations-Blattes announced a manuscript of this Wiegenlied that Mozart composed for his wife after the birth of their son Karl, was given to them by Countess Clemens von Eiz; the original was supposed to be in possession of Music Director Geissler in Zschopau. Friedlaender (1902) called it a "crude forgery". It actually is a composition of Joseph Martin Kraus, and had been published in Stockkholm.

Anh C 8.02 Anh 260b

Anh C 8.03 Anh 260c

Anh C 8.04 -- Anh 245a

Anh C 8.05 -- Anh 245b

Anh C 8.06 Anh 246 Anh 246

Anh C 8.07 Anh 247 Anh 247

(K2) Anh187b

Song with Piano Accompaniment "Die Nase" Text: "Schlaf, süßer Knabe, süß und mild"

Issued in the Beethoven-Album in 1845, and then printed as "Reliquie von Mozart" for his 100th birthday. According to Halberger's album of 1849 performed and sent from Music Director Geissler in Zaschopau; as Anh C8.01 no doubt not authentic.

(K2) Anh187c

Song with piano accompaniment "Das Angedenke" Text: "Nimm dies kleine Angedenken"

Copy in Paris Conserv. De Musique with title page attributing to Mozart; a different hand wrote "By Leopold Mozart"; other copies attribute to Mozart and well as F.J. Haydn; a copy in Austrian National Library in Vienna under name of Gyrowetz. Issued in 1798 by Mollo in Vienna as part of Adalbert Gyrowetz's IX Deutsche Lieder for Piano or Harp.

Song with Choral-refrain Text: "Schön ist es auf Gottes Welt"

Issued by Cappi in Vienna in 1801 with title "An Menschen" as Nr.3 of 4 German Arias--along with K597, K598 and Anh C8.05.

Choral song with Solo "Wohl dem Mann"

Issued by Cappi in Vienna in 1801 with title "Lob des guten Weines" as Nr.4 of 4 German Arias--along with K597, K598 and Anh C8.04.

Song with piano accompaniment "Vergiß mein nicht"

Issued by Schott in Mainz in 1794, Artaria in 1795 and numerous others; in the 'Caecilia' of 1829 Capellmesiter Lorenz Schneider of Coburg explained the composition was his, written in 1792 and first published by Götz in Mannheim under his name in 1793.

Song with piano accompaniment "Phyllis an das Klavier" Text: "Bestes kleines Clavier!"

Copy in Michaelbeuren Benedictine Monastary, and published numerous times under Mozart's name, first by Simrock in Bonn in 1798. Allgemeine musikalische Zeitung of 1798 reported this song originated from Lorenz Schneider.

Anh C 8.08 Anh 248 Anh 248

Anh C 8.09 Anh 249 Anh 249

Anh C 8.10 Anh 250 Anh 250

Anh C 8.11 Anh 251 Anh 251 (See remarks to C8.10)

Anh C 8.12 Anh 252 Anh 252

Anh C 8.13 Anh 253 Anh 253

Anh C 8.14 Anh 254 Anh 254

Anh C 8.15 Anh 255 Anh 255

Anh C 8.16 Anh 255a

Song with piano accompaniment "Das Mädchen und er Vogel" Text:"Ein Vogel kam geflogen"

Issued by Günther & Böhme in Hamburg in 1795 and then Artaria in 1799 (with Anh C8.09) as "Zwey Deutsche Arien 3ter Teil", and numerous further; Allgemeine musikalische Zeitung of 1798 named A.E. Müller as composer

Song with piano accompaniment "Minnas Augen" Text: "Zwei Augeb sind's aus deren Blikern"

See Anh C8.08; AMZ of 1798 named A.E. Müller as composer.

Song with piano accompaniment "Eheliche gute Nacht"

First issued by Günther & Böhme in Hamburg with C8.11 and numerous times after; review in 1798 Allgemeine musikalische Zeitung of a 1798 Rellstab in Berlin issue of 33 Mozart Lieder reported this Lieder (and C8.11) originated from Johann Fr. Dalberg (1760-1812); only 7 Lieder authentic Mozart in this Rellstab issue.

Song with piano accompaniment "Ehelicher guter Morgen"

Song with piano accompaniment "Selma" Text: "Kühlt, o schmeichelnde Lüfte"

First issued by Andre in 1793, and then numerous others after; reviewer in 1798 AMz believed authentic.

Song with piano accompaniment "Heida lustig, ich bin Hanns"

First issued by Andre in 1795, then Rellstab in 1798 (see remarks C8.10); reviewer in 1798 AMz believed authentic.

Song with piano accompaniment "Der este Kuss" Text: "Leiser namt ich deinen Namen"

First issued Josef Eder am Graben in Vienna in 1794, numerous others including Rellstab in 1798 (see remarks C8.10 and C8.12)

Song with piano accompaniment "Die zu späte Ankunft der Mutter" Text: "Beschattet von kühlenden Aesten"

First issued by Andre in 1795, Rellstab in 1798 (see remarks to C8.10 and C8.12)

Song with piano accompaniment "Meine weise Mutter spricht: Küssen, küssen, Kind, ist Sünde"

In a letter of July 1799 Constanze wrote of this song saying it was very lovely, and that it must have been composed before 1784 as she knew nothing of it.

Anh C 8.17 Anh 256 Anh 256

Anh C 8.18 Anh 257 Anh 257

Anh C 8.19 Anh 258 Anh 258

Anh C 8.20 Anh 259 Anh 259

Anh C 8.21 Anh 260 Anh 260

Anh C 8.22 Anh 261 Anh 261





Song with piano accompaniment "Am Grabe meines Vaters" Text: "Hier sein Grab bei diesen kleinen Hügeln"

First issued by Andre in 1795, Rellstab in 1798 (see remarks to C8.10 and C8.12)

Song with piano accompaniment "Minna" Text: "Schon fesselt Lieb und Ehre mich"

First issued by Andre in 1793, then others in Rellstab in 1798 (see remarks to C8.10 and C8.12)

Song with piano accompaniment "An die Natur" Text: "Süße heilige Natur"

Listed in B & H manuscript catalogue; published by Andre in 1795

Song with piano accompaniment "Lied der Freundschaft" Text: "Wenn ich der Kaiser wäre"

Listed in B & H manuscript catalogue; published by Böhme in Hamburg

Song with piano accompaniment "Gegenliebe" Text: "Wüßt ich, wüßt ich, daß du mich"

Listed in B & H manuscript catalogue; published Andre, Götz and Rellstab in 1798 (See remarks C8.10 and C8.12)

Song with piano accompaniment "Mailied" Text: "Willkommen, schöner, lieber Mai"

Published by Rellstab in Berlin in 1798; reviewer of 1798 AMZ of Rellstab's issue of 33 Mozart Lieder believed authentic. Listed in B & H Manuscript catalogue

Song with piano accompaniment "Frühlingslied" Text: "Unsre wiesen grünen wieder"

Song with piano accompaniment "Mailied" "Wie herrlich leuchtet mir die Natur"

Song with piano accompaniment "Frühlingslied" Text: "Freude jubelt, Liebe waltet"

Song with piano accompaniment "Frühlingslied" Text: "Der Frühling ist gekommen, es"


Anh C 8.28 Anh 267 Anh 267



Anh C 8.31 -- Anh 269a

Anh C 8.32 -- --

Anh C 8.33 -- Anh 270a

Anh C 8.34 Anh 271 Anh 271

4-part song with piano accompaniment "Aufmunterung zur Freude" Text: "Wer wollte sich mit Grillen"

Song with piano accompaniment "Trinklied im Mai" Text: "Heute will ich fröhlich"

(See remarks to C8.22)--published in Reichardt's Liedern geselliger Freude with heading "Der Frühling--Am ersten Maimorgen", composed by Reichardt.

Song with piano accompaniment "Mailied" Text: "O der schöner Maiemond"

Song with piano accompaniment "Frühlinglied" Text: "Blickt auf, wie sehr das lichte Blau"

Song with piano accompaniment "Elis und Elide" Text: "Wie sign ichs, Holder?"

Issued in Halle and Frankurt in 1807

Song with piano accompaniment "Danklied" Text: "Du bist's, dem Ruhm und Ehre gebührest"

Issued by Löschenkohl in Vienna in 1800 in Vol 1 of 6 Sacred Odes and Lieder (lost); Löschenkohl's notice read Mozart's set the music to Odes and Lieder of [Chr. F.] Gellert and was one of the early works of Mozart, "in which already the great talent of this youth shined through". Published with Anh C8.34, 8.38, 8.33, 8.41 and 8.42; listed in B & H Manuscript Catalogue .

Song with piano accompaniment "Trost der Erlösung" Text: "Gedanke, der uns Leben gieht"

Issued by Löschenkohl in Vienna in 1800. (See remarks to Anh C8.32)

Song with piano accompaniment "Das Glück eines guten Gewissens" Text "Besit ich nur ein ruhiges Gewissen"

Issued by Löschenkohl in Vienna in 1800; listed in B & H Manuscript Catalogue.(See remarks to Anh C8.32)

Anh C 8.35 Anh 272 Anh 272

Anh C 8.36 Anh 273 Anh 273

Anh C 8.37 Anh 274 Anh 274

Anh C 8.38 Anh 275 Anh 275

Anh C 8.39 Anh 277 Anh 277

Anh C 8.40 Anh 278 Anh 278

Anh C 8.41 Anh 279 Anh 279

Anh C 8.42 -- Anh 279a

Anh C 8.43 Anh 280 Anh 280

Song with piano accompaniment "Vertrauen auf Gottes Vorsehung" Text: "Auf Gott, und nicht auf meinen Rat"

Listed in B & H Manuscript Catalogue.

Song with Piano accompaniment, Text: "Gott, deine Güte reicht so weit"


Song with Piano accompaniment "Abendlied" Text: "Herr, der du mir das Leben"


Song with piano accompaniment "Versicherung der Gnade Gottes" Text: "So hoff ich denn mit festem Mut"

Issued by Löschenkohl in Vienna in 1800; listed in B & H Manuscript Catalogue.

Song with piano accompaniment "Die Ehre Gottes in der Natur" Text: "Die Himmel rühmen des Ewigen"


Song with piano accompaniment "Morgengesang" Text: "Mein erst Gefühl sey Preis und Dank"

Issued by Löschenkohl in Vienna in 1801 as Vol 2 of Odes and Lieder for the Young (see Anh C 8.32) along with C8.41, 8.43, 8.44, 8.45, 8.46; reprinted in 1805 with notice works dedicated to Count Thun.

Song with piano accompaniment "Gelassenheit" Text: "Was ist's, daß ich mich quäle"

Issued by Löschenkohl in Vienna in 1800 and 1801

Song with piano accompaniment "Zufriedenheit mit seinem Zustande" Text: "Du dlagst und fühlest die Beschwerden"

Issued by Löschenkohl in Vienna in 1800

Song with Piano accompaniment "Geduld" Text: "Ein Herz, o Gott, in Leid und Kreuz"


Anh C 8.44 Anh 281 Anh 281

Anh C 8.45 Anh 282 Anh 282

Anh C 8.46 Anh 283 Anh 283

Anh C 8.47 -- Anh 283a

Anh C 8.48 350 Anh 284f

Anh C 8.49 -- --

Anh C 8.50 -- -- Copy in Prague National Museum

-- -- -- -- --Anh C 9.01 Anh 188 Anh 188

Anh C 9.02 -- Anh 244a

Song with piano accompaniment "Vom Worte Gottes" Text: "Gott ist mein Hort"


Song with piano accompaniment "Prüfung am Abend" Text: "Der Tag ist wieder hier"


Song with piano accompaniment "Preis des Schöpfers" Text: "wenn ich, o Schöpfer, deine Macht"


Canzonetta "Baci amorosi e cari"

Manuscript in Library of Congress, Washington D.C. USA is dated Sept 7, 1770 is a forgery. Canzonetta is a poor bowdlerizing of the "Veilchen" KV 476.

Song with piano accompaniment "Wiegenlied" Text: "Schlafe, mein Prinzchen"

Originally placed as supplement in Nissen's biography of Mozart, but later Constanze asked it to be removed; both Constanze and Nannerl reported not knowing of piece; published numerous times under name of Bernard Flies.

Freundschafts-Lied for voice, 2 Violins and Bass, Text: "Es kann schon nicht alles so bleiben"

Copy in Prague National Museum attributed to "Del Sigre Mozart"; the song originated from F.H. Himmel.

Song with piano accompaniment "Das Grab" Text: "So schwarz wie die Nacht ist diese Hölle"

4-Part song for 2 Sopranos, Tenor and Bass, "D'Bäurin hat d'Katz verlorn"

Copy in National Libr. Vienna from estate of Michael Hortenschlag from 1855; theme used in last movement of Divertimento K287/271H.

Burleske Motett for 2 voices and piano "Nocte dieque bibamus"

Issued in Paris by Lavinée in 1871; music unMozartian, false use of Latin words, and wording that points to an original French language, are foreign to Mozart.

