Obras de Mozart entre 1761-1767

Salzburgo ene-feb 1761 1a Andante en do mayor
para piano
Salzburgo ene-feb 1761 1b Allegro en do mayor

para piano
Salzburgo 11 diciembre 1761 1c Allegro en fa mayor

para piano
Salzburgo 16 diciembre 1761 1d Minueto en fa mayor

para piano
Salzburgo diciembre 1761 1 / 1e Minueto en sol mayor

para piano
Salzburgo diciembre 1761 1f Minueto en do mayor

para piano
Salzburgo enero 1762 2 Minueto en fa mayor

para piano
Salzburgo 4 marzo 1762 3 Allegro en si bemol mayor

para piano
Salzburgo 11 mayo 1762 4 Minueto en fa mayor

para piano
Salzburgo 5 julio 1762 5 Minueto en fa mayor

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

para 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

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


Chelsea abr-jul 1764 15 aa El Cuaderno de Londres

para piano
Londres 1764 16 Sinfonía Nº. 1 en mi bemol mayor
Londres 1765 Ap. 220 / 16 a Sinfonía Nº. 2 en la menor "Odense"

(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

Londres 1765 Ap. 222 / 19 b Sinfonía en do mayor
(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 Stabat Mater
(perdido)
Ap. 199 / 33 d Sonata en sol mayor

para piano (perdida)
Ap. 200 / 33 e Sonata en si bemol mayor
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
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 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 Sonata de iglesia Nº. 1 en mi bemol mayor

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

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

para 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 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

para violín y fagot [o piano]
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 Concierto

para trompeta (perdido)
Viena oct-nov 1768 49 / 47 d Misa en sol mayor

para 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 menor

para 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 mayor

para orquesta
Salzburgo agosto 1769 100 / 62 a Casación en re mayor

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

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

para orquesta
Salzburgo 1769 64 Minuet en re mayor
para orquesta
Salzburgo 15 octubre 1769 66 Misa en do mayor «Dominikus»

Salzburgo 1769 117 / 66 a «Benedictus sit Deus Pater»

Offertorium [pro omni tempore]
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 Allegro en sol mayor

Salzburgo 1769 73 Sinfonía Nº. 9 en do 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»

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 mayor

para 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»

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 mayor

para
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 Ponto
Opera seria en tres actos
Libreto de Cigna Santi
en 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 liberada
Acción sacra (Oratorio) en dos partes
Libreto: Pietro Metastasio
en 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 Baptistae
Ofertorio en sol mayor
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 menor

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
Concierto Nº. 2 en re mayor

para piano

para piano
Milán 17 octubre 1771 111 «Ascanio in Alba»

Festa teatral
Libreto 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 mayor

para 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 mayor
Salzburgo 21 febrero 1772 124 Sinfonía Nº. 15 en sol mayor
Salzburgo 1772 124 A Sonata de iglesia en re mayor

para órgano (fragmento)
Salzburgo 1772 144 / 124 a Sonata de iglesia Nº. 4 en re mayor

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

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.
Salzburgo marzo 1772 136 / 125 a Divertimento en re mayor

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

Salzburgo marzo 1772 138 / 125 c Divertimento en fa mayor

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 piano
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
Salzburgo mayo 1772 126 «Il sogno di Scipione»

El sueño de Scipione
Accion Teatral
Libreto
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 mayor

para 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 mayor

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

para cuerdas
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)
Milán enero 1773 157 Cuarteto Nº. 4 en do mayor

para cuerdas
Milán enero 1773 158 Cuarteto Nº. 5 en fa mayor

para 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 mayor

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

para cuerdas
Milán marzo 1773 186 / 159 b Divertimento en si bemol mayor

para 2 oboes, 2 cornos inglés, 2 clarinetes, 2 cornos y 2 fagotes
Salzburgo 24 marzo 1773 166 / 159 d Divertimento en mi bemol mayor
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 «Kyrie» en do mayor

(fragmento)
Salzburgo 1773 Ap. 19 / 166 g «Kyrie» en re mayor

(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»

para 2 violines y bajo, con 2 oboes, 2 clarinetes trompetas, 2 trompetas y órgano.
Viena 1773 205 / 167 A Divertimento en re mayor

Viena 1773 290 / 167 AB Marcha en re mayor

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

para orquesta
Viena julio 1773 189 / 167 b Marcha en re mayor

para orquesta
Viena agosto 1773 168 Cuarteto Nº. 8 en fa mayor

para cuerdas
168 a Minuetto en fa mayor

para un cuarteto de cuerdas
Viena agosto 1773 169 Cuarteto Nº. 9 en la mayor

para cuerdas
Viena agosto 1773 170 Cuarteto Nº. 10 en do mayor

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

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

para cuerdas
Viena septiembre 1773 173 Cuarteto Nº. 13 en re menor

para cuerdas
Viena septiembre 1773 180 / 173 c Seis Variaciones en sol mayor «Mio caro Adone»
para piano
sobre «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 mayor

para cuerdas
Salzburgo diciembre 1773 175 Concierto Nº. 5 en re mayor

para piano
Salzburgo diciembre 1773 176 16 Minuetos, KV 176

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 mayor

Salzburgo mayo 1774 195 / 186 d Litaniae Lauretanae Beata Maria Virgine
Letania 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 mayor

para 2 pianos y orquesta
Salzburgo 4 junio 1774 191 / 186 e Concierto en si bemol mayor

para fagot
Salzburgo 24 junio 1774 192 / 186 f Misa «brevis» en fa mayor

para 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 mayor

Salzburgo agosto 1774 91 / 186 i «Kyrie» en re mayor

de Georg Reutter jr.
Salzburgo agosto 1774 179 / 189 a Doce Variaciones en do mayor

para piano
sobre un minuetto de Johann Christian Fischer
Salzburgo 30 septiembre 1774 203 / 189 b Serenata en re mayor

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

para orquesta
Salzburgo 1774 279 / 189 d Sonata en do mayor

para piano
Salzburgo 1774 280 / 189 e Sonata en fa mayor

para piano
Salzburgo 1774 281 / 189 f Sonata en si bemol mayor

para piano
Salzburgo 1774 282 / 189 g Sonata en mi bemol mayor

para piano
Salzburgo 1774 283 / 189 h Sonata en sol mayor

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

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
Munich enero 1775 292 / 196 c Sonata (Duo) en si bemol mayor

para oboe y violoncello
Munich 1775 Ap. 230 / 196 d Concierto en fa mayor

para fagot (perdido)
Munich febrero 1775 222 / 205 a «Misericordias Domini»

Ofertorio en re menor
Munich febrero 1775 284 / 205 b Sonata en re mayor «Dürnitz»

para piano
Salzburgo marzo 1775 206 a Concierto en fa mayor

para cello (perdido)
Salzburgo 14 abril 1775 207 Concierto Nº. 1 en si bemol mayor

para 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 pastor
Serenata para música
Libreto
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 a «Un dente guasto»

Aria para bajo (fragmento)
Salzburgo mayo 1775 210 «Con ossequio, con rispetto»

152 / 210 a «Ridente la calma »

Canzonetta en fa mayor
para soprano
Texto Anonimo
Arreglo de Joseph Mislivečel
Salzburgo 14 junio 1775 211 Concierto Nº. 2 en re mayor

para violín
Salzburgo julio 1775 212 Sonata de iglesia Nº. 6 en si bemol mayor

para órgano
Salzburgo julio 1775 213 Divertimento en fa mayor

para 2 oboes, 2 cornos y 2 fagotes
Salzburgo 5 agosto 1775 204 / 213 a Serenata en re mayor

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

para 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 mayor

para orquesta
Salzburgo 12 septiembre 1775 216 Concierto Nº. 3 en sol mayor

para violín
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 mayor

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

para violín
Salzburgo enero 1776 238 Concierto Nº. 6 en si bemol mayor
para piano
Salzburgo enero 1776 239 Serenata en re mayor «Notturna»

para orquesta
Salzburgo enero 1776 240 Divertimento en si bemol mayor

Salzburgo enero 1776 252 / 240 a Divertimento en mi bemol mayor

Salzburgo enero 1776 188 / 240 b Divertimento en do mayor

para 2 flautas, 5 trompetas y timbales
Salzburgo enero 1776 241 Sonata de iglesia Nº. 9 en sol mayor

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

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

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

para piano
Salzburgo marzo 1776 243 Litaniae de venerabili altaris sacramento

Letanía en mi bemol mayor
para 4 voces, 2 violines, viola, 2 oboes, 2 fagotes, 2 cornos, 3 trombones,
Salzburgo abril 1776 244 Sonata de iglesia Nº. 10 en fa mayor

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

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

para piano
Salzburgo mayo 1776 262 / 246 a Misa longa en do mayor

para 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 mayor

Salzburgo 13 junio 1776 248 Marcha en fa mayor

Salzburgo junio 1776 260 / 248 a «Venite, populi, venite»

Offertorium de Venerabili Sacramento
para 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 mayor

para orquesta
Salzburgo julio 1776 101 / 250 a 4 Contradanzas
Salzburgo 26 julio 1776 251 Divertimento en re mayor


Salzburgo agosto 1776 254 Trio (Divertimento) en si bemol mayor

para piano
«Ombra felice!»
Salzburgo septiembre 1776 255 «Io ti lascio, e questo addio»
Recitativo y Aria 'en rondeau' para contralto,
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»

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 mayor

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

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

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

para órgano
Salzburgo febrero 1777 266 / 271 f Sonata (Trio) en si bemol mayor

Salzburgo febrero 1777 289 / 271 g Divertimento en mi bemol mayor

Salzburgo 13 julio 1777 287 / 271 H Divertimento en si bemol mayor

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

para violín
Salzburgo 1777 314 / 271 k Concierto en do mayor

para 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 Virgine
Ofertorio en fa mayor
Salzburgo 1777 275 / 272 b Misa «brevis» en si bemol mayor

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 Instrumentación
para un concierto para flauta de J.B. Wendling (perdido)
Munich octubre 1777 284 a 4 Preludios

para piano (perdidos)
Mannheim noviembre 1777 309 / 284 b Sonata en do mayor

para piano
Mannheim noviembre 1777 311 / 284 c Sonata en re mayor

para piano
Mannheim noviembre 1777 307 / 384 d «Oiseaux, si tous les ans»

Lied en do mayor para soprano y piano
Texto de Antoine Ferrand
Mannheim 1777 284 e Instrumentación

Para un concierto de flauta para Wendling (perdido)
Mannheim 1777 284 f Rondo para piano

Mannheim 25 diciembre 1777 285 Cuarteto en re mayor

para flauta
Mannheim enero 1778 285 a Cuarteto en sol mayor

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

para flauta
Mannheim enero 1778 313 / 285 c Concierto en sol mayor

para flauta y orquesta
Mannheim enero 1778 314 / 285 d Concierto en re mayor

para flauta
Mannheim enero 1778 315 / 285 e Andante en do mayor

Mannheim 1778 301 / 293 a Sonata en sol mayor

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

Mannheim 1778 303 / 293 c Sonata en do mayor

Mannheim 1778 305 / 293 d Sonata en la mayor

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»
Pietro Metastasio: "Didone abbandonata" II, 4.
Mannheim marzo 1778 308 / 295 b «Dans un bois solitaire»

Lied en la bemol mayor para soprano y piano
Texto de A. H. de la Motte
Mannheim 11 marzo 1778 296 Sonata en do mayor

Mannheim marzo 1778 322 / 296 a Kyrie en mi bemol mayor
(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 mayor
para flauta, oboe, corno, fagot y orquesta
París abril 1778 p.C14.01 / 297 B Sinfonía concertante en mi bemol mayor

para clarinete, oboe, corno, fagot y orquesta
París abril 1778 299 / 297 c Concierto en do mayor

para flauta, arpa y orquesta
París abril 1778 298 Cuarteto en la mayor

para flauta
París 1778 354 / 299 a Doce Variaciones en mi bemol mayor «Je suis Lindor»
para piano
sobre: «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 mayor

para 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. Gluck
con libreto de Rainiero de' Calzabigi.
París 1778 304 / 300 c Sonata en mi menor

París 1778 310 / 300 d Sonata en la menor

para piano
París 1778 265 / 300 e Doce Variaciones en do mayor «Ah!, vous dirai-je, Maman»
para piano
sobre: «Ah!, vous dirai-je, Maman»
París 1778 353 / 300 f Doce Variaciones en mi bemol mayor «La belle françoise»
para piano
sobre:«La belle françoise»
París 1778 395 / 300 g Capricho en do mayor

para piano
París 1778 330 / 300 h Sonata en do mayor

para piano
París 1778 331 / 300 i Sonata en la mayor

para piano
París 1778 332 / 300 k Sonata en fa mayor

para piano
París 1778 306 / 300 l Sonata en re mayor

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

para piano
sobre «Lison dormait» (N. Dezède)
París septiembre 1778 Ap. 11 / 315 e «Semiramis»

(perdida)
Mannheim noviembre 1778 Ap. 56 / 315 f Concierto en re mayor

para violín, piano y orquesta
Salzburgo 1779 315a / 315 g 8 Minuetos
Salzburgo 1779 365 / 316 a Concierto Nº. 10 en mi bemol mayor

para piano
Salzburgo 23 marzo 1779 317 Misa en do mayor «Krönungsmesse»
Salzburgo marzo 1779 329 / 317 a Sonata de iglesia Nº. 16 en do mayor

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

para órgano
Salzburgo abril 1779 378 / 317 d Sonata en si bemol mayor

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 Marchas

para orquesta
Salzburgo 1779 320 B Divertimento

(fragmento)
Salzburgo 1779 334 / 320 b Divertimento en fa mayor «Robinig»

Salzburgo 1779 445 / 320 c Marcha en re mayor

para orquesta
Salzburgo septiembre 1779 364 / 320 d Sinfonía concertante en mi bemol mayor

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

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»

para 4 voces, coro, orquesta y órgano.
Salzburgo 1779 Ap. 15 / 323 Kyrie en do mayor

(fragmento)
Salzburgo 1779 Ap. 20 / 323 a Gloria en do mayor

(fragmento)
Salzburgo 1779 345 / 336 a «Thamos, Könnig in Ägypten»

Opera
Libreto
Salzburgo 1779 344 / 336 b «Zaide»

opera
Libreto
Salzburgo 1779 343 / 336 c Dos Cantos Alemanes

Lieder en fa mayor para soprano y órgano
Lieder en do mayor para soprano y órgano
a. «O Gottes Lamm»
b. «Als aus Ägypten»
Salzburgo marzo 1780 336 / 336 d Sonata de iglesia Nº. 17 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 mayor
para
Salzburgo 1780 392 / 340 a «Verdankt sei es dem Glanz»
Texto de Johann Timotheus Hermes
Salzburgo 1780 391 / 340 b «An die Einsamkeit»

Lied en si bemol mayor para soprano y piano
Salzburgo 1780 390 / 340 c «Ich würd' auf meinem Pfad»

Lied en re menor para soprano y piano
Salzburgo 1780 363 3 Minuetos
Salzburgo 1780 Ap. / 365 a Warum, o Liebe

Recitativo y Aria
Munich 29 enero 1781 366 «Idomeneo, re di 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
Munich marzo 1781 351 / 367 b «Komm, liebe Zither, komm»

Lied en do mayor para soprano y mandolina
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 mayor

para 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 mayor

para corno y orquesta (fragmento)
Viena 24 marzo 1781 372 Allegro en si bemol mayor

Viena marzo 1781 372 a Allegro en si bemol mayor

Viena 2 abril 1781 373 Rondo en do mayor

Viena abril 1781 379 / 373 a Sonata en sol mayor

«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»
Viena junio 1781 360 / 374 b Seis Variaciones en sol menor «Hélas, j'ai perdu mon amant»
Viena junio 1781 352 / 374 c Ocho Variaciones en fa mayor «Dieu d'Amour!»
para piano
sobre: «Dieu d'Amour!» (A.E. Grétry)
Viena septiembre 1781 376 / 374 d Sonata en fa mayor

Viena septiembre 1781 377 / 374 e Sonata en fa mayor

Viena septiembre 1781 380 / 374 f Sonata en mi bemol mayor

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 mayor

para 2 oboes, 2 clarinetes, 2 fagotes y 2 cornos
Viena noviembre 1781 448 / 375 a Sonata en re mayor

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

Viena 1782 Ap. 45 / 375 d Fuga en sol mayor

Viena 1782 401 / 375 e Fuga en sol menor

para piano
Viena 1782 153 / 375 f Fuga en mi bemol mayor

Viena 1782 Ap. 41 / 375 g Fuga en sol mayor

Viena 1782 375 h Fuga en fa mayor

Viena marzo 1782 382 Rondo en re mayor

para piano
229 / 382 a [«Sie ist dahin»]

Canon en do menor para 3 voces
230 / 382 b «Selig, selig, alle»

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»
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»

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!»
Viena abril 1782 394 / 383 a Preludio y Fuga en do mayor

para piano
Viena abril 1782 33 - 40 / 383 b Fuga en fa mayor

Viena abril 1782 Ap. 32 / 383 C Fantasía en si bemol mayor

Viena abril 1782 Ap. 38 / 383 c Tema y variaciones en do mayor

Viena abril 1782 Ap. 39 / 383 d Fuga en mi bemol mayor

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

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.
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»

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 mayor

para
Viena agosto 1782 393 / 385 b Solfeo

para soprano
Viena septiembre 1782 403 / 385 c Sonata en do mayor

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

Viena septiembre 1782 Ap. 48 / 385 E Sonata en la mayor

Viena septiembre 1782 402 / 385 e Andante y Fuga en la mayor

Viena septiembre 1782 396 / 385 f Adagio en do menor

Viena 1782 397 / 385 g Fantasía en re menor

Viena 1782 Ap. 34 / 385 h Adagio en re menor

Viena octubre 1782 399 / 385 i Suite en do mayor

Viena 1782 154 / 385 k Fuga en sol menor

Viena 1782 385 n Fuga en la menor

Viena 1782 385 o Apuntes

para un concierto para piano
Viena 1782 414 / 385 p Concierto Nº. 12 en la mayor

para piano
Viena 1782 386 Rondo en la mayor

para piano
Viena diciembre 1782 12 & 514 / 386 b Concierto en re mayor

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

para 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 mayor

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

para piano
Viena diciembre 1782 404 a Seis Preludios y fugas

para violín, viola y violonchelo
Viena diciembre 1782 443 / 404 b Fuga en sol mayor

Viena diciembre 1782 405 Arreglos de cinco Fugas

de J. S. Bach
Viena diciembre 1782 405 a Fuga en do mayor

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 Bajo
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 mayor

para 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 menor

Viena junio 1783 Ap. 76 / 417 c Cuarteto

para cuerdas (fragmento)
Viena junio 1783 417 d Cuarteto

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 mayor

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 mayor

para violín y viola
Salzburgo octubre 1783 424 Duo en si bemol mayor

Salzburgo 1783 430 / 424 a «Lo sposo deluso»

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 menor

para dos pianos (fragmento)
Viena diciembre 1783 436 «Ecco quel fiero istante»

Notturno en fa mayor para dos sopranos y bajo
Texto de Pietro Metastasio
Viena diciembre 1783 437 «Mi lagnerò tacendo»

Escena y rondo en sol mayor para Soprano
Viena diciembre 1783 438 «Se lontan, ben mio, tu sei»

Notturno en mi bemol mayor para dos sopranos y bajo
Viena diciembre 1783 439 «Due pupile amabili»

Notturno en fa mayor para dos sopranos y bajo
Viena diciembre 1783 346 / 439 a «Luci care, care belle»

Notturno en fa mayor para dos sopranos y dos bajo
Texto de Pietro Metastasio?
Viena diciembre 1783 Ap. 229 / 439 b Divertimento Nº. 1 en si bemol mayor
para 3 cornos de bassetto
Divertimento Nº. 2 en si bemol mayor




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 menor

para piano, violín y cello (fragmento)
Viena diciembre 1783 447 Concierto en mi bemol mayor

para corno
Viena enero 1784 448 Sonata en re mayor
para 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 mayor

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

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

para piano
Viena 30 marzo 1784 452 Quinteto en mi bemol mayor

para 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 Movimiento

para un concierto para piano (fragmento)
Viena 12 abril 1784 453 Concierto Nº. 17 en sol mayor

para piano
Viena abril 1784 453 a Kleiner Trauermarsch en do menor

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"
Viena junio 1784 460 / 454 a Tema y Doce Variaciones en la mayor

para piano
sobre: «Come un agnello»
Viena 25 agosto 1784 455 Diez Variaciones en sol mayor

para piano
sobre: «Unser dummer Pöbel meint» (C.W. Gluck)
Viena 30 septiembre 1784 456 Concierto Nº. 18 en si bemol mayor

para piano
Viena 14 octubre 1784 457 Sonata en do menor

para 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 mayor

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

Viena 10 enero 1785 464 Cuarteto Nº. 18 en la mayor
Viena enero 1785 Ap. 72 / 464 a Movimiento en la mayor

Viena 14 enero 1785 465 Cuarteto Nº. 19 en do mayor «Disonante»

Viena 10 febrero 1785 466 Concierto Nº. 20 en re menor

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

para piano
Viena 26 marzo 1785 468 Gesellenreise

«Wenn den langen Weg durchs Leben»
Texto: D. Jäger
Viena marzo 1785 429 / 468 a «Die, Seele des Wetalls»

Cantata masónica
Texto: L.L. Haschka
Viena marzo 1785 469 «Davide 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 Instrumentación

para un concierto de violín para Viotti
Viena 20 abril 1785 471 «Die Maurerfreude»

Cantata
Texto: L.L. Haschka
Viena 7 mayo 1785 472 «Der Zauberer»

« Ihr Mädchen, flieht Damöten ja!»
Lied en --- para soprano y piano
Texto de C. F. Weiße
Viena 7 mayo 1785 473 «Die Zufriedenheit»

«Wie sanft, wie ruhig fühl' ich hier»
Viena 7 mayo 1785 474 «Die betrogene Welt»

«Der reiche Tor, mit Gold geschmücket»
Viena 20 mayo 1785 475 Fantasía en do menor

para piano
Viena 1785 475 a Lied
Viena 8 junio 1785 Ap. 26 / 476 «Das Veilchen»

«Ein Veilchen auf der Wiese stand»
Texto de Johann Wolfgang Goethe
Viena 1785 Ap. 11 / 477 a Cantata
Viena 16 octubre 1785 478 Cuarteto en sol menor

para 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

para piano y violín
Viena 16 diciembre 1785 482 Concierto Nº. 22 en mi bemol mayor

para piano
Zur Eröffnung der Freimaurerloge:

Viena diciembre 1785 483 «Zerfließet heut', geliebte Brüder»
Canto masónico
Texto: A.V. Von Schittlersberg
Zum Schluß der freimaurerloge:

Viena diciembre 1785 484 «Ihr unsre neuen Leiter»
Canto masónico
Viena diciembre 1785 411 / 484 a Adagio en si bemol mayor

para 2 clarinetes y 3 cornos de bassetto
Viena diciembre 1785 Ap. 95 / 484 b Allegro assai en si bemol mayor

para 2 clarinetes y 3 cornos de bassetto (fragmento)
Viena diciembre 1785 Ap. 95 / 484 c Adagio en si bemol mayor

Viena diciembre 1785 410 / 484 d Adagio en fa mayor

para 2 cornos de bassetto y fagot
Viena diciembre 1785 484 e Allegro en fa mayor

para 2 cornos de bassetto (fragmento)
Viena 10 enero 1786 485 Rondo en re mayor
Viena 3 febrero 1786 486 «Der Schauspieldirektor»

Opera
Libreto
Viena 2 marzo 1786 488 Concierto Nº. 23 en la mayor

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

Viena marzo 1786 Ap. 63 / 488 b Concierto

Viena marzo 1786 Ap. 64 / 488 c Concierto

Viena marzo 1786 488 d Concierto

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»
Viena 24 marzo 1786 491 Concierto Nº. 24 en do menor

para piano

Viena 1 mayo 1786 492 «Le Nozze di Figaro»

Opera 4 actos
Libreto
Viena 3 junio 1786 493 Cuarteto en mi bemol mayor

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

para piano y cuerdas
Viena 10 junio 1786 494 Rondo en fa mayor

para piano
Viena 26 junio 1786 495 Concierto en mi bemol mayor

para corno
Viena 8 julio 1786 496 Trio en sol mayor

para piano
Viena 27 julio 1786 487 / 496 a Doce Duos

para 2 cornos
Viena 1 agosto 1786 497 Sonata en fa mayor

Viena agosto 1786 357 / 497 a Sonata en sol mayor

Viena 5 agosto 1786 498 Quinteto en mi bemol mayor

para 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 mayor

para piano
Viena noviembre 1786 500a Sonata en sol mayor

Viena 4 noviembre 1786 501 Andante con 5 Variaciones en sol mayor

Viena 18 noviembre 1786 502 Trio en si bemol mayor

para piano, violín y cello
Viena 4 diciembre 1786 503 Concierto Nº. 25 en do mayor
para piano
Viena 6 diciembre 1786 504 Sinfonía Nº. 38 en re mayor «Praga»
Viena 27 diciembre 1786 505 «Ch'io mi scordi di te?»

