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para piano
La Haya enero 1766 24 Ocho Variaciones en sol mayor «Laat ons juichen, batavieren!»
para piano
sobre: «Laat ons juichen, batavieren!» (C.E. Graaf)
33 b Solo
para flauta (perdido)
33 c Stabat Mater
(perdido)
33 h Pieza
para corno (perdida)
42 / 35 a «Grabmusik»
Música funebre en do mayor
41 a Seis Divertimentos
para orquesta (perdidos)
41 b Piezas
para vientos
41 c Marchas
(perdidos)
41 d Minuetos
(perdidos)
41 e Fuga
para piano (perdido)
41 f Fugas
para 4 voces (perdidos)
Viena 1768 Ap. 221 / 45 a Sinfonía [Nº. 7a] en sol mayor «Alte Lambacher»
«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»
Recitativo y Aria en si bemol mayor para soprano.
Pietro Metastasio: "Demofoonte" III, 4-5.
149 / 125 d
150 / 125 e
151 / 125 f
Salzburgo 30 marzo 1773 184 / 161 a Sinfonía Nº. 26 en mi bemol mayor (Obertura)
Viena septiembre 1773 180 / 173 c Seis Variaciones en sol mayor «Mio caro Adone»
para piano
sobre «Mio caro Adone» (A. Salieri)
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 abril 1775 96 & 121 / 207 a Sinfonía [Nº. 51] en re mayor
(Obertura «La finta giardinera» & Finale)
Salzburgo agosto 1775 08 & 102 / 213 c Sinfonía [Nº. 52] en do mayor
(Obertura «Il re pastore» & Finale)
«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 febrero 1777 274 / 271 d Sonata de iglesia Nº. 13 en sol mayor
para órgano
«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.
«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.
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 1778 354 / 299 a Doce Variaciones en mi bemol mayor «Je suis Lindor»
para piano
sobre: «Je suis Lindor» (A.L. Baudron)
«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 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»
Salzburgo abril 1779 146 / 317 b «Kommet her, ihr frechen Sunder»
Aria para soprano
a. «O Gottes Lamm»
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
Viena junio 1781 359 / 374 a Doce Variaciones en sol mayor «La bergerè Célimène»
para violín y piano
Viena junio 1781 360 / 374 b Seis Variaciones en sol menor «Hélas, j'ai perdu mon amant»
para violín y piano
Viena junio 1781 352 / 374 c Ocho Variaciones en fa mayor «Dieu d'Amour!»
para piano
sobre: «Dieu d'Amour!» (A.E. Grétry)
Viena abril 1782 383 «Nehmt meinem dank, ihr holden gönner!»
Aria para soprano. Autor del texto desconocido.
Viena enero 1783 435 / 416 b «Mußtich auch durch tausend Drachen»
Aria para Tenor
Linz noviembre 1783 444 / 425 a Adagio maestoso en sol mayor [ex Nº. 37]
Introducción a una sinfonía de Michael Haydn
Viena diciembre 1783 Ap. 229 / 439 b Divertimento Nº. 1 en si bemol mayor
para 3 cornos de bassetto
Viena 9 noviembre 1784 458 Cuarteto Nº. 17 en si bemol mayor «La Caza»
para cuerdas
Viena noviembre 1785 434 / 480 a «Il gran regno delle Amazoni»
Ensamble para Tenor y dos Bajos
Viena 24 abril 1787 228 / 515 b «Ach, zu kurz ist unsers Lebens Lauf»
Canon en mi bemol mayor
para 4 voces
Viena 26 mayo 1787 520 «Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte»
«Erzeugt von heißer Phantasie»
Lied en --- para soprano y piano
Texto de G. von Baumberg)
Viena 5 marzo 1788 539 «Ich mochte wohl der Kaiser sein»
Aria en
para tenor
553
554
555
556
557
558
559
559 a
560
561
562
562 a
562 b
Ap. 66 / 562 e
para piano
para piano
para piano
para piano
para piano
para piano
para piano
para piano
para piano
para piano
11 1. Allegro 4'29"
12 2. Andante 3'17"
16 2. Adagio 2'59"
18 1. Allegro 3'24"
22 2. Andante 3'48"
24 1. Allegro 2'32"
25 2. Andante 3'09"
27 1. Andante 2'56"
28 2. Allegro 3'55"
3. Menuetto
29 1. Andante 3'14"
30 2. Allegro 2'19"
31 1. Allegro 2'48"