Anh C 9.03 Anh 6 441b

Anh C 9.04 -- 441c

Anh C 9.05 --

Anh C 9.06 -- 562d

Anh C 9.07 --

Anh C 9.08 -- --

2-voiced song "Beym Arsch ists finster"

Listed in B & H Manuscript Catalogue; copy in Berlin State Libr. for 3-voices attributed to Mozart; another version in Vienna National Libr. with different text; published by Anton Böhm with text "Die Nachet ist finster" for Soprano, Alto, Bass; K1 placed as lost work in of 1775; Constanze mentioned canon by similar name must have been written before 1784 and K3 placed in main part with works of 1783. Collection in Munich State Libr. mixed with works of Anton Pacher, chorus director at St. Michael Church.

2-voiced Serenade (Ständchen) "Liebes Mädchen, hör mir zu"

Published numerous times, first by Böhme in Hamburg around 1795; also listed in B & H Manuscript catalogue as song for one voice with piano accompaniment; Einstein carried it in main section of K3, but changed his opinion to misattributed in K3a.


Male Quartet "Wer unter eines Mädchens Hand"

Copy in Donaueschingen which contained other canons of Mozart; uses same text as Mozart song K506

Duet for 2 Sopranos and instrumental bass "Darum so trinkt"

Manuscript in New York Public Library on reverse side of K315g, handwriting verified to be Mozart's by Julius André, so K3 included in main part of Köchel; Einstein deleted from K3a, writing this side of page has nothing to do with Mozart, it appears a Salzburg or Vienna copyist used the Mozart autograph for a portion of a Singspiel.

Mentioned within Anh236

Humorous Male Terzett "Venerabiis barba capucinorum"

Versions in Pilsen, and Vienna National Libr. (for 2 Soprano and Bass). Friedlaender named Matthias Fischer as composer.

Song for 3 voices and guitar "Mädchen ich komm mit der Zitter"

Issued by Schott in Mainz in about 1810

Anh C 9.09 -- --

Anh C 9.10 -- --

Anh C 9.11 --

Anh C 9.12 -- --

Anh C 9.13 -- --

Anh C 9.14 -- "Die Juden-Leich"

-- -- -- -- --Anh C 10.01 Anh 7

Anh C 10.02 226

Anh C 10.03 Anh 189 Anh 189 4-part Canon "Amen"

Anh C 10.04 --

Anh C 10.05 Anh 192 Anh 283b

Song for 3 voices and guitar "Die Nacht ist still und heiter"

Issued by Schott in Mainz in about 1813

Song for 4 voices without accompaniment "Wie herrlich sind die Abendstunden"

Copy from 19th Century in Benedikt Monastary at Michaelbeuren

Mentioned within 556

Canon "O wie schön ist es hier"

In Einstein's estate with several authentic Mozart Canons and others of Salieri, M. Haydn and anonymous. Einstein held it for not authentic.

Choral work "Nachtgesang auf der Flur" Text: "Komm stiler Abend nieder…Te Deum adoramus"

Copy in Prague National Library in collection of various Lieder and Opera Arias etc.

Ariette for Chorus "Nimm durch dieser Töne Spiel"

Copy in Prague National Library in collection of various Lieder and Opera Arias etc.


Copy in Berlin State Library attributed to "Sigre Mozart"; is actually from the "Augsburger Tafelkonfekt"

(K2 and K3) Anh 284c

3-part Canon "Die verdammten Heuraten"

Jahn mentioned the piece as an authentic piece and K1 listed it under lost works; identified as Terzett for Sorano and 2 Basses from Wenzel Müller's comic opera "Die neue Alceste" which premiered in Vienna in 1806

(K2 and K3) Anh 284d

3-part Canon "O Schwestern, traut dem Amor nicht"

Published in B & H Oeuvres vol.16 in 1804; first published in Athanasius Kircher's "Musurgia" in 1650 without the text added by Härtel

Listed in B & H Manuscript Catalogue


Canon "Stefel Fadinger"

In Einstein's estate with several authentic Mozart Canons and others of Salieri, M. Haydn and anonymous. Einstein held it for not authentic; copy in Prague with composer name Fuch.

8 part Canon with 2 Violins, Alto and Bass without text

Listed in B & H Manuscript Catalogue; found to be canon of Johann Friedrich Fasch in Kirchberger's "Kunst des reinen Satzes" 1774.

Anh C 10.06 Anh 193 Anh 283c Canon without text

Anh C 10.07 Anh 194 Anh 194

Anh C 10.08 Anh 195 Anh 195

Anh C 10.09 Anh 196 Anh 196

Anh C 10.10 Anh 197 Anh 197

Anh C 10.11 Anh 198 Anh 198 5-part Canon "Amen"

Anh C 10.12 -- Anh 198a

Anh C 10.13 Anh 284 Anh 284

Anh C 10.14 --

Anh C 10.15 -- --

Anh C 10.16 -- Anh 284dd

Listed in B & H Manuscript Catalogue; work of Johann Phillip Kirnberger, was on title page of "Kunst des reinen Satzes".

Canon--Exercise in Counterpoint without text


4-part Canon "Katzengesang" Text: "Miau au au au au miau"

Listed in B & H Manuscript Catalogue; is composition of Brixi--unknown if Viktorin or Franz Xavier.

Canon for 2 Children's voices "Kinder Kinder, laßt uns heute lachen"


4-part Canon "Vieni cara mia vita mia"



8-part Canon "Hätt's nit 'dacht, daß Fischkraten"

Aloys Fuchs copy (with K560) headed "2 Scherzhafte Canons a 4 e 8 voci compos. Von W.A. Mozart"; Jahn held it for authentic from a C.F. Zelter's 1814 letter to Goethe stating Mozart wrote a Canon on these words; Einstein in K3 attributed to Wenzel Müller (1767-1835).

4-part Canon "Schleiß nieder, armer Sünder"

Copy in National Library Vienna; according to Neukomm is by Michael Haydn.

Mentioned with Anh284

5-part Canon "Es pakke dich das Glück"

Copy in National Library Vienna; work originated from Michael Haydn.

3-part Canon "Was bleibet!"

Contained in 1866 edition of Canons by D. H. Beck that also contained 6 transposed and arranged authentic Canons of Mozart.

4 Mirror Canons for 2 Violins

Published by Kallmeyer, edited by Fritz Jöde in 1928; another print by Edouard G. Mayer probably dates from before 1850. Nr.4 of this group also attributed to F.J. Haydn. Certainly none originate from Mozart.

Anh C 10.17 235 Anh 284e Canon for Piano

Anh C 10.18 -- Anh 284ee

Anh C 10.19 --

Anh C 10.20 -- --

Anh C 10.21 -- Canon "Difficile"

Anh C 10.22 --

Copy in Kremsier Monastary; published in B & H Oeuvres vol 16 of 1804; according to Kirnberger's "Kunst des reinen Satzes" composed by C.P.E. Bach

Joke-Canon for voices (and instruments?) "Nun beginnt das Fest der Maien"

Issued by Friedrich Hofmeister Leipzig around 1823 as 2 Joke-Canons composed by Mozart and Haydn. Both are very naïve pieces and originate no doubt from the same composer.

Mentioned within Anh284ee

Joke-Canon "Schau nur das Weiberl an"

Copy in Prussian State Library; primitive piece not by Mozart.

Canon sketch "L'anno novel"

A Duet between Nice and Tirsi; copy by Franz Sales Kandler send to Vincent Novello and printed in Mozart Pilgrimage 1955; the canon-study is supposed to have been composed by Mozart in Florence.


Copy in Prussian State Library; it contains the text of K559 with the melody of K556.(See remarks to C10.22)


Canon "Leck mich im Angesicht"

Copy in Prussian State Library in bundle with Anh C10.21 and C9.04; all three numbers misattributed.

Addition Information After K6

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Set of parts found in Feldkirch attributes Mass in slightly altered form to Joseph Aloys Holzmann 1761-1815 (Reijen-MJB

Set of parts found in Ottobeuren Monastary attribute Mass in slightly altered form to J.B. Vanhal. (Reijen-MJB 2001)

Actual composer Wenzesla Müller. Two composers by same name known--one lived 1767 - 1835, other 1736 -1794; first most likely author (Plath-Opera Incerta 1988)

Entry in Göttweig Monastery catalogue contains note "Probably not by [Mozart], however good". (Landon-MJB 1957)

Music catalogue of Litomyol gives composer name of Walter--dates unknown (Plath-Opera Incerta 1988)

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It is also listed in 1771 catalogue in Göttweig Monastary under Novotny's name titled "Missa Solemnis Lotarie Filia Siona"; another copy in Count Esterhazy's palace archives was titled "Missa in C. Scti Joannis de Deo…By Sigre Novotni" (Landon-MJB 1957)

Copy found in Holy Cross Monastary in Augsburg with entries and a deletion in Dona nobis by Mozart; another set of parts found in Trostberg shows hand of copyist within Mozart circle (Schulze-Foreward to Caras-Verlag edition 1980, Münster-Acta Mozartiana 1986, Reutter-Forward to Caras edition 1990)

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Carlson (Vocal Music of Leopold Mozart 1976) discovered copy in Florence attributed to Leopold Mozart; Plath (Opera Incerta 1988) reports in several catalogues author given as Cajetan Vogel ca.1750-1794.

Catalogue in Monastary Raigern lists author as Heimerich, and found to have been printed in 1795 as Op.2 of Martin Heimerich-died 1813 (Plath Opera Incerta 1988).

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Attributed in Salzburg Cathedral catalogue to "anonima=Bohemia" i.e. anonymous Bohemian (Plath-Opera Incerta 1988)

Pfannhauer (MJB 1970/71) reported a set of parts in Vienna Maria Treu church of this Mass attributed to "Giov: Neubauer"; probably Franz Christoph Neubauer (ca.1760-1795).

Attributed in St. Veit and numerous other sources to Nerzarth, or Nerzad or Nerzath (Biba-MISM 1974)

Holschneider (Musikforschung 1962) believes a "style study á la Mozart" of a composer, stimulated by Mozart's Requeim.

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Münster (Acta Mozartiana 1963) reported manuscript parts at Abby St. Veit of this and KV 197 attributed to "Sigre Cavaliere Amadeo Wolfgango Mozart: academico Filarmonico di Bologna e Verona", as Mozart only used the title "Cavaliere" in Salzburg Münster believed copy of authentic work from 1772; then Münster (Acta Mozartiana 1965) found a manuscript of this Tantum ergo attributed to [Johann] Zach (1699-1773) with slightly larger orchestration and no concluding Amen. Appears Mozart slightly revised Zach's work and added an Amen.

Manuscript of K.Anh C3.04 discovered at Abby St. Veit (see above K.Anh C3.04) and Münster believes this Tantum also authentic and probably composed in Salzburg in 1772. (Münster-Acta Mozartiana 1963)

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Federhofer (MJB-1959) believed Mozart's work before M.Haydn's and believed authentic Mozart from 1772 for perhaps 1777; NMA (Federhofer-1962) placed KV 198 in authentic works volume; Münster found copy in St.Peter form end of 18th Century for 2 Sopranos and NMA-Critical Rep (Federhofer-1963) changed opinion and stated original version for 2 young boys; Water/Wade (Quarterly Journal of Music Library Association-1963) reported there is no attribution to Myslivecek in Massin book.

Eisen (Mozart Studies 1991) assigned Leopold Mozart composition to 1750's or possibly even earlier.

Eisen (Mozart Studies 1991) assigned Leopold Mozart composition to 1750's or possibly even earlier.

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Manuscript in Berlin headed "Miserere/Del Sig. W.Amadei Mozard"; manuscript in Uppsala shows actually a work of Joseph Martin Kraus from 1773 (Boer-MISM 1981)

Manuscript in Munich not autograph, but a copy (Münster-Festschrift Walter Senn-1975)

Parody of last scene of Don Giovanni, Donna Anna/Don Ottavio duet "Or che tutti, o mio tesoro" (Plath-Opera Incerta 1988)

A shortened parody of Kyrie from Mass K275 (Plath-Opera Incerta 1988)

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Actually the shortened and slightly revised version of Credo to Mass K257 used by B & H in 1803 printing of Oeurves complettes; this version obtained from Nannerl Mozart from inventories of Salzburg Cathedral (Senn-MJB 1978/79 and NMA 1978)

Parody of last scene of Don Giovanni "Questo e il fin di chi fa mal"" (Plath-Opera Incerta 1988)

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Aria is from Simon Mayr's opera 'I Misteri Elsusine'--aria of Antinoo--and has been inserted into Mozart's "La Clemenza ti Tito" in copy in Lokowitz archive in Prague, and also a German version of opera in Melk (Giegling-NMA Critical Report 1994)

Kraus Thematic Catalogue (1998) shows autograph of Kraus preserved; it was published in 1796 by Breitkopf und Härtel as Nr.2 in "Airs et Chansons pour le Clavecin, composes par Joseph Kraus, Maitre de Chapelle de S.M. le Roi de Suede".