Viena diciembre 1786 506 «Wer unter eines Madchens Hand»

«Wer unter eines Mädchens Hand»
Lied en --- para soprano
Texto 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 menor

para piano
Viena 18 marzo 1787 512 «Alcandro lo confesso»

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

para bajo
Viena abril 1787 Ap. 80 514 a [Allegro] en si bemol mayor

Viena 19 abril 1787 515 Quinteto Nº. 2 en do mayor

para 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 menor

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

para 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»
Texto en F. von Hagedorn
Viena 20 mayo 1787 518 «Die Verschweigung»

«Sobald Damötas Chloën sieht»
Viena 23 mayo 1787 519 «Das Lied der Trennung»

«Die Engel Gottes weinen»
Texto de K. E. K. Schmidt
Viena 26 mayo 1787 520 «Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte»
«Erzeugt von heißer Phantasie»
Texto de G. von Baumberg)
Viena 29 mayo 1787 521 Sonata en do mayor

Viena 14 junio 1787 522 «Eine musikalischer Spaß»
Viena 24 junio 1787 523 «Abendempfindung»

«Abend ist's, die»
Texto de J. H. Campe
Viena 26 junio 1787 524 «An Chloë»

«Wenn die Lieb' aus deinen blauen»
Texto 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 actos
Libreto
Praga 3 noviembre 1787 528 «Bella mia fiamma, addio»
«Resta oh cara»
para soprano
Praga 6 noviembre 1787 529 «Des kleinen Friedrichs Geburtstag»

«Es war einmal, ihr Leute»
Texto de J. E: F. Schall / J. H. Campe)
Praga 6 noviembre 1787 530 «Das Traumbild»

«Wo bist du, Bild»
Texto de L. H. C. Hölty
Viena 11 diciembre 1787 531 «Die kleine Spinnerin»

«Was spinnst du?"»
Texto 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 mayor
para 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 menor

para 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»

para soprano
Viena mayo 1788 541 «Un baccio di mano»

Aria en
para bajo
Viena 22 junio 1788 542 Trio para piano en mi mayor

para 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 menor

para cuerdas
Viena 10 julio 1788 547 Sonata en fa mayor «para principiantes»

Viena 14 julio 1788 548 Trio en do mayor

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 mayor

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 1a 1 Andante en do mayor 0'19"
para piano
Salzburgo ene-feb 1761 1b 2 Allegro en do mayor 0'15"
para piano
Salzburgo 11 diciembre 1761 1c 3 Allegro en fa mayor 0'33"
para piano
Salzburgo 16 diciembre 1761 1d 4 Minueto en fa mayor 1'19"
para piano
Salzburgo diciembre 1761 1/ 1e 5 Minueto en sol mayor 1'07"
para piano
Salzburgo diciembre 1761 1f 5 Minueto en do mayor

para 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 mayor
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 mayor

16 2. Adagio 2'59"
París 1763 8 Sonata en si bemol mayor

18 1. Allegro 3'24"
19 2. Andante grazioso 4'03"
París enero 1764 9 Sonata en sol mayor

21 1. Allegro spiritoso 5'52"
22 2. Andante 3'48"

24 1. Allegro 2'32"
25 2. Andante 3'09"
Londres noviembre 1764 11 Sonata en sol mayor

27 1. Andante 2'56"
28 2. Allegro 3'55"
3. Menuetto
Londres noviembre 1764 12 Sonata en la mayor

29 1. Andante 3'14"
30 2. Allegro 2'19"
Londres noviembre 1764 13 Sonata en fa mayor

31 1. Allegro 2'48"
32 2. Andante 3'15"
Londres noviembre 1764 14 Sonata en do mayor

34 1. Allegro 2'49"
35 2. Allegro 2'39"
36 3. Menuetto I 3'02"
Menuetto II «en carrillón»

37 1. Andante maestoso 4'34"
38 2. Allegro grazioso 1'25"

Chelsea abr-jul 1764 El Cuaderno de Londres
para piano
Ap. 109b-1 / 15 a 39 [Allegro] en fa mayor 1'01"
Ap. 109b-2 / 15 b 40 [Andantino] - [Maestoso] en do mayor 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 f 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 -

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 - Sinfonía Nº. 2 en la menor "Odense" -
(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 - Sinfonía en do mayor

(perdida)
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 mayor

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 mayor
86 2. Adagio poco andante 3'34"
87 3. Rondo. Allegro 2'19"
La Haya febrero 1766 27 Sonata en sol mayor

88 1. Andante un poco adagio 3'26"
89 2. Allegro 3'49"
La Haya febrero 1766 28 Sonata en do mayor

90 1. Allegro maestoso 3'15"
91 2. Allegro grazioso 2'26"
La Haya febrero 1766 29 Sonata en re mayor

93 2. Menuetto 3'30"
La Haya febrero 1766 30 Sonata en fa mayor

94 1. Adagio 3'12"
95 2. Rondo. Tempo di menuetto 2'42"
La Haya febrero 1766 31 Sonata en si bemol mayor

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 mayor

para 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
33 c - Stabat Mater -
(perdido)
Ap. 199 / 33 d - Sonata en sol mayor -
Ap. 200 / 33 e - Sonata en si bemol mayor -
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.
[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 mayor
para piano
130 1. Allegro de: H.F. Raupach, Sonata Op. 1 Nº. 5 5'23"
131 2. Andante 5'53"
132 3. (Allegro) de: L. Honauer, Sonata Op. 2 Nº. 3 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 mayor

para piano
133 1. Allegro spiritoso de: H.F. Raupach, Sonata Op. 1 Nº. 1 5'25"
134 2. Andante Staccato de: J. Schobert, Sonata Op. 17 Nº. 2 5'20"
135 3. Molto allegro de: H.F. Raupach, Sonata Op. 1 Nº. 1 3'47"
Salzburgo julio 1767 40 Concierto Nº. 3 en re mayor

para piano
136 1. Allegro maestoso de: L. Honauer, Sonata Op. 2 Nº. 1 5'27"
137 2. Andante Staccato de: J. Eckard, Sonata Op. 1 Nº. 4 4'50"
138 3. Presto de: C. P. E. Bach, La Boehmer 2'31"
Salzburgo julio 1767 41 Concierto Nº. 4 en sol mayor

para piano
139 1. Allegro de: L. Honauer, Sonata Op. 1 Nº. 1 5'23"
140 2. Andante de: H. F. Raupach, Sonata Op. 1 Nº. 1 4'15"
141 3. Molto allegro de: L. Honauer, Sonata Op. 1 Nº. 1 3'50"

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) -

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»

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 mayor

para 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 menor

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. Re mayor (de Michael Haydn) 1'50"
226 2. Re mayor (de Michael Haydn) 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 Minuettos

231 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"

Salzburgo agosto 1769 62 239 Marcha en re mayor 3'35"
para orquesta
Salzburgo agosto 1769 100 / 62 a Casación en re mayor

para 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 mayor

para 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 mayor

para 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»
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]
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 - Allegro en sol mayor -
Salzburgo 1769 73 Sinfonía Nº. 9 en do mayor
272 1. Allegro 3'22"
273 2. Andante 3'11"
274 3. Menuetto 2'57"

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»

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 afanni 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» -

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»

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 - 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
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'afetto»

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»

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
367 1. Allegro 5'21"
368 2. Andante 4'31"
369 3. Tempo di Minuetto 3'47"

para piano
370 1. Allegro 3'58"
371 2. Allegretto 4'28"

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 mayor

para 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 3. Menuetto (alternativo)* 1'04"
Salzburgo 1772 381 / 123 a Sonata en re mayor

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"

Salzburgo 1772 124 A - Sonata de iglesia en re mayor -
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.
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 mayor
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 mayor

414 1. Andante 7'53"
415 2. Allegro di molto 3'26"
Salzburgo marzo 1772 138 / 125 c Divertimento en fa mayor

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»

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 Scipione
Accion 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 Minuetos

Salzburgo 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 mayor

para 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 2. Andantino grazioso (alternativo) 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"

Bolzano oct-nov 1772 155 / 134 a Cuarteto Nº. 2 en re mayor
para cuerdas
461 1. Allegro 3'34"
462 2. Andante 4'40"
Milán oct-nov 1772 156 / 134 b Cuarteto Nº. 3 en sol mayor

para cuerdas
464 1. Presto 3'03"
465 2. Adagio 6'43"
466 3. Tempo di menuetto 3'51"
467 2. Adagio (Versión original) 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 mayor

para 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 mayor

para 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 mayor

para 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 mayor

para cuerdas
482 1. Allegro 3'11"
483 2. Un poco adagio 5'13"
484 3. Presto 2'40"

Milán marzo 1773 186 / 159 b Divertimento en si bemol mayor
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 mayor

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 - «Kyrie» en do mayor -
(fragmento)
Salzburgo 1773 Ap. 19 / 166 g - «Kyrie» en re mayor -
(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»

para 2 violines y bajo, con 2 oboes, 2 clarinetes trompetas, 2 trompetas y órgano.
503 Kyrie 3'16"
504 Gloria 4'24"
505 Credo 12'02"
506 Santus 1'25"
508 Agnus Dei 6'08"

Viena 1773 205 / 167 A Divertimento en re mayor
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"
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 mayor
para 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 mayor

Viena agosto 1773 169 Cuarteto Nº. 9 en la mayor

para 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 mayor

para 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 mayor

para 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 mayor

para cuerdas
540 2. Adagio 5'03"
541 3. Menuetto 3'03"
Viena septiembre 1773 173 Cuarteto Nº. 13 en re menor

para 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 mayor

para 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 mayor

para 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 mayor

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 Virgine
Letania Laurentana en re mayor
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 mayor
para 2 pianos y orquesta
596 3. Tempo di Menuetto (Vivace) 9'52"
Salzburgo 4 junio 1774 191 / 186 e Concierto en si bemol mayor

para 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 mayor

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 mayor

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 mayor

para 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 mayor

para piano
625 1. Allegro 4'48"
626 2. Andante 5'43"
627 3. Allegro 3'13"
Salzburgo 1774 280 / 189 e Sonata en fa mayor

para piano
629 2. Adagio 7'04"
630 3. Presto 2'45"
Salzburgo 1774 281 / 189 f Sonata en si bemol mayor

para 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 mayor
para 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 mayor

para 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 mayor

para 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 mayor

para fagot (perdido)
Munich febrero 1775 222 / 205 a 653 «Misericordias Domini» 7'29"
Ofertorio en re menor
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 - Concierto en fa mayor -
para cello (perdido)
Salzburgo 14 abril 1775 207 Concierto Nº. 1 en si bemol mayor

para 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"

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 - «Un dente guasto» -
Aria para bajo (fragmento)
Salzburgo mayo 1775 210 664 «Con ossequio, con rispetto» 2'38"

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.
Salzburgo 14 junio 1775 211 Concierto Nº. 2 en re mayor
para 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 mayor

para 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 mayor

para 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 mayor

para 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 mayor

para 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 mayor

para 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 mayor

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 mayor

para 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 sacramento

Letanía 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 mayor

para 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 mayor

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"
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 «Hafner»

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 mayor

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 mayor

para 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"
Recitativo y Aria 'en rondeau' para contralto,

de la opera "Arsace" II, 8 de M. Mortellari, con texto de Giovanni de Gamerra.
[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 carte e sarte,
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,
Cento bucefali (2)

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"
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"
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 mayor

1. Adagio 6'06"
2. Menuetto (Allegretto) 3'19"
Salzburgo febrero 1777 289 / 271 g Divertimento en mi bemol mayor

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 mayor

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 mayor

para violín
1. Allegro maestoso 11'46"
2. Andante 8'09"
3. Rondeau. (Allegro) 9'13"
Salzburgo 1777 314 / 271 k Concierto en do mayor

para 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 mayor

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 Preludios

para piano (perdidos)
Mannheim noviembre 1777 309 / 284 b Sonata en do mayor

para 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 mayor

para 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 Instrumentación

Para un concierto de flauta para Wendling (perdido)
Mannheim 1777 284 f Rondo para piano

Mannheim 25 diciembre 1777 285 Cuarteto en re mayor

para flauta
1. Allegro 6'40"
2. Adagio - 2'22"
3. Rondeau 4'10"
Mannheim enero 1778 285 a Cuarteto en sol mayor

para flauta
1. Andante 6'07"
2. Tempo di Menuetto 3'25"
Mannheim enero 1778 Ap. 171 / 285 b Cuarteto en do mayor

para flauta
1. Allegro 5'46"
2. Tema (Andante) con variazioni 9'30"

Mannheim enero 1778 313 / 285 c Concierto en sol mayor
2. Adagio non troppo 8'28"
3. Rondo (Tempo di Menuetto) 6'47"
Mannheim enero 1778 314 / 285 d Concierto en re mayor

para flauta
2. Andante ma non troppo 6'18"
3. Allegro 6'04"
Mannheim enero 1778 315 / 285 e Andante en do mayor 5'56"
Mannheim 1778 301 / 293 a Sonata en sol mayor

para violín y piano (Palatina Nº. 1)
2. Allegro 5'13"
Mannheim 1778 302 / 293 b Sonata en mi bemol mayor

1. Allegro 5'15"
2. Rondo. Andante grazioso 6'14"
Mannheim 1778 303 / 293 c Sonata en do mayor

1. Adagio - Molto allegro 5'05"
2. Tempo di menuetto 4'39"
Mannheim 1778 305 / 293 d Sonata en la mayor

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"

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"

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 mayor

1. Allegro vivace 6'18"
2. Andante sostenuto 4'51"
3. Allegro [Rondo] 4'55"
Mannheim marzo 1778 322 / 296 a Kyrie en mi bemol mayor -
(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 mayor
para 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 mayor

para 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 mayor

para flauta, arpa y orquesta
1. Allegro 10'27"
2. Andantino 8'32"
París abril 1778 298 Cuarteto en la mayor

para 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"
2. Andante (alternativo) 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
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 menor

1. Allegro 6'27"
París 1778 310 / 300 d Sonata en la menor

para 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 mayor

1. Allegro moderato 6'12"
2. Andante cantabile 6'26"
3. Allegretto 5'17"
París 1778 331 / 300 i Sonata en la mayor

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 mayor

1. Allegro 6'57"
2. Adagio 5'01"
París 1778 306 / 300 l Sonata en re mayor

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 mayor

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 mayor

para 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 mayor

para 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 mayor

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 Marchas

para 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»

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 mayor

2. Andante 11'02"
3. Presto 6'11"
Salzburgo septiembre 1779 Ap. 104 / 320 e Sinfonía concertante en la mayor

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"

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 Kyrie en do mayor

(fragmento)
Salzburgo 1779 Ap. 20 / 323 a Gloria en do mayor

(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 Alemanes

Lieder 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"

5. Laudate Dominum omnes gentes 5'11"
6. Magnificat anima mea 5'22"
Salzburgo 1780 392 / 340 a «Verdankt sei es dem Glanz»

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»

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 Liebe

Recitativo 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 mayor

para 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"
Viena marzo 1781 372 a Allegro en si bemol mayor

Viena 2 abril 1781 373 Rondo en do mayor 5'18"
Viena abril 1781 379 / 373 a Sonata en sol mayor

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"
Viena junio 1781 360 / 374 b Seis Variaciones en sol menor «Hélas, j'ai perdu mon amant»
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 mayor

1. Allegro 4'40"
2. Andante 5'00"
3. Rondo. Allegretto grazioso 5'48"
Viena septiembre 1781 377 / 374 e Sonata en fa mayor

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 mayor

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 mayor

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 mayor

para dos pianos
2. Andante 9'23"
Viena 1782 Ap. 42 / 375 b Grave y Presto en si bemol mayor -
Viena 1782 Ap. 43 / 375 c Movimiento en si bemol mayor -
Viena 1782 Ap. 45 / 375 d Fuga en sol mayor -
Viena 1782 401 / 375 e Fuga en sol menor 3'21"
para piano
Viena 1782 153 / 375 f Fuga en mi bemol mayor -
Viena 1782 Ap. 41 / 375 g Fuga en sol mayor -
Viena 1782 375 h Fuga en fa mayor -
Viena marzo 1782 382 Rondo en re mayor

para piano
Allegro grazioso 5'45"
Adagio 2'17"
Allegro 1'55"
229 / 382 a [«Sie ist dahin»] 2'24"
[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"
[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»]

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»

[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"
[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"
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»

Der Liebe himmlisches Gefühl

Ist nicht an unsre Macht gebunden.
Ein einz'ger Blick entscheidet viel,
Noch hat mein Herz ihn nicht gefunden;
Ich wart', ich wart' mit Zuversicht.
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!»
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,
Sie zu verdienen, doch Geduld!
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 mayor

para piano
1. Präludium 4'30"
2. Fuge 4'20"
Viena abril 1782 33 - 40 / 383 b Fuga en fa mayor -
Viena abril 1782 Ap. 32 / 383 C Fantasía en si bemol mayor -
Viena abril 1782 Ap. 38 / 383 c Tema y variaciones en do mayor -
Viena abril 1782 Ap. 39 / 383 d Fuga en mi bemol mayor -
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»

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 «Hafner»
2. (Andante) 8'54"
3. Menuetto 3'29"
Viena agosto 1782 408 Nº 2 / 385 a Marcha en do mayor

para
Viena agosto 1782 393 / 385 b Solfeo

para soprano
Viena septiembre 1782 403 / 385 c Sonata en do mayor

2. Andante 2'56"
3. Allegretto 4'36"
Viena septiembre 1782 404 / 385 d Andante y Allegreto en do mayor

1. Andante 1'49"
2. Allegretto 1'21"
Viena septiembre 1782 Ap. 48 / 385 E Sonata en la mayor

Viena septiembre 1782 402 / 385 e Andante y Fuga en la mayor

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"
Viena 1782 397 / 385 g Fantasía en re menor

Viena 1782 Ap. 34 / 385 h Adagio en re menor

Viena octubre 1782 399 / 385 i Suite en do mayor

1. Obertura - Allegro 3'51"
2. Allemande 3'50"
3. Courante 2'20"
Viena 1782 154 / 385 k Fuga en sol menor

Viena 1782 385 n Fuga en la menor

Viena 1782 385 o Apuntes

para un concierto para piano
Viena 1782 414 / 385 p Concierto Nº. 12 en la mayor
para 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 mayor

para corno
1. (Allegro) KV 412 4'53"
2. Allegro KV 514 4'15"
Viena diciembre 1782 407 / 386 c Quinteto en mi bemol mayor

para 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 mayor

1. Allegro vivace assai 7'28"
2. Menuetto. Allegro 8'16"
Viena diciembre 1782 413 / 387 a Concierto Nº. 11 en fa mayor

para 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 mayor

para 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
Nº. 1 en re menor
1. Adagio 4'01"
2. Fuga 3'50"
J. S. Bach: «Das wohltemperierte Klavier» I, Fuga 8, BWV 853
Nº. 2 en sol menor

1. Adagio 3'18"
2. Fuga 2'55"
J. S. Bach: «Das wohltemperierte Klavier» II, Fuga 14, BWV 883
Nº. 3 en fa mayor
1. Adagio 3'15"
2. Fuga 3'04"
J. S. Bach: «Das wohltemperierte Klavier» II, Fuga 13, BWV 882
Nº. 4 en fa mayor
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
Nº. 5 en mi bemol mayor

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
Nº. 6 en fa menor
1. Adagio 4'53"
2. Fuga 3'35"
W.F. Bach: Fuga 8
Viena diciembre 1782 443 / 404 b Fuga en sol mayor

Viena diciembre 1782 405 Arreglos de cinco Fugas

de J. S. Bach
Viena diciembre 1782 405 a Fuga en do mayor

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!
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 mayor

para 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 menor


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

Viena junio 1783 417 d Cuarteto

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 mayor

1. Allegro ma non troppo 7'21"
3. Allegretto 6'21"
Salzburgo julio 1783 422 «L'Oca del Cairo»

«La Oca del Cairo»
Libreto
Salzburgo 1783 Ap. 14 / 422 a «Kyrie»

(fragmento)
Salzburgo octubre 1783 423 Duo en sol mayor

1. Allegro 6'06"
2. Adagio 3'31"
Salzburgo octubre 1783 424 Duo en si bemol mayor

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»
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 menor

para dos pianos
Viena diciembre 1783 Ap. 44 / 426a Allegro en do menor

para dos pianos (fragmento)
Viena diciembre 1783 436 «Ecco quel fiero istante»

Nocturno en fa mayor para dos sopranos y bajo
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 mayor
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 menor

para piano, violín y cello (fragmento)
Viena diciembre 1783 447 Concierto en mi bemol mayor

para corno
1. Allegro 7'25"
2. Romanze (Larghetto) 4'49"
3. Allegro 3'44"
Viena enero 1784 448 Sonata en re mayor

para 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 mayor

para piano

2. Andantino 7'19"
Viena 15 marzo 1784 450 Concierto Nº. 15 en si bemol mayor

para piano
1. Allegro 11'00"
2. (Andante) 6'16"
3. Allegro 7'54"
Viena 22 marzo 1784 451 Concierto Nº. 16 en re mayor

para piano
2. Andante 6'23"
Viena 30 marzo 1784 452 Quinteto en mi bemol mayor

para 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 Movimiento

para un concierto para piano (fragmento)
Viena 12 abril 1784 453 Concierto Nº. 17 en sol mayor

para 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"

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 mayor

para piano
2. Andante un poco sostenuto 9'35"
Viena 14 octubre 1784 457 Sonata en do menor

para 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 mayor

para piano
2. Allegretto 8'18"
Viena diciembre 1784 Ap. 59 / 459 b Concierto

Viena 10 enero 1785 464 Cuarteto Nº. 18 en la mayor

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"
Viena 14 enero 1785 465 Cuarteto Nº. 19 en do mayor «Disonante»

1. Adagio - allegro 11'16"
3. Allegretto 5'29"
Viena 10 febrero 1785 466 Concierto Nº. 20 en re menor

para 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 mayor

para piano
1. (Allegro) 13'24"
2. Andante 6'32"
Gesellenreise
Viena 26 marzo 1785 468 «Wenn den langen Weg durchs Leben» 2'02"

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 Instrumentación

para 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!»
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 menor

para piano
Adagio - Allegro - Andantino -Più allegro - Tempo I 13'06"
Viena 1785 475 a Lied
Viena 8 junio 1785 Ap. 26 / 476 «Das Veilchen»

«Ein Veilchen auf der Wiese stand »
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 menor

para 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

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 mayor

para piano
1. Allegro 13'20"
2. Andante 9'33"
3. Allegro (Rondo) 11'54"
Zur Eröfnung der Freimaurerloge:

Viena diciembre 1785 483 «Zerfließet heut', geliebte Brüder» 2'06"
Canto masónico
(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
(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"
Viena diciembre 1785 Ap. 95 / 484 b Allegro assai en si bemol mayor

para 2 clarinetes y 3 cornos de bassetto (fragmento)
Viena diciembre 1785 Ap. 95 / 484 c Adagio en si bemol mayor

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 mayor

para 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 mayor

para piano
1. Allegro 11'05"
2. Adagio 6'48"

Viena marzo 1786 Ap. 63 / 488 b Concierto

Viena marzo 1786 Ap. 64 / 488 c Concierto

Viena marzo 1786 488 d Concierto

Viena 13 marzo 1786 489 «Spiegarti no poss'io»

Viena 13 marzo 1786 490 «Venga la morte»

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 menor

para 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 mayor

para 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 mayor

para piano
Viena 26 junio 1786 495 Concierto en mi bemol mayor

para corno
2. Romanza (Andante) 4'49"
3. Rondo (Allegro vivace) 3'44"
Viena 8 julio 1786 496 Trio en sol mayor

para 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 mayor

1. Adagio - Allegro di molto 9'38"
2. Andante 8'47"
3. Allegro 8'07"
Viena agosto 1786 357 / 497 a Sonata en sol mayor

1. Allegro. KV 357 / 497a 6'19"
Viena 5 agosto 1786 498 Quinteto en mi bemol mayor

para 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 «Hofmeister»

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 mayor

2. Andante. KV 500a 6'20"
Viena 4 noviembre 1786 501 Andante con 5 Variaciones en sol mayor

Viena 18 noviembre 1786 502 Trio en si bemol mayor

1. Allegro 8'08"
2. Larghetto 9'11"
3. Allegretto 6'00"
Viena 4 diciembre 1786 503 Concierto Nº. 25 en do mayor

para 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?»