32 2. Andante 3'15"
34 1. Allegro 2'49"
35 2. Allegro 2'39"
36 3. Menuetto I 3'02"
Ap. 109b-3 / 15 p 48 [Movimiento para una Sonata] - [Allegro non troppo] en sol menor 2'23"
Ap. 109b-6 / 15 x 54 [Final de una Sonata] [Apuntes para Sinfonía] - Contradanza en fa mayor 0'54"
15 hh - [Rondo] en fa mayor -
Ap. 109b-9 / 15 ll 62 [Movimiento Final para Sonata] - [Presto] en si bemol mayor 0'45"
15 rr - [Menuetto] en do mayor -
66 2. Andante 2'47"
67 3. Presto 2'13"
(perdida)
68 1. Allegro 4'40"
69 2. Andante 3'19"
70 3. Presto 2'12"
72 2. Andante 3'41"
73 3. Presto 2'42"
MASSIMO: MASSIMO:
74 Va, dal furor portata, Ves, portada per l'ira, 6'34"
75 1. [Allegro] 4'40"
76 2. Menuetto 3'51"
79 1. Allegro 2'30"
80 2. Andante 3'04"
MANDANE MANDANE
82 Conservati fedele; Mantingues-te fidel; 6'18"
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
para clave y violín
89 2. Allegro 3'49"
93 2. Menuetto 3'30"
94 1. Adagio 3'12"
96 1. Allegro 4'07"
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» -
para piano
33 b - Solo
para flauta (perdido)
33 c - Stabat Mater -
(perdido)
33 h - Pieza -
[Recitativo]
103 Or che il dover m'astringe, 9'22"
[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.
anima sanctissima,
per lampadum luces,
quos superi duces
itineris obviam dant.
Sed quaeso?
Qui nati?
ui tacti amore,
afflicti dolore,
hic orphani stant.
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"
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
133 1. Allegro spiritoso de: H.F. Raupach, Sonata Op. 1 Nº. 1 5'25"
135 3. Molto allegro de: H.F. Raupach, Sonata Op. 1 Nº. 1 3'47"
41 b - Piezas -
para vientos
41 c - Marchas -
(perdidos)
41 d - Minuetos -
(perdidos)
41 e - Fuga -
41 f - Fugas -
para órgano
para órgano
para órgano
Viena septiembre 1767 76 / 42 a Sinfonía [Nº. 43] en fa mayor
Viena 1768 Ap. 221 / 45 a Sinfonía [Nº. 7a] en sol mayor «Alte Lambacher»
(perdido)
[Recitativo]
199 A Berenice e Vologeso sposi 10'31"
[Aria]
Sol nascente in questo giorno,
Deh! perdona al tenue ingegno,
E ammirarti io vo' tacendo,
E ammirando io tacerò.
para orquesta
para orquesta
Salzburgo 15 octubre 1769 66 Misa en do mayor «Dominikus»
para 4 voces, 2 violines, bajo, 3 trombones y órgano.
Domine,
in holocaustis;
reddam tibi vota mea,
quae distinxerunt labia mea,
(perdida)
(perdida)
(perdida)
Aria (perdida)
[Recitativo]
276 1. Ergo interest, an quis male vivat, an bene? 6'25"
[Aria]
2. Quaere superna,
fuge terrena,
non cura reliqua,
nil enim sunt.
Hoc dabit gaudia,
mortis solatia
in coelis praemia,
eterna quae sunt.
ARTASERSE
277 Per pietà, bell'idol mio, 4'12"
ARBACE
278 Fra cento affanni e cento
Palpito, tremo e sento
Che freddo dalle vene
Fugge il mio sangue al cor.
[Recitativo]
ARBACE
279 Oh, temerario Arbace! 5'53"
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»
Recitativo y Aria en si bemol mayor para soprano.
Pietro Metastasio: "Demofoonte" III, 4-5.
[Recitativo]
TIMANTE
280 Misero me! Qual gelido torrente 13'37"
[Aria]
Misero pargoleto,
Il tuo destin non sai.
Ah! non gli dite mai
Qual era il genitor.
para 4 clarinetes
TIMANTE
300 Se ardire e speranza 6'26"
La dolce compagna
Vedersi rapire,
Udir che si lagna,
Condotta a morire,
Son smanie, son pene
Che opprimono un cor.
DIRCEA
301 Se tutti i mali miei 7'07"
Io potessi dir,
Divider ti farei
Per tenerezza il cor.
para
et justitiam ejus:
Et haec omnia
adjicientur vobis.
Alleluja.
CREUSA
316 Non curo l'affetto 4'44"
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.
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.
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.
Agnus Dei,
qui tollis peccata mundi,
parce nobis, Domine.