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--

--

--

(See remarks to C8.10)

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--

--

--

Angermüller (MISM 1986) states the AMZ does not make it clear if they are referring to a manuscript or a printing. If it is an autograph of Mozart's referred to, then the song would be authentic.

In letter to B & H in 1799 Constanze stated Dalberg had also composed these words "but to another melody", as did Bornbard [J.H.C. Bornhardt]. Dalberg composed music to text, but it is a Duet--published in 1790 by Götz and Schott--is different music; in 1796 advertisement Friedrich Franz Hurka from Berlin also published song to this text, possibly song attributed to Mozart is by Hurka (Weinmann-Die Musikforschung 1967).

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Mozart's sister Nannerl sent incipit to B & H with a postscript to it "Harmoniale"--Plath stated unclear what this meant, but not used in sense of K483 or K484. Plath thought possibly work of Leopold Mozart which Nannerl erroneously took copy to be by Wolfgang (Plath-MJB 1970/71); Berke (NMA 2000) shows two volumes--one recently found-- of Gellert Lieder are not actually designated Vol.1 and 2; the volume with C8.32, 8.33, 8.34, 8.38 8.42 and K.deest of Gelassenheit actually second volume issued, and works in this volume are possibly by Wolfgang; possibly "Harmoniale" refers to Glassharmonica.

Mozart's sister Nannerl sent incipit to B & H; Plath thought possibly work of Leopold Mozart which Nannerl erroneously took copy to be by Wolfgang (Plath-MJB 1970/71) (See remarks to C8.32)






(See remarks C8.34) Nannerl's incipit had postscript "Harmoniale". (See remarks C8.32)

Burke (NMA 2000) shows two volumes of Gellert Lieder are not actually designated Vol. 1 and 2; the volume with C8.40, 8.41, 8.43, 8.44, 8.45, 8.46 was issued first and works possibly by Leopold Mozart; (also see remarks to C8.34); printed in Acta Mozartiana-2003 v.3/4

(See remarks to C8.40); the two setting of Gelassenheit in the two volumes are different compositions, this one in 1800 volume probably by Leopold; other setting is K.deest and possibly by Wolfgang; both settings published in NMA (Burke-NMA 2000); printed in Acta Mozartiana-2003 v./3/4

(See remarks to C8.40); printed in Acta Mozartiana-2003 v.3/4

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Early manuscript of song attributed to Flies found at Stanford University, verifing authorship of Flies (Ballin-NMA Critical Report 1964). Goretzki (MISM-1988) believes Wiegenlied was in music Andre purchased from Constanze in 1799, but not used as Andre had recently published a different setting of poem by Johann Fleischmann with guitar accompaniment.

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--

Work is actually a multi-voiced Lieder of Michael Haydn (Schmid Oesterreichischer Musikzeitung and Sherman-M.Haydn Thematic Catalogue MH749, composed ca.1795-1799).

Work is actually a composition of Michael Haydn (Schmid Oesterreichischer Musikzeitung and Sherman-M.Haydn Thematic Catalogue MH608, dated November 6, 1795).

Transcribed in NMA-Critical Report (Lindmayr-Brandl 1996). is concluding 19 measures of a not identified Lieder, or piano reduction of an Aria or Duet

A copy in Mozart's hand of composition (untexted) is preserved in Stockholm and is headed by Maximilian Stadler "Uebungen im Contrapunct", possibly same as K626b/40 (Konrad-Mozarts Schaffensweise 1992)

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Work of Ignaz Imlauf (Dunn-MJB 1971/72)

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Composer Johann Joseph Fux 1660-1741 (Dunn-MJB 1971/72)

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Composer Michael Haydn under title "Cato, Polato, Cierco" (Dunn-MJB 1971/72, Sherman-M.Haydn Thematic Catalogue MH714, composed ca.1795-1799?)

Work of Michael Haydn from ca.1795-1799 with text "Hätt I glabt daß d'Fsichgrät" (Sherman-M.Haydn Thematic Catalogue MH 707).

Is work of Michael Haydn on text "A questa amara sorte" (Dunn-MJB 1971/72) however authentic copy in abbey in Michaelbeuern uses same text as that attributed to Mozart (Sherman-M.Haydn Thematic Catalogue MH700 composed ca.1795-1799).

Autograph of Michael Haydn in Geesellschaft der Musikfreunde Vienna has 14 measure introductory Adagio. Composed ca.1795 (Sherman-M.Haydn Thematic Catalogue MH 577)

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Freeman (Musicologia Humana; Studies in Honor of Warren and Ursula Kirkendale, 1994) writes C.P.E. Bach Canon in Kirnberger's book unresolved, that attributed to Mozart is in resolved form.

Part Eight of Eight Anhang C Instrumental WorksK6 K1 K3 Composition K6 Remarks

-- 16b Symphony in C

17 Anh 223a

Anh 216 74g Symphony in Bb

98 Anh 223b Symphony in F

-- 311a Overture in Bb

Anh C 11.01

Only copy of 1st violin part preserved in Munich State Library; is contained in a manuscript bundle which contains 53 different numbers; Allegro and Andante on one page, and a further Allegro on next page; K3 saw stamp of Mozart's first symphony in this and placed in London 1765; first Allegro identified as composition of Leopold Mozart from 1766 Breitkopf catalogue, and other two movements should be assigned to Leopold.

Anh C 11.02

Symphony in Bb (4 movement fragment)

Copy purchased from Constanze Mozart by André who remarked no doubt written during Mozart's trip in 1760's; Köchel expressed doubts but placed it in main portion of K1 with works of 1765 in London; K3 removed to Anh on "inner grounds" and St.Foix believed possibly by Leopold Mozart; K3 removed to Anh on "inner grounds"

Anh C 11.03

Originally only known from incipit in B & H Manuscript catalogue; manuscript discovered and published by B & H in 1910; Einstein believed composed in Salzburg in early summer 1773 between Italian trips; K6 placed in Anh on "inner grounds"

Anh C 11.04

Köchel only knew in 2-piano arrangement and placed with ; copy originated from Aloys Fuch at Steiermärk; anonymous catalogue dated the symphony "Milan Nov 1771"; Abert doubted authenticity, although Wyzewa/St.Foix thought piece genuine, but K3 moved to Anh section

Anh C 11.05

Orchestral full score publication from between 1802 and 1806 found in Paris in 1901, believed to be 2nd Paris symphony Mozart wrote about in letters; first Hess, then others doubted authenticity on stylistic grounds.

Anh 291b Symphony in D

-- Symphony in D

-- Symphony in F

Anh 293 Anh 293 Symphony in G

-- Anh 293c

-- Symphony in C

-- Symphony in F

Anh 294 Anh 294

Anh C 11.06 Anh 219

Listed in B & H manuscript catalogue; published as work of Leopold Mozart in 1908

Anh C 11.07

Mentioned in Anh223

Listed in B & H Manuscript catalogue (Lost)

Anh C 11.08

Mentioned in Anh223

Listed in B & H Manuscript catalogue (Lost)

Anh C 11.09

Listed in B & H Manuscript catalogue; supplement B & H of 1775 had listed as work of Leopold Mozart; Wyszewa/St.Foix believed Minuet is possibly composition of Wolfgang's inserted into father's work.

Anh C 11.10

Grande Symphony in F

Copy in Stams Monastary headed "Auth A.M. Mozart"; actually a work of Ignaz Pleyel first issued by André in 1787 or 1788.

Anh C 11.11

Mentioned within Anh293c

Copy in Stams Monastary attributed to Mozart; Einstein and K6 stated actual composer is Joseph Aloys Holzmann from information from W.Senn

Anh C 11.12

Mentioned within Anh293c

Copy in Stams Monastary attributed to Mozart; Einstein and K6 named Gyrowetz as author from information from Senn; LaRue cited Dittersdorf (Krebs Catalogue listing 35).

Anh C 11.13

Divertimento (Sinfonia Pastorale) in G

Copies in Vienna Gesellschaft der Musikfreunde and Prussian State Library attributed to Mozart (later in Jahn's hand); from Leopold Mozart letters of Dec 1755 of Sinfonia pastorale with similar setting; listed as work of Leopold by Seiffert

-- -- Symphony in C

-- -- Symphony in C

-- --

-- -- -- -- --(K2) 25a Anh 293a

510 Anh 293c

--

-- -- -- -- --

Anh C 11.14

Copy in Cremona attributed to Mozart; K6 stated actual author Franz Christoph Neubauer from numerous copies in Europe.

Anh C 11.15

Copy in Prague National Musuem attributed to Mozart

Anh C 11.16

Fragment of an Orchestral full score (Symphony) in G

Attributed to Mozart in 1929 auction catalogue; is portion of development to Symphony in G; originates from 19th Century and has nothing to do with Mozart.

Anh C 13.01

Minuet with Trio for Orchestra in C

Alleged autograph first discovered in private possession in Constantinople, thought to be from Mozart's earliest compositions; presented to British Museum; manuscript not autograph, piece attributed to Beethoven dating to Vienna 1795 by St.Foix. Other compositions in this manuscript bundle (see Anh C24.01) found to be from Leopold Kozeluch, thus this also attributed to him.

Anh C 13.02

9 Contredances or Quadrillen for Orchestra

Manuscript--once thought autograph--in Prague University Library; Jahn reported at beginning of 1787 Mozart promised Count Pachta to write contredances and Count gave him writing material at table, Mozart wrote them on the spot; authenticity doubted in AMA and Nettl showed these are military marches and old Czech folk songs.

Anh C 13.03

Mentioned within 61b

4 Minuets for 2 Violins and Bass

Manuscript discovered in 1911 with the numbers designated as 2,3,4,6; had been in the estate of Mozart's son; K3 remarked only the violin parts could have originated from Mozart but not the bass part; authenticity of whole composition doubtful.

-- 297b

Anh 99 Anh 294c

-- Anh 230a

268 365b

Anh C 14.01

Sinfonia Concertante for Oboe,Clarinet, Horn, Bassoon and Orchestra in Eb

Parts found in Jahn estate in 1870, thought to be Sinfonia Concertante Mozart wrote in Paris; authenticity question debated throughout 20th Century on differing instrumentation, etc. Einstein believed it authentic and placed in main section of K3; K6 doubted authenticity and placed it in Anh C, with lost work listed as K297B in main section.

Anh C 14.02

Concerto for Cello (Clarinet?) and Orchestra in F(Fragment)

Manuscript in Vienna National Library headed probably to a Clarinet Concerto and is so listed in K1 and K2. Einstein stated handwriting of solo part and orchestral parts originate from two different hands, neither having anything to do with Mozart.

Anh C 14.03

Concerto for Bassoon and Orchestra in Bb

Discovered in set of parts in the Haag attributed to Mozart; Seiffert held the work authentic from the years 1780-85 and published it under Mozart's name in 1934; most everyone doubted authenticity from start. Hess (MJB 1957) attributed to Francois Devienne 1759-1803)

Anh C 14.04

Concerto for Violin and Orchestra in Eb

First published by André in 1799; contemporary writer stated work had been written around 1784 and played to the young Violinist Johann Friedrich Eck in Munich by Mozart, although Constanze stated if authentic it dated prior to this; K1 placed in works of 1776; in later 19th Century believed first and last movements might contain some Mozart material later reworked by unskilled hand; Oldman believed stylistically similar to Sinfonia Concertante K365 and work was completed by Eck; K3 placed in 1780; K6 removed from authentic works.

-- Anh 294a

-- Anh 294b

-- -- -- -- ---- --

-- 43c

-- --

-- 626aII/E

Anh C 14.05

Concerto for Violin and Orchestra in D "Adelaide"

Discovered by Casedesus and published in piano reduction in 1933; autograph alleged to have dedication to Madame Adelaide, eldest daughter of Louis XV, and dated May 26, 1766 in Versailles; Einstein doubted authenticity showing Mozarts not in Versailles on May 26, not in Mozart correspondence, or Leopold's etc in addition to stylistic problems.

Anh C 14.06

Concerto for Oboe in Eb (unknown accompaniment)

Issue by C.F. Schmidt in 1899 attributed to Mozart with no further information; poor quality work is that of an unknown 19th Century musician.

Anh C 15.01

Concerto for Piano and Orchestra in G

Copy in Kremsier Monastary attributed to "Signore Amadeo Mozart"; the Concert appears to have originated about 1770, and the copy has entries by Leopold Mozart. Over the 2nd movement "Adagio variato. Del concerto de Masi"; a Masi is mentioned in Mozart letter of Jan 26, 1770.

Anh C 15.02

Concerto for Piano and Orchestra in G (Sketches)

Parts of scattered manuscript had been in Mozart's son estate, thought to be autograph, sketches to Allegro and Adagio; Einstein (following Haas) thought it to be Mozart's first independent Piano Concerto and dated it 1768 in Vienna; Allegro in Fuchs catalogue as "in Leopold's handwriting"; Plath (MJB 1960/61) saw no reason two pieces belong to same Concerto and discovered manuscripts not Wolfgang's, but Leopold's and concludes from technical grounds music could not be from Wolfgang.