[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»

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»

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 mayor

para 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 menor

para cuerdas
1. Allegro 10'44"
2. Adagio ma non troppo 7'20"
Viena mayo 1787 406 / 516 b Quinteto Nº. 4 en do menor

para 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 mayor

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 mayor

para 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»

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»

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 mayor

para 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 menor

para cuerdas
Adagio 2'16"
Fuga 4'01"
Viena 10 julio 1788 547 Sonata en fa mayor «para principiantes»

2. Allegro 6'06"
3. Andante con variazioni 6'53"
Viena 14 julio 1788 548 Trio en do mayor

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 mayor

estudio
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 mayor

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 mayor

para 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 mayor

para 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
ROSINE:
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 mayor

para 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"

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»

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 mayor

para piano
589 Cuarteto Nº. 22 en si bemol mayor

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 mayor

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 mayor

para cuerdas
1. Larghetto - Allegro 10'15"
2. Adagio 7'21"
4. Allegro 5'15"
594 Adagio y Allegro en fa menor

para órgano mecánico
Adagio 2'12"
Allegro 7'16"
Adagio 2'17"
595 Concierto Nº. 27 en si bemol mayor

para 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"
5. Sol mayor (Trio: «Der Kanarienvogel») 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"
3. Do mayor (KV 611 «Die Leyerer») 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"
3. Do mayor (Trio: «Die Schlittenfahrt») 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
1. Do mayor («Non più andrai») 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 mayor

para 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 mayor

para armonica de vidrio, flauta, oboe, viola y violonchelo
1. Adagio 6'38"
2. Rondo 9'35"
356 / 617 a Adagio en do mayor

para 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,
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 mayor

para 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"

WORK
ENTRY TITLE OR SHORT DESCRIPTION FROM
KV6 KV1 TITLE NICKNAME KEY # KV6
528 528 Scene f/S Bella mia C -- Dated Nov 3, 1787 in Prague;
fiamma/Rest written for Josefa Duschek.
a, o cara
529 529 Song f/1 Des kleinen F -- Entered in work catalogue Nov 6,
Singer Friedrichs 1787 in Prague; title "Am
w/Kybd Geburtstag Geburtstag des Fritzes" refers to
Prince Friedrich of Anhalt-
Dressau.
530 530 Song f/1 Das Eb -- Entered in work catalogue on Nov
Singer Traumbild 6, 1787 on Prague; in Nov 9,
w/Kybd 1787 Mozart gave Gottfried von
Jacquin a song in friendship;
published around 1803 under
Jacquin's name.
531 531 Song f/1 Die kleine C -- Entered in work catalogue Dec
Singer Spinnerin 11, 1787 in Vienna; published in
w/Kybd children's magazine in same year.
532 532 Trio f/STB Grazie Bb -- Composed supposedly 1787 in

agl'inganni Vienna; date taken to have
tuoi 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.
533 533 Allegro & -- F/Bb -- Entered in work catalogue Jan 3,

Andante 1788 in Vienna; published with
f/Kybd Rondo KV 494 as Sonata by
Hoffmeister in 1788.
534 534 Country Das D -- Entered in work catalogue Jan
Dance Donnerwette 14, 1788; exists in orchestral and
r Kybd versions.
535 535 Country La Bataille C -- Entered in work catalogue Jan
Dance 23, 1788.
535a (K2) 535a 3 Country -- C,G,G -- Composed probably beginning

Dances 1788 in Vienna; Artaria pulbished
6 Contredances, containing these
3 as #3, 4, 6, and KV 534, KV
462/3 and KV 535 others.
535b A107 Country -- Bb -- Composed probably beginning

Dance 1788 in Vienna.
536 536 6 German -- var -- Entered in work catalogue Jan

Dances 27, 1788.
537 537 Concerto Coronation D 26 Entered in work catalogue Feb
f/Kybd Concerto 24, 1788 in Vienna; nickname
from performance at coronation
ceremonies in Frankfurt on Oct
15, 1790.
537a A057 Concerto -- D -- Begun probably Feb 1788 in
Mvmt f/Kybd Vienna; in connection with KV
537.
537b A061 Concerto -- d -- Begun probably Feb 1788 in
Mvmt f/Kybd Vienna; probably connected with
KV 537, or perhaps KV 488.
537d -- Arrangemen Ich folge dir, D -- Arranged by Mozart supposedly

t of an Aria verklärter before Feb 26, 1788 in Vienna;
by CPE Held CPE Bach's "Auferstehung und
Bach Himmelfahrt Jesu", performed at
Count Esterhazy's; Mozart
modified solo Trmpt part for Cl, Fl
and Ob; Valentine Adamberger
was singer of part.
538 538 Aria f/S Ah se in ciel, F -- Dated Mar 4, 1788 in Vienna;

benigne written for Aloysia Lange;
stelle autograph particella, which differs
in voice part, also preserved.
539 539 A German Ich möchte A -- Dated Mar 5, 1788 in Vienna;

War Song wohl der written for actor in Leopolstadt,
Kaiser sein Friederick Baumann; First
performaned Mar 7.
540 540 Adagio -- b -- Dated Mar 19, 1788 in Vienna.
f/Kybd
540a -- Aria to the Dalla sua G -- Entered in work catalogue Apr 24,
Opera Don pace 1788 in Vienna; replacement Aria
Giovanni (for "Il mio tesoro") for Vienna
performance of Don Giovanni on
May 7, 1788 at Burg Theater;
singer was Franceso Morella.
540b -- Duet for the Per queste C -- Entered in work catalogue Apr 28,
Opera Don tue manine 1788, in Vienna; insert duet for
Giovanni 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 -- Scena for In quali Eb -- Entered in work catalogue Apr 30,
the Opera eccesi/Mi 1788 in Vienna; replacement Rec
Don tradì & Aria (for "In qual eccessi/Mi
Giovanni quell'alma tradi") for Vienna performance of
Don Giovanni on May 7, 1788 at
Burg Theater; singer was
Caterina Cavalieri.
541 541 Arietta f/B Un bacio di F -- Entered in Work Catalogue in

mano May 1788 in Vienna; written for
Francesco Albertarelli as insert in
Anfossi's opera "Le geloise
fortunate", performed in Vienna
Jun 2, 1788.
542 542 Trio f/Kybd -- E -- Entered in work catalogue Jun

& St 22, 1788 in Vienna; possibly
Puchberg trio.
543 543 Symphony -- Eb 39 Entered in work catalogue Jun

26, 1788 in Vienna.
544 544 Little March -- D -- Entered in work catalogue Jun
26, 1788 in Vienna.
545 545 Sonata -- C -- Entered in work catalogue Jun
f/Kybd 26, 1788 in Vienna as "A little
Klavier Sonata for Beginners".
546 546 Adagio & -- c -- Entered in work catalogue Jun
Fugue f/St 26, 1788 in Vienna; String
arrangement of 2-Kybd Fugue KV
426; possibly intended for small
string orchestra.
546a A047 Sonata -- Bb -- Composed probably in Jun 1788
Mvmt f/Kybd in Vienna; possibly a draft for KV
& Vn 547.
547 547 Sonata -- F -- Entered in work catalogue Jul 10,
f/Kybd & Vn 1788, (see KV 547a and KV
547b).
547a A135 Sonata -- F -- Composed probably after Jun 26,
f/Kybd 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.
547b 54 5 (6?) -- F -- Composed probably in Jul 1788
Variations in Vienna; solo version of 3rd
f/Kybd mvmt of KV 547.
548 548 Trio f/Kybd -- C -- Entered in work catalogue Jul 14,

& St 1788.
549 549 Canzonetta Piú non si Bb -- Entered in work catalogue Jul 16,
f/2S & B trovano 1788.
550 550 Symphony The Great g g 40 Dated Jul 25, 1788 in Vienna; Cls
Minor added in later revision.
551 551 Symphony Jupiter C 41 Entered into work catalogue Aug
Symphony 10, 1788 in Vienna.
552 552 Song f/1 Beim A -- Entered in work catalogue Aug
Singer Auszug in 11, 1788 in Vienna.
w/Kybd das Feld
553 553 4-Voice Alleluja C -- Entered in work catalogue Sep 2,
Canon 1788 in Vienna; on same
manuscript page with KV 554,
555, and 557.
554 554 4-Voice Ave Maria F -- Entered in work catalogue Sep 2,
Canon 1788 in Vienna; on same
555, and 557.
555 555 4-Voice Lacrimoso a -- Entered in work catalogue Sep 2,
Canon son'io 1788 in Vienna; on same
554,and 557; new text added
later by B&H.
556 556 4-Voice G'rectel's G -- Entered in work catalogue Sep 2,
Canon enk 1788 in Vienna; on same
manuscript page with KV 561;
new text added later by B&H.
557 557 4-Voice Nascoso é il f -- Entered in work catalogue Sep 2,
Canon mio sol 1788 in Vienna; on same
554, and 555.
558 558 4-Voice Gehn wir im Bb -- Entered in work catalogue Sep 2,
Canon Prater 1788 in Vienna; on same
manuscript page with KV 554 and
555.
559 559 3-Voice Difficile lectu F -- Entered in work catalogue Sep 2,
Canon mihi Mars 1788 in Vienna; on same
manuscript page as KV 560;
supposedly jotted down by
Mozart as joke, directed at
Johann Nepomuk Peierl.
559a -- 4-Voice O du F -- Composed most likely 1785 in
Canon eselhafter Vienna; another autograph with
Peierl 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 4-Voice O du F -- Entered in work catalogue Sep 2,

Canon eselhafter 1788 in Vienna; on same
Martin manuscript sheet as KV 559; (see
KV 559a).
561 561 4-Voice Bona nox, A -- Entered in work catalogue Sep 2,

Canon bist a rechta 1788 in Vienna; on same
Ox manuscript page with KV 556.
562 562 3-Voice Caro A -- Entered in work catalogue Sep 2,
Canon bell'idol mio 1788 in Vienna; new text later
added by B&H.
562a -- 4-Voice -- Bb -- Composed [?] in Vienna.
Canon w/out
Text
562b -- Canon -- F -- Composed [?] in Vienna.

Study
562c A191 4-Voice -- C -- Composed [?] in Vienna [?];

Canon headed by Mozart with "13
Canone a due Violini, Viola, e
Basso"; on same manuscript
page as KV 384B.
562e A066 Trio f/St -- G -- Composed supposedly in Sep
1788 n Vienna; no doubt earlier
attempt at Trio f/St KV 563.
563 563 Divertimento -- Eb -- Entered in work catalogue Sep
f/St Trio 27, 1788; written for Michael
Puchburg.
564 564 Trio f/Kybd -- G -- Entered in work catalogue Oct 27,

& St 1785 in Vienna.
565 565 2 Country -- Eb/D -- Entered in work catalogue Oct 30,
Dances 1788.
565a -- Country -- D -- [No dating in KV6.] Fragment
Dance consists of only 2nd Vn part.
566 566 Arrangemen Acis and var -- Entered in work catalogue in Nov
t of a Handel Galathea 1788 in Vienna; commissioned by
Pastorale Baron van Swieten for
Association of Cavaliers;
reorchestration of Händel's
oratorio.
567 567 6 German -- var -- Entered in work catalogue Dec 6,

Dances 1788.
568 568 12 Minuets -- var -- Entered in work catalogue Dec
24, 1788; intended for balls in
Redoutensaal.
569 569 Aria f/S (?) Ohne F -- Entered Work Cataologue in Jan
Zwang, aus 1789 in Vienna; nothing known of
eignem occasion.
Triebe
569a A031 Sonata -- Bb -- Composed most likely beginning

Mvmt f/Kybd 1789 in Vienna; probably a draft
for Sonata KV 570, but possibly
for KV 454.
570 570 Sonata -- Bb -- Entered in work catalogue Feb
f/Kybd 1789 in Vienna; first published
edition by Artaria in 1796
contained Vn part that did not
originate from Mozart.
571 571 6 German -- var -- Entered in work catalogue Feb
Dances 21, 1789.
571A A106 Minuet -- A -- Originated probably in Feb 1789
in Vienna; in his biography Nissen
listed Minuet in A with only 11
measures completed.
571a A005 Humerous Caro mio Eb -- Composed supposedly beginning
Qrt Druck und 1789 in Vienna; dating based on
Schluck Mozart's use of phrase "Schluck
und Druck" in letter of Apr 13,
1789.
572 572 Arrangemen Messiah G -- Entered in work catalogue in Mar
t of a Handel 1789; commissioned by Baron
Oratorio van Swieten for Association of
Cavaliers; reorchestration of
Händel's oratorio, performed on
Mar 6 and Apr 7 at residence of
Count Johann Esterházy.
572a A004 6-Voice Lebet unk -- Composed supposedly on Apr 22,

Double wohl/Heult 1789 in Leipzig; according to
Canon noch gar anedcote of Rochlitz, composed
as farewell for the retiring
Thomaskirche cantor, Friedrich
Doles.
573 573 9 Variations Duport D -- Entered in work catalogue Apr 29,

f/Kybd Variationen 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.
574 574 Little Gigue -- G -- Dated May 1, 1789 in Vienna;

f/Kybd written in diary of court organist to
Elector of Saxony, Karl Immanuel
Engel.
575 575 Quartet f/St -- D -- 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.
576 576 Sonata -- D -- Entered in work catalogue Jul

f/Kybd 1789 in Vienna; one of the 6
Sonatas in projected series of
works for Princess Friederike of
Prussia.
576a A034/2 Minuet -- D -- [Not dated by KV6, but placed
f/Kybd immediately after Sonata KV 576,
which was dated Jul 1789 in
Vienna.] On same manuscript
page with KV 385h.
576b 355 Minuet -- D -- Composed probably 1789 in
f/Kybd 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.
577 577 Rondo f/S Al desio, di F -- Entered in Work Catalogue in Jul

chi t'adora 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 Alma grande Bb -- Entered in Work Catolgue in Aug
e nobil core 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.
579 579 Aria f/S Un moto di G -- Composed probably in Aug 1789

gioia mi in Vienna; written as replacement
sento aria for Adriana Ferraresi del
Bene for Susanna's "Venite
inginocchiatevi" in "Le nozze di
Figaro"; Kybd reduction by
Mozart also exists.
580 580 Aria f/S Schon lacht Bb -- Entered in work catalogue Sep
der holde 17, 1789 in Vienna; written for
Frühling 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.
580a A094 Adagio -- C -- Composed supposedly in Sep

f/Winds 1789 in Vienna; besides English
Hn, no other instruments noted,
but on technical grounds it
appears to be 2 Hns, (or Bthns),
and Bn.
580b A090 Quintet -- F -- Composed probably in Sep 1789

Mvmt f/Cl, in Vienna.
Bthn & St
581 581 Quintet f/Cl -- A -- Entered in work catalogue Sep
& St 29, 1789; first performed Dec 22,
1789 at Burg Theater in Vienna in
concert by Tonkünstler Society
with Anton Stadler the clarinetist.
581a A088 Quintet- -- A -- Composed probably in Sep 1787,

Concerto or later, in Vienna; has a
Mvmt f/Cl 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.
582 582 Aria f/S Chi sà, chi C -- Dated in Oct 1789 in Vienna;
sà, qual sia 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 Vado, ma Eb -- Dated in Oct 1789 in Vienna;

dove? - oh written for Louise Villeneuve as
Dei! insert in Martin & Soler's "Il
burbero di buon core", performed
at Burg Theater on Nov 9, 1789.
584 584 Aria f/B Rivolgete a D -- Entered in work catalogue Dec

lui lo 1789 in Vienna; aria originally to
sguardo have been in "Così fan tutte", and
sung by Benucci; replaced by Aria
"Non siate ritrosi".
585 585 12 Minuets -- var -- Entered in work catalogue Dec
1789.
586 586 12 German -- var -- Entered in work catalogue Dec
Dances 1789.
587 587 Country Der Sieg C -- Entered in work catalogue Dec
Dance vom Helden 1789; Mozart cited a marching
Coburg song about General Colburg-
Saalfeld, who achieved a victory
over the Turks on Sep 22, 1789
at Martinestie.
587a A074 Quartet -- g -- Composed probably end of 1789

Mvmt f/St in Vienna; on same manuscript
page with sketches to Canon in
2nd Act finale of "Così fan tutte".
588 588 Opera buffa Così fan C -- Completed in Jan 1790 in Vienna;
in 2 Acts Tutte first performed Jan 26, 1790 at
Burg Theater in Vienna.
588a 106 Overture & 3 -- var -- Composed supposedly in Jan

Country 1790.
Dances
588b 236 Andantino -- Eb -- [Not dated by KV6, but placed

f/Kybd just before Quartet KV 589 dated
May 1790.] Theme to Aria "Non vi
turbate" from Gluck's opera
"Alceste", possibly for variations.
589 589 Quartet f/St -- Bb -- Entered in work catalogue May

1790 in Vienna; second of the
planned 6 quartets f/St for King of
Prussia.
589a A068 Quartet -- Bb -- Composed probably in May or
Mvmt f/St Jun 1790 in Vienna; piece is a
Polonaise intended either for KV
589 or slow mvmt of KV 590.
589b A073 Quartet -- F -- Composed probably in Jun 1790

Mvmt f/St in Vienna; no doubt in connection
with KV 590.
590 590 Quartet f/St -- F -- Entered in work catalogue Jun
1790 in Vienna; third of the 6
planned Quartets for King of
Prussia.
590a A029 Sonata -- F -- Composed probably in Jun 1790
Mvmt f/Kybd in Vienna; drafts for Kybd sonatas
Mozart writes of in letter to
Puchburg of Jun 12, 1790.
590b A030 Sonata -- F -- Composed probably in Jun 1790

Mvmt f/Kybd in Vienna; drafts for Kybd sonatas
590c A037 Rondo -- F -- Composed probably in Jun 1790
f/Kybd in Vienna; drafts for Kybd sonatas
590d 312 Sonata -- g -- Composed probably in summer

Mvmt f/Kybd 1790 in Vienna, probably for
projected cycle of sontas for
Princess Friederika of Prussa.
591 591 Arrangemen Alexander's var -- Entered in work catalogue Jul

t of a Handel Feast 1790 in Vienna; Bernardt spoke
Oratorio of a performance in 1791.
592 592 Arrangemen Ode to St var -- Entered in work catalouge Jul

t of a Handel Caecilia 1790 in Vienna; Bernardt spoke
Oratorio of a performance in 1791
592a 625 Comic Duet Nun, liebes D -- Originated probably end of Aug
f/SB Weibchen 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.
592b A083 Quintet -- D -- Composed most likely end of

Mvmt f/St 1790 in Vienna; draft for KV 593.
593 593 Quintet f/St -- D -- 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".
593a A035 Adagio f/Org -- d -- Composed most llikely end of

Wrks (Clock) 1789 in Vienna; no doubt a draft
for KV 594.
594 594 Adagio & -- f -- Entered in work catalogue at the
Allegro f/Org end of 1790; begun in Oct during
Wrks (Clock) trip to Frankfurt, and completed in
Dec in Vienna; commissioned by
Count Josef Deym von Stritetz for
his wax museum in Vienna.
595 595 Concerto -- Bb 27 Entered in work catolgue Jan 5,

f/Kybd 1791 in Vienna; played by Mozart
on Mar 4, 1791 in concert of
Joseph Beer.
596 596 Song f/1 Sehnsucht F -- Entered in work catalogue Jan

Singer nach dem 14, 1791 in Vienna;
w/Kybd Frühling commissioned by Ignaz Alberti for
collection of songs for children.
597 597 Song f/1 Im Eb -- Entered in work catalogue Jan

Singer Frühlingsanf 14, 1791 in Vienna;
w/Kybd ang commissioned by Ignaz Alberti for
598 598 Song f/1 Das A -- Entered in work catalogue Jan

Singer Kinderspiel 14, 1791 in Vienna;
w/Kybd commissioned by Ignaz Alberti for
599 599 6 Minuets -- var -- Entered in work catalogue Jan

23, 1791 in Vienna.
600 600 6 German -- var -- Entered in work catalogue Jan

Dances 29, 1791 in Vienna.
601 601 4 Minuets -- var -- Entered in work catalogue Feb 5,
1791 in Vienna.
602 602 4 German -- var -- Entered in work catalogue Feb 5,

Dances 1791 in Vienna.
603 603 2 Country -- D,Bb -- Entered in work catalogue Feb 5,
Dances 1791 in Vienna.
604 604 2 Minuets -- Bb,Eb -- Entered in work catalogue Feb
12, 1791 in Vienna.
605 605 2 (3) -- var -- Entered in work catalogue Feb

German 12, 1791 in Vienna.
Dances
605a 607 Country [ll trionfo Eb -- Entered in work catalogue Feb
Dance delle donne] 28, 1791 in Vienna; theme used
is from Antossi's opera buffa "Il
trionfo delle donne".
606 606 6 Country -- var -- Entered in work catalogue Feb
Dances 28, 1791 in Vienna.
608 608 Organ Piece -- f -- Entered in work catalogue Mar 3,

for a Clock 1791 in Vienna; commissioned by
Count Josef Deym von Stritetz for
an exhibit in his Vienna wax
museum honoring Field Marshall
Laudon.
609 609 5 Country -- var -- Composed probably 1791 in

Dances Vienna; not entered in work
catalogue, but #5 entered alone
under date Mar 6, (see KV 610).
610 Country Les filles G -- Entered in work catalogue Mar 6,
Dance malicieuses 1791 in Vienna; heading on
autograph "Les filles malicieuses"
not clear; instrumentation in this
autograph different from that of
KV 609/5
611 611 German Die Leyerer C -- Entered in work catalogue Mar 6,

Dance 1791 in Vienna; music identical to
KV 602/3 but instrumentation
different; " Leyerer" in work
catalogue refers to organ-grinders
612 612 Aria f/B Per questa D -- Entered in work catalogue Mar 8,
bella mano 1791; written for Franz Gerl with
Friedrich Pischlberge,
Contrabass.
613 613 8 Variations Ein Weib ist F -- Entered in work catalogue in Mar
f/Kybd das 1791 in Vienna; based on song
herrlichste from singspiel "Der dumme
Ding Gärtner"; song perhaps originated
from Benedikt Schack or Franz
Gerl.
613a A081 Quintet -- Eb -- Composed most likely Apr 1791

Mvmt f/St in Vienna; probably as first draft
to Minuet of Quintet f/St KV 614.
613b A082 Quintet -- Eb -- Composed most likely Apr 1791

Mvmt f/St in Vienna; no doubt in vicinity of
KV 614.
614 614 Quintet f/St -- Eb -- 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.
615 615 Final Chorus Viviamo G -- Entered in work catalogue Apr 20,
to an Opera felici in 1791 in Vienna; intended for
dolce Sarti's "Geloise villane"; no
contento performance listed at Burg, most
likely performed by an amateur
group in Vienna.
615a -- Andante(?) -- F -- Begun probably in Apr or May

to Waltz in a 17921 in Vienna.
Small Org
616 616 Andante to -- F -- Entered in work catalogue Mar 4,
Waltz in a 1791 in Vienna; commissioned by
Small Org Count Josef Deym von Stritetz
[Müller] for wax his museum in
Vienna.
616a A092 Fantasie -- C -- Composed most likely about May
f/Glass 23, 1791 in Vienna; probably first
Harmonica,fl draft for KV 617
,ob,vl,vc
617 617 Adagio & -- c -- Entered in work catalogue May
Rondo 23, 1791 in Vienna; written for
f/Glass Marianne Kirchgäßner; first
Harmonica,fl played in concert at Burg Theater
,ob,vl,vc on Aug 19, 1791
617a 356 Adagio -- C -- Composed probably in first half of
f/Glass 1791 in Vienna; no doubt
Harmonica composed for Marianne
Kirchgessner, for whom also KV
617 was written.
618 618 Motet Ave verum D -- Dated Jun 17, 1791 in Baden;
corpus written for Anton Stoll, organist
and choir director of church in
Baden.
619 619 Little Die ihr des C -- Entered in work catalogue in Jul
German unermeßlich 1791 in Vienna; commissioned by
Cantata en Weltalls FH Ziegenhagen, a Mason from
Regensburg.
620 620 German Die Eb -- Overture and March of Priests
Opera in 2 Zauberflöte dated Sep 28, 1791 in Vienna;
Acts first performed Sep 30, 1791 at
Theater auf der Wieden in
Vienna.
620a A102 Overture -- Eb -- Composed probably in Sep 1791
in Vienna; no doubt it is a draft of
Overture to Zauberflöte.
620b A078 Contrapunta -- b -- Originated most likely in Sep

l Study 1791 in Vienna; sketch for scene
of Armoured Men in Zauberflöte;
completed by S. Sechter.
621 621 Opera seria La C -- Entered in work catalogue Sep 5,

in 2 atti Clemenza di 1791; first performed Sep 6,
Tito 1791at National Theater in
Prague; for festivities for
coronation of Leopold II as King
of Bohemia.
621a A245 Aria f/B Io ti lascio, o Eb -- Composed supposedly in Sep
cara, addio 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.
621b -- Concerto -- G -- Composed most likely 1791 in

Mvmt f/Bthn Vienna; 199 measures almost
identical to 1st mvmt of Concerto
f/Cl KV 622.
622 622 Concerto -- A -- Composed probably beginning

f/Cl 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.
623 623 Freemason Laut C -- Dated Nov 15, 1791 in Vienna;

Cantata verkünde presumed to be written for
unsre opening of the temple of New
Freude Crowned Hope Lodge, as it was
performed there Nov 18.
623a -- Masonic Laßt uns mit F -- Composed supposedly in Nov
Song geschlungen 1791 in Vienna; intended as final
Händen chorus for KV 623.
626 626 Requiem -- d -- 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-
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).