Agnus Dei,
qui tollis peccata mundi,
exaudi nos, Domine.
Agnus Dei,
qui tollis peccata mundi,
miserere nobis.
Intenatos mulierum
nos surrexit major
Joanne Baptista,
qui viam Domino praeparavit
in eremo.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
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
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.
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.
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.
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.
Agnus Dei,
qui tollis peccata mundi,
parce nobis, Domine.
Agnus Dei,
qui tollis peccata mundi,
exaudi nos, Domine.
Agnus Dei,
qui tollis peccata mundi,
miserere nobis.
Salzburgo marzo 1772 136 / 125 a Divertimento en re mayor
para cuerdas y vientos
7. Allegro molto
Milán diciembre 1772 Ap. 109 / 135 a - «La gelosie del Serraglio» -
Ballet
Tu virgunum corona,
tu nobis pacem dona,
tu consolare affectus,
unde suspirat cor.
Alleluja.
Salzburgo 30 marzo 1773 184 / 161 a Sinfonía Nº. 26 en mi bemol mayor (Obertura)
2. Andante -
3. Allegro
2. Andantino grazioso -
3. Presto assai
115 / 166 d - Misa «brevis» en do mayor
Kyrie
Gloria
Credo
Santus
Benedictus
Agnus Dei
(fragmento)
(fragmento)
(fragmento)
para orquesta
Viena agosto 1773 168 Cuarteto Nº. 8 en fa mayor
para cuerdas
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
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.
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.
Salus informorum,
refugium peccatorum,
consolatrix afflictorum,
ora pro nobis.
Auxilium christianorum,
ora pro nobis.
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.
Agnus Dei,
qui tollis peccata mundi,
parce nobis, Domine.
Agnus Dei,
qui tollis peccata mundi,
exaudi nos, Domine.
Agnus Dei,
qui tollis peccata mundi,
Salzburgo 31 mayo 1774 190 / 186 E Concertone en do mayor
para 2 pianos y orquesta
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
para orquesta
(fragmeto)
Ofertorio en re menor
para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y órgano.
Misericordias Domini
cantabo in aeternum.
Salzburgo abril 1775 196 & 121 / 207 a Sinfonía [Nº. 51] en re mayor
(Obertura «La finta giardinera» & Finale)
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 210 664 «Con ossequio, con rispetto» 2'38"
Salzburgo julio 1775 212 668 Sonata de iglesia Nº. 6 en si bemol mayor 4'41"
para órgano
para orquesta
Salzburgo agosto 1775 208 & 102 / 213 c Sinfonía [Nº. 52] en do mayor
(Obertura «Il re pastore» & Finale)
para orquesta
DORINA
688 Voi avete un cor fedele 6'36"
2. Menuetto 3'49"
1. Allegro 4'36"
3. Menuetto 2'22"
4. Allegro 4'28"
1. Andante 5'02"
2. Menuetto 2'43"
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
1. Allegro 8'01"
2. Adagio 9'05"
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.
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.
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.
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.
Agnus Dei,
qui tollis peccata mundi,
parce nobis, Domine.
Agnus Dei,
qui tollis peccata mundi,
exaudi nos, Domine.
Agnus Dei,
qui tollis peccata mundi,
X. Miserere 2'30"
Miserere nobis.
para órgano
para órgano
2. Andante 8'04"
Kyrie 3'17"
Gloria 5'50"
Credo 12'36"
Santus 1'19"
Benedictus 3'07"
1. Allegro 7'41"
3. Menuetto 3'55"
4. Adagio 7'05"
5. Menuetto 3'21"
Allegro molto
2. Andante 9'29"
3. Menuetto 3'51"
6. Andante 7'20"
7. Menuetto 5'02"
8. Adagio - 7'45"
Allegro assai
para orquesta
3. Re mayor 0'55"
2. Menuetto 2'56"
2. Adagio 7'22"
«Ombra felice!»
Salzburgo septiembre 1776 255 «Io ti lascio, e questo addio» 6'42"
[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"
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:
CAPITANO:
Ma se poi facile
Siete e pieghevole,
Kyrie 2'24"
Gloria 3'18"
Credo 7'42"
Santus 1'38"
Benedictus 5'22"
Kyrie 2'15"
Gloria 2'43"
Credo 5'51"
Santus 1'05"
Benedictus 2'23"
Kyrie 1'51"
Gloria 1'44"
Credo 3'35"
Santus 1'00"
Benedictus 1'49"
para órgano
1. Andante 6'21"
3. Menuetto 7'30"
3. Do mayor 0'58"
2. Andantino 1'58"
4. Presto 1'35"
1. Allegro 10'21"
2. Andantino 12'15"
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
1. Adagio 6'06"
2. Menuetto 4'33"
3. Adagio 2'43"
1. Allegro 8'27"
Variation I 1'09"
Variation II 1'06"
Variation IV 1'15"
Variation V 1'04"
Variation VI 1'07"
3. Menuetto 3'07"
4. Adagio 10'46"
5. Menuetto 4'19"
2. Andante 8'09"
«Ah, lo prevedi!»