Anh C 15.03

Concerto for Piano in F

Solo part only discovered in Venice in 1962.

Anh C 15.10

Cadenza to Piano Concerto

Manuscript with heading Cadenza and "By W.A. Mozart" first thought to be partially in Leopold, partially in Wolfgang's hand discovered 1919; Plath found from neither.

-- 626aII/I

-- --

-- -- -- -- --124c Church Sonata in C

-- -- -- -- --Anh 226 196e

Anh 227 196f (See remarks to Anh C 17.01

Anh 228

Anh 224 Anh 224

Anh C 15.11

Ubergang in C to Piano Concerto

Manuscript on same page as Cadenzas to K107 version b to K271

Anh C 15.12

3 Cadenzas in A for 2 Violins

Manuscript located in Hamburg University with note in Constanze's hands they are by Mozart; however Plath showed handwriting is Leopold's and has nothing to do with Wolfgang.

Anh C 16.01

Manuscript discovered in Bologna in 1888 thought to be autograph last 8 measures of a completed sonata; K3 listed in beginning 1772 because of similarity to K145/124b; Plath (MJB 1960/61) showed handwriting and corrections make work by Leopold.

Anh C 17.01

Divertimento for Wind Octet in Eb

Parts printed by B & H in 1801 attributed to Mozart; K1 listed in Anhang for doubtful works because of position with many other doubtful works; St.Foix and others claimed authenticity for work in early 20th Century and K3 placed them in main catalogue dating them to carnival season 1775 in Munich; K6 put back in doubtful Anhang because of poor source handing down.

Anh C 17.02

Divertimento for Wind Octet in Bb

Anh C 17.03 Anh 228

Divertimento for Wind Octet in Bb

Parts printed by B & H in 1801 attributed to Mozart; K1 listed in Anhang for doubtful works because of position with many other doubtful works; Einstein kept in Anhang in K3 believing an imitation of Mozart.

Anh C 17.04

Divertimento for Wind Octet in Eb

Only known to K1 from Fuch catalogue; Einstein knew copy in Prussian State Library in Berlin and called work Mozartian, but surely not by Mozart.

Anh 225 Anh 225

-- --

-- -- Copy in Moravské Museum

-- -- Wind Sextet in Bb Copy in Moravské Museum

-- --

-- --

187 159c

-- -- -- -- --

Anh C 17.05

Divertimento for Wind Octet in F

Only known to K1 from Fuch catalogue; Einstein knew copy in Prussian State Library in Berlin and called work an imitation of Mozart

Anh C 17.06

Variations of Wind Sextet

Parts in Kremsier headed "Serenade de Sig. Kromer-Variaziioni del Sig. Mozart"; only 2nd Clarinet part designated as by Mozart; theme is actually from Ignaz Umlauf.

Anh C 17.07

Adagio and Allegro for 8 Winds in Eb

Copy in Prague University Library as last movement of Partita Nr.1 (first two movement movements of C17.05.

Anh C 17.08

Parthia for 5 Winds in F

Anh C 17.09

Anh C 17.10

Partita Nr. 2 for 6 Winds in Eb

Copy in Vienna National Library headed "4 Parthien in Eb, the second probably by Mozart".

Anh C 17.11

Cassation for 4 Winds in Eb

Discovered in 1910, with no further source information printed in 1936 by Andraud.

Anh C 17.12

Ten Pieces for 2 Flutes, 5 Trumpets, 4 Drums

Based an alleged autograph in Prussian State Library K1 placed "Divertimento" in 1773--pieces number 1-10 with Nr.8 missing; K3 moved to anniversary of the installation of the Archbishop on March 14, 1773; later established pieces are arrangements of ballet music of Joseph Starzer and Gluck; Plath showed handwriting of these 9 is Leopold Mozart's. (See K626b/28 in main section for missing Nr.8)

Anh 210 Anh 210

Anh 211 Anh 211 String Quartet in C (See remarks to C 20.01)

Anh 212 Anh 212 String Quartet in A (See remarks to C 20.01)

Anh 213 Anh 213 (See remarks to C 20.01)

-- Anh 291a

--

-- -- String Quartet in C Copy in Prague National Museum

-- -- -- -- --Anh 284h Piano Trio in D

Anh 291 Anh 291 Piano Trio in C

Anh C 20.01

String Quartet in Bb

Full score copy (along with C20.02- 20.04) in collection of Fuchs with copies of K155 and K159 received from Salzburg; St.Foix and others believed authentic and from time of K155-160 or K168-173; Einstein believed possibly authentic but not enough proof to place in main portion of K3; in 1957 C20.02 found to be quartet of Joseph Schuster (1748-1832) and attributed all four to Schuster.

Anh C 20.02Anh C 20.03Anh C 20.04

String Quartet in Eb

Anh C 20.05

6 String Quartets in C, G, Eb, f, D, Bb

Set of parts in Berlin State Library attributed to W.A. Mozart; Kinsky attributed Quartets to Beethoven (Anh 2) and these Quartets are also attributed to F.J. Haydn in a Spanish manuscript; Quartets work of a not unskilled imitator of Mozart.

Anh C 20.06

Mentioned within Anh291a

6 Quartetti Capricciosi

Copy in possession of Heinemann in Berlin attributed to W.A. Mozart allegedly going back to Andre; Pfannhauser identified composer as Johann (Gallus) Mederitsch (1752-1835)

Anh C 20.07

Anh C 22.01

(K2) Anh52a

Alleged autograph first discovered in private possession in Constantinople, presented to British Museum; placed by K2 in Anhang for fragments; found to be not autograph and attributed to Beethoven by St.Foix; one of piano pieces in bundle (see C24.01) found to be transcription of ballet of Kozeluch and all pieces attributed to Kozeluch, although never proven; Kinsky listed in Beethoven Thematic Catalogue as Anhang 3

Anh C 22.02

Published by Artaria as Op.41 in

Anh 291 Anh 291

-- -- -- -- --55 Anh 209c

56 Anh 209d (See remarks to C23.01)

57 Anh 209e (See remarks to C23.01)

58 Anh 209f (See remarks to C23.01)

59 Anh 209g (See remarks to C23.01)

60 Anh 209h (See remarks to C23.01)

61 Anh 290a

-- Anh 290b

-- Anh 290c

-- -- -- -- --

Anh C 22.02

Published by Artaria as Op.41 in 1797 and others in the next year; work is by Anton Eberl as he stated as early as 1798.

with c minor introduction

Anh C 23.01

Sonata for Piano and Violin in F

Sonatas C23.01- 23.06 issued in B & H "Oeuvres Complettes" 1801 from copies received from Constanze; K1 placed in 1768; Wyzewa/St.Foix saw the sonatas as being in Mozart's "great romantic crisis" and moved them to Milan Nov 1772-March 1773; Einstein removed from K3, believing Joseph Schuster composer, but this proven incorrect, and Einstein then believed a Mozart pupil their author; K6 kept Sonatas in Anh C.

Anh C 23.02

Sonata for Piano and Violin in C

Anh C 23.03

Sonata for Piano and Violin in F

Anh C 23.04

Sonata for Piano and Violin in Eb

Anh C 23.05

Sonata for Piano and Violin in c

Anh C 23.06

Sonata for Piano and Violin in e

Anh C 23.07

Sonata for Piano and Violin in A

Issued in B & H "Oeuvres Complettes" in 1804; Wyzewa/St.Foix discovered true author Hermann Fr. Raupach and believed most likely copied by young Mozart.

Anh C 23.08

Sonata for Cembalo and Violin in C

Manuscript in private possession in Vienna; Pfannhauser reported probably by Joseph Hoffmann (1765-1843), Violin player in Court Capelle.

Anh C 23.09

Sonata for Violin and Bass in A

Set of parts from middle of 18th Century in Gesellschaft der Musikfreunde had later added heading "Del Sig. W. Amad: Mozart". The shallow virtuoso pieces has nothing to do with Mozart.

Anh 284g

Anh 146 Anh 146

-- -- -- -- --Anh 204

(K2) 511a Anh 284i

Anh C 24.01

(K2) Anh41a

Gavotte in F, Allegro in Bb and Marcia lugubre in c for Piano 4-hands

Alleged autograph first discovered in private possession in Constantinople, presented to British Museum; placed by K2 in Anhang for fragments; found to be not autograph and attributed to Beethoven by St.Foix; Deutsch discovered these are 4-hand reductions of sections from ballet "La Ritrovata Figlia de Ottone II" of Leopold Anton Kozeluch from 1794 in Vienna. (Also see C13.01, C22.01, C25.02)

Anh C 24.02

Large Fugue for Piano 4-hands in D

Issued by Haslinger in Vienna in 1835 and stated it was "performed in the Concerts spirtuels in Vienna". Work is a 4-hand reduction of Symphony finale of K291 (Anh A52=Mozart copy of Michael Haydn Symphony; see A52 in main Köchel section) finished by Simon Sechter and provided with introduction by him.

Anh C 25.01

(K2 and K3) Anh 284a

Piano Sonata in c-minor

Issued by Artaria as Mozart's Op.31 in 1794 and by Andre as Op.47 in 1795; Pleyel added Violin and Cello for Paris issue of 1797; Artaria published Sonata in 1798 as Anton Eberl's Op.1 dedicated to Madame Madelaine de Jacobi; On July 15, 1798 Eberl gave notice in Hamburg paper he was author of 3 works printed as Mozart's (also see C26.04 and C 26.05)

Anh C 25.02

Rondo for Piano in Bb

Alleged autograph first discovered in private possession in Constantinople and presented to British Museum; only knowing 3 measure incipit K2 placed in vicinity of Rondo K511; found to be not autograph and attributed to Beethoven by St.Foix; one of piano pieces in bundle (see C24.01) found to be transcription of ballet of Kozeluch and all pieces attributed to Kozeluch, although never proven (see C13.01, C22.01, C24.01)

-- Anh 284k

Anh 136 498a

Anh 137 498a

-- -- -- -- --Anh 284n

Anh 285 Anh 285

Anh 286 Anh 286

Anh C 25.03

Sonata for Piano in F

Copy in Donaueschingen headed "Trio(!)…del Sigr. Mr. Mozzart"; work consists of 6 movements; this work of an amateur has nothing to do with Mozart.

Anh C 25.04

Sonata Movement (Allegro) for Piano in Bb

4-movement Sonata published by Thonus in Leipzig in 1798 and then others as Mozart; 1806 issued by Kühnel attributed Sonata to August Eberhard Müller--Sonata's 2nd movement set of variations form K450, 4th movement used themes of K450,K456,K595, other movements original; K1 listed in Anhang for transcriptions;Nottebohm and K2 believe Sonata to be work of Müller; K3 moved Sonata into main section with speculative dating Aug 1786; K6 placed 1st movement and 3rd movement into Anhang C section as a doubtful work.

Anh C 25.05

Minuet for Piano in Bb

(See remarks to C25.04) Einstein expressed possibility this could be transcription of lost Minuet from K525

Anh C 26.01

(K2) Anh209b

Pastorale variee for piano in Bb

First issued Durand & Schoenewerk in Paris about 1870 and later in London and New York; has no connection to Mozart

Anh C 26.02

7 Variations for Piano in C on "Une fievre brulante" from Grétry's opera 'Richard Löwenherz'

First issued by Rellstab in Berlin in 1792 and again in B & H's Oeuvres Complette in 1798; Constanze Mozart expressed doubts on authenticity; Grétry's opera premiered in Paris in 1784 and these variations not listed in Mozart own Work Catalogue.

Anh C 26.03

9 Variations for Piano in F on Andante from Mozart's Divertimento K287

First issued by Thonus in Leipzig in 1798 and later others; a B & H catalogue attributed work to A.E. Müller; Mozart never used a theme from one of his works for variations.

Anh 287 Anh 287

Anh 288 Anh 288

Anh 289 Anh 289

-- Anh 289a

-- Anh 289b

Anh 290 Anh 290

Anh C 26.04

12 Variations for Piano in D on Andantino "Freundin saufter Herzenstriebe" from Dittersdorf opera 'Der Gutsherr'

First issued in Musikal Magazin in Vienna in 1794, then Artaria, André and others including B & H Oeuvres complettes in 1799; work is Anton Eberl's Op.6; on July 15, 1798 Eberl gave notice in Hamburg paper he was author of 3 works printed as Mozart's (also see C25.01 and C 26.05)

Anh C 26.05

12 Variations for Piano in Eb for Piano on Aria "Zu Steffen sprach im Traume" from Umlauf's opera 'Das Irrlicht oder Irrwisch'

First issued by Günther & Böhme around 1788 and then numerous others; work is Anton Eberl's Op.5; on July 15, 1798 Eberl gave notice in Hamburg paper he was author of 3 works printed as Mozart's (also see C25.01 and C26.04); In his encyclopedia Gerber reported Mozart used these variations as a favorite teaching piece.