Scores 1987).
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
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-
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-
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)
WORK
TITLE OR
KV6 KV1 ENTRY TITLE NICKNAME KEY #
626a 624 Cadenzas & Eingange -- -- --
("Lead-Ins") to Keyboard
Concerti
626aI -- Part I - Mozart's Own -- -- --
Concerti
626aI/1 624/1 Cadenza to KV 175 1st -- D --

Mvmt (version a)
626aI/2 -- Cadenza to KV 175 1st -- D --

Mvmt (version b)
626aI/3 624/2 Cadenza to KV 175 2nd -- G --

Mvmt (version a)
626aI/4 -- Cadenza to KV 175 2nd -- G --
Mvmt (version b)
626aI/5 -- Cadenza to KV 238 1st -- Bb --

Mvmt
626aI/6 -- Cadenza to KV 238 2nd -- C --
Mvmt
626aI/7 -- Cadenza to KV 238 3rd -- Bb --
Mvmt
626aI/8 -- Cadenza to KV 246 1st -- C --
Mvmt (version a)
Mvmt (version b)

Mvmt (version c)
626aI/11 -- Cadenza to KV 246 2nd -- F --

Mvmt (version a)
Mvmt (version b)
Mvmt (version c)

Mvmt (version d)
626aI/15 624/3 Cadenza to KV 271 1st -- Eb --
Mvmt (version a)
626aI/16 -- Cadenza to KV 271 1st -- Eb --

Mvmt (version b)
626aI/17 624/4 Cadenza to KV 271 2nd -- c --

Mvmt (version a)
626aI/18 -- Cadenza to KV 271 2nd -- c --

Mvmt (version b)
626aI/19 624/5 1st Eingang to KV 271 3rd -- Eb --

Mvmt (version a)
626aI/20 624/5 2nd Eingang to KV 271 -- Eb --

3rd Mvmt (version a)
626aI/21 -- 1st Eingang to KV 271 3rd -- Eb --
Mvmt (version b)
626aI/22 -- 2nd Eingang to KV 271 -- Eb --

3rd Mvmt (version b)
626aI/23 -- Cadenza to KV 365/316a -- Eb --
1st Mvmt
626aI/24 -- Cadenza to KV 365/316a -- Eb --

3rd Mvmt
626aI/25 624/6 Cadenza to KV 382 3rd -- D --

Mvmt (version a)
626aI/26 -- Cadenza to KV 382 3rd -- D --
Mvmt (version b)
626aI/27 624/7 Cadenza to KV 414/385p -- A --

1st Mvmt (version a)
1st Mvmt (version b)
626aI/29 624/11 Eingang to KV 414/385p -- F --

2nd Mvmt (version a)
626aI/30 -- Eingang to KV 414/385p -- F --

2nd Mvmt (version b)
626aI/31 624/9 Cadenza to KV 414/385p -- F --

2nd Mvmt (version a)
626aI/32 -- Cadenza to KV 414/385p -- F --

2nd Mvmt (version b)
626aI/33 624/10 Cadenza to KV 414/385p -- F --

2nd Mvmt (Sketch of
626aI/32)
3rd Mvmt (version a)

3rd Mvmt (version b)
626aI/36 624/14 Eingang to KV 414/385p -- A --
3rd Mvmt
626aI/37 -- Cadenza to KV 413/387a -- F --

1st Mvmt
626aI/38 -- Cadenza to KV 413/387a -- Bb --

2nd Mvmt
626aI/39 624/15 Cadenza to KV 415/387b -- C --
1st Mvmt
626aI/40 624/16 Cadenza to KV 415/387b -- Bb --

2nd Mvmt
626aI/41 624/17 Cadenza to KV 415/387b -- C --

3rd Mvmt

Mvmt
626aI/43 624/19 Cadenza to KV 450 1st -- Bb --
Mvmt
626aI/44 624/21 Eingang to KV 450 3rd -- Bb --
Mvmt
626aI/45 624/20 Cadenza to KV 450 3rd -- Bb --
Mvmt
Mvmt
626aI/47 624/33 Cadenza to KV 451 3rd -- Eb --

Mvmt
626aI/48 624/22 Cadenza to KV 453 1st -- G --

Mvmt (version a)
626aI/49 624/23 Cadenza to KV 453 1st -- G --
Mvmt (version b)
626aI/50 624/24 Cadenza to KV 453 2nd -- C --
Mvmt (version b)
626aI/51 624/25 Cadenza to KV 453 2nd -- C --
Mvmt (version a)
626aI/52 -- Cadenza to KV 456 1st -- Bb --

Mvmt (version a)

Mvmt (version b)
Mvmt (version c)
626aI/55 -- Eingang to KV 456 3rd -- Bb --
Mvmt
626aI/56 -- Cadenza to KV 456 3rd -- Bb --

Mvmt (version b)
Mvmt (version a)
626aI/58 624/29 Cadenza to KV 459 1st -- F --

Mvmt
626aI/59 -- Eingang to KV 459 3rd -- F --

Mvmt
626aI/60 624/30 Cadenza to KV 459 3rd -- F --
Mvmt
626aI/61 624/31 Cadenza to KV 488 1st -- A --

Mvmt
Mvmt
626aI/63 624/35 Eingang to KV 5895 3rd -- Bb --

Mvmt

Mvmt
626aII -- Part II - Concerti by -- --
Others
626aII/A -- Cadenza to KV 107/1 1st -- D --
Mvmt by JC Bach
626aII/B -- Cadenza to KV 107/1 2nd -- G --

Mvmt by JC Bach
626aII/C -- Cadenza to K040 1st -- D --
Mvmt by L Honauer
626aII/D -- Cadenza to Op 3/4 1st -- D --

Mvmt by JS Schroeter
626aII/E -- Cadenzas to Concerto of -- C --

Unknown Composer
626aII/F -- Cadenza to Op 3/6 1st -- Eb --

626aII/G -- Cadenza to Op 3/6 2nd -- Bb --

626aII/H -- Cadenza to Op 3/1 1st -- F --
626aII/I -- "Ubergang" [?] -- C --
626aII/K -- Cadenzas to 2nd mvmt by -- D --

I von Beecke
626aII/L -- Two Cadenzas [to -- D --

Unknown Concerto]
626aII/M -- Ornamentation to KV 451, -- G --

2nd Mvmt
626aII/N -- Cadenza to Unknown -- C --
Concerto 2nd Mvmt
626aII/O -- Cadenza to unknown -- G --

Concerto 1st Mvmt
626b -- Sketches and Fragments -- -- --
626b/1 -- 4 Sketch Pages -- unkn --
626b/2 -- Sketch Page -- var --
626b/3 -- Sketch Page -- unkn --
626b/4 -- "Alleluja" -- unkn --
626b/5 -- "Musique" -- unkn --
626b/6 "Musique" -- unkn --
626b/7 -- Pezzo di musica" -- C(?) --
626b/8 -- "Voice Cadenzas with -- unkn --

Text"
626b/9 -- "Cadenza" -- unkn --
626b/10 -- {Manuscript] -- unkn --

626b/11 -- "Chanson avec musique" -- unkn --
626b/12 -- "Largo", "Chorus" -- unkn --
626b/13 -- ""Music" & "Beginning of a -- unkn --

Fugue"
626b/14 -- "Sketches to a 3-part -- unkn --

Fugue & counterpoint
sketches"
626b/15 -- "28 measures from large -- unkn --

music piece"
626b/16 -- "Probable sketch to an -- D --

Orchestral or Chamber
Music Piece
626b/17 -- "22 measures with latin -- unkn --
text & 32 with German
text"
626b/18 -- "One of the first -- unkn --
compositions of Mozart"
626b/19 -- Parts to an Aria of CPE -- unkn --

Bach
626b/20 -- 2nd Horn part to a Mass -- unkn --
626b/21 -- "Piece de musique -- unkn --
autographe"
626b/22 -- "Fragment to a Duet in -- unkn --

Itlaian, to a Pslam of
David with Bass"
626b/23 -- "Motivi di Tarantell" -- unkn --
626b/24 -- "Fragment of Orchestral -- unkn --

full score"
626b/25 -- Credo f/4 Voices & strings -- unkn, Bb, --

Eb
626b/26 A024 Duet f/2 Sopranos -- unkn --
626b/27 -- Fugue f/Keyboard -- c --
626b/28 -- Ballo Gavotte of CW -- G --

Gluck
626b/29 A070 Adagio f/Quartet f/Strings -- F --
626b/30 A084 Quartet f/Strings -- e --
626b/31 -- Canonic Studies & Fugue -- G and d --

Beginnings
626b/32 -- Sketch -- F --
626b/33 -- Sketch -- Bb --
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 -- Fragment of full score -- unkn --

f/Voice & Orchestra
626b/42 -- Bass study -- unkn --
626b/43 -- {Manuscript} -- var --

626b/44 -- Sketch to a Contredance -- Bb --
"le mottet"
626b/45 -- Missa solemnis -- C --
626b/46 -- Quartet f/Strings -- g --
626b/47 -- Recitative & Aria -- Eb --

f/Soprano
626b/48 -- Keyboard Exercises -- C --
Anh A -- Copies of Other -- -- --

Composers Works in
Mozart's Handwriting
Anh A1 221 Kyrie of E Eberlin f/2 -- C --
Voices & Basson continuo
Abh A2 A021 Lacrimosa of E Eberlin f/4 -- c --

Voices, Bass & Organ
Anh A3 (K3 = 93c) Requiem(?) von E Eberlin -- C --

f/4 Voices & Basso
continuo
Anh A4 326 Hymnus of E Eberlin f/4 Justum C --
Voices & Organ deduxit and
"O sancte"
Anh A5 K3 = Osanna of E Eberlin -- C --

mentioned f/Voices
under
A109vi
Anh A10 327 Hymn of Q Gasparini f/4 "Adoramus c --

Voices, Bass & Organ te"
Anh A11 A239 Pignus futurae gloriae of -- d --

M Haydn f/4 Voices &
Orchestra
Anh A12 A240 Pignus futurae gloriae of -- g --

M Haydn f/4 Voices &
Orchestra
Anh A13 K3 = Tres sunt of M Haydn f/4 -- C --

mentioned Voices, strings & Organ
under
Anh109vi
Anh A14 K3 = Ave Maria of M Haydn f/4 -- F --

mentioned Voices & strings
under
Anh109vi,
Nr.14
Anh A15 K3 = Lauda Sion of M Haydn -- -- --

mentioned
under
Anh109vi
Anh A17 A238 Stabat mater of Marchese -- c --
E Ligniville f/3 Voices
Anh A18 (K3) Anh Et in terra of L Mozart -- F --
109ix
Anh A19 (K3) Cum sancto spiritu of L -- F --

mentioned Mozart
under Anh
109ix
Anh A22 93 Psalm of Carl Georg "De C --
Reutter profundis
clamavi ad
te Domine"
Anh A23 A022 Psalm of Carl Georg "Memento F --

Reutter Domine
David"
Anh A30 (K3) Anh Canon of Johann Phillip -- G --

109x Kirnberger
Anh A31 227 3-part Canon of William ["O wunder C --

Byrd schön ist
Gottes
Erde"]
Anh A32 K3a = Anh 4-part Canon of Padre GB ["Psallite F --

109iia Martini Domino
Psallite
Domino in
cithera']
Anh A33 K3a = Anh 4-part Canon of Padre GB ["Cantemus F --
109iia Martini Domino:
gloriose
enim
magnificatus
est"]
Anh A50 K3 = Anh Instrumental movement f/2 -- D --
223c solo Violins & Orchestra
Anh A51 18 Symphony of KF Abel -- Eb --
Anh A52 291 Finale of a Symphony -- D --

(Fugue) of M Haydn
Anh A53 444 Symphony of M Haydn -- G 37
Anh A59 K3 = 387d 4 Incipits of Symphony -- var --

Movements
Anh A60 A292 4-part Fugue of JJ -- C --

Froberger
Anh A61/62 K2 = 154a 2 Small Fugues -- G & Eb --
(Versetten) f/Piano (or
Organ)
Anh A65 K3 = A206a Adagio f/Klavier(?) -- F --
Anh A71 K3 = Anh Church Work of M Haydn "In te C --

109vi Domine
speravi"
Anh A72 K3 = Anh Church Work of E Eberlin "Missa" C --

109vi
Anh A73 K3 = Anh Church Work of E Eberlin "Missa" C --

109vi
Anh A74 K3 = Anh Church Work of E Eberlin "Missa" e --

109vi
Anh A75 K3 = Anh Church Work of E Eberlin "Recessit d --

109vi pastor"
Anh A76 K3 = Anh Church Work of E Eberlin "Tenebrae" F --
109vi
Anh A77 K3 = Anh Church Work of E Eberlin Graduale C --
109vi pro
Dominica in
Palmis
"Tenuisti
manum"
Anh A78 K3 = Anh Church Work of E Eberlin Offertorium Eb --

109vi "Improperiu
m
expectavit"
Anh A79 K3 = Anh Church Work of E Eberlin Communio c --
109vi "Pater,
Pater"
Anh A80 K3 = Anh Church Work of M Haydn "Tenebrae" Eb --
109vi
Anh A81 K3 = Anh Church Work of E Eberlin Motett "In g --

109vi nomine
Jesu"
Anh A82 K3 = Anh Church Work of E Eberlin "Christus g --
109vi factus est
pro nobis"
Anh A83 K3 = Anh Church Work of E Eberlin "Dominus g --
109vi Jesus"
Anh A84 K3 = Anh Church Work of E Eberlin "Benedixisti e --
109vi Domine"
Anh A85 K3 = Anh Church Work of E Eberlin "Dextera Bb --
109vi Domine"
Anh A86 K3 = Anh Church Work of E Eberlin "Cum C --
109vi Sancto
Spiritu"
Anh A87 K3 = Anh Church Work of E Eberlin "Kyrie" C --
109vi
Anh A88 K3 = Anh Church Work of E Eberlin "Cum C --

109vi Sancto
Spiritu"
SHORT DESCRIPTION FROM K6 ADDITIONAL INFORMATION SINCE KV 6
-- --
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 Wolff (MJb 1978/79) sees this as a direct
1804 as Nr.12. 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 Wolff (MJb 1978/79) dates this after below
1804 as Nr.13. 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 Probably composed around 1777/78 for a
Salzburg. student (Wolff-MJb 1978/79).
Copy in Leopold Mozart's hand in St. Peters (See remarks #5 above.)
Salzburg.
Copy in Leopold Mozart's hand in St. Peters (See remarks #5 above.)
Salzburg.
Autograph on same page as #11 below; also Written for a student (Therese Pierron?) or
contains through bass notations of tutti to dilettant musician and used by Mozart for
Concerto. 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).
Autograph on same page as #12 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 #14 below. 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).
Autograph on same page as #8 above. (See #8 above.)
-- (See #9 above.)
On autograph page with 3 incipits of Haydn Written in 1784 as lead-in for 2nd movement of
Symphonies (Anh A59). 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 #10 above. (See remarks to #10 above).
Autograph on same page as #17 below; Composed in spring (March?) 1783 for
issued by André in 1804 as Nr.23. performance at Tonkünstler Society in April
(Wolff-MJb 1978/79).
Autograph on same page as #18 below, the Copy in hand of Leopold and Nannerl Mozart
two Cadenzas to KV 107 (see below KV dates from origin time of Concerto in 1777
626aII/A and B), and fragment Anh C15.11. (Wolff-MJb 1978/79).
Autograph on same page as #15 above; Composed in spring (March?) 1783 for
issued by André in 1804 as Nr.24. performance at Tonkünstler Society in April
(See #16 above.) Copy in hand of Leopold and Nannerl Mozart
dates from origin time of Concerto in 1777
Autograph on same page as #20 below. Stylistically seen to be later than #21 and #22,
thus possibly March 1783 (Wolff-MJb 1978/79).
Autograph on same page as #19 above. (See remarks #19.)
Autograph on same page as #22 below; on These two lead-ins and #2,#4,#25 f/KV 175/382
February 15, 1783, Mozart sent these two Mozart sent to his sister in letter of February
(also #22) lead-ins to his sister in Salzburg. 15, 1783--and written shortly before this (Wolff-
MJb 1978/79).
Autograph on same page as #21 above. (See remarks to #21 above.)
Autograph in St. Peters Salzburg has only Wolff (MJb 1978/79 and Perspectives on
Mozart's 1st piano part; another autograph in Mozart Performance 1991) dates Cadenza
St. Peters has 1st piano part in Leopold's November 1781 from Mozart letter passage;
hand and 2nd Piano part in Wolfgang's. written for Mozart and Josephine von
Auernhammer to play (Wolff-NMA 1975).
(See #23 above); a copy in Kremsier Wolff (MJb 1978/79 and Perspectives on
Monastery of entire Concerto has this Mozart Performance 1991) dates Cadenza in
movement's Cadenza in a slightly shortened St Peters November 1781 from Mozart letter
version written by Mozart. passage; Cadenza in Kremsier dates from
before St. Peters version.
Printed by Artaria in 1801 as Nr.III and André Wolff (MJb 1978/79) dates this after below
in 1804 as Nr.14. 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).
Autograph on same page as #33 below; Stylistically after #28, and probably from
issued by André in 1804 as Nr.1. 1785/86--see #32 below (Wolff-MJb 1978/79).
Autograph on same page as #31 below; Probably dates from time of composition of
issued by André in 1804 as Nr.2. Concerto at end of 1782 (Wolff-NMA 1975;
Wolff-MJb 1978/79).
Autograph on same page as ##32 #34 below Stylistically after #30, and probably from
and several sketches to 1st movement of KV 1785/86--see #32 below (Wolff-MJb 1978/79).
488; issued by André in 1804 as Nr.5.
-- 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; Probably dates from time of composition of
issued by André in 1804 as Nr.3. Concerto at end of 1782 (Wolff-NMA 1975;
Wolff-MJb 1978/79).
Autograph on same page as #29 above and Sketches to KV 488 and paper studies point to
#34 below and several sketches to 1st origin of wind 1785/86 for performance in one
movement of KV 488; issued by André in 1804 of December Concerts put on by Mozart;
as Nr.4. 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 Surely written down before #32 above (Wolff-
page as #27 above. MJb 1978/79).
Autograph on same page as #29 and #32 Stylistically after #35, and probably from
above and several sketches to 1st movement 1785/86--see #32 above (Wolff-MJb 1978/79).
of KV 488; issued by André in1804 as Nr.6.
On autograph page with #36 below; issued by Probably dates from time of composition of
André in 1804 as Nr.7. Concerto at end of 1782 (Wolff-NMA 1975;
Wolff-MJb 1978/79).
On autograph page with #35 above; issued by Probably dates from time of composition of
André in 1804 as Nr.8. Concerto at end of 1782 (Wolff-NMA 1975;
Wolff-MJb 1978/79).
Copy in Leopold Mozart's hand in St. Peters in The Salzburg copies made it appear its origin is
Salzburg. 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 (See remarks #37 above.)
Salzburg.
Copy in unknown copyist hand--with tempo The Salzburg copies made it appear its origin is
indications by Leopold Mozart-- in St. Peters in connection with a performance of the
Salzburg; issued by Artaria in 1801 as Nr.IV Concerto during Mozart's Salzburg trip of late
and André in 1804 as Nr.9. summer 1783, if not prior in Vienna (Wolff-MJb
1978/79).
(See remarks to #39 above); issued by Artaria (See remarks #39 above.)
in 1801 as Nr.V and André in 1804 as Nr.10.
(See remarks to #39 above); issued by Artaria (See remarks #39 above.)
in 1801 as Nr.VI and André in 1804 as Nr.11.
Issued by André in 1804 as Nr.22. Probably belong to origin time of Concerto--

February 9, 1784 (Wolff-MJb 1978/79)
March 15, 1784 (Wolff-MJb 1978/79)
March 15, 1784 (Wolff-MJb 1978/79)
March 15, 1784 (Wolff-MJb 1978/79)
K1 originally placed as Cadenza to 1st Handwriting of copy is actually Nannerl's
movement of KV 537; issued by Artaria in (Flothius-NMA 1975)
1801 as Nr.XIV and André in 1804 as #27;
copy of Cadenza is in Leopold Mozart's hand.
Issued by Artaria in 1801 as Nr.XV and André Handwriting of copy is actually Nannerl's
in 1804 as Nr.28; also on this copy of Leopold (Flothius-NMA 1975); ornamentation on copy
Mozart is the ornamentation of measures 56- demonstrates Cadenza belongs to origin time
63 of the 2nd movement (K3=626a/II M) of this of Concerto--March 22, 1784, or even at time of
Concerto that Wolfgang sent to Nannerl on June 9, 1784 letter (Wolff-MJb 1978/79; Wolff-
June 9, 1784. Perspectives on Mozart Performance 1991)
Issued by André in 1804 as Nr.15. Probably belongs to origin time of Concerto--