«Ah, t'invola agl'occhi miei»
Salzburgo agosto 1777 272 «Deh, non varcar» 13'19"
[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.
Kyrie
Gloria
Credo
Santus
Benedictus
Agnus Dei
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.
1. Allegro 6'40"
2. Adagio - 2'22"
3. Rondeau 4'10"
1. Andante 6'07"
1. Allegro 5'46"
3. Allegro 6'04"
2. Allegro 5'13"
1. Allegro 5'15"
Variazione I 0'57"
Variazione II 0'57"
Variazione IV 1'09"
Variazione V 0'58"
Variazione VI 0'55"
«Alcandro lo confesso»
Mannheim 24 febrero 1778 294 «Non so d'onde viene» 11'56"
[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.
[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.
[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!
(fragmento)
(fragmento / perdido)
(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"
1. Allegro 13'34"
2. Adagio 7'26"
1. Allegro 10'27"
2. Andantino 8'32"
2. Menuetto 2'06"
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)
Ballet
Ouverture 3'08"
Lrghetto 1'13"
(Vivo) 1'03"
Pantomime 2'15"
Passepied 0'50"
[-] 1'19"
Gavotte 3'35"
Agité 0'43"
Andante 1'31"
(Allegro) 0'55"
Contradanse 4'43"
Contradanse
Allegro agitato
Tambourin 1'19"
para orquesta
2. Andante 6'14"
3. Allegro 3'32"
«Popoli di Tessaglia»
París 1778 316 / 300 b «Io non chiedo, eterni Dei» 11'19"
[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.
1. Allegro 6'27"
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"
para piano
3. Allegretto 5'17"
3. Menuetto 6'38"
1. Allegro 6'57"
2. Adagio 5'01"
3. Allegretto 6'36"
1. Allegro 7'00"
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
1. Allegro 12'10"
1. Do mayor 1'55"
3. Re mayor 1'50"
5. Fa mayor 1'53"
6. Re mayor 1'51"
7. La mayor 1'32"
1. Allegro 9'51"
2. Andante 8'05"
Kyrie 2'24"
Gloria 3'18"
Credo 7'42"
Santus 1'38"
Benedictus 5'22"
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
2. Andante -
3. Tempo I
3. Menuetto 2'55"
2. Minuetto 4'10"
5. Andantino 6'49"
6. Minuetto 4'41"
1. Allegro 9'50"
3. Menuetto 4'31"
4. Adagio 11'00"
5. Menuetto 7'09"
para orquesta
2. Andante 11'02"
3. Presto 6'11"
a. «O Gottes Lamm»
Salzburgo marzo 1780 336 / 336 d Sonata de iglesia Nº. 17 en do mayor 4'47"
para órgano
Kyrie 2'30"
Gloria 2'55"
Credo 4'41"
Santus 2'16"
Benedictus 2'57"
1. Re mayor 0'58"
3. Re mayor 0'55"
[Recitativo]
TIMANTE:
Ma che vi fece, o stelle, 8'33"
[Aria]
Sperai vicino il lido
Credei calmato il vento;
Ma trasportar mi sento
Fra le tempeste ancor.
Kyrie, eleison.
Christe eleison.
Kyrie, eleison.
1. Allegro 4'54"
2. Adagio 4'11"
[Recitativo]
FULVIA:
Misera! dove son? L'aure del Tebro 6'38"
[Aria]
Ah non son io che parlo,
È il barbaro dolore,
Che mi divide il core,
Che delirar mi fa.
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"
3. Adagio 5'40"
Allegro 4'12"
Variazione I 1'19"
Variazione II 1'11"
Variazione IV 1'19"
Variazione V 2'32"
Tema 1'37"
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.