Anh C 26.06

10 Variations for Piano in A on Allegretto from Sarti's opera 'I finti eredi'

First issued by André in 1798 as Mozart's Op.66, B & H's Oeuvres complettes in 1799 and numerous others; is work of Emanuel Aloys Förster (1748-1823) who protested to B & H in 1800 he composed the variations in 1788; Constanze and Nannerl Mozart agreed with Förster.

Anh C 26.07

Variations for Piano in F on "Freut euch des Lebens" (composer unknown)

First issued by Monzani in London around 1805; variations probably originate from Johann Michael Lanz in Hannover in 1796; in addition A.E. Müller (op.9, 1796), Friedrich Gottlob Hayn (1797), and Carl Christian Meinhold (1797) composed variations on this theme, but not able to determine if had anything to do with C26.07

Anh C 26.08

12 Variations for Piano in G on "Das klinnget so herlich" (Glockenspiel theme) from Zauberflöte

Copies in Library della Casa di Ricovero and Graz and other locations attributed to Mozart; composer unknown but surely not Mozart.

Anh C 26.09

10 Variations for Piano in A on "Malbrough s'en va-t-en guerre"

First issued by Schott in Mainz "par Mozard" around 1800, then Artaria 1804; both K3 and K6 cite Eberl as composer without source.

-- Anh 207a

-- --

-- -- Copy found in Kremsier Monastary

-- --

-- --

-- --

-- --

Anh C 26.10

Theme for Harp in F

First issued as Theme for Piano-forte by W.A. Mozart with variations on theme of Joseph Häusler in 1848 in Prague; letter to F.W. Pixis stated Mozart played a 12-measure variation theme for the harpist Haussler while in Prague sometime between Jan 11 and middle of Feb 1787; also printed in slightly different form in Freissauf's 'Mozart's Don Juan' in 1887.

Anh C 26.11

Theme for Harp in F

According to report of 1892 Mozart added this theme as beginning to variations the Prague harpist Joseph Häusler composed on theme from Figaro during his trip to Prague in early 1787

Anh C 26.12

9 Variations for Piano in D

Anh C 26.13

10 Variations for Piano in G on "Unser dummer Pöbel meint" by Gluck

Copies found in Graz and Kremsier Monastary; Lausch offered 10 variations in G by Sardj on April 2, 1785, probably this work. Sardj is Giuseppe Sarti.

Anh C 26.14

12 Variations for Piano in G on "Nel cor píu non mi sento" by Paisiello

Copy in Conservatoire G. Verdi in Milan attributed to Mozart; work no doubt originated from early 19th Century, Fischer in NMA thought perhaps Hummel comes into question.

Anh C 26.15

5 Variations for Piano in D on a melody from Joseph Weigl's opera 'L'amor marinaro'

Copy in Conservatory Pietro a Majella headed "Del Sig. Giorgio Mozart". Weigl's opera did not premiere until 1797; Eybler, J. Gelinek, Hummel and J. Wölfl composed variations on this theme and work most likely is from one of them.

Anh C 26.16

6 Variations for Piano in G on on Glockenspiel theme fro Zauberflöte

Copy Conservatory Library Paris attributed to Sigr. Mozart, collected with works of numerous other composers titled "Diverse Suanate per il Piano Forte di Diversi Autoir, 1826"; another copy in Lucca,

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Anh C 26.17

5 Variations for Piano in C on the Figaro Minuet

Issued in monthly journal "Apollo" with title "Minuett mid 5 Variations of W.A. Mozart"; variations are on "Se vuol ballare, signor contino", certainly not by Mozart

Anh C 26.18

Variations for Piano in G on "Der Vogelfänger bin ich ja" from Zauberflöte

Known only from from listing in Whistling's 'Handbuch der musikalischen Literatur' of 1828; listed as issued by André, possibly by Auernhammer according to Weinmann.

Anh C 26.19

Variations for Piano in Eb on "Bei Männeren, welche Liebe" from 'Zauberflöte'

Known only from from listing in Whistling's 'Handbuch der musikalischen Literatur' of 1828; listed as issued by André, possibly by Anton Eberl according to Weinmann

Anh C 26.20

Variations for Piano on "Alles fühlt der Liebe Freuden" from 'Zauberflöte'

Known only from from listing in Whistling's 'Handbuch der musikalischen Literatur' of 1828; listed as issued by Berra in Prague

Anh C 26.21

Variations for Piano in C on "Ich bin der Schnider Wetz" from Wenzel's Müller's Singspiel 'Das neue Sonntagsking'

Known from listing in Whistling's 'Handbuch der musikalischen Literatur' of 1828; variations appeared in Kozeluch's Musikal Magazin in 1795; Müller's opera first performed in 1793.

Anh C 26.22

Variations for Piano on "L'Homme est honnete"

Known from listing in Whistling's 'Handbuch der musikalischen Literatur' of 1828; listed as issued by LeDuc in Paris.

Anh C 27.01

Mentioned within Anh284n

Andante favori for Piano

Issue by Cranz in Hamburg a crude forgery.

Anh C 27.02


Fantasia Impromptu for Piano

Printing by Williams in London as "A Relic…by Mozart' a naïve forgery.

-- 528a

Anh 205 Anh 205

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Anh 207 Anh 207 9 Pieces for Piano

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Anh C 27.03

Fantasy for Organ in Bb

In letter from the chorus director of Stravhav Monastery in Prague from 1818 is stated Mozart come to Monastery in June 1787 and played this piece and described it. However Mozart not in Prague until June of that year and there are misgivings because of differences from the description and handed down music.

Anh C 27.04

Romanze for Piano in Ab

First issued by Mollo & Co in 1802 with dedication to Madame Lefebrve, and again many times later; the charming piece shows too clearly knowledge of Beethoven

Anh C 27.05


Rondo Allegro for Piano in G

Copy in Berlin State Library in collection of "Little Pieces for the Pianoforte, 3rd Collection" with works of other composers which in form and style the same as Anh C26.06; music to this Rondo is same as K496a Nr.8 however enlarged by cadenza and rests to 33 measures from 31.

Anh C 27.06

Probably composed for a musical almanac around 1780 or 1790, but most likely composed by Hiller or Naumann than Mozart; Nr.3 is found under Mozart's name in B & H catalogue used in variations found in Graz that are not very Mozartian.

Anh C 27.07


Polonaise favorite for Piano in C

Issue by Böhme in Hamburg attributed to Mozart. Possibly by Franz Xavier Mozart.

Anh C 27.08


"Adieu/Derniére pensée de W.A. Mozart" for Piano

Issue by Mackar in Paris; is a free arrangement of Aria K621a provided with a introductory Andante.

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-- Anh 284l

Anh C 27.09


Children's Piece "La Tartine de Beurre" for Piano

Issued by Litolff in Braunschweig; the "tempo di Valse" can be played with only one finger on the right hand; also called the Butterfly"

Anh C 27.10

Mentioned within Anh109viii

Fugue a due for Piano

Copy in Berlin State Library from possession of Fuchs, who reported by Mozart and completed by Al. Klengl.

Anh C 27.11

Floh-Minuet for Piano in C

Issue by Steiner in Vienna in 1824 attributed to Mozart with two solo Trios for the "Phys-Harmonika or Pianoforte" by Joseph Wilde.

Anh C 27.12

Adagio for Piano in Eb

Manuscript from F.S. Silverstolpe in Stockholm

Anh C 29.02

Mentioned under 176

Manuscript whereabouts unknown to K6 but had been on exhibition in 1956; not a Mozart autograph and musically a typical amateur product of 19th Century; Engl in 1891 provided statement dances originated around 1772 and were for Josepha Gall, who could have been Mozart's pupil or sweetheart. Certainly Mozart was not giving lessons in 1772 in Salzburg.

Anh C 29.03

Issued by Simrock in Bonn in 1801 as 12 Waltzes for Piano with Flute or Violin by W.A. Mozart--also contained C27.08, K536/1-3, K567/1-5, K536/6, K567/6 and Coda of K567.

Anh C 29.04

Issued by Penson, Dublin in a set of 4 Waltzes composed by Mozart and performed by the Band of Theatre royal Edinburgh, set also contained K567/1and 2, K536/5.

Anh C 29.05

Issued by Cappi in Vienna in 1808; probably are compositions of Mozart's son.

Anh C 29.06

12 German Dances for Piano

Copy in Donaueschingen attributed to "Herrn Mozart"; 5 of set contain trios and 12th ends with coda; from stylistic grounds if authentic it could only originate from Mozart's later period but for this there lacks any verification, and he certainly would have listed it in his work catalogue.

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Anh 284m

-- 3 Waltzes for Piano

Anh C 29.07

Mentioned within Anh284l

7 German Dances for Piano

Copy in Donaueschingen attributed to "Herrn Mozart"; of similar character and same copyist as C29.06; Nr.3 has melody similar to "Champagne-Aria" from Don Giovanni.

Anh C 29.08


"Balli Tedesch"i for Clavicembalo

Issued by Junghanss in Prague around 1820 as 15 German Dances and 3 Walzer mixed together; Waltzes Nrs.1 and 2 had been issued alone by Schott in Mainz in 1810 or 1811; these types of dances completely foreign to Mozart.

Anh C 29.09


Ländler-German Dances for a Violin

Issued by Artaria in 1787 without designation of composer, someone later added "von Mozart"; dances originated from Vanhal.

Anh C 29.10


Ländler-German Dances for 2 Violins

Issued by Artaria in 1787 without designation of composer, someone later added "von Mozart"; dances originated from Vanhal.

Anh C 29.11


German Dance for 2 Violins and Bass in D

Copy in Gesellschaft der Musikfreunde, title page in another hand read "von Mozart"; surely misattributed.

Anh C 29.12


6 German Dances for 2 Violins and Bass

Set of parts in Gesellschaft der Musikfreunde; misattributed.

Anh C 29.13


"Menuetto" for Piano in C

Copy in Gesellschaft der Musikfreunde attributed to "Sig: Mozart"; surely misattributed.

Anh C 29.14


Copy from estate of Max Friedlaender with heading his his hand "Menuetto, most likely not printed. Manuscript by Mozart".

Anh C 29.15


Minuet for Piano 4-hands in G

Issued by Concha in Berlin attributed to Mozart; misattributed

Anh C 29.16

(K2) Anh209a

Valse lente for Piano in Eb

Issued by Hiélard in Paris; with doubt misattributed.

Anh C 29.17

Mentioned within Anh284m

Issued as "Beauties of Mozart partly taken from Manuscripts in his own handwriting, arranged for Piano by Wm Grosse. London"; a forgery according to Einstein.

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-- Waltz for Piano in a

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Anh C 29.18

Mentioned within Anh284m

In music album sent from Capel Lofft(?) to Miss Hanna Bloomfield in 1815; Nr.2 of 15 Waltzes; issued by Walker in London about 1810 as Nr.2 of 3 Waltzes for piano attributed to Mozart (also see Anh C29.19); also issued in Boston USA with accompaniment of German Flüte

Anh C 29.19


Issued as Nr.3 of 3 Waltzes by Walker in London--other 2 C29.18 and K606/1; also issued by Steup in Amsterdam with Flute ad lib; Certainly had nothing to do with Mozart according to Einstein

Anh C 29.20

12 Waltzes for Piano

Issued by Jouvre in Paris as by the "Célébre Mozart"; also advertised for 2 Pianos and for 2 Flutes,

Anh C 29.21

German Waltzes for Piano 4-hands

Issued by Preston in London as "Duettinos for two Performers on the Pianoforte arranged by Mozart".

Anh C 29.22

Copy in Casanatense Library in Rome attributed to "Mozard"

Anh C 29.40

Anh 109g/23

"Motivi di Tarantella"

According to Balser Bücherfreund of October 1926 manuscript headed "Motivi di Tarantella, Italian Dance, belonged to Mozart on May 10. 1770 in Naples; the Mozart's did not arrive in Naples until May 14, 1770.

Anh C 29.50

March for Piano in C

Issued by O.O. and Publishing as March from the opera "Der Kapellmeister" by Mozart; Music, Art and Book dealer Hoffmesiter in 1805 named Ellmenriecih as composer of opera which was performed on March 25, 1805 in Vienna.

Anh C 29.51

Mentioned within 72a

March for Piano in F

Music sheet on keyboard of portrait by Thaddäus Helbling once thought to be Mozart so music thought to be his as is music K72a; later discovered young at keyboard is actually Count Firmian.

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Anh C 29.52

Funeral March for Piano (Lost)

Advertisement of issue of Hoftheater-Musik publishing in Vienna as "Die Katakomben" in May 1812 Vienna Zeitung; Carl Wolfart's Funeral play "Die Katakobem" first performed in Burg Theater in Vienna on February 17, 1812; probably notice in Vienna Zeitung for Funeral marche K453a.

Anh C 30.01

Numerous editions appeared under Mozart's name, the first by J.J. Hummel in Berlin and Amsterdam in 1793; this popular form of musical entertainment was published under many famous composer's names in 18th and 19th Centuries.