April 12, 1784 (Wolff-MJb 1978/79)
Issued by Artaria in 1801 as Nr.IX and André Badura-Skoda (NMA 1965) doubts authenticity
in 1804 as Nr.16. 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).
Issued by André in 1804 as Nr.17. 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 Badura-Skoda (NMA 1965) doubts authenticity
1804 as Nr.18. 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 Cadenza is at end of copy of Concerto KV 456
below in unknown copyist's hand; is an with Mozart's own signature and dating "Vienna
expanded and altered version of #53 below. 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 Stylistically composed sometime after #54
in 1804 as Nr.19. below (Wolff-MJb 1978/79)
Issued by Artaria in 1801 as Nr.XVIII and Probably belong to origin time of Concerto--
André in 1804 as Nr.34. Sept 30, 1784 (Wolff-MJb 1978/79)
Copy found in Moscow with #52 above and (See remarks to #52 above); Hess and Badura-
#56 below in unknown hand. Skoda doubt authenticity of this Fermata on
stylistic grounds (Badura-Skoda 1965)
Copy found in Moscow with #52 and #55 (See remarks to #52 above)
above in unknown hand.
Autograph on page with #58 and #59 below; Probably belong to origin time of Concerto--
issued by Artaria in 1801 as Nr.VII and André Sept 30, 1784 (Wolff-MJb 1978/79)
in 1804 as Nr.21.
Issued by Artaria in 1801 as Nr.XIII and André Wolff dates at time of origin of Concert--
in 1804 as Nr.25. 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 (See remarks #58 above)
below.
Autograph on page with #57 and #58 above; (See remarks #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 Cadenzas dates from origin of Concerto--
in 1804 as Nr.32. January 5, 1791, as its performance on March
4, 1791 (Wolff-MJb 1978/79)
Issued by Artaria in 1801 as Nr.XVII and André Autograph discovered and found to be
in 1804 as Nr.33; authenticity doubted on authentic Mozart (Rehm-MISM 1986) (also see
stylistic grounds. remarks to #62 above)
Issued by Artaria in 1801 as Nr.XVIII and (See remarks to #62 above)
André in 1804 as Nr.34.
-- --
On same manuscript pages with Cadenzas KV A copy of the Cadenzas to made by Leopold
626aII/B and Cadenzas versions b) of KV 271 and Nannerl dates from 1777 (Wolff-MJb
and fragment Anh C15.11. 1978/79); paper studies show paper used in
autograph (and Leopold copy) date from
Salzburg 1776-77 (Tyson-MJb 1992).
(See KV 626aII/A.) See KV 626aII/A.
Autograph headed "to the first mvmt of Handwriting shows origin time of 1775 in
Pastigio[sic] Concerto in D"; copy by Leopold Salzburg (Plath-MJb 1976/77), and paper used
Mozart also exists. by Mozart from end of 1774 until 1776 (Tyson-
NMA 1992).
Cadenza written on back of sketch to #6 of Reeser (NMA 1964) believes Mozart acquired
"Zaïde". 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, Manuscript also contains 2 further Cadenzas in
as manuscript is neither in Wolfgang or F and Eb, all of unknown hand; not known what
Leopold Mozart's hand, was moved to Anh concerto intended for, but has motif
C15.11 in KV6. reminiscences to J Schobert's Op 4/2 (Berke-
NMA 2000).
Only incipit is known. 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).
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. 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 Probably written during Munich stay of
Beecke"; on page containing KV 168a and KV 1774/beginning 1775 (Plath-MJb 1976/77).
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.
2 unidentified Cadenzas sold at auction in This supposed autograph actually Leopold

1916, nothing else known; possibly identical to Mozart's copy of Cadenza KV 626aII/C and
page with Cadenzas KV626aII/C and 626aII/K, (see remarks to those entries) (Plath-
KV626aII/K. Festschrift Otto Erich Deustch 1963).
Discussed in K6 under Concerto KV 451. --
Autograph discovered in Milan on same No doubt Cadenza to 1st mvmt of JS
manuscript page as KV 626aII/O; headed Schroeter's Op 3/3 (Reeser-NMA 1964).
"Cadenza Ima".
See KV 626aII/N; headed "Cadenza Iida"; No doubt Cadenza to 2nd mvmt of JS
perhaps connected with 2nd mvmt of KV Schroeter's Op 3/3 (Reeser-NMA 1964).
107/2.
-- --
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 Konrad (Schaffensweise 1992) dates sketch
Overture, one for Hn parts; draft to beginning page 1788 or earlier, with 4 different drafts: a)
of a Fugue points to 1782 dating; has Hn parts are to Overture, which remains
authenticity remark of Aloys Fuchs; autograph unknown; no Overture in B is known by Mozart,
in private possession in Paris. 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 2 autograph sections discovered and when
female student; Mozart wrote 1st Vn part and placed together found to no doubt be this page.
student added 2 accompanying parts plus Handwriting that of Leopold Mozart and
bass; autograph location unknown. Nannerl Mozart (Plath-Festschrift Arno Forchert
1986).
Full 4-part voice score; the piece can not be Possibly choral full score from about 1800 in
identified with any known Alleluja, (autograph Stockholm of unidentified composer (Konrad-
lost). Schaffensweise 1992).
Contents unknown, but probably identical to This affiliation is pure speculation; the size of
autograph of Music to Pantomime KV 416d in the manuscript (4 pages) points more to a
Paris Bibl Conserv de Musique; autograph fragment than a sketch (Konrad-
location not known. Schaffensweise 1992).
Contents unknown; autograph location Not a Mozart autograph, but a copy of Adagio
unknown. 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 If connection to cadenzas in Florence is
Florence listed in KV 293e; autograph location correct, these are by Leopold Mozart (Konrad-
unknown. Schaffensweise 1992).
For a Soprano Aria; surely identical with KV --
293e; autograph location unknown.
On page addressed to Leopold Mozart; Probably identical with Andante f/Kybd KV 5b
possibly one of Präludien for Nannerl?; (Konrad-Schaffensweise 1992).
autograph location unknown.
Autograph location unknown. Plath supposed it is the autograph of song, "Als
Luise die Briefe ihres" KV 520 (Ballin-NMA Crit.
Rep 1963).
Autograph location unknown. 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).
Autograph location unknown. 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 Autograph found to be in private possession;
417B/6; autograph location unknown. 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-
Given by Mozart's sister to Clarinetist HJ Description indicates one of the sections given
Bärmann; autograph location unknown. away as "Reliques" from unknown Mozart
fragment (Konrad-Schaffensweise 1992).
Described as being a 3/4 Allegro; autograph Probably a first or final mvmt from Vienna years
location unknown. (Konrad-Schaffensweise 1992).
Autograph location unknown. Plath states supposedly this is autograph of two

Canons KV 559 and KV 559a (Konrad-
"[Cad?]enzen" written in upper corner; Photocopy of autograph in possession of
autograph location unknown. 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).
Listed in main section of K6 under KV 537d. --
Autograph location unknown. 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 Autograph in American private possession, also
location unknown. 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).
Probably a copy; autograph location unknown. --
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 Autograph in private possession; is later
remissionem peccatorum"; on reverse side, 2 version of Credo section, altered version of
short Kybd pieces in Bb & Eb, in hand of mm.182-195, of Mass KV 47d (Senn-NMA
Leopold Mozart; from Salzburg time; copy in 1967); 2 short Kybd pieces on back side are in
Berlin State Library. Wolfgang's hand; handwriting shows dating of
1768 to 1772 (Konrad-Schaffensweise 1992).
27 measures on text "Ich nenne dich, ohn' es Autograph strip of 7 1/2 measures in private
zu wissen"; listed by Nissen in his Mozart possession for a voice line and Kybd
biography; autograph location unknown. 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 Autograph now in Library of Congress,

measures. 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 Unknown if handwriting belongs to Leopold,

measures with Winds and Timpani added by Wolfgang, or a third person; manuscript is 17
Mozart; surely belonged to arrangement, in measures (Konrad-Schaffensweise 1992);
Leopold Mozart's hand, of dances and Arias paper research shows paper used by Mozart
from Gluck's "Paris und Helena"; Anh C17.12; from 1773-75 (Tyson-NMA 1992).
carried the number 8, and no doubt originated
from 1773.
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 Paper studies show Mozart used paper in 1787
109; autograph in Mozarteum; contains17- and most likely not later than 1788 (Tyson-NMA
measure 4-part canonic study in G, and a 10 1992).
measures beginning a fugue in d; are on
reverse side of page with fragment of planned
finale to Musical Joke KV 522a.
Autograph in Mozarteum, contains sketches to Page contains: a) 1-part continuity draft in F of

Kybd works; Hess presumed it was a sketch to 8 measures more likely to a Vn or similar; b)
Quartet f/Ob & St KV 368b. 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 On same page as KV 626b/33 so dating is

626b/32; sketch to Terzett KV 480b same; sketch of 91 measures (Konrad-
Schaffensweise 1992, Skb 1785b).
Autograph in Paris Bibl Conserv Musique; Page actually contains 8 entries: a) draft of 30
contains beginning of overture to an opera measures to Gloria from Mass KV 257, b) draft
buffa. 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 72 measures without text; Plath showed is
same manuscript page as overture to same sketch to Aria KV 256, an insert in Piccini's
opera buffa as KV 626b/34; at beginning of opera buffa "L'astratto ovvero Il giocatore
sketch "Buffo aria. Ritornell" is written. fortunate" (Plath-Festschrift Walter Gerstenberg
1964).
Sketch for SATB is from 1773; stood in Autograph at Cornell University actually
connection with copies of works by Michael contains 7 entries: a) 4-part full score for voices
Haydn & Eberlin, Anh A71-88; autograph of 15 measures , b) 4-part double canon from
location unknown. 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; Has nothing to do with Wolfgang, possibly for
handwriting of Leopold Mozart. one of his students (Plath-MJb 1960/61).
Autograph in Prague University Library. 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).
Autograph in British Museum, in Leopold Manuscript contains figured bass study in d of

Mozart's hand. 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-
Autograph location unknown. 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 Same as KV 626b/41.

German opera KV 416a; instrumentation
indicated to be for Vn, Fl, Ob, Vc; autograph
location unknown.
Autograph in British Museum; presented by Same as KV 626b/39.
Constanze to Novello.
Contains 2 Minuets and 3 Trios for 2 Vns and Manuscript in Swiss Royal Library; all 3-part
Bass; autograph location unknown. 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 Autograph at Cornell University, NY; 1-part draft
originated in Bologna autumn 1773, writing to a Contredance of 16 measures; fact that
appears to be later. 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 Senn (NMA 1967) believed this was Mass
Voices and Orchestra; incipit is from Gleissner performed in Salzburg on Feb 5, 1769; An
catalogue. 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, André catalogue found in Frankfurt remarks
where it is given year of 1783. "Not of Mozart's hand" (Plath-MJb 1971/72).
Incipit is from Gleissner Catalogue, with year Copy found in Hessischen Lib. Fulda is a
1782. 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 Handwriting studies date piece in second half
bracketed staves with 5 measures, and on of 1780's, possibly written for student J.H.
back 2 bracketed staves with 5 measures. Hummel (Plath-NMA 1982).
-- --
Long thought to be work of Mozart, Manuscript found in Poland and handwriting is

Pfannhauser found to be work of Eberlin that Leopold's (Tyson-NMA 1992); is portion of
Mozart had copied; Plath presumed Eberlin's Requiem in C-major (Pfannhauser-
manuscript (not available to him) by Leopold Acta Mozartiana 1954)
Mozart.
Manuscript page originally together with that From same Requiem in C which KV Anh A 1
which contains Anh A 1 and later detached; derived from, where it was 25 measures long--9
Pfannhauser found to be work of Eberlin that measure orchestral prelude which Mozart did
Mozart had copied; Plath found manuscript to not copy (Pfannhauser-Acta Mozartiana 1954)
be in Leopold Mozart's hand.
On same page as KV Anh A 2; see KV Anh A From same Requiem in C which KV Anh A1
2. and A2 derived;
Pfannhauser found to be work of Eberlin that In Eberlin's original Offertory is a Soprano Aria
Mozart had copied; Plath assumed manuscript "Exultate Filii Adae" that Mozart did not copy in
(not available to him) to be in Leopold his continuo reduction (Pfannhauser-Acta
Mozart's hand, on same page as Church Mozartiana 1954); manuscript found in Poland
Sonata KV 124A. and handwriting is Leopold's (Tyson-NMA
1992)
Manuscript unavailable, but from Jahn's Autograph now in Augsburg State Archives
remarks in Leopold Mozart's hand; also on lost shows Osanna and violin parts to KV 61a from
manuscript are text from "Die Schuldigkeit des Leopold's hand, but other entries in Wolfgang's;
Ersten Gebots" KV 35 and violin part to Missa Osanna from an unidentified Mass of Eberlin
brevis KV 61a in Leopold's hand. (Konrad-Schaffensweise 1992 Skb 1769a)
Plath stated this copy (not available to him) of Manuscript found in Poland and handwriting is
Gasparini's motet from Jahn's remarks to be in Leopold's (Tyson-NMA 1992)
Leopold Mozart's hand.
Believed copy made by Mozart as study for his On a paper that appears to have been used by
Litaniae KV 125 before March 1772 in Mozart in Salzburg during his visit in 1783
Salzburg; from M Haydn's Litaniae K. IV/14 (Tyson-Auto Scores 1987) Haydn's work dated
[Sherman MH 66]. April 8, 1764 in Salzburg (Sherman-M Haydn
Thematic Catalogue 1993)
Mozart copied this portion of Litaniae de Paper studies show copied by Mozart most
venerabili sacramento K.IV/13 [Sherman MH likely while returning to Vienna after his 1783
228] from Haydn's manuscript or a copy. 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 Paper used by Mozart for the first time at the
own hand in a letter from Vienna on March 12, end of 1771 and then 1774 (Tyson-NMA 1992);
1783 and received it days later; portion of M Offertory dated by Haydn on June 7, 1772 in
Haydn's Offertorium pro Festo SS Trinitatis Salzburg (Sherman-M Haydn Thematic
K.IIa/40 [Sherman MH 183]. Catalogue 1993)
In bundle with copies Anh A71-88, only one in Both Haydn's authentic copy and Mozart's copy
Wolfgang's hand; Haydn's original had an consist of 163 measures, Haydn work from
organ prelude K.III/21 [Sherman MH 72]. 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, Haydn's Sequentia of 4 movements is from
1783 for a copy of Michael Haydn's Lauda 1775 in Salzburg (Sherman-M Haydn Thematic
Sion K.IIa/42 [Sherman MH 215]. Catalogue 1993)
Probably copied by Mozart in April 1770 in Mozart's copy sold at auction in 1996;
Florence or Rome; Mozart copied music to handwriting appears to date from ca.1772-73
Nr.1, Nr.2, Nr.4, Nr.8, Nr.11, Nr.14, Nr.24, and paper first used by Mozart in 1773 after his
Nr.26, Nr.30 of the Stabat mater; text only to return from Italy and then through middle of
Nr.2 and beginning of Nr.2. 1775 (Sotheby London Auction Catalogue of
Dec 6, 1996)
Plath showed in Leopold Mozart's hand. 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)
Plath showed in Leopold Mozart's hand. 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, Paper first used by Mozart after his return from
Pfannhauser found to be a continuo reduction Prague in Dec 1787 and through 1791 (Tyson-
of work of Reutter. NMA 1992); Reutter's work dates from 1757
(Pfannhauser-Acta Mozartiana 1954)
Pfannhauser established a copy (sketch Mozart only sketched out 32 measures of

study) of Reutter's work. 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 Mozart's copy dates from 1782 (Konrad-
originally had text "Wir irren alle samt", page Schaffesnsweise 1992)
also contains exercises and two further
notations of Canon in F-major.
Textless canon printed by B&H with text "O Original composition perhaps not by Byrd, true
wunder schön ist Gottes Erde" in Oeuvres; author unknown (Brett-Musical Times 1972)
canon known in England with text "Non nobis,
Domine, non nobis" attributed to Byrd and
printed prior to Mozart's lifetime.
Canon from Martini's "Storia della musica"; Handwriting studies appear to date page 1772
Mozart copied without text and resolved; (Plath-MJb 1976/77)
Mozart's copy appeared to originate from July
or Aug 1700 in Bologna or later; on same
page with 4-part Canon A A33.
Canon from Martini's "Storia della musica"; Handwriting studies appear to date page 1772
Mozart copied without text and resolved; (Plath-MJb 1976/77)
Mozart's copy appeared to originate from July
or Aug 1700 in Bologna or later; on same
page with 4-part Canon A A33.
Manuscript (in pencil) dates from sometime Manuscript is in Mozart's hand; it could be the
after 1770, if the handwriting is that of Mozart; beginning of a Divertimento or perhaps of a
it is not out of the question Mozart had begun Sinfonia Concertante (for 2Violins?) (Füssl-
to copy out a composition of an older NMA 1964); perhaps a study to the very similar
composer. 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 Mozart's copy in British Museum on paper only
Symphony P.43 [Sherman 287]; without used by him toward the end of 1783 in Steyr
knowing manuscript of Mozart's unable to and Linz after his Salzburg visit and perhaps
state if from earlier Salzburg time or during performed in Linz (Zaslaw-Mozart's
1783 visit; S. Sechter provided with Symphonies 1989); M Haydn symphony
introduction and added 253 measures to composed ca. 1778-80 (Sherman-M Haydn
Mozart's (45 measure) beginning in a 4-hand Thematic Catalogue 1993)
arrangement of work.
Mozart composed new introduction 'Adagio Only Allegro and half of Andante in Mozart's
maestoso' KV 425a and copied out remainder hand, remainder in another hand; paper used
of first movement of M Haydn Symphony in G by Mozart only after his return to Vienna from
P.16 [Sherman 334] for same concert in Linz Salzburg in Linz, and mainly in months of Feb
that Symphony KV 425 was performed in early to April 1784 (Zaslaw-Mozart's Symphonies
Nov 1783. Entire symphony, with Adagio 1989); Haydn's symphony dated May 23, 1783
maestoso, published in AMA as Symphony in Salzburg [Sherman-M Haydn Thematic
#37. Catalogue 1993]
Mozart jotted down opening measures to 3 Reference to 3 Haydn symphonies probably

Franz Haydn symphonies (Nr.75 in D, Nr.47 in refers to Michael Haydn symphonies; fourth
G, Nr.62 in D) and another to an unknown symphony notation seems more like middle of
symphony in C, on back of page with cadenza first movement exposition or a middle
to Andante of a Piano Concerto; associated movement; could be a memorandum of a work
with letter of May 15, 1784 in which Mozart by another composer (Zaslaw-Mozart's
writes he owned Haydn's last three Symphonies 1989); paper used by Mozart
symphonies. throughout 1784 (Tyson-NMA 1992)
Mozart made two copies of Fugue, one for Piano version stops after 32 measures, quartet
piano (32 mm.) another for string quartet (49 version arrives at premature but logical
mm.); Froberger's composition originally conclusion; some notations in score possibly by
printed in 1650 as "Phantasia". 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 Handwriting studies show both compositions
of works of older Salzburg composers (Muffat date from 1772/73 (Plath-MJb 1976/77); Plath
or Eberlin?); both works on same page. (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 Autograph auctioned at Sotheby London in
and 1774/75; likely the ornamented version of 1990; Zaslaw unable to determine original
an Adagio of unknown origin. 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 Leopold Mozart put together as study book in
church works of M Haydn and Eberlin all in 1773 (Schmid-Mozart and Salzburg Tradition
Leopold Mozart's hand (with exception of 1976 1976); finale movement of Te Deum"
Nr.14--see KV Anh A14).G48 K.V/2, MH 72, composed in Salzburg Dec 9,
1770 (Sherman-M Haydn Thematic Catalogue
1993)
(See Anh A71.) Listed in Herbort catalogue of Eberlin'sMasses

(1961) as "Herbort II" (Schmid-Mozart und
Salzburg Tradition 1976)
(1961) as "Herbort I" (Schmid-Mozart und
Salzburg Tradition 1976 1976)

(1961) as "Herbort III" (Schmid-Mozart und
Salzburg Tradition 1976)
(See Anh A71.) --
(See Anh A71.) --
(See Anh A71.) Written by Eberlin as gradual for Palm Sunday,

dated 1740 (Pauly-Journal American Music
Society 1962)
(See Anh A71.) Written by Eberlin as offertory for Palm Sunday,

dated 1740 (Pauly-Journal American Music
Society 1962)
(See Anh A71.) Written by Eberlin as communio for Palm

Sunday, dated 1740 (Pauly-Journal American
Music Society 1962)
(See Anh A71.) Written by M Haydn in Salzburg ca.1770-72
(Sherman-M Haydn Thematic Catalogue 1993)
(See Anh A71.) --
(See Anh A71.) --
(See Anh A71.) --
(See Anh A71.) --
(See Anh A71.) --
(See Anh A71.) From Mass Nr.24 in the Herbort catalogue of

Eberlin Masses (Schmid-Mozart und Salzburg
Tradition 1976)
Tradition 1976)
Tradition 1976)
Part Seven of Eight Anhang C Vocal works
K6 K1 K3 Composition K6 Remarks
Anh C 1.01 Anh 185 Anh 185 Mass for 4 Voices and Novello in London published 17
Organ in C 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)
Anh C 1.02 -- Anh 235f Mass for 4 Voices and Published by Novello in 1831 in
Orchestra in g-minor 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.
Anh C 1.03 Anh 186 Anh 186 Mass for 4 Voices and Published by Novello as Nr.13 and
Organ in Eb 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.
Anh C 1.04 Anh 232 Anh 232 Mass for 4 Voices and Numerous issues in early 19th
Orchestra in G 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)
Anh C 1.05 -- Anh 232a Missa solemnis for 4 First reported on in 1932,
Voices, Chorus, questionably attributed to Mozart
Orchestra in C and dated probably around 1776;
copy in Vienna already had
question mark by Mozart's name
Anh C 1.06 Anh 233 Anh 233 Mass for 4 Voices and Numerous copies and issues in
Orchestra in Bb 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
Anh C 1.07 -- Anh 223a Mass for 4 Voices and Parts discovered in monastary in
Orchestra in D 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 Missa brevis for 4 Attributed to Mozart first in issue
Voices and Orchestra by M. Falter in Munich in beginning
in C 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.
Anh C 1.09 Anh 235 Anh 235 Missa brevis for 4 Attributed to Mozart first in issue
Voices and Orchestra by M. Falter in Munich in beginning
in G 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.
Anh C 1.10 -- Anh 235b Mass for 4 Voices and Copy in Holy Cross Monastary in
Orchestra in c-minor Augsburg headed by "Sigre
Wolfgango Mozart"; research by
Schmid shows Mass to be the
work of an amateur, originating
after Mozart's death.
Anh C 1.11 -- Anh 235c Mass for 4 Voices and Manuscript in Florence found
Orchestra in C 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.
Anh C 1.12 140 Anh 235d Missa brevis for 4 André received copy of Mass from
Voices and small Constanze Mozart and listed under
ensemble in G authentic works; Köchel listed as
authentic, but in note listed it to be
eliminated from future editions.
Taken out of K2.
Anh C 1.14 -- Anh 235g Mass for Soloists, A copy reported to have been
Chorus and Orchestra found in estate of Ernst Lewicki in
in Bb Dresden, with sections based on
music from Zauberflöte; music not
known.
Anh C 1.15 Anh 236 Anh 236 Missa der Copy in Berlin library attributed to
Schulmesiter for 3 Mozart; however in several
Voices and 2 Violins in Austrian Monastaries attributed to
G 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.
Anh C 1.16 -- -- Messa Solemnis for 4 Copy found in Prague Nat.Mus.