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»
para violín y piano
Tema 1'00"
Variazione I 0'56"
Variazione II 1'00"
Variazione IV 0'59"
Variazione V 1'00"
Variazione VI 1'01"
Viena junio 1781 352 / 374 c Ocho Variaciones en fa mayor «Dieu d'Amour!» 12'52"
para piano
sobre: «Dieu d'Amour!» (A.E. Grétry)
1. Allegro 4'40"
2. Andante 5'00"
1. Allegro 4'12"
Variazione I 1'08"
Variazione II 1'10"
Variazione IV 1'07"
Variazione V 1'11"
Variazione VI 1'48"
1. Allegro 6'51"
2. Menuetto 4'16"
3. Adagio 6'03"
4. Menuetto 2'55"
2. Andante 9'23"
para piano
Adagio 2'17"
Allegro 1'55"
Viena abril 1782 383 «Nehmt meinem dank, ihr holden gönner!»
Aria para soprano. Autor del texto desconocido.
2. Fuge 4'20"
para
para
(perdida)
DIRCEA
In te spero, o sposo amato,
Fido a te la sorte mia.
E per te, qualunque sia,
Sempre cara a me sarà.
1. Allegro 8'23"
2. Andante 4'21"
4. Allegro 6'48"
2. (Andante) 8'54"
3. Menuetto 3'29"
2. Andante 2'56"
3. Allegretto 4'36"
1. Andante 1'49"
2. Allegretto 1'21"
2. Allemande 3'50"
3. Courante 2'20"
1. Allegro 10'31"
2. Andante 8'46"
3. Allegretto 6'24"
para piano
1. Allegro 6'19"
2. Andante 7'27"
3. Allegro 3'58"
1. Allegro 9'05"
2. Larghetto 7'55"
1. Allegro 10'23"
2. Andante 8'39"
3. Allegro 9'01"
Nº. 1 en re menor
1. Adagio 4'01"
2. Fuga 3'50"
2. Fuga 2'55"
Nº. 3 en fa mayor
1. Adagio 3'15"
2. Fuga 3'04"
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: 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"
[Recitativo]
GANDARTE:
(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]
(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
2. Andante 3'18"
3. Rondo 3'42"
Kyrie 7'21"
Laudamus te 4'35"
Gratias 1'21"
Domine 2'37"
Quoniam 3'48"
Santus 3'43"
Benedictus 5'22"
CLORINDA]:
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"
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.
IL CONTE:
[Recitativo]
SEBASTE:
[Aria]
3. Allegretto 6'21"
1. Allegro 6'06"
2. Adagio 3'31"
3. Menuetto 3'34"
Linz noviembre 1783 444 / 425 a Adagio maestoso en sol mayor [ex Nº. 37] 1'43"
[Recitativo]
[Aria]
Sempre in pene
Io non avrò più bene
E tu, chi sa se mai
Ti sovverrai di me!
Viena diciembre 1783 Ap. 229 / 439 b Divertimento Nº. 1 en si bemol mayor
para 3 cornos de bassetto
1. Allegro 3'34"
2. Menuetto 2'56"
3. Adagio 2'45"
4. Menuetto 2'49"
1. Allegro 2'07"
2. Menuetto 3'59"
3. Larghetto 4'23"
4. Menuetto 4'08"
5. Rondo 3'57"
1. Allegro 3'29"
2. Menuetto 5'45"
3. Adagio 4'02"
4. Menuetto 4'56"
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"
1. Allegro 7'25"
3. Allegro 3'44"
2. Andante 9'23"
1. Do mayor 2'06"
5. Fa mayor 1'52"
1. Do mayor 2'05"
4. Re mayor 1'37"
6. Fa mayor 1'44"
1. Fa mayor 2'28"
1. Allegro 11'00"
2. (Andante) 6'16"
3. Allegro 7'54"
2. Andante 6'23"
2. Larghetto 9'35"
3. Allegretto 5'08"
1. Allegro 11'28"
2. Andante 10'25"
3. Allegretto 7'33"
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
para piano
sobre: «Unser dummer Pöbel meint» (C.W. Gluck)
2. Adagio 8'09"
Viena 9 noviembre 1784 458 Cuarteto Nº. 17 en si bemol mayor «La Caza»
para cuerdas
3. Adagio 7'43"
2. Allegretto 8'18"
1. Allegro 6'48"
2. Menuetto 6'12"
3. Andante 13'28"
3. Allegretto 5'29"
1. Allegro 13'26"
2. Romance 9'12"
2. Andante 6'32"
Gesellenreise
Viena 26 marzo 1785 468 «Wenn den langen Weg durchs Leben» 2'02"
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.
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.
1. Allegro 14'24"
2. Andante 6'55"
Viena noviembre 1785 434 / 480 a «Il gran regno delle Amazoni»
Ensamble para Tenor y dos Bajos
2. Adagio 7'05"
Variazione I 1'02"
Variazione II 1'03"
Variazione