Anh C 30.02

Mentioned within Anh294d

Alphabet/A Musical Joke

Issued by Lischke in Berlin as Mozart's Alphabet a Musical Joke for 3 children's voice, arranged by C.F. Par; certainly has nothing to do with Mozart.

Anh C 30.03

Issued by Enders in Prague in 1819 as W.A. Mozart's Piano School, it contained lessons and exercises from the best masters, arranged by A. M. Cramer, whose name it appeared under in Paris in 1819 according to Keller's Mozart Bibliography.

Anh C 30.04

Mentioned within Anh109d

Concise Thorough Bass School

Joseph Haydenreich offered a copy in the Vienna Zeitung on April 13, 1796 as a still unknown teaching of the Thorough Bass by Mozart; issue known from Steiner in Vienna from 1817, and then numerous later

Anh C 30.05

Manuscript in Vienna State Library with verification from Fuchs of Mozart's authenticity; page actually contains two studies of Leopold Mozart.

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Arrangement of Händel's Judas Maccabäus

Copy in Austrian National Library under Mozart's name; performed in Vienna by Tonkünstler Society in 1806 as work of Mozart; Bernhardt in 1836 reported the copy in Austrian National Library contained entries in Mozart's hand proving he was arranger, but Sonnleithner had already shown this attribution false; arrangement is most likely by Joseph Starzer.

Addition Information After K6

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Attribution to Leopold Mozart in Breitkopf catalogue uncertain, having no demonstrable connection to him; also little reason to place three movements together (Eisen-Symphonies of Leopold Mozart PhD Diss. 1986--listed there as?C3).

Symphony is attributed to Leopold Mozart in Lambach catalogue and is probably genuine Leopold work; in addition theme of slow movement transposed from Eb to F appears in L.Mozart's "Violinschule" (Eisen-Symphonies of Leopold Mozart PhD Diss. 1986--listed there as Bb6 and article in Journal American Musical Society 1986).

Zaslaw (Mozart's Symphonies 1989) sees no reason why this symphony should be considered unauthentic when others of similar source situation are considered authentic.

Copy found in Weyarn headed "Symphonia del Signore Haydn" (Hoboken I;F:16); probably refers to Michael Haydn, but Sherman states not authentic M. Haydn; composer of this symphony unidentified (Zaslaw-Mozart's Symphonies 1989); another copy in Graz attributed to "Sigre Mozart" (Eisen-Symphonies of Leopold Mozart PhD Diss. 1986)

Work dates from 1751; work sold by Christoph Westphal to B & H between 1785 and 1787; lost copy cited in Signaringen catalogue of 1767 (Eisen-Symphonies of Leopold Mozart PhD Diss. 1986, listed there as *D11, and MJB 1987/88).

Possibly overture to Gaetano Martinelli's "Gli accidenti inaspetatti" (Eisen-New Mozart Documents 1991)

Work obtained by B & H from Westphal, a later added note remarks "according to assurance of Herrn M.D. Schwenke [music director in Hamburg] very faulty and not by Mozart" (Plath-Die Sinfonie KV 16a "del Sigr. Mozart" 1987); possible work could be by Leopold Mozart (Eisen-Symphonies of Leopold Mozart PhD Diss. 1986)

Listed by Eisen as ?G8 (Symphonies of Leopold Mozart PhD Diss. 1986)

Composed by Pleyel in 1786? (Senn-MJB 1968/70) first published by Imbault in Paris in 1787 as "10th Sinfonie Periodique", also published by André in 1788 as Op.14/1 (Benton-1977 Pleyel Thematic Catalogue Nr.136)

True composer is Adalbert Gyrowetz (Senn-MJB 1968/70) composed before 1796, first published by André as Gyrowetz Op.23 in 1796 (Rice-The Symphony Garland Press 1983)

Listed as authentic Dittersdorf, composed not later than 1772 (Eva Badura-Skoda--The Symphonies Garland Press 1985)

Authentic copy from 1751 preserved in Augsburg University Library (Eisen-Symphonies of Leopold Mozart PhD Diss 1996, listed there as G3).

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Symphony is work of Anton Eberl, autograph dated June 25, 1785 (Fischer-MISM 1983)

Wrapper of set of parts not original and attribution of later hand (Eisen-Symphonies of Leopold Mozart PhD Diss 1996)

Possibly has something to do with anecdote of Mozart concert on May 12, 1789 in Leipzig (Zaslaw-Mozart's Symphonies 1989)

Actually work of Beethoven's younger brother, Kasper Anton Karl 1774-1815 (Kojima-Report of the International Beethoven Congress 1977)

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Levin (Who Wrote The Mozart Four-Wind Concertante-1988) gives details of all theories and arguments for and against before and after K6. Levin theory is someone found solo parts, transcribed them for different instruments and added orchestration. Plath (NMA-1980) saw nothing of Mozart in the work and placed in volume Works of Doubtful Authenticity.

Comparing Concerto with known Violin Concertos by Eck, Lebermann (Musikforschung-1978) concludes works is probably by Eck and written sometime before 1790.

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Casadeus admitted work a pastiche of his own creation in July 1977 Bazzana-Notes to Ess.ay CD)

Plath of verbal opinion there are motif reminiscences to J.Schobert's Piano Concerto Op.4.2 (Berke-NMA 2000)

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Autograph located in Poland, is from Wolfgang and part of a modulating Präludium from a larger piece that probably dates from Salzburg 1777 (Plath-MJB 1982)

Leeson/Whitwell (Music & Letters-1972) believed authentic and traced back to Constanze Mozart; Hellyer (Haydn Yearbook-1975) doubted authenticity and believed both this Divertimento and C17.02 written by two different composers; set of parts to C17.01 found in Kremsmünster Monastary attributed to Giuseppe Puschmann; Giegling (NMA-1993) placed in Works of Doubtful Authenticity, also believing this and C17.02 by different composers originating essentially later than the 1770's.

(See remarks to C17.01) Giegling (NMA-1993) questions if composer could be Josef Fiala.

Leeson/Whitwell believed authentic (Music & Letters 1972); set of parts at Donaueschingen attributed Ignaz Pleyel as composer (Hellyer-Haydn Yearbook 1975)

Set of parts in Prague and advertisement of Traeg in 1792 show this Divertimento ("Parthia") part of Mozart material sold for Constanze Mozart's behalf as Parthie III with Rondo in Eb K.deest as its Finale, and believed authentic (Leeson/Whitwell-Music & Letters 1972)

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Set of parts in Prague and advertisement of Traeg in 1792 show this Divertimento ("Parthia") part of Mozart material sold for Constanze Mozart's behalf as Parthie I,along with Minuet and Rondo K.deest and believed authentic (Leeson/Whitwell-Music & Letters 1972)

This movement may not be part of material advertised by Traeg in 1792 (see above C17.04) and could be work unidentified which Constanze referred to as "unfinished Harmoniestük" (Leeson/Whitwell-Music & Letters 1972)

Also found under Mozart's name in Raigern Monastary, but under Joseph Haydn's name in many other locations (Hellyer-Haydn Yearbook 1975)

Copy in Vienna actually states only for 5 winds; 6 other copies are attributed to Pleyel (Hellyer-Haydn Yearbook 1975)

Composer is actually Georg Lickl (Birsak-Jahresschrift Salzburger Museums Carolino Augusteum 1977/78)

(See remarks to C 20.01)



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All four Quartets discovered in Narodni Museum in Prague attributed to Schuster. Nr.1 (C20.01) is dated 1780. (Finscher-Musikforschung 1966) These same 4 Quartets found in archives of St.Anthony in Padua with 2 additional--in g-minor and d-minor--with Schuster's name. Also a document dated June 16, 1780 shows Schuster paid for these 6 Quartets and they originated in 1780 (CD notes by Paola Catelan to Symphonia recording of 6 Quartets by Schuster).

The statement in K6 that 3 of the quartets in C 20.05 are attributed to F.J. Haydn should belong to three of these Quartets (Hoboken III:G5, III:C8, III:B4)

Work of Ignaz Pleyel from Op.9 of 1803 dedicated to "Louis Bocherini" (Benton-Pleyel Thematic Catalogue 1977)

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Lost manuscripts of sonatas found in Frankfurt State University Library and are not in hand of copyist known to have worked for Mozart; the sonatas are numbered Nr.1,5,6,10,11,12--thus appearing to have been part of a series of 12 and showed corrections that make it appear writer and composer are the same (Plath-MJB 1968/70)

(See remarks to C23.01) Another manuscript in Frankfurt has parts for 2 Horns and Bass ad lib. to this Sonata (Plath-MJB 1968/70)

Sonata listed under Mozart's name in old B& H manuscript catalogue with remark obtained from Baron von Dürnitz. No doubt Dürnitz became acquainted with sonata through Mozart in a copy, and this copy was later assumed to be a Mozart composition (Plath-Acta Mozartiana 1974)

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Eberl's autograph dated July 18, 1792 (A.White-PhD dissertation Piano music of Eberl, 1971)

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An analysis of Sonata with works of Müller (including 4 movement structure) shows more likely work by Müller than Mozart (Marguerre-MISM 1978)

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A.White (PhD dissertatiion Piano Works of Eberl, 1971) gives no Op.Nr. for this work, Eberl's Op.6 is another work; states written 1798

All published versions of these variations contain only 10 variations, leaving out the Adagio variation; cadenza and coda no doubt served as 12th variation. Set never published under Eberl's name (A.White-PhD dissertation Piano Works of Eberl, 1971)

Eberl's set has no Op. Nr.; written 1797 (A.White-PhD dissertation Piano Works of Eberl, 1971)

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Variations are actually fine movement of K284/205b, shortened by 4 variations (Plath-Opera Incerta 1988)

The copies in Graz and Kremsier are first attributed to Mozart, then that crossed out and Sarti named--in Graz then changed back to Mozart again. The actually composer is not Giuseppe Sarti, but the Vienna composer Joseph Sardi (Armbruster-MJB 1997)

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Eberl's variations on this theme date from perhaps 1791, and have no Op.Nr. (A.White-PhD dissertation Piano Works of Eberl, 1971)

Story on title page states after a visit to a friends and a pleasant trip on a lake, amidst great beauty, Mozart opened the lady's spinet and played his impressions of nature's magnificence (title page of George Willig & Co. Publishers, Baltimore)

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Included in NMA main volume, although admitted doubtful because of dreadful musical contents (Plath-MJB 1982)

Plath believed Romanze a piano reduction of the lost Mozart fragment of a Piano/Wind Quintet K.Anh/54/452a. When this fragment discovered in 1990 and found to be different, Plath reported he still thought it could be a transcription of another lost Mozart piano/wind piece. (Plath-MJB 1965/66 and Mozart Schriften 1990)

Nrs.4 and 5 of these 9 Piano pieces are identical with Nrs. 2 and 3 of the 8 numbers of ballet to Ascanio in Alba known only from Basso part in copyist's hand; Plath believed Mozart was requested to re-write Ballet music and this is Mozart's music for the second version in which the two above pieces were retained. Some unknown musician made piano reduction of ballet music, which is this; variations on Nr.3 mentioned in K6 would be a tribute to this musical event (Plath-MJB 1964); Nr.6 of these 9 pieces has been found to be a piece from ballet by Florian Deller "Orphee et Euridice; appears 9 pieces a pasticco ballet (Sibylle Dahms-MJB 1993)

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Small Works and Single Movements

Church Music

Masses, Litanies, Vespers

K1 K6 Work Nickname 49 47d Missa brevis in G65 61a Missa brevis in d66 66 Mass in C “Dominicus”109 74a Litaniae in Bb125 125 Litaniae in Bb139 47a Missa solemnis in c140 AnhC1.12 Missa brevis in G167 167 Mass in C “Trinity”192 186f Missa brevis in F193 186g Dixit et Magnificat in C194 186h Missa brevis in D195 186d Litaniae in D220 196b Mass in C “Spatzen”243 243 Litaniae Eb257 257 Mass in C “Credo”258 258 Mass in C “Spaur”259 259 Mass in C “Organ Solo”262 246a Missa longa in C275 272a Mass in Bb317 317 Mass in C “Coronation”321 321 Vesperae in C337 337 Mass in C339 339 Vesperae in C427 417a Mass in c (Frag) "The Great"626 626 Requiem in d

K1 K6 Work 20 20 God is our Refuge in g33 33 Kyrie in F 34 34 Offertorium in C 44 73u Cibavit eos47 47 Veni Sancte Spiritus in C 72 74f Inter natos mulierum in G 85 73t Miserere in a 86 73u Quaerite primum in d89 73k Kyrie in G 90 90 Kyrie in d 91 186i Kyrie in D 108 74d Regina coeli in C 117 66a Benedictus sit Deus in C