Voices and Orchestra attributed to Mozart
in Eb
Anh C 1.17 -- -- Missa solemnis for 4 Copy in archive of Gesellschaft der
Voices and Orchestra Musikfreunde first attributed to
in C Mozart, but corrected to Josef
Preindl (1756-1823)
Anh C 1.18 -- -- Missa solemnis Copy attributed to Mozart formerly
pastoritia for Voices in possession of H.J. Laufer,
and Orchestra in G London
Anh C 1.19 -- -- Mass for 4 Voices and Copy found in Prague Nat.Mus.
small ensemble in A attributed to Mozart
Anh C 1.20 -- -- Mass for 4 Voices and Numerous copies from late 18th
Orchestra in C 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
Anh C 1.21 -- -- Missa solemnis for 4 Copy in Dornbach attributed to

Voices and Orchestra Mozart; another in Prague
in C Nat.Mus attributed to Giusephe
Hayden"
Anh C 1.22 -- -- Missa solemnis for Copy in Wallfahrt church Maria

Soloists, Chorus and Limbach am Main from about 1803
Orchestra in C attributed to Mozart.
Anh C 1.23 -- -- Mass for 4 Voices and Copy in Wallfahrt church Maria
Orchestra in Bb Limbach am Main from about 1800
attributed to Mozart; probably work
of Georg Joseph Vogler (1749-
1814)
Anh C 1.24 -- -- Mass for 4 Voices and Parts in Kremsmünster Monastary
Orchestra in Bb originally had Mozart's name, but
crossed out and replaced by
Süßmayr.
Anh C 1.25 -- -- Mass for 4 Voices and Full score copy in Zittau attributed
Orchestra Bb to Mozart; partially consists of
motifs from Zauberflöte
Anh C 1.26 -- -- Mass for 4 Voices and Copy in archive of Orphanage

Orchestra in C Church in Vienna attributed to
Mozart; actually a work of Johann
Georg Lickl (1769-1843)
Anh C 1.27 -- -- Missa solemnis for 4 Copy in Prague Nat.Mus.
in C
in C
Anh C 1.29 -- -- Mass for 4 Voices and Copy in Prague Nat.Mus.
Orchestra in Eb attributed to Mozart
Orchestra in Eb attributed to Mozart
in F
Orchestra in c attributed to Mozart
Orchestra in c attributed to Mozart
Anh C 1.34 -- -- Missa solemnis for 4 Note on full score copy in Krems
Voices and Orchestra "Die St. Pöltnerische Mess von
in C Herrn Mozart"
Anh C 1.51 -- -- Kyrie for unknown Manuscript full score originally in

voices and André music archive collection
accompaniment
Anh C 1.90 Anh 237 Anh 237 Requiem for 4 Voices Numerous copies and issues from
and Orchestra in d- 19th Century attribute to Mozart,
minor including Novello who believed it
to a "a very early production".
Certainly Mozart did not write
another Requiem either earlier or
later.
Anh C 1.91 -- -- Requiem for 4 Voices Copy in Prague Nat.Mus.
and Orchestra in Bb attributed to Mozart
Anh C 1.92 -- -- Requiem brevis for 4 Copy in Prague Nat.Mus.
in Eb
Anh C 1.93 -- -- Requiem for solo Set of parts in Parma from
voices, chorus and beginning of 19th Century
orchestra in c attributed to Mozart
Anh C 3.01 92 Anh 186c Salve Regina for 4 Work listed in Fuchs Mozart
Voices and Orchestra manuscript catalogue and several
in F 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.
Anh C 3.02 324 Anh 186a Hymn "Salus Only known from incipit in early
infirmorum" for 4 André catalogue; text is 3rd
Voices and Organ in c 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.
Anh C 3.03 325 Anh 186b Hymn "Sancta Maria, Only known from incipit in early
ora pro nobis" for 4 André catalogue; text is 2nd
Voices and Organ in C movement of Litanei B.M.V.;
Köchel placed with 1779
compositions. (See remarks to Anh
C3.02)
Anh C 3.04 142 Anh 186d Tantum ergo for 4 Work attested as Mozart's by Aloys
Voices and Orchestra Fuchs and placed among 1772
in Bb works by Köchel. Both
Wyzewa/St.Foix and Abert held it
for not authentic and K3 placed it
in Anh.
Anh C 3.05 197 Anh 186e Tantum ergo for 4 Work attested to by Fuchs and
Voices and Orchestra placed among 1774 works; later
in D scholars differed on opinions on
authenticity; K3 placed in Anh.
Anh C 3.06 340 Anh 186f Kyrie for 4 Voices Known only from early André
without catalogue; possibly beginning of a
instrumentation in C 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
Anh C 3.07 -- Anh 186g Offertorium "Exaudi Copy in Florence Bibl. Luigi
Domine" for 4 Voices Cherubini attributes to Mozart;
and Orchestra in G 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.
Anh C 3.08 198 158b Offertorium "Sub tuum Köchel, from copy for Soprano and
praesidium" for Tenor in Göttweig, placed in 1774
Soprano,Tenor and works; Rosenthal found Offertory
Orchestra in F 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.
Anh C 3.09 177 Anh 240a Offertorium sub Köchel only knew copy in Munich
exposito venerabili for Court Libr. and placed in 1773
Soprano,Tenor and "according to the manner in which
Orchestra 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.
Anh C 3.09 342 Anh 240a Chorus "Benedicite" 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 Miserere for 4 Voices Copy in Berlin St.Libr. from Otto
and Orchestra in c- Jahn's collection, without any
minor authentication; has nothing to do
with Holzbauer Miserere in Paris in
1778.
Anh C 3.11 -- Anh 241a Oratorio "Abramo e Copy in Florence Bibl. Luigi
Isacco" 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.
Anh C 3.12 -- Anh 241b Te Deum for 5 Voices Copy in Gesellschaft der
and small Orchestra Musikfreunde headed
"Quartetto….Del Sigre Mozart".
This pastorale piece by its setting
and character has nothing to do
with Mozart.
Anh C 3.13 -- -- Psalm " O taste and Attributed in a Collection of

see that the Lord is Anthems and Services in London
good" for 4 Voices and 1847 to Mozart; also St. Gregory
Organ Hymnal as "Jubilate Deo"
Anh C 3.14 (K2) Within Within "Ah sponse, mi dilecte Parts exist in Vienna National
Anh 112 Anh112 veni" for Festo cordis Library, Prussian State Library
Jesu for Berlin, and Cathedral Archive in
Soprano,Tenor, Strings 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.
Anh C 3.15 -- -- Sancta Maria for for Attributed to Mozart in 'Motets de

Soprano or Tenor and Grands Maitres, 1re Series'…
Organ in G Nr.11; however this issue is from
around 1900
Anh C 3.16 -- -- Offertorium "Ad astra, Parts in Vienna National Library
o Mortales" for Bass attributed to Mozart
and Orchestra
Anh C 3.17 -- -- Offertorium "Quos hic Copy of voice parts in Moravske
vides" for museum in Brünn attributed to
Soprano,Tenor and Mozart
Orchestra
Anh C 3.18 -- -- Pange lingua for 4 Copy in Moravske museum Brünn
Anh C 3.19 -- -- Pange lingua for 4 Copy in Moravske museum Brünn
Anh C 3.20 -- -- Tantum ergo for Bass Copy in Moravske museum Brünn
and Organ 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.
Anh C 3.21 -- -- Offertorium "Hoc, huc, Copy attributed to Mozart in
gentes venite" for 4 Prague National Museum; copy in
Voices and Orchestra Gerlach-Museum with the text "Ejo
chori resonate" has the name
"Trazom" on Bass part.
Anh C 3.22 -- -- Motett "Ecce sacerdos Set of parts attributed to Mozart in
magnus" for voice and Prague National Museum
Orchestra
Anh C 3.23 -- -- Credo solemne for 4 Set of parts attributed to Mozart in
Voices and Orchestra Prague National Museum
Anh C 3.24 -- -- Offertorium "Laudate Set of parts attributed to Mozart in

Dominum" for 4 Voices Prague National Museum
and Orchestra
Anh C 3.25 -- -- Offertorium "Piae Set of parts attributed to Mozart in
mentes properate" for Prague National Museum; a
Soprano,Tenor, second copy in Prague Nat.Mus
chorus, Orchestra with different instrumentation with
text "Caelestis advolate"
Anh C 3.26 -- -- Offertorium "Ad festum Set of parts attributed to Mozart in
huc venite" for 4 Prague National Museum
Voices and Orchestra
Anh C 3.27 -- -- Offertorium "Gaudete Set of parts attributed to Mozart in

omnes gentes" for 4 Prague National Museum
Voices and Orchestra
Anh C 3.28 -- -- Grand Offertorium Set of parts attributed to Mozart in
"Inveni David servum Prague National Museum
meum" for 4 Voices
and Orchestra
Anh C 3.29 -- -- Offertorium "Salve Set of parts attributed to Mozart in
Jesu, Dux Sanctorum" Prague National Museum
for Soprano, chorus,
Orchestra
Anh C 3.30 -- -- Aria "Ave, ave, Set of parts attributed to Mozart in

caelorum Regina" for Prague National Museum
Soprano and
Orchestra
Anh C 3.31 -- -- Aria pro omni festo Set of parts attributed to Mozart in
"Mens sancta" for Prague National Museum
Tenor or Soprano and
Orchestra
Anh C 3.32 -- -- Aria "Dei pietosi" for Set of parts attributed to Mozart in
Soprano and Prague National Museum
Orchestra
Anh C 3.33 -- -- Aria (unknown words) Set of parts attributed to Mozart in
for Soprano or tenor Prague National Museum
and Orchestra
Anh C 3.34 -- -- Aria " Exsultet orbis Set of parts attributed to Mozart in
gaudiis" for Bass and Prague National Museum
Orchestra
Anh C 3.35 -- -- Aria a Duetto "Ejus Set of parts attributed to Mozart in
festa, ejus gesta" for Prague National Museum
Soprano or Tenor and
Orchestra
Anh C 3.36 -- -- Aria "Per singulas Set of parts attributed to Mozart in
dies" for Bass and Prague National Museum
Orchestra
Anh C 3.37 -- -- Aria " Huc, huc, Set of parts attributed to Mozart in
amantes festinate" for Prague National Museum
Bass and Orchestra
Anh C 3.38 -- -- Aria "Ad arma Set of parts attributed to Mozart in
properate" for Tenor Prague National Museum
and Orchestra
-- -- -- -- --
Anh C 4.01 Anh 242 Anh 242 Cantata for Fürst Alois Jahn originally believed a copy in
Liechtenstein 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.
Anh C 5.01 -- Anh 292a Concert ending for First in Heinse's "Hildegard von
Overture to Gluck's Hahenthal" stated Mozart wrote
"Iphigenie en Aulide" 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 Recitative and Aria for Copies in Munich State Library,
Soprano and Berlin Prussian State Libr.and
Orchestra "Perche Gesellschaft der Musikfreunde;
t'arresti?…Per te nel style of Recitative as also
carcer nero" weakness of invention and
instrumentation of piece make it
more than doubtful. Any outside
verification lacking.
Anh C 7.02 Anh 243 Anh 243 2 Choruses to play Issued by Simrock in Bonn about
'Thamos'--"Schon 1829 as two choruses from
weichet dir Sonne" & Thamos by Mozart; nothing to do
"Gottheit über alle with Mozart's Thamos music,
mächtig" possibly choruses of Johann
Tobias Sattler from 1773.
Anh C 7.03 -- Anh 243a Terzetto "Tremer mi Copy in Berlin Prussian State
sento" for Soprano, Library from Otto Jahn headed
Tenor, Bass and "Terzetto-Mozart"; from names in
Orchestra text probably from a setting of 'La
Circe', but not those known from
Cimarosa or Gazzaniga
Anh C 7.04 Anh 244 Anh 244 Canto "O come lieto" Copy attributed to Mozart in
for 2 Sopranos, 2 Gesellschaft der Musikfreunde;
Tenors, Bass and parts issued by Artaria in 1856 with
Orchestra 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.
Anh C 7.05 -- 584a Soprano Aria and Copy found in Prague University
Orchestra "Donne Library in 1891; Wyzewa/St.Foix
vaghe" 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 -- Mentioned Aria for Soprano and Copy in Berlin Prussian State
within K588 Orchestra "Angst, Library with remark of Aloys Fuchs
Qual und herber it was composed in Munich for as
Gram" 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)
Anh C 7.07 -- Mentioned Duet for 2 Sopranos Copy in Berlin Prussian State
with K588 and Orchestra "Treu Library with remark by Aloys Fuchs
schwör ich dich stets it was composed for 2 women in
zu lieben" 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)
Anh C 7.08 -- -- Scene "Non tradirmi" Full score found in Kremsier

for Tenor and chorus 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.
Anh C 7.09 -- Mentioned Terzett for a comic Copy in Paris private possession;
with Anh scene Einstein remarked surely not
243a Mozart.
-- -- -- -- --
Anh C 8.01 (K2) Anh 260a Song with Piano Published in 1840 in 'Caecilia'
Anh187a Accompaniment "Die attributed to Mozart; in Dec 1845
Nase" Text: "Schlaf, Frankfurt Konversations-Blattes
süßer Knabe, süß und announced a manuscript of this
mild" 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 (K2) Anh 260b Song with Piano Issued in the Beethoven-Album in
Anh187b Accompaniment "Die 1845, and then printed as
Nase" Text: "Schlaf, "Reliquie von Mozart" for his 100th
süßer Knabe, süß und birthday. According to Halberger's
mild" album of 1849 performed and sent
from Music Director Geissler in
Zaschopau; as Anh C8.01 no
doubt not authentic.
Anh C 8.03 (K2) Anh 260c Song with piano Copy in Paris Conserv. De
Anh187c accompaniment "Das Musique with title page attributing
Angedenke" Text: to Mozart; a different hand wrote
"Nimm dies kleine "By Leopold Mozart"; other copies
Angedenken" 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.
Anh C 8.04 -- Anh 245a Song with Choral- Issued by Cappi in Vienna in 1801
refrain Text: "Schön ist with title "An Menschen" as Nr.3 of
es auf Gottes Welt" 4 German Arias--along with K597,
K598 and Anh C8.05.
Anh C 8.05 -- Anh 245b Choral song with Solo Issued by Cappi in Vienna in 1801
"Wohl dem Mann" with title "Lob des guten Weines"
as Nr.4 of 4 German Arias--along
with K597, K598 and Anh C8.04.
Anh C 8.06 Anh 246 Anh 246 Song with piano Issued by Schott in Mainz in 1794,
accompaniment Artaria in 1795 and numerous
"Vergiß mein nicht" 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.
Anh C 8.07 Anh 247 Anh 247 Song with piano Copy in Michaelbeuren
accompaniment Benedictine Monastary, and
"Phyllis an das published numerous times under
Klavier" Text: "Bestes Mozart's name, first by Simrock in
kleines Clavier!" Bonn in 1798. Allgemeine
musikalische Zeitung of 1798
reported this song originated from
Lorenz Schneider.
Anh C 8.08 Anh 248 Anh 248 Song with piano Issued by Günther & Böhme in
accompaniment "Das Hamburg in 1795 and then Artaria
Mädchen und er in 1799 (with Anh C8.09) as "Zwey
Vogel" Text:"Ein Vogel Deutsche Arien 3ter Teil", and
kam geflogen" numerous further; Allgemeine
musikalische Zeitung of 1798
named A.E. Müller as composer
Anh C 8.09 Anh 249 Anh 249 Song with piano See Anh C8.08; AMZ of 1798
accompaniment named A.E. Müller as composer.
"Minnas Augen" Text:
"Zwei Augeb sind's
aus deren Blikern"
Anh C 8.10 Anh 250 Anh 250 Song with piano First issued by Günther & Böhme
accompaniment in Hamburg with C8.11 and
"Eheliche gute Nacht" 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.
Anh C 8.11 Anh 251 Anh 251 Song with piano (See remarks to C8.10)
accompaniment
"Ehelicher guter
Morgen"
Anh C 8.12 Anh 252 Anh 252 Song with piano First issued by Andre in 1793, and
accompaniment then numerous others after;
"Selma" Text: "Kühlt, o reviewer in 1798 AMz believed
schmeichelnde Lüfte" authentic.
Anh C 8.13 Anh 253 Anh 253 Song with piano First issued by Andre in 1795, then
accompaniment Rellstab in 1798 (see remarks
"Heida lustig, ich bin C8.10); reviewer in 1798 AMz
Hanns" believed authentic.
Anh C 8.14 Anh 254 Anh 254 Song with piano First issued Josef Eder am Graben
accompaniment "Der in Vienna in 1794, numerous
este Kuss" Text: others including Rellstab in 1798
"Leiser namt ich (see remarks C8.10 and C8.12)
deinen Namen"
Anh C 8.15 Anh 255 Anh 255 Song with piano First issued by Andre in 1795,
accompaniment "Die Rellstab in 1798 (see remarks to
zu späte Ankunft der C8.10 and C8.12)
Mutter" Text:
"Beschattet von
kühlenden Aesten"
Anh C 8.16 Anh 255a Song with piano In a letter of July 1799 Constanze
accompaniment wrote of this song saying it was
"Meine weise Mutter very lovely, and that it must have
spricht: Küssen, been composed before 1784 as
küssen, Kind, ist she knew nothing of it.
Sünde"
Anh C 8.17 Anh 256 Anh 256 Song with piano First issued by Andre in 1795,
accompaniment "Am Rellstab in 1798 (see remarks to
Grabe meines Vaters" C8.10 and C8.12)
Text: "Hier sein Grab
bei diesen kleinen
Hügeln"
Anh C 8.18 Anh 257 Anh 257 Song with piano First issued by Andre in 1793, then
accompaniment others in Rellstab in 1798 (see
"Minna" Text: "Schon remarks to C8.10 and C8.12)
fesselt Lieb und Ehre
mich"
Anh C 8.19 Anh 258 Anh 258 Song with piano Listed in B & H manuscript
accompaniment "An catalogue; published by Andre in
die Natur" Text: "Süße 1795
heilige Natur"
accompaniment "Lied catalogue; published by Böhme in
der Freundschaft" Hamburg
Text: "Wenn ich der
Kaiser wäre"
accompaniment catalogue; published Andre, Götz
"Gegenliebe" Text: and Rellstab in 1798 (See remarks
"Wüßt ich, wüßt ich, C8.10 and C8.12)
daß du mich"
Anh C 8.22 Anh 261 Anh 261 Song with piano Published by Rellstab in Berlin in
accompaniment 1798; reviewer of 1798 AMZ of
"Mailied" Text: Rellstab's issue of 33 Mozart
"Willkommen, schöner, Lieder believed authentic. Listed in
lieber Mai" B & H Manuscript catalogue
accompaniment
"Frühlingslied" Text:
"Unsre wiesen grünen
wieder"
accompaniment
"Mailied" "Wie herrlich
leuchtet mir die Natur"
accompaniment
"Freude jubelt, Liebe
waltet"
accompaniment
"Der Frühling ist
gekommen, es"
Anh C 8.27 Anh 266 Anh 266 4-part song with piano (See remarks to C8.22)
accompaniment
"Aufmunterung zur
Freude" Text: "Wer
wollte sich mit Grillen"
Anh C 8.28 Anh 267 Anh 267 Song with piano (See remarks to C8.22)--published
accompaniment in Reichardt's Liedern geselliger
"Trinklied im Mai" Text: Freude with heading "Der
"Heute will ich fröhlich" Frühling--Am ersten Maimorgen",
composed by Reichardt.
accompaniment
"Mailied" Text: "O der
schöner Maiemond"
accompaniment
"Frühlinglied" Text:
"Blickt auf, wie sehr
das lichte Blau"
Anh C 8.31 -- Anh 269a Song with piano Issued in Halle and Frankurt in
accompaniment "Elis 1807
und Elide" Text: "Wie
sign ichs, Holder?"
Anh C 8.32 -- -- Song with piano Issued by Löschenkohl in Vienna
accompaniment in 1800 in Vol 1 of 6 Sacred Odes
"Danklied" Text: "Du and Lieder (lost); Löschenkohl's
bist's, dem Ruhm und notice read Mozart's set the music
Ehre gebührest" 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 .
Anh C 8.33 -- Anh 270a Song with piano Issued by Löschenkohl in Vienna
accompaniment "Trost in 1800. (See remarks to Anh
der Erlösung" Text: C8.32)
"Gedanke, der uns
Leben gieht"
Anh C 8.34 Anh 271 Anh 271 Song with piano Issued by Löschenkohl in Vienna
accompaniment "Das in 1800; listed in B & H Manuscript
Glück eines guten Catalogue.(See remarks to Anh
Gewissens" Text "Besit C8.32)
ich nur ein ruhiges
Gewissen"
Anh C 8.35 Anh 272 Anh 272 Song with piano Listed in B & H Manuscript
accompaniment Catalogue.
"Vertrauen auf Gottes
Vorsehung" Text: "Auf
Gott, und nicht auf
meinen Rat"
Anh C 8.36 Anh 273 Anh 273 Song with Piano Listed in B & H Manuscript
accompaniment, Text: Catalogue.
"Gott, deine Güte
reicht so weit"
Anh C 8.37 Anh 274 Anh 274 Song with Piano Listed in B & H Manuscript
accompaniment Catalogue.
"Abendlied" Text:
"Herr, der du mir das
Leben"
accompaniment in 1800; listed in B & H Manuscript
"Versicherung der Catalogue.
Gnade Gottes" Text:
"So hoff ich denn mit
festem Mut"
Anh C 8.39 Anh 277 Anh 277 Song with piano Listed in B & H Manuscript
accompaniment "Die Catalogue.
Ehre Gottes in der
Natur" Text: "Die
Himmel rühmen des
Ewigen"
accompaniment in 1801 as Vol 2 of Odes and
"Morgengesang" Text: Lieder for the Young (see Anh C
"Mein erst Gefühl sey 8.32) along with C8.41, 8.43, 8.44,
Preis und Dank" 8.45, 8.46; reprinted in 1805 with
notice works dedicated to Count
Thun.
accompaniment in 1800 and 1801
"Gelassenheit" Text:
"Was ist's, daß ich
mich quäle"
Anh C 8.42 -- Anh 279a Song with piano Issued by Löschenkohl in Vienna
accompaniment in 1800
"Zufriedenheit mit
seinem Zustande"
Text: "Du dlagst und
fühlest die
Beschwerden"
Anh C 8.43 Anh 280 Anh 280 Song with Piano Issued by Löschenkohl in Vienna
"Geduld" Text: "Ein
Herz, o Gott, in Leid
und Kreuz"
accompaniment "Vom in 1801
Worte Gottes" Text:
"Gott ist mein Hort"
"Prüfung am Abend"
Text: "Der Tag ist
wieder hier"
accompaniment "Preis in 1801
des Schöpfers" Text:
"wenn ich, o Schöpfer,
deine Macht"
Anh C 8.47 -- Anh 283a Canzonetta "Baci Manuscript in Library of Congress,
amorosi e cari" Washington D.C. USA is dated
Sept 7, 1770 is a forgery.
Canzonetta is a poor bowdlerizing
of the "Veilchen" KV 476.
Anh C 8.48 350 Anh 284f Song with piano Originally placed as supplement in
accompaniment Nissen's biography of Mozart, but
"Wiegenlied" Text: later Constanze asked it to be
"Schlafe, mein removed; both Constanze and
Prinzchen" Nannerl reported not knowing of
piece; published numerous times
under name of Bernard Flies.
Anh C 8.49 -- -- Freundschafts-Lied for Copy in Prague National Museum

voice, 2 Violins and attributed to "Del Sigre Mozart";
Bass, Text: "Es kann the song originated from F.H.
schon nicht alles so Himmel.
bleiben"
Anh C 8.50 -- -- Song with piano Copy in Prague National Museum
accompaniment "Das
Grab" Text: "So
schwarz wie die Nacht
ist diese Hölle"
-- -- -- -- --
Anh C 9.01 Anh 188 Anh 188 4-Part song for 2 Copy in National Libr. Vienna from
Sopranos, Tenor and estate of Michael Hortenschlag
Bass, "D'Bäurin hat from 1855; theme used in last
d'Katz verlorn" movement of Divertimento
K287/271H.
Anh C 9.02 -- Anh 244a Burleske Motett for 2 Issued in Paris by Lavinée in 1871;
voices and piano music unMozartian, false use of
"Nocte dieque Latin words, and wording that
bibamus" points to an original French
language, are foreign to Mozart.
Anh C 9.03 Anh 6 441b 2-voiced song "Beym Listed in B & H Manuscript
Arsch ists finster" 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.
Anh C 9.04 -- 441c 2-voiced Serenade Published numerous times, first by

(Ständchen) "Liebes Böhme in Hamburg around 1795;
Mädchen, hör mir zu" 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.
Anh C 9.05 -- Mentioned Male Quartet "Wer Copy in Donaueschingen which

within K506 unter eines Mädchens contained other canons of Mozart;
Hand" uses same text as Mozart song
K506
Anh C 9.06 -- 562d Duet for 2 Sopranos Manuscript in New York Public
and instrumental bass Library on reverse side of K315g,
"Darum so trinkt" 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.
Anh C 9.07 -- Mentioned Humorous Male Versions in Pilsen, and Vienna

within Terzett "Venerabiis National Libr. (for 2 Soprano and
Anh236 barba capucinorum" Bass). Friedlaender named
Matthias Fischer as composer.
Anh C 9.08 -- -- Song for 3 voices and Issued by Schott in Mainz in about
guitar "Mädchen ich 1810
komm mit der Zitter"
Anh C 9.09 -- -- Song for 3 voices and Issued by Schott in Mainz in about
guitar "Die Nacht ist 1813
still und heiter"
Anh C 9.10 -- -- Song for 4 voices Copy from 19th Century in
without Benedikt Monastary at
accompaniment "Wie Michaelbeuren
herrlich sind die
Abendstunden"
Anh C 9.11 -- Mentioned Canon "O wie schön In Einstein's estate with several
within 556 ist es hier" authentic Mozart Canons and
others of Salieri, M. Haydn and
anonymous. Einstein held it for not
authentic.
Anh C 9.12 -- -- Choral work Copy in Prague National Library in
"Nachtgesang auf der collection of various Lieder and
Flur" Text: "Komm Opera Arias etc.
stiler Abend nieder…
Te Deum adoramus"
Anh C 9.13 -- -- Ariette for Chorus Copy in Prague National Library in