Church Sonatas

Oratorios and Cantatas

127 127 Regina coeli in Bb 141 66b Te Deum in C 143 73a Ergo interest in G146 317b Kommet her, ihr frechen Sünder165 158a Exsulate Jubilate in F197 AnhC3.05 Tantum ergo 198 AnhC3.08 Sub tuum praesidium222 205a Misericordias Domini in d 260 248a Venite populi in D273 273 Sanctus Maria in F 276 321b Regina coeli in C 277 277 Alma Dei creatoris in F 322 296a Kyrie in Eb 323 323 Kyrie in C341 368a Kyrie in d343 336c 2 German spiritual songs 618 618 Ave Verum corpus in D

K1 K6 Work 67 48h in Eb68 41i in Bb69 41k in D 144 124a in D 145 125b in F 212 212 in Bb224 241a in F 225 241b in A 241 241 in G 244 244 in F 245 245 in D 263 263 in C 274 271d in G 278 271e in C 328 317c in C 329 317a in C 336 336d in C

Stage Works

K1 K6 Work 35 35 Die Schuldigkeit des ersten Gebots

Arrangements of Händel Oratorios

Operas

Ballet and Incidental Theatre Music

42 35a Grabmusik118 74c La Betulia liberata429 468a Dir,Seele des Weltalls (Frag)469 469 Davidde penitente471 471 Die Maurerfreude619 619 A Little German Cantata623 623 Free Mason Cantata

K1 K6 Work 566 566 Acis and Galatea572 572 Messiah591 591 Alexander’s Feast592 592 Ode for St. Cecilia’s Day

K1 K6 Work 50 46b Bastien et Bastienne51 46a La finta semplice87 74a Mitridate111 111 Ascanio in Alba126 126 Il sogno di Scipione135 135 Lucio Silla196 196 La finta giardiniera208 208 Il Ré pastore344 336b Zaide (Frag)366 366 Idomeneo384 384 Entführung aus dem Serail422 422 L’oca del Cairo (Frag)430 424a Lo Sposo deluso (Frag)486 486 Der Schauspieldirektor492 492 Le Nozze di Figaro527 527 Don Giovanni588 588 Cosi fan tutte620 620 Die Zauberflöte621 621 La Clemenza di Tito

K1 K6 Work A10 299b Les petits riens A103 299d La Chasse (Frag)300 300 Gavotte

Arias, Multi-Voice with Orchestra(S=Soprano; A=Alto; T=tenor; B=Bass)

345 336a Thamos King of Egypt367 367 Ballet music to Idomeneo 446 416d Music to Pantomime (Frag)

Vocal Works

K1 K6 Work 21 19c Aria T: “Va, dal furor”23 23 Aria S: “Conservati”36 33i Rec & Aria T: “Or che”70 61c Rec & Aria S: “A Berenice”- 74b Aria S: “Non curo”77 73e Rec & Aria S: “Misero me”78 73b Aria S: “Per pieta”79 73d Rec & Szene S: “O tenerario”82 73o Aria S: “Se ardire”83 73p Aria S: “Se tutti”88 73c Aria S: “Fra centro”119 382h Aria S: “Der Liebe”178 417e Aria S: “Ah, spiegarti”209 209 Aria T: “Si mostra”210 210 Aria T: “Con ossequio”217 217 Aria S: “Voi avente”255 255 Rec & Aria A: “Ombra felice”256 256 Aria T: “Clarice cara”272 272 Rec & Aria S:”Ah, lo pervidi”294 294 Rec Aria S: “Alcandro”295 295 Rec & Aria T:”Se al labbro”- 295a Rec & Aria S: “Basta”316 300b Rec & Aria S: “Popoli”368 368 Rec Aria S: “Ma, che vi”369 369 Szene & Aria S: “Misera”374 374 Rec & Aria S: “A questo seno”383 383 Aria S: “Nehmt meinen”389 384A Duet T,T, “Welch” (Frag)416 416 Scena & Rondo S: “Mia speranza”418 418 Aria S: “Vorrei spiegarvi”419 419 Aria S: “No, no che”420 420 Aria T: “Per pieta”431 425b Rec & Aria T: “Misero!”432 421a Rec & Aria B: “Cosi dunque”433 416c Aria B: “Männer” (Frag)434 480b Terzett “Il regno” (Frag)435 416b Aria T: “Müsst ich auch” (Frag)

Vocal Ensemble with Instrument(s)

Songs

440 383h Aria S: “In te spero” (Frag)479 479 Quartet “Dite almeno”480 480 Terzet “Mandina amabile”489 489 Duet S,T: “Spiegarti non”490 490 Szena & Rondo T: “Non piu tutto”505 505 Szene & Rondo S: “Ch’io”(with piano)512 512 Aria B: “Alcandro”513 513 Aria B: “Mentre ti lascio”528 528 Szene S: “Bella mia”538 538 Aria S: “Ah se in ciel”539 539 Aria B: “Ich möchte Wohl”- 540a Aria T: “Dalla sua pace”- 540b Duet S,B: “Per queste”- 540c Rec & Aria S: “In quail”541 541 Aria B: “Un bacio”577 577 Rondo S: “Al desio”578 578 Aria S: “Alma grande”579 579 Aria S: “Un moto di gioia”580 580 Aria S: “Schon lacht” (Frag)582 582 Aria S: “Chi sa”583 583 Aria S: “Vado, ma dove?”584 584 Aria B: “Rivolgete”612 612 Aria B: “Per questa”625 592a Duet S,B: “Nun liebes Weibchen”A245 621a Aria B: “Io ti lascio”

K1 K6 Work 346 439a Notturno 3 Voices, Winds436 436 Notturno 3 Voices, Winds437 437 Notturno 3 Voices, Winds438 438 Notturno 3 Voices, Winds439 439 Notturno 3 Voices, Winds441 441 Das Bandel Trio483 483 Lied 3-part chorus, Organ484 484 Lied 3-part chorus, Organ532 532 Trio 3 Voices and Winds549 549 Canzonetta 3 Voices, Winds

K1 K6 Work 53 47e An die Freude147 125g Wie unglücklich148 125h O heiliges Band152 210a Ridente la calma (Mozart arr?)

Canons

307 284d Oiseaux, si tous les ants308 295b Dans un bois349 367a Die Zufriedenheit351 367b Komm, liebe Zitter390 340a An die Hoffnung391 340b An die Einsamkeit392 340a Verdnkt sei es468 468 Gesellenreise472 472 Der Zauberer473 473 Die Zufriedenheit474 474 Die betrogene Welt476 476 Das Veilchen506 506 Lied der Freiheit517 517 Die Alte518 518 Die Verschwiegung519 519 Die Trennung520 520 Als Louise die Briefe524 524 An Chloe529 529 Kleinen Friedrichs Geburstag530 530 Das Trambild531 531 Die kleine Spinnerin552 552 Beim Auszug in das Feld596 596 Sehnsuch nach dem Frühling597 597 Im Frühlingsanfang598 598 Das Kinderspield

K1 K6 Work 228 515b 2 Canons (untext, Ach, so kurz)229 382a Sie ist dahin230 382b Selig, selig231 382c Leck mich im Arsch232 509a Lieber Freistädtler233 382d Leck mir den Arsch234 382e Bei der Hitz347 382f Laßt uns ziehn348 382g V’amo di core507 507 Heiterkeit508 508 Auf das Wohl553 553 Alleluja554 554 Ave Maria555 555 Lacrimoso son’io556 556 Grechtelt’s enk557 557 Nascoco e il mio sol558 558 Sehn wir im Prater559 559 Difficile lectu- 559a O du eselhafter Peierl560 560 O du eselhafter Martin

Symphonies

561 561 Bona nox562 562 Caro bell’ idol

Orchestral Music

K1 K6 Work Nickname 16 16 in Eb (#1)19 19 in D (#4)A223 19a in F22 22 in Bb (#5)43 43 in F (#6)45 45 in D (#7)A221 45a in G “Lambach”A214 46b in Bb48 48 in D (#8)73 73 in C (#9)74 74 in G (#10)75 75 in F (#42)76 42a in F81 73l in D (#44)84 73q in D (#43)95 73n in D (#45)96 111b in C (#46)97 73m in D (#47)102 213c Finale for Il Re pastore110 75b in G (#12)112 112 in F (#13)114 114 in A (#14)120 111a Finale for Ascanio Overture121 207a Finale to Finta giardiniera124 124 in G (#15)128 128 in C (#16)129 129 in G (#17)130 130 in F (#18)132 132 in Eb (#19)133 133 in D (#20)134 134 in A (#21)162 162 in C (#22)163 141a Finale for Scipione (#50)181 162b in D (#23)182 173dA in Bb (#24)183 173dB in g (#25) “Little g minor”184 161a in Eb (#26)199 161b in G (#27)200 189k in C (#28)201 186a in A (#29)

Divertimenti, Serenades, Etc.

Marches

202 186b in D (#30)297 300a in D (#31) “Paris”318 318 in G (#32)319 319 in Bb (#33)338 338 in C (#34)385 385 in D (#35) “Haffner”425 425 in C (#36) “Linz”444 425a Intro to M.Haydn Sym in G (#37)504 504 in D (#38) “Prague”543 543 in Eb (#39)550 550 in g (#40) “Big g minor”551 551 in C (#41) “Jupiter”

32 32 Galimathias musicum63 63 Cassation in G99 63a Cassation in Bb100 62a Serenade in D113 113 Divertimento in Eb131 131 Divertimento in D136 125a Divertimento in D “Salzburg Symphony”137 125b Divertimento in Bb “Salzburg Symphony”138 125c Divertimento in F “Salzburg Symphony”185 167a Serenade in D203 189b Serenade in D “Colloredo” 204 213a Serenade in D205 167A Divertimento in D239 239 Serenade in D “Serenate notturno”247 247 Divertimento in F “1st Lodron Musik”250 248b Serenade in D “Haffner” 251 251 Divertimento in D “Nannerl Septet”286 269a Notturno for 4-Orchestras in D287 271H Divertimento in Bb “2nd Lodron Musik”320 320 Serenade in D “Posthorn” 334 320b Divertimento in D477 479a Masonic Funeral Music522 522 A Musical Joke in F525 525 Eine kleine Nachtmusik in G

K1 K6 Work 62 62 March in D189 167b March in D214 214 March in C215 213b March in D237 189c March in D

248 248 March in F249 249 March in D290 167AB March in D335 320a March in D408 383e,F 2 Marches in C408 385a March in C 445 320c March in D

Dance Music

K1 K6 Work Nickname - 61b 7 Minuets - 61g 2 Minuets- 61h 6 Minuets 101 250a 4 Contredances 106 588a Overture and3 Contredances 122 73t Minuet123 73g Contredance164 130a 6 Minuets176 176 16 Minuets267 271c 4 Contredances- 269b Contredance363 363 3 Minuets461 448a 5 Minuets462 448b 6 Contredances463 448c 2 Minuets, 2 Contredances509 509 6 German Dances534 534 Contredance “Donnerweiter”535 535 Contredance “La Bataille”536 536 6 German Dances565 565 2 Contredances567 567 6 German Dances568 568 12 Minuets571 571 6 German Dances585 585 12 Minuets586 586 12 German Dances587 587 Contredance “Der Sieg von Helden Coburg”599 599 6 Minuets600 600 6 German Dances601 601 4 Minuets602 602 4 German Dances603 603 2 Contredances604 604 2 Minuets605 605 2 German Dances606 606 6 Ländler607 605a Contredance “Il Tronfo delle Donne”609 609 5 Contredances

String Concertos

Wind Concertos

Piano Concertos

610 610 Contredance “Les filles malecieuses”611 611 German Dance

Concertos

K1 K6 Work Nickname 190 186E Concertone for 2 Violins in C 207 207 Violin Concerto #1 in Bb211 211 Violin Concerto #2 in D 216 216 Violin Concerto #3 in G “Strassburger”218 218 Violin Concerto #4 in D 219 219 Violin Concerto #5 in A “Turkish”261 261 Adagio for Violin/Orchestra in E269 261a Rondo for Violin/Orchestra in Bb- 271i Violin Concerto #7 in D 364 320b Sinfonia Concertante Violin/Viola in EbA104 320e Sinfonia Concertante Violin,Viola,Cello373 373 Rondo for Violin/Orchestra in C

K1 K6 Work Nickname 191 186e Bassoon Concerto in Bb 293 416f Oboe Concerto in F (Frag)297b AnhC14.01 Sinfonia Concertante Fl,Ob,Bs,Hn in Eb299 297c Flute and Harp Concerto in C313 385c Flute Concerto in G314 285d Flute Concerto in D314 271k Oboe Concerto in C “Ferlendis”315 285e Andante for Flute/Orchestra in C- 370b Allegro to Horn Concerto Eb (Frag)371 371 Rondo to Horn Concerto in Eb (Frag)412 386b Horn concerto in D417 417 Horn Concerto in Eb447 447 Horn Concerto in Eb495 495 Horn Concerto in Eb622 622 Clarinet Concerto in A