"Nimm durch dieser collection of various Lieder and
Töne Spiel" Opera Arias etc.
Anh C 9.14 -- Mentioned "Die Juden-Leich" Copy in Berlin State Library
within attributed to "Sigre Mozart"; is
Anh236 actually from the "Augsburger
Tafelkonfekt"
-- -- -- -- --
Anh C 10.01 Anh 7 (K2 and K3) 3-part Canon "Die Jahn mentioned the piece as an
Anh 284c verdammten authentic piece and K1 listed it
Heuraten" 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
Anh C 10.02 226 (K2 and K3) 3-part Canon "O Published in B & H Oeuvres vol.16
Anh 284d Schwestern, traut dem in 1804; first published in
Amor nicht" Athanasius Kircher's "Musurgia" in
1650 without the text added by
Härtel
Anh C 10.03 Anh 189 Anh 189 4-part Canon "Amen" Listed in B & H Manuscript
Catalogue
Anh C 10.04 -- Mentioned Canon "Stefel In Einstein's estate with several
within K556 Fadinger" authentic Mozart Canons and
others of Salieri, M. Haydn and
anonymous. Einstein held it for not
authentic; copy in Prague with
composer name Fuch.
Anh C 10.05 Anh 192 Anh 283b 8 part Canon with 2 Listed in B & H Manuscript
Violins, Alto and Bass Catalogue; found to be canon of
without text Johann Friedrich Fasch in
Kirchberger's "Kunst des reinen
Satzes" 1774.
Anh C 10.06 Anh 193 Anh 283c Canon without text Listed in B & H Manuscript
Catalogue; work of Johann Phillip
Kirnberger, was on title page of
"Kunst des reinen Satzes".
Anh C 10.07 Anh 194 Anh 194 Canon--Exercise in Listed in B & H Manuscript
Counterpoint without Catalogue
text
Anh C 10.08 Anh 195 Anh 195 4-part Canon Listed in B & H Manuscript
"Katzengesang" Text: Catalogue; is composition of Brixi--
"Miau au au au au unknown if Viktorin or Franz
miau" Xavier.
Anh C 10.09 Anh 196 Anh 196 Canon for 2 Children's Listed in B & H Manuscript
voices "Kinder Kinder, Catalogue
laßt uns heute lachen"
Anh C 10.10 Anh 197 Anh 197 4-part Canon "Vieni Listed in B & H Manuscript
cara mia vita mia" Catalogue
Anh C 10.11 Anh 198 Anh 198 5-part Canon "Amen" Listed in B & H Manuscript
Catalogue
Anh C 10.12 -- Anh 198a 8-part Canon "Hätt's Aloys Fuchs copy (with K560)
nit 'dacht, daß headed "2 Scherzhafte Canons a
Fischkraten" 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).
Anh C 10.13 Anh 284 Anh 284 4-part Canon "Schleiß Copy in National Library Vienna;
nieder, armer Sünder" according to Neukomm is by
Michael Haydn.
Anh C 10.14 -- Mentioned 5-part Canon "Es Copy in National Library Vienna;
with Anh284 pakke dich das Glück" work originated from Michael
Haydn.
Anh C 10.15 -- -- 3-part Canon "Was Contained in 1866 edition of
bleibet!" Canons by D. H. Beck that also
contained 6 transposed and
arranged authentic Canons of
Mozart.
Anh C 10.16 -- Anh 284dd 4 Mirror Canons for 2 Published by Kallmeyer, edited by
Violins 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 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
Anh C 10.18 -- Anh 284ee Joke-Canon for voices Issued by Friedrich Hofmeister
(and instruments?) Leipzig around 1823 as 2 Joke-
"Nun beginnt das Fest Canons composed by Mozart and
der Maien" Haydn. Both are very naïve pieces
and originate no doubt from the
same composer.
Anh C 10.19 -- Mentioned Joke-Canon "Schau Copy in Prussian State Library;

within nur das Weiberl an" primitive piece not by Mozart.
Anh284ee
Anh C 10.20 -- -- Canon sketch "L'anno A Duet between Nice and Tirsi;
novel" 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.
Anh C 10.21 -- Mentioned Canon "Difficile" Copy in Prussian State Library; it

within K559 contains the text of K559 with the
melody of K556.(See remarks to
C10.22)
Anh C 10.22 -- Mentioned Canon "Leck mich im Copy in Prussian State Library in
within K559 Angesicht" bundle with Anh C10.21 and
C9.04; all three numbers
misattributed.
Addition Information After K6
Set of parts found in Feldkirch attributes
Mass in slightly altered form to Joseph Aloys
Holzmann 1761-1815 (Reijen-MJB
2001)
--
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)
--
--
--
--
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)
--
--
--
--
--
--
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).
--
--
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.
--
--
--
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)
--
--
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.
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)
--
--
--
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)
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
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".
--
--
--
--
--
--
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).
(See remarks to C8.10)
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
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




--
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.
--
--
--
--
--
--
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)
--
--
--
Work of Ignaz Imlauf (Dunn-MJB 1971/72)
--
--
--
--
--
--
--
Composer Johann Joseph Fux 1660-1741

(Dunn-MJB 1971/72)
--
--
--
--
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)
--
--
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 Works
K6 K1 K3 Composition K6 Remarks
Anh C -- 16b Symphony in C Only copy of 1st violin part
11.01 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 17 Anh 223a Symphony in Bb (4 Copy purchased from Constanze

11.02 movement Mozart by André who remarked no
fragment) 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 Anh 216 74g Symphony in Bb Originally only known from incipit in
11.03 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 98 Anh 223b Symphony in F Köchel only knew in 2-piano
11.04 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 -- 311a Overture in Bb Orchestral full score publication
11.05 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 C Anh 291b Symphony in D Listed in B & H manuscript
11.06 Anh catalogue; published as work of
219 Leopold Mozart in 1908
Anh C -- Mentioned Symphony in D Listed in B & H Manuscript

11.07 in Anh223 catalogue (Lost)
Anh C -- Mentioned Symphony in F Listed in B & H Manuscript

11.08 in Anh223 catalogue (Lost)
Anh C Anh 293 Anh 293 Symphony in G Listed in B & H Manuscript

11.09 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 -- Anh 293c Grande Symphony Copy in Stams Monastary headed

11.10 in F "Auth A.M. Mozart"; actually a work
of Ignaz Pleyel first issued by André
in 1787 or 1788.
Anh C -- Mentioned Symphony in C Copy in Stams Monastary attributed

11.11 within to Mozart; Einstein and K6 stated
Anh293c actual composer is Joseph Aloys
Holzmann from information from
W.Senn
Anh C -- Mentioned Symphony in F Copy in Stams Monastary attributed
11.12 within to Mozart; Einstein and K6 named
Anh293c Gyrowetz as author from
information from Senn; LaRue cited
Dittersdorf (Krebs Catalogue listing
35).
Anh C Anh 294 Anh 294 Divertimento Copies in Vienna Gesellschaft der
11.13 (Sinfonia Musikfreunde and Prussian State
Pastorale) in G 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
Anh C -- -- Symphony in C Copy in Cremona attributed to
11.14 Mozart; K6 stated actual author
Franz Christoph Neubauer from
numerous copies in Europe.
Anh C -- -- Symphony in C Copy in Prague National Musuem
11.15 attributed to Mozart
Anh C -- -- Fragment of an Attributed to Mozart in 1929

11.16 Orchestral full auction catalogue; is portion of
score (Symphony) development to Symphony in G;
in G originates from 19th Century and
has nothing to do with Mozart.
-- -- -- -- --
Anh C (K2) 25a Anh 293a Minuet with Trio for Alleged autograph first discovered
13.01 Orchestra in C 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 510 Anh 293c 9 Contredances or Manuscript--once thought

13.02 Quadrillen for autograph--in Prague University
Orchestra 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 -- Mentioned 4 Minuets for 2 Manuscript discovered in 1911 with
13.03 within 61b Violins and Bass 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.
-- -- -- -- --
Anh C -- 297b Sinfonia Parts found in Jahn estate in 1870,
14.01 Concertante for thought to be Sinfonia Concertante
Oboe,Clarinet, Mozart wrote in Paris; authenticity
Horn, Bassoon and question debated throughout 20th
Orchestra in Eb 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 Anh 99 Anh 294c Concerto for Cello Manuscript in Vienna National
14.02 (Clarinet?) and Library headed probably to a
Orchestra in Clarinet Concerto and is so listed in
F(Fragment) 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 -- Anh 230a Concerto for Discovered in set of parts in the

14.03 Bassoon and Haag attributed to Mozart; Seiffert
Orchestra in Bb 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 268 365b Concerto for Violin First published by André in 1799;
14.04 and Orchestra in contemporary writer stated work
Eb 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 C -- Anh 294a Concerto for Violin Discovered by Casedesus and

14.05 and Orchestra in D published in piano reduction in
"Adelaide" 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 -- Anh 294b Concerto for Oboe Issue by C.F. Schmidt in 1899
14.06 in Eb (unknown attributed to Mozart with no further
accompaniment) information; poor quality work is
that of an unknown 19th Century
musician.
-- -- -- -- --
Anh C -- -- Concerto for Piano Copy in Kremsier Monastary
15.01 and Orchestra in G 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 -- 43c Concerto for Piano Parts of scattered manuscript had
15.02 and Orchestra in G been in Mozart's son estate,
(Sketches) 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 -- -- Concerto for Piano Solo part only discovered in Venice

15.03 in F in 1962.
Anh C -- 626aII/E Cadenza to Piano Manuscript with heading Cadenza
15.10 Concerto and "By W.A. Mozart" first thought
to be partially in Leopold, partially
in Wolfgang's hand discovered
1919; Plath found from neither.
Anh C -- 626aII/I Ubergang in C to Manuscript on same page as

15.11 Piano Concerto Cadenzas to K107 version b to
K271
Anh C -- -- 3 Cadenzas in A for Manuscript located in Hamburg

15.12 2 Violins 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 124c Church Sonata in C Manuscript discovered in Bologna in
16.01 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 Anh 226 196e Divertimento for Parts printed by B & H in 1801
17.01 Wind Octet in Eb 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 Anh 227 196f Divertimento for (See remarks to Anh C 17.01
17.02 Wind Octet in Bb
Anh C Anh 228 Divertimento for Parts printed by B & H in 1801

17.03 Anh Wind Octet in Bb attributed to Mozart; K1 listed in
228 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 Anh 224 Anh 224 Divertimento for Only known to K1 from Fuch
17.04 Wind Octet in Eb catalogue; Einstein knew copy in
Prussian State Library in Berlin and
called work Mozartian, but surely
not by Mozart.
Anh C Anh 225 Anh 225 Divertimento for Only known to K1 from Fuch
17.05 Wind Octet in F catalogue; Einstein knew copy in
Prussian State Library in Berlin and
called work an imitation of Mozart
Anh C -- -- Variations of Wind Parts in Kremsier headed

17.06 Sextet "Serenade de Sig. Kromer-
Variaziioni del Sig. Mozart"; only
2nd Clarinet part designated as by
Mozart; theme is actually from
Ignaz Umlauf.
Anh C Adagio and Allegro Copy in Prague University Library
17.07 for 8 Winds in Eb as last movement of Partita Nr.1
(first two movement movements of
C17.05.
Anh C -- -- Parthia for 5 Winds Copy in Moravské Museum
17.08 in F
Anh C -- -- Wind Sextet in Bb Copy in Moravské Museum
17.09
Anh C -- -- Partita Nr. 2 for 6 Copy in Vienna National Library

17.10 Winds in Eb headed "4 Parthien in Eb, the
second probably by Mozart".
Anh C -- -- Cassation for 4 Discovered in 1910, with no further
17.11 Winds in Eb source information printed in 1936
by Andraud.
Anh C 187 159c Ten Pieces for 2 Based an alleged autograph in
17.12 Flutes, 5 Trumpets, Prussian State Library K1 placed
4 Drums "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 C Anh 210 Anh 210 String Quartet in Full score copy (along with C20.02-
20.01 Bb 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 Anh 211 Anh 211 String Quartet in C (See remarks to C 20.01)
20.02
Anh C Anh 212 Anh 212 String Quartet in A (See remarks to C 20.01)
20.03
Anh C Anh 213 Anh 213 String Quartet in (See remarks to C 20.01)
20.04 Eb
Anh C -- Anh 291a 6 String Quartets Set of parts in Berlin State Library
20.05 in C, G, Eb, f, D, attributed to W.A. Mozart; Kinsky
Bb 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 -- Mentioned 6 Quartetti Copy in possession of Heinemann in

20.06 within Capricciosi Berlin attributed to W.A. Mozart
Anh291a allegedly going back to Andre;
Pfannhauser identified composer as
Johann (Gallus) Mederitsch (1752-
1835)
Anh C -- -- String Quartet in C Copy in Prague National Museum
20.07
-- -- -- -- --
Anh C (K2) Anh 284h Piano Trio in D Alleged autograph first discovered
22.01 Anh52a 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 Anh 291 Anh 291 Piano Trio in C Published by Artaria as Op.41 in
22.02 with c minor 1797 and others in the next year;
introduction work is by Anton Eberl as he stated
-- -- -- -- --
Anh C 55 Anh 209c Sonata for Piano Sonatas C23.01- 23.06 issued in B
23.01 and Violin in F & 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 56 Anh 209d Sonata for Piano (See remarks to C23.01)

23.02 and Violin in C
Anh C 57 Anh 209e Sonata for Piano (See remarks to C23.01)
23.03 and Violin in F
Anh C 58 Anh 209f Sonata for Piano (See remarks to C23.01)

23.04 and Violin in Eb
Anh C 59 Anh 209g Sonata for Piano (See remarks to C23.01)
23.05 and Violin in c
Anh C 60 Anh 209h Sonata for Piano (See remarks to C23.01)
23.06 and Violin in e
Anh C 61 Anh 290a Sonata for Piano Issued in B & H "Oeuvres
23.07 and Violin in A Complettes" in 1804;
Wyzewa/St.Foix discovered true
author Hermann Fr. Raupach and
believed most likely copied by
young Mozart.
Anh C -- Anh 290b Sonata for Manuscript in private possession in

23.08 Cembalo and Violin Vienna; Pfannhauser reported
in C probably by Joseph Hoffmann
(1765-1843), Violin player in Court
Capelle.
Anh C -- Anh 290c Sonata for Violin Set of parts from middle of 18th
23.09 and Bass in A 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 C (K2) Anh 284g Gavotte in F, Alleged autograph first discovered
24.01 Anh41a Allegro in Bb and in private possession in
Marcia lugubre in c Constantinople, presented to British
for Piano 4-hands Museum; placed by K2 in Anhang
for fragments; found to be not
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 Anh 146 Anh 146 Large Fugue for Issued by Haslinger in Vienna in
24.02 Piano 4-hands in D 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 Anh 204 (K2 and Piano Sonata in c- Issued by Artaria as Mozart's Op.31
25.01 K3) Anh minor in 1794 and by Andre as Op.47 in
284a 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 (K2) 511a Anh 284i Rondo for Piano in Alleged autograph first discovered
25.02 Bb 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
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 C -- Anh 284k Sonata for Piano in Copy in Donaueschingen headed

25.03 F "Trio(!)…del Sigr. Mr. Mozzart";
work consists of 6 movements; this
work of an amateur has nothing to
do with Mozart.
Anh C Anh 136 498a Sonata Movement 4-movement Sonata published by
25.04 (Allegro) for Piano Thonus in Leipzig in 1798 and then
in Bb 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 Anh 137 498a Minuet for Piano in (See remarks to C25.04) Einstein
25.05 Bb expressed possibility this could be
transcription of lost Minuet from
K525
-- -- -- -- --
Anh C (K2) Anh 284n Pastorale variee for First issued Durand & Schoenewerk
26.01 Anh209b piano in Bb in Paris about 1870 and later in
London and New York; has no
connection to Mozart
Anh C Anh 285 Anh 285 7 Variations for First issued by Rellstab in Berlin in
26.02 Piano in C on "Une 1792 and again in B & H's Oeuvres
fievre brulante" Complette in 1798; Constanze
from Grétry's Mozart expressed doubts on
opera 'Richard authenticity; Grétry's opera
Löwenherz' premiered in Paris in 1784 and
these variations not listed in Mozart
own Work Catalogue.
Anh C Anh 286 Anh 286 9 Variations for First issued by Thonus in Leipzig in
26.03 Piano in F on 1798 and later others; a B & H
Andante from catalogue attributed work to A.E.
Mozart's Müller; Mozart never used a theme
Divertimento K287 from one of his works for
variations.
Anh C Anh 287 Anh 287 12 Variations for First issued in Musikal Magazin in
26.04 Piano in D on Vienna in 1794, then Artaria, André
Andantino and others including B & H Oeuvres
"Freundin saufter complettes in 1799; work is Anton
Herzenstriebe" Eberl's Op.6; on July 15, 1798
from Dittersdorf Eberl gave notice in Hamburg paper
opera 'Der he was author of 3 works printed as
Gutsherr' Mozart's (also see C25.01 and C
26.05)
Anh C Anh 288 Anh 288 12 Variations for First issued by Günther & Böhme
26.05 Piano in Eb for around 1788 and then numerous
Piano on Aria "Zu others; work is Anton Eberl's Op.5;
Steffen sprach im on July 15, 1798 Eberl gave notice
Traume" from in Hamburg paper he was author of
Umlauf's opera 3 works printed as Mozart's (also
'Das Irrlicht oder see C25.01 and C26.04); In his
Irrwisch' encyclopedia Gerber reported
Mozart used these variations as a
favorite teaching piece.
Anh C Anh 289 Anh 289 10 Variations for First issued by André in 1798 as
26.06 Piano in A on Mozart's Op.66, B & H's Oeuvres
Allegretto from complettes in 1799 and numerous
Sarti's opera 'I finti others; is work of Emanuel Aloys
eredi' 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 -- Anh 289a Variations for Piano First issued by Monzani in London
26.07 in F on "Freut euch around 1805; variations probably
des Lebens" originate from Johann Michael Lanz
(composer in Hannover in 1796; in addition
unknown) 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 -- Anh 289b 12 Variations for Copies in Library della Casa di

26.08 Piano in G on "Das Ricovero and Graz and other
klinnget so herlich" locations attributed to Mozart;
(Glockenspiel composer unknown but surely not
theme) from Mozart.
Zauberflöte
Anh C Anh 290 Anh 290 10 Variations for First issued by Schott in Mainz "par
26.09 Piano in A on Mozard" around 1800, then Artaria
"Malbrough s'en 1804; both K3 and K6 cite Eberl as
va-t-en guerre" composer without source.
Anh C -- Anh 207a Theme for Harp in First issued as Theme for Piano-
26.10 F 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 -- -- Theme for Harp in According to report of 1892 Mozart

26.11 F 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 -- -- 9 Variations for Copy found in Kremsier Monastary

26.12 Piano in D
Anh C -- -- 10 Variations for Copies found in Graz and Kremsier
26.13 Piano in G on Monastary; Lausch offered 10
"Unser dummer variations in G by Sardj on April 2,
Pöbel meint" by 1785, probably this work. Sardj is
Gluck Giuseppe Sarti.
Anh C -- -- 12 Variations for Copy in Conservatoire G. Verdi in

26.14 Piano in G on "Nel Milan attributed to Mozart; work no
cor píu non mi doubt originated from early 19th
sento" by Paisiello Century, Fischer in NMA thought
perhaps Hummel comes into
question.
Anh C -- -- 5 Variations for Copy in Conservatory Pietro a
26.15 Piano in D on a Majella headed "Del Sig. Giorgio
melody from Mozart". Weigl's opera did not
Joseph Weigl's premiere until 1797; Eybler, J.
opera 'L'amor Gelinek, Hummel and J. Wölfl
marinaro' composed variations on this theme
and work most likely is from one of
them.
Anh C -- -- 6 Variations for Copy Conservatory Library Paris
26.16 Piano in G on on attributed to Sigr. Mozart, collected
Glockenspiel theme with works of numerous other
fro Zauberflöte composers titled "Diverse Suanate
per il Piano Forte di Diversi Autoir,
1826"; another copy in Lucca,
Anh C -- -- 5 Variations for Issued in monthly journal "Apollo"

26.17 Piano in C on the with title "Minuett mid 5 Variations
Figaro Minuet of W.A. Mozart"; variations are on
"Se vuol ballare, signor contino",
certainly not by Mozart
Anh C -- -- Variations for Piano Known only from from listing in

26.18 in G on "Der Whistling's 'Handbuch der
Vogelfänger bin ich musikalischen Literatur' of 1828;
ja" from listed as issued by André, possibly
Zauberflöte by Auernhammer according to
Weinmann.
26.19 in Eb on "Bei Whistling's 'Handbuch der
Männeren, welche musikalischen Literatur' of 1828;
Liebe" from listed as issued by André, possibly
'Zauberflöte' by Anton Eberl according to
Weinmann
26.20 on "Alles fühlt der Whistling's 'Handbuch der
Liebe Freuden" musikalischen Literatur' of 1828;
from 'Zauberflöte' listed as issued by Berra in Prague
Anh C -- -- Variations for Piano Known from listing in Whistling's

26.21 in C on "Ich bin der 'Handbuch der musikalischen
Schnider Wetz" Literatur' of 1828; variations
from Wenzel's appeared in Kozeluch's Musikal
Müller's Singspiel Magazin in 1795; Müller's opera
'Das neue first performed in 1793.
Sonntagsking'
Anh C -- -- Variations for Piano Known from listing in Whistling's

26.22 on "L'Homme est 'Handbuch der musikalischen
honnete" Literatur' of 1828; listed as issued
by LeDuc in Paris.
-- -- -- -- --
Anh C -- Mentioned Andante favori for Issue by Cranz in Hamburg a crude
27.01 within Piano forgery.
Anh284n
Anh C -- Mentioned Fantasia Printing by Williams in London as "A
27.02 within Impromptu for Relic…by Mozart' a naïve forgery.
Anh284n Piano
Anh C -- 528a Fantasy for Organ In letter from the chorus director of
27.03 in Bb 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 Anh 205 Anh 205 Romanze for Piano First issued by Mollo & Co in 1802
27.04 in Ab with dedication to Madame
Lefebrve, and again many times
later; the charming piece shows too
clearly knowledge of Beethoven
Anh C -- Mentioned Rondo Allegro for Copy in Berlin State Library in
27.05 within Piano in G collection of "Little Pieces for the
Anh207 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 Anh 207 Anh 207 9 Pieces for Piano Probably composed for a musical
27.06 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 -- Mentioned Polonaise favorite Issue by Böhme in Hamburg

27.07 within for Piano in C attributed to Mozart. Possibly by
Anh284n Franz Xavier Mozart.
Anh C -- Mentioned "Adieu/Derniére Issue by Mackar in Paris; is a free
27.08 within pensée de W.A. arrangement of Aria K621a
Anh284n Mozart" for Piano provided with a introductory
Andante.
Anh C -- Mentioned Children's Piece "La Issued by Litolff in Braunschweig;
27.09 within Tartine de Beurre" the "tempo di Valse" can be played
Anh284n for Piano with only one finger on the right
hand; also called the Butterfly"
Anh C -- Mentioned Fugue a due for Copy in Berlin State Library from
27.10 within Piano possession of Fuchs, who reported
Anh109viii by Mozart and completed by Al.
Klengl.
Anh C -- -- Floh-Minuet for Issue by Steiner in Vienna in 1824
27.11 Piano in C attributed to Mozart with two solo
Trios for the "Phys-Harmonika or
Pianoforte" by Joseph Wilde.
Anh C -- -- Adagio for Piano in Manuscript from F.S. Silverstolpe in