K1 K6 Work Nickname

Wind Music

37 37 Piano Concerto #1 in F39 39 Piano Concerto #2 in Bb40 40 Piano Concerto #3 in D41 41 Piano Concerto #4 in G107 107 Piano Concertos in D,G,Eb175 175 Piano Concerto #5 in D238 238 Piano Concerto #6 in Bb242 242 3-Piano Concerto #7 in F “Lodron”246 246 Piano Concerto #8 in C “Lützow”271 271 Piano Concerto #9 in Eb” “Jenamy”also“Jeunehomme”A56 315f Piano/Violin Concerto in D (Frag)365 316a 2-Piano Concerto #10 in Eb382 382 Rondo for Piano/Orchestra in D386 386 Rondo for Piano/Orchestra in A413 387a Piano Concerto #11 in F 414 385p Piano Concerto #12 in A 415 387b Piano Concerto #13 in C 449 449 Piano Concerto #14 in Eb “1st Ployer”450 450 Piano Concerto #15 in Bb451 451 Piano Concerto #16 in D 453 453 Piano Concerto #17 in G “2nd Ployer”456 456 Piano Concerto #18 in Bb “Paradies”459 459 Piano Concerto #19 in F 466 466 Piano Concerto #20 in d 467 467 Piano Concerto #21 in C “Elvira Madigan” 482 482 Piano Concerto #22 in Eb488 488 Piano Concerto #23 in A 491 491 Piano Concerto #24 in c 503 503 Piano Concerto #25 in C 537 537 Piano Concerto #26 in D “Coronation”595 595 Piano Concerto #27 in Bb

Chamber Music

K1 K6 Work Nickname 166 159d Divertimento for winds in Eb 186 159b Divertimento for winds in Bb 188 240b Divertimento for winds/tympani in C 213 213 Divertimento for winds in F240 240 Divertimento for winds in Bb 252 240a Divertimento for winds in Eb253 253 Divertimento for winds in F270 270 Divertimento for winds in Bb289 271g Divertimento for winds in Eb361 370a Divertimento for winds in Eb “Gran Partitta”

Chamber Music String and Winds

Chamber with Piano

375 375 Serenade for winds in Eb388 384a Serenade for winds in c “Nachtmusik”410 484d Adagio for winds in F411 484a Adagio for winds in Bb487 496a 12 Duos for 2 HornsA94 580a Adagio for winds in C (Frag)A95 484b Allegro assai for winds in Bb (Frag)A226 AnhC17.01 Divertimento for winds in EbA227 AnhC17.02 Divertimento for winds in BbA229 439b 5 Divertimenti for 3 Winds

K1 K6 Work 285 285 Flute Quartet in D- 285a Flute Quartet in G292 196c Duo for Bassoon/Cello in Bb298 298 Flute Quartet in A370 368b Oboe Quartet in F 407 386c Horn Quintet in Eb581 581 Clarinet Quintet in AA90 580b Clarinet,Bassethorn Allegro in F (Frag)A91 516c Clarinet Quintet Allegro in Bb (Frag)A171 285b Flute Quartet in C

K1 K6 Work 6 6 Piano,Violin Sonata in C7 7 Piano,Violin Sonata in D8 8 Piano,Violin Sonata in Bb9 9 Piano,Violin Sonata in G10 10 Piano.Violin Sonata in Bb11 11 Piano,Violin Sonata in G12 12 Piano,Violin Sonata in A13 13 Piano,Violin Sonata in F14 14 Piano,Violin Sonata in C15 15 Piano,Violin Sonata in Bb26 26 Piano,Violin Sonata in Eb27 27 Piano,Violin Sonata in G28 28 Piano,Violin Sonata in C29 29 Piano,Violin Sonata in D30 30 Piano,Violin Sonata in F31 31 Piano,Violin Sonata in Bb296 296 Piano,Violin Sonata in C301 293a Piano,Violin Sonata in G302 293b Piano,Violin Sonata in Eb

Piano Trios, Quartets, Quintets

String Duos and Trios

303 393c Piano,Violin Sonata in C304 300c Piano,Violin Sonata in e305 293d Piano,Violin Sonata in A306 300l Piano,Violin Sonata in D359 374a Piano,Violin Variations in G360 374b Piano,Violin Variations in g372 372 Piano,Violin Allegro in Bb (Frag)376 374d Piano,Violin Sonata in F377 374e Piano,Violin Sonata in F378 317d Piano,Violin Sonata in Bb379 373a Piano,Violin Sonata in G380 374f Piano,Violin Sonata in Eb396 385f Piano,Violin Adagio in c (Frag)402 385e Piano,Violin Andante in A (Frag)403 385c Piano,Violin Allegro in C (Frag)404 385d Piano,Violin Andante in C (Frag)454 454 Piano,Violin Sonata in Bb481 481 Piano,Violin Sonata in Eb526 526 Piano,Violin Sonata in A547 547 Piano,Violin Sonata in F

K1 K6 Work Nickname 254 254 Divertimento in Bb442 442 Piano Trio in d (Frag)452 452 Piano, Winds Quintet in Eb478 478 Piano Quartet in g493 493 Piano Quartet in Eb496 496 Piano Trio in G 498 498 Piano,Clarinet,Viola Trio in Eb “Kegelstatt”502 502 Piano Trio in Bb542 542 Piano Trio in Bb548 548 Piano Trio in C564 564 Piano Trio in G617 617 Adagio & Rondo for Armonica,winds,strings

K1 K6 Work - 46d Sonata for Violin,Bass in C- 46e Sonata for Violin,Bass in F266 271f Sonata for 2 Violins,Bass in Bb- 404a 4 Preludes and Fugue arr. for String Trio423 423 Duo for Violin,Viola in G424 424 Duo for Violin,Viola in Bb443 404b 3-Part Fugue in G (Frag)

String Quartets

String Quintets

563 563 Divertimento for String Trio in Eb

K1 K6 Work Nickname 80 73f String Quartet in G155 134a String Quartet in D156 134b String Quartet in G157 157 String Quartet in C158 158 String Quartet in F159 159 String Quartet in Bb160 159a String Quartet in Eb168 168 String Quartet in F169 169 String Quartet in A170 170 String Quartet in C171 171 String Quartet in Eb172 172 String Quartet in Bb173 173 String Quartet in d387 387 String Quartet in G “Haydn I”405 405 5 Fugues arr. from Bach 421 417b String Quartet in d “Haydn II”428 421b String Quartet in Eb “Haydn III”458 458 String Quartet in Eb “Haydn IV” “Hunt”464 464 String Quartet in A “Haydn V”465 465 String Quartet in C “Haydn VI” “Dissonance” 499 499 String Quartet in D “Hoffmeister”546 546 Adagio and Fugue in c575 575 String Quartet in D “Prussian I”589 589 String Quartet in Bb “Prussian II”590 590 String Quartet in F “Prussian III”

K1 K6 Work 174 174 String Quintet in Bb406 516b String Quintet in c515 515 String Quintet in C516 516 String Quintet in g593 593 String Quintet in D614 614 String Quartet in Eb

Piano Music

Piano Sonatas

Variations for Piano

Individual Movements for Piano

K1 K6 Work Nickname 279 189d Piano Sonata in C280 189e Piano Sonata in F281 189g Piano Sonata in Bb 282 189g Piano Sonata in Eb 283 189h Piano Sonata in G284 205b Piano Sonata in D “Dürnitz”309 284b Piano Sonata in C310 300d Piano Sonata in a 311 284c Piano Sonata in D330 300h Piano Sonata in C331 300i Piano Sonata in A “Turkish”332 300k Piano Sonata in F333 315c Piano Sonata in Bb 457 457 Piano Sonata in c 533 533 Piano Sonata in F545 545 Piano Sonata in C 570 570 Piano Sonata in Bb 576 576 Piano Sonata in D

K1 K6 Work Nickname 24 24 8 Variations on Dutch song25 25 7 Variations on Willem von Nassau 179 189a 12 Variations on Minuet of Fischer180 173c 6 Variations on Salieri theme 264 315d 9 Variations on Lison dormait 265 300e 12 Variations on Ah,vous dirai-je “Twinkle,twinkle,little star”352 374c 8 Variations on Gretry theme353 300f 12 Variations on La belle Francoise354 299a 12 Variations on Je suis Lindor398 416e 9 Variations on Paisiello theme455 455 10 Variations on Unser dummer Pöbel460 454a 2 Variations on Sarti theme (Frag)500 500 12 Variations 573 573 9 Variations on Minuet of Duport613 613 8 Variations on Ein Weib ist

K1 K6 Work Nickname - 1a Andante in C - 1b Allegro in C- 1c Allegro in F

Works for 2 Pianos and Piano 4 hands

- 1d Minuet in F1 1c Minuet in G- 1f Minuet in C2 2 Minuet in F3 3 Allegro in Bb4 4 Minuet in F5 5 Minuet in F- 5a Allegro in C- 5b Andante in Bb (Frag)- 15a-ss London Sketchbook- 33B Piano piece in F- 72a Allegro in G (Frag)94 73h Minuet in D153 375f Fugue in Eb (Frag)154 385k Fugue in g (Frag)236 588b Andantino in Eb312 590d Allegro in g- 315g 8 Minuets 355 576b Minuet in D394 383a Prelude and Fugue in C395 300g 4 Preludes in C “Capriccio”396 385f Fantasia in c (Frag) 397 385g Fantasia in d 399 385i Suite in C (Frag)400 372a Piano Allegro in Bb (Frag)401 375e Fugue in g (Frag)- 453a Marche funebre Sigr Maestro Contrapunto475 475 Fantasia in c485 485 Rondo in D494 494 Rondo in F511 511 Rondo in a540 540 Adagio in b574 574 Gigue in G

K1 K6 Work - 19d Sonata 4-hands in D357 497a Allegro 2-pianos in G357 500a Andante 2-pianos in G358 186c Sonata 4-hands in Bb381 123a Sonata 4-hands in D426 426 Fugue 2-pianos in c448 375a Sonata 2-pianos in D497 497 Sonata 4-hands in F501 501 Variations 4-hands521 521 Sonata 4-hands in C- deest Larghetto and Allegro 2-pianos in Eb

Works for Organ, Mechanical Clock, Glass Armonica

K1 K6 Work 356 617a Adagio for Armonica in C594 594 Adagio and Allegro for Organ in f608 608 Fantasia for Organ in f616 616 Andante for Organ in F

K1 K6 Work Nickname

66 66 Mass in C “Dominicus”

259 259 Mass in C “Organ Solo”

317 317 Mass in C “Coronation”

427 417a Mass in c (Frag) "The Great"

K1 K6 Work

K1 K6 Work

K1 K6 Work

K1 K6 Work

K1 K6 Work 38 38 Apollo et Hyacinthus

K1 K6 Work

K1 K6 Work

K1 K6 Work

K1 K6 Work

K1 K6 Work

K1 K6 Work Nickname

183 173dB in g (#25) “Little g minor”

550 550 in g (#40) “Big g minor”

136 125a Divertimento in D “Salzburg Symphony”137 125b Divertimento in Bb “Salzburg Symphony”138 125c Divertimento in F “Salzburg Symphony”

203 189b Serenade in D “Colloredo”

239 239 Serenade in D “Serenate notturno”247 247 Divertimento in F “1st Lodron Musik”250 248b Serenade in D “Haffner” 251 251 Divertimento in D “Nannerl Septet”

287 271H Divertimento in Bb “2nd Lodron Musik”320 320 Serenade in D “Posthorn”

K1 K6 Work

K1 K6 Work Nickname

534 534 Contredance “Donnerweiter”535 535 Contredance “La Bataille”

587 587 Contredance “Der Sieg von Helden Coburg”

607 605a Contredance “Il Tronfo delle Donne”

610 610 Contredance “Les filles malecieuses”

K1 K6 Work Nickname

216 216 Violin Concerto #3 in G “Strassburger”

K1 K6 Work Nickname

314 271k Oboe Concerto in C “Ferlendis”

K1 K6 Work Nickname

“Jenamy”also“Jeunehomme”

449 449 Piano Concerto #14 in Eb “1st Ployer”

453 453 Piano Concerto #17 in G “2nd Ployer”

467 467 Piano Concerto #21 in C “Elvira Madigan”

537 537 Piano Concerto #26 in D “Coronation”

K1 K6 Work Nickname

361 370a Divertimento for winds in Eb “Gran Partitta”

388 384a Serenade for winds in c “Nachtmusik”

K1 K6 Work

K1 K6 Work

K1 K6 Work Nickname

498 498 Piano,Clarinet,Viola Trio in Eb “Kegelstatt”

K1 K6 Work

K1 K6 Work Nickname

428 421b String Quartet in Eb “Haydn III”458 458 String Quartet in Eb “Haydn IV” “Hunt”

465 465 String Quartet in C “Haydn VI” “Dissonance” 499 499 String Quartet in D “Hoffmeister”

575 575 String Quartet in D “Prussian I”589 589 String Quartet in Bb “Prussian II”590 590 String Quartet in F “Prussian III”

K1 K6 Work

K1 K6 Work Nickname

K1 K6 Work Nickname

265 300e 12 Variations on Ah,vous dirai-je “Twinkle,twinkle,little star”

K1 K6 Work Nickname

K1 K6 Work