27.12 Eb Stockholm
-- -- -- -- --
Anh C -- Mentioned 5 Ländler for Piano Manuscript whereabouts unknown
29.02 under 176 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 -- -- Waltzes for Piano Issued by Simrock in Bonn in 1801

29.03 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 -- -- Waltz for Piano Issued by Penson, Dublin in a set of
29.04 4 Waltzes composed by Mozart and
performed by the Band of Theatre
royal Edinburgh, set also contained
K567/1and 2, K536/5.
Anh C -- -- 12 Minuets Issued by Cappi in Vienna in 1808;

29.05 probably are compositions of
Mozart's son.
Anh C -- Anh 284l 12 German Dances Copy in Donaueschingen attributed
29.06 for Piano 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.
Anh C -- Mentioned 7 German Dances Copy in Donaueschingen attributed

29.07 within for Piano to "Herrn Mozart"; of similar
Anh284l character and same copyist as
C29.06; Nr.3 has melody similar to
"Champagne-Aria" from Don
Giovanni.
Anh C -- Mentioned "Balli Tedesch"i for Issued by Junghanss in Prague
29.08 within Clavicembalo around 1820 as 15 German Dances
Anh284l 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 -- Mentioned Ländler-German Issued by Artaria in 1787 without
29.09 within Dances for a Violin designation of composer, someone
Anh284l later added "von Mozart"; dances
originated from Vanhal.
Anh C -- Mentioned Ländler-German Issued by Artaria in 1787 without

29.10 within Dances for 2 designation of composer, someone
Anh284l Violins later added "von Mozart"; dances
originated from Vanhal.
Anh C -- Mentioned German Dance for Copy in Gesellschaft der

29.11 within 2 Violins and Bass Musikfreunde, title page in another
Anh284l in D hand read "von Mozart"; surely
misattributed.
Anh C -- Mentioned 6 German Dances Set of parts in Gesellschaft der
29.12 within for 2 Violins and Musikfreunde; misattributed.
Anh284l Bass
Anh C -- Mentioned "Menuetto" for Copy in Gesellschaft der
29.13 within Piano in C Musikfreunde attributed to "Sig:
Anh284l Mozart"; surely misattributed.
Anh C -- Mentioned Minuet in G Copy from estate of Max
29.14 within Friedlaender with heading his his
Anh284l hand "Menuetto, most likely not
printed. Manuscript by Mozart".
Anh C -- Mentioned Minuet for Piano 4- Issued by Concha in Berlin
29.15 within hands in G attributed to Mozart; misattributed
Anh284l
Anh C (K2) Anh 284m Valse lente for Issued by Hiélard in Paris; with
29.16 Anh209a Piano in Eb doubt misattributed.
Anh C -- Mentioned 3 Waltzes for Piano Issued as "Beauties of Mozart partly
29.17 within taken from Manuscripts in his own
Anh284m handwriting, arranged for Piano by
Wm Grosse. London"; a forgery
according to Einstein.
Anh C -- Mentioned Waltz for Piano In music album sent from Capel
29.18 within Lofft(?) to Miss Hanna Bloomfield in
Anh284m 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 -- Mentioned Waltz for Piano in a Issued as Nr.3 of 3 Waltzes by
29.19 within Walker in London--other 2 C29.18
K606 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 -- -- 12 Waltzes for Issued by Jouvre in Paris as by the

29.20 Piano "Célébre Mozart"; also advertised
for 2 Pianos and for 2 Flutes,
Anh C -- -- German Waltzes Issued by Preston in London as

29.21 for Piano 4-hands "Duettinos for two Performers on
the Pianoforte arranged by Mozart".
Anh C -- -- Waltzes Copy in Casanatense Library in

29.22 Rome attributed to "Mozard"
Anh C -- Anh "Motivi di According to Balser Bücherfreund of
29.40 109g/23 Tarantella" 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 -- -- March for Piano in Issued by O.O. and Publishing as

29.50 C 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 -- Mentioned March for Piano in Music sheet on keyboard of portrait
29.51 within 72a F 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.
Anh C -- -- Funeral March for Advertisement of issue of
29.52 Piano (Lost) 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 -- Anh 294d Musical Dice Game Numerous editions appeared under
30.01 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 -- Mentioned Alphabet/A Musical Issued by Lischke in Berlin as
30.02 within Joke Mozart's Alphabet a Musical Joke
Anh294d for 3 children's voice, arranged by
C.F. Par; certainly has nothing to
do with Mozart.
Anh C -- -- Piano School Issued by Enders in Prague in 1819
30.03 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 -- Mentioned Concise Thorough Joseph Haydenreich offered a copy
30.04 within Bass School in the Vienna Zeitung on April 13,
Anh109d 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 -- -- Through Bass Parts Manuscript in Vienna State Library

30.05 with verification from Fuchs of
Mozart's authenticity; page actually
contains two studies of Leopold
Mozart.
Anh C -- -- Arrangement of Copy in Austrian National Library
30.06 Händel's Judas under Mozart's name; performed in
Maccabäus 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
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).
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)
--
--
--
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.
Casadeus admitted work a pastiche of his

own creation in July 1977 Bazzana-Notes to
Ess.ay CD)
--
--
--
--
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Plath of verbal opinion there are motif

reminiscences to J.Schobert's Piano Concerto
Op.4.2 (Berke-NMA 2000)
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)
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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)
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)
--
--
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).
(See remarks to C 20.01)

--
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)
--
--
--
--
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)
--
--
--
--
--
--
Eberl's autograph dated July 18, 1792
(A.White-PhD dissertation Piano music of
Eberl, 1971)
--
--
An analysis of Sonata with works of Müller

(including 4 movement structure) shows
more likely work by Müller than Mozart
(Marguerre-MISM 1978)
--
--
--
--
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)
--
--
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)
--
--
--
--
--
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)
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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Church Music
Masses, Litanies, Vespers
K1 K6 Work Nickname
49 47d Missa brevis in G
65 61a Missa brevis in d
66 66 Mass in C “Dominicus”
109 74a Litaniae in Bb
125 125 Litaniae in Bb
139 47a Missa solemnis in c
140 AnhC1.12 Missa brevis in G
167 167 Mass in C “Trinity”
192 186f Missa brevis in F
193 186g Dixit et Magnificat in C
194 186h Missa brevis in D
195 186d Litaniae in D
220 196b Mass in C “Spatzen”
243 243 Litaniae Eb
257 257 Mass in C “Credo”
258 258 Mass in C “Spaur”
259 259 Mass in C “Organ Solo”
262 246a Missa longa in C
275 272a Mass in Bb
317 317 Mass in C “Coronation”
321 321 Vesperae in C
337 337 Mass in C
339 339 Vesperae in C
427 417a Mass in c (Frag) "The Great"
626 626 Requiem in d
Small Works and Single Movements
K1 K6 Work
20 20 God is our Refuge in g
33 33 Kyrie in F
34 34 Offertorium in C
44 73u Cibavit eos
47 47 Veni Sancte Spiritus in C
72 74f Inter natos mulierum in G
85 73t Miserere in a
86 73u Quaerite primum in d
89 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
127 127 Regina coeli in Bb
141 66b Te Deum in C
143 73a Ergo interest in G
146 317b Kommet her, ihr frechen Sünder
165 158a Exsulate Jubilate in F
197 AnhC3.05 Tantum ergo
198 AnhC3.08 Sub tuum praesidium
222 205a Misericordias Domini in d
260 248a Venite populi in D
273 273 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 C
341 368a Kyrie in d
343 336c 2 German spiritual songs
618 618 Ave Verum corpus in D
Church Sonatas
K1 K6 Work
67 48h in Eb
68 41i in Bb
69 41k in D
144 124a in D
145 125b in F
212 212 in Bb
224 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
Oratorios and Cantatas
K1 K6 Work
35 35 Die Schuldigkeit des ersten Gebots
42 35a Grabmusik
118 74c La Betulia liberata
429 468a Dir,Seele des Weltalls (Frag)
469 469 Davidde penitente
471 471 Die Maurerfreude
619 619 A Little German Cantata
623 623 Free Mason Cantata
Arrangements of Händel Oratorios
K1 K6 Work
566 566 Acis and Galatea
572 572 Messiah
591 591 Alexander’s Feast
592 592 Ode for St. Cecilia’s Day
Operas
K1 K6 Work
50 46b Bastien et Bastienne
51 46a La finta semplice
87 74a Mitridate
111 111 Ascanio in Alba
126 126 Il sogno di Scipione
135 135 Lucio Silla
196 196 La finta giardiniera
208 208 Il Ré pastore
344 336b Zaide (Frag)
366 366 Idomeneo
384 384 Entführung aus dem Serail
422 422 L’oca del Cairo (Frag)
430 424a Lo Sposo deluso (Frag)
486 486 Der Schauspieldirektor
492 492 Le Nozze di Figaro
527 527 Don Giovanni
588 588 Cosi fan tutte
620 620 Die Zauberflöte
621 621 La Clemenza di Tito
Ballet and Incidental Theatre Music
K1 K6 Work
A10 299b Les petits riens
A103 299d La Chasse (Frag)
300 300 Gavotte
345 336a Thamos King of Egypt
367 367 Ballet music to Idomeneo
446 416d Music to Pantomime (Frag)
Vocal Works
Arias, Multi-Voice with Orchestra
(S=Soprano; A=Alto; T=tenor; B=Bass)
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)
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”
Vocal Ensemble with Instrument(s)
K1 K6 Work
346 439a Notturno 3 Voices, Winds
436 436 Notturno 3 Voices, Winds
441 441 Das Bandel Trio
483 483 Lied 3-part chorus, Organ
484 484 Lied 3-part chorus, Organ
532 532 Trio 3 Voices and Winds
549 549 Canzonetta 3 Voices, Winds
Songs
K1 K6 Work
53 47e An die Freude
147 125g Wie unglücklich
148 125h O heiliges Band
152 210a Ridente la calma (Mozart arr?)
307 284d Oiseaux, si tous les ants
308 295b Dans un bois
349 367a Die Zufriedenheit
351 367b Komm, liebe Zitter
390 340a An die Hoffnung
391 340b An die Einsamkeit
392 340a Verdnkt sei es
468 468 Gesellenreise
472 472 Der Zauberer
473 473 Die Zufriedenheit
474 474 Die betrogene Welt
476 476 Das Veilchen
506 506 Lied der Freiheit
517 517 Die Alte
518 518 Die Verschwiegung
519 519 Die Trennung
520 520 Als Louise die Briefe
524 524 An Chloe
529 529 Kleinen Friedrichs Geburstag
530 530 Das Trambild
531 531 Die kleine Spinnerin
552 552 Beim Auszug in das Feld
596 596 Sehnsuch nach dem Frühling
597 597 Im Frühlingsanfang
598 598 Das Kinderspield
Canons
K1 K6 Work
228 515b 2 Canons (untext, Ach, so kurz)
229 382a Sie ist dahin
230 382b Selig, selig
231 382c Leck mich im Arsch
232 509a Lieber Freistädtler
233 382d Leck mir den Arsch
234 382e Bei der Hitz
347 382f Laßt uns ziehn
348 382g V’amo di core
507 507 Heiterkeit
508 508 Auf das Wohl
553 553 Alleluja
554 554 Ave Maria
555 555 Lacrimoso son’io
556 556 Grechtelt’s enk
557 557 Nascoco e il mio sol
558 558 Sehn wir im Prater
559 559 Difficile lectu
- 559a O du eselhafter Peierl
560 560 O du eselhafter Martin
561 561 Bona nox
562 562 Caro bell’ idol
Orchestral Music
Symphonies
K1 K6 Work Nickname
16 16 in Eb (#1)
19 19 in D (#4)
A223 19a in F
22 22 in Bb (#5)
43 43 in F (#6)
45 45 in D (#7)
A221 45a in G “Lambach”
A214 46b in Bb
48 48 in D (#8)
73 73 in C (#9)
74 74 in G (#10)
75 75 in F (#42)
76 42a in F
81 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 pastore
110 75b in G (#12)
112 112 in F (#13)
114 114 in A (#14)
120 111a Finale for Ascanio Overture
121 207a Finale to Finta giardiniera
124 124 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)
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”
Divertimenti, Serenades, Etc.

32 32 Galimathias musicum
63 63 Cassation in G
99 63a Cassation in Bb
100 62a Serenade in D
113 113 Divertimento in Eb
131 131 Divertimento in D
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”
205 167A Divertimento in D
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”
286 269a Notturno for 4-Orchestras in D
287 271H Divertimento in Bb “2nd Lodron Musik”
320 320 Serenade in D “Posthorn”
334 320b Divertimento in D
477 479a Masonic Funeral Music
522 522 A Musical Joke in F
525 525 Eine kleine Nachtmusik in G
Marches
K1 K6 Work
62 62 March in D
189 167b March in D
214 214 March in C
215 213b March in D
237 189c March in D
248 248 March in F
249 249 March in D
290 167AB March in D
335 320a March in D
408 383e,F 2 Marches in C
408 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 Minuet
123 73g Contredance
164 130a 6 Minuets
176 176 16 Minuets
267 271c 4 Contredances
- 269b Contredance
363 363 3 Minuets
461 448a 5 Minuets
462 448b 6 Contredances
463 448c 2 Minuets, 2 Contredances
509 509 6 German Dances
534 534 Contredance “Donnerweiter”
535 535 Contredance “La Bataille”
565 565 2 Contredances
568 568 12 Minuets
585 585 12 Minuets
587 587 Contredance “Der Sieg von Helden Coburg”
599 599 6 Minuets
601 601 4 Minuets
604 604 2 Minuets
606 606 6 Ländler
607 605a Contredance “Il Tronfo delle Donne”
610 610 Contredance “Les filles malecieuses”
611 611 German Dance
Concertos
String Concertos
K1 K6 Work Nickname
190 186E Concertone for 2 Violins in C
207 207 Violin Concerto #1 in Bb
211 211 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 E
269 261a Rondo for Violin/Orchestra in Bb
- 271i Violin Concerto #7 in D
364 320b Sinfonia Concertante Violin/Viola in Eb
A104 320e Sinfonia Concertante Violin,Viola,Cello
373 373 Rondo for Violin/Orchestra in C
Wind Concertos
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 Eb
299 297c Flute and Harp Concerto in C
313 385c Flute Concerto in G
314 285d Flute Concerto in D
314 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 D
417 417 Horn Concerto in Eb
622 622 Clarinet Concerto in A
Piano Concertos
K1 K6 Work Nickname
37 37 Piano Concerto #1 in F
39 39 Piano Concerto #2 in Bb
40 40 Piano Concerto #3 in D
41 41 Piano Concerto #4 in G
107 107 Piano Concertos in D,G,Eb
242 242 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 Eb
382 382 Rondo for Piano/Orchestra in D
386 386 Rondo for Piano/Orchestra in A
413 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”
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 Eb
488 488 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”
Chamber Music
Wind 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 F
240 240 Divertimento for winds in Bb
252 240a Divertimento for winds in Eb
253 253 Divertimento for winds in F
270 270 Divertimento for winds in Bb
289 271g Divertimento for winds in Eb
361 370a Divertimento for winds in Eb “Gran Partitta”
375 375 Serenade for winds in Eb
388 384a Serenade for winds in c “Nachtmusik”
410 484d Adagio for winds in F
411 484a Adagio for winds in Bb
487 496a 12 Duos for 2 Horns
A94 580a Adagio for winds in C (Frag)
A95 484b Allegro assai for winds in Bb (Frag)
A226 AnhC17.01 Divertimento for winds in Eb
A227 AnhC17.02 Divertimento for winds in Bb
A229 439b 5 Divertimenti for 3 Winds
Chamber Music String and Winds
K1 K6 Work
285 285 Flute Quartet in D
- 285a Flute Quartet in G
292 196c Duo for Bassoon/Cello in Bb
298 298 Flute Quartet in A
370 368b Oboe Quartet in F
407 386c Horn Quintet in Eb
581 581 Clarinet Quintet in A
A90 580b Clarinet,Bassethorn Allegro in F (Frag)
A91 516c Clarinet Quintet Allegro in Bb (Frag)
A171 285b Flute Quartet in C
Chamber with Piano
K1 K6 Work
6 6 Piano,Violin Sonata in C
7 7 Piano,Violin Sonata in D
8 8 Piano,Violin Sonata in Bb
9 9 Piano,Violin Sonata in G
10 10 Piano.Violin Sonata in Bb
12 12 Piano,Violin Sonata in A
13 13 Piano,Violin Sonata in F
26 26 Piano,Violin Sonata in Eb
29 29 Piano,Violin Sonata in D
301 293a Piano,Violin Sonata in G
302 293b Piano,Violin Sonata in Eb
303 393c Piano,Violin Sonata in C
304 300c Piano,Violin Sonata in e
305 293d Piano,Violin Sonata in A
306 300l Piano,Violin Sonata in D
359 374a Piano,Violin Variations in G
360 374b Piano,Violin Variations in g
372 372 Piano,Violin Allegro in Bb (Frag)
376 374d Piano,Violin Sonata in F
377 374e Piano,Violin Sonata in F
378 317d Piano,Violin Sonata in Bb
379 373a Piano,Violin Sonata in G
380 374f Piano,Violin Sonata in Eb
396 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)
481 481 Piano,Violin Sonata in Eb
526 526 Piano,Violin Sonata in A
Piano Trios, Quartets, Quintets
K1 K6 Work Nickname
254 254 Divertimento in Bb
442 442 Piano Trio in d (Frag)
452 452 Piano, Winds Quintet in Eb
478 478 Piano Quartet in g
493 493 Piano Quartet in Eb
496 496 Piano Trio in G
498 498 Piano,Clarinet,Viola Trio in Eb “Kegelstatt”
502 502 Piano Trio in Bb
542 542 Piano Trio in Bb
548 548 Piano Trio in C
564 564 Piano Trio in G
617 617 Adagio & Rondo for Armonica,winds,strings
String Duos and Trios
K1 K6 Work
- 46d Sonata for Violin,Bass in C
- 46e Sonata for Violin,Bass in F
266 271f Sonata for 2 Violins,Bass in Bb
- 404a 4 Preludes and Fugue arr. for String Trio
423 423 Duo for Violin,Viola in G
424 424 Duo for Violin,Viola in Bb
443 404b 3-Part Fugue in G (Frag)
563 563 Divertimento for String Trio in Eb
String Quartets
K1 K6 Work Nickname
80 73f String Quartet in G
155 134a String Quartet in D
156 134b String Quartet in G
157 157 String Quartet in C
158 158 String Quartet in F
159 159 String Quartet in Bb
160 159a String Quartet in Eb
168 168 String Quartet in F
169 169 String Quartet in A
170 170 String Quartet in C
171 171 String Quartet in Eb
172 172 String Quartet in Bb
173 173 String Quartet in d
387 387 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 c
575 575 String Quartet in D “Prussian I”
589 589 String Quartet in Bb “Prussian II”
590 590 String Quartet in F “Prussian III”
String Quintets
K1 K6 Work
174 174 String Quintet in Bb
406 516b String Quintet in c
515 515 String Quintet in C
516 516 String Quintet in g
593 593 String Quintet in D
614 614 String Quartet in Eb
Piano Music
Piano Sonatas
K1 K6 Work Nickname
279 189d Piano Sonata in C
280 189e Piano Sonata in F
281 189g Piano Sonata in Bb
282 189g Piano Sonata in Eb
283 189h Piano Sonata in G
284 205b Piano Sonata in D “Dürnitz”
309 284b Piano Sonata in C
310 300d Piano Sonata in a
311 284c Piano Sonata in D
330 300h Piano Sonata in C
331 300i Piano Sonata in A “Turkish”
332 300k Piano Sonata in F
333 315c Piano Sonata in Bb
457 457 Piano Sonata in c
533 533 Piano Sonata in F
545 545 Piano Sonata in C
570 570 Piano Sonata in Bb
576 576 Piano Sonata in D
Variations for Piano
K1 K6 Work Nickname
24 24 8 Variations on Dutch song
25 25 7 Variations on Willem von Nassau
179 189a 12 Variations on Minuet of Fischer
180 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 theme
353 300f 12 Variations on La belle Francoise
354 299a 12 Variations on Je suis Lindor
398 416e 9 Variations on Paisiello theme
455 455 10 Variations on Unser dummer Pöbel
460 454a 2 Variations on Sarti theme (Frag)
500 500 12 Variations
573 573 9 Variations on Minuet of Duport
613 613 8 Variations on Ein Weib ist
Individual Movements for Piano
K1 K6 Work Nickname
- 1a Andante in C
- 1b Allegro in C
- 1c Allegro in F
- 1d Minuet in F
1 1c Minuet in G
- 1f Minuet in C
2 2 Minuet in F
3 3 Allegro in Bb
4 4 Minuet in F
5 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 D
153 375f Fugue in Eb (Frag)
154 385k Fugue in g (Frag)
236 588b Andantino in Eb
312 590d Allegro in g
- 315g 8 Minuets
355 576b Minuet in D
394 383a Prelude and Fugue in C
395 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 Contrapunto
475 475 Fantasia in c
485 485 Rondo in D
494 494 Rondo in F
511 511 Rondo in a
540 540 Adagio in b
574 574 Gigue in G
Works for 2 Pianos and Piano 4 hands
K1 K6 Work
- 19d Sonata 4-hands in D
357 497a Allegro 2-pianos in G
357 500a Andante 2-pianos in G
358 186c Sonata 4-hands in Bb
381 123a Sonata 4-hands in D
426 426 Fugue 2-pianos in c
448 375a Sonata 2-pianos in D
497 497 Sonata 4-hands in F
501 501 Variations 4-hands
521 521 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 C
594 594 Adagio and Allegro for Organ in f
608 608 Fantasia for Organ in f
616 616 Andante for Organ in F

38 38 Apollo et Hyacinthus

Helden Coburg”
delle Donne”
malecieuses”

“Jeunehomme”

“Dissonance”

le,little star”

Obras de Mozart entre 1761-1767

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Obras de Mozart entre 1761-1767

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Salzburgo ene-feb 1761 1a Andante en do mayor

Salzburgo ene-feb 1761 1b Allegro en do mayor

Salzburgo 11 diciembre 1761 1c Allegro en fa mayor

Salzburgo 16 diciembre 1761 1d Minueto en fa mayor

Salzburgo diciembre 1761 1 / 1e Minueto en sol mayor

Salzburgo diciembre 1761 1f Minueto en do mayor

Salzburgo enero 1762 2 Minueto en fa mayor

Salzburgo 4 marzo 1762 3 Allegro en si bemol mayor

Salzburgo 11 mayo 1762 4 Minueto en fa mayor

Salzburgo 5 julio 1762 5 Minueto en fa mayor

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

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

París 1763 6 Sonata en do mayor

París 1763 7 Sonata en re mayor

París 1763 8 Sonata en si bemol mayor

París enero 1764 9 Sonata en sol mayor

Londres noviembre 1764 10 Sonata en si bemol mayor

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 Londres

Londres 1764 16 Sinfonía Nº. 1 en mi bemol mayor

Londres 1765 Ap. 220 / 16 a Sinfonía Nº. 2 en la menor "Odense"

Londres 1765 19 Sinfonía Nº. 4 en re mayor

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

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

Londres 13 mayo 1765 19 d Sonata en do mayor

Londres julio 1765 20 «God Is Our Refuge»

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

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

La Haya enero 1766 23 «Conservati fedele»

Amsterdam febrero 1766 25 Siete Variaciones en re mayor «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»

París 1766 32a El Tercer Cuaderno - «Capricci»

París 12 junio 1766 33 Kyrie en fa mayor

Lausanne septiembre 1766 33 a Solo

Zurich octubre 1766 33 B [Movimiento en fa mayor]

Ap. 199 / 33 d Sonata en sol mayor

Ap. 201 / 33 f Sonata en do mayor

Ap. 202 / 33 g Sonata en fa mayor

«Or che il dover m'astringe»

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

Salzburgo abril 1767 37 Concierto Nº. 1 en fa mayor

Salzburgo 13 mayo 1767 38 «Apollo et Hyacinthus»

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

Salzburgo julio 1767 40 Concierto Nº. 3 en re mayor

Salzburgo julio 1767 41 Concierto Nº. 4 en sol mayor

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

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

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

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

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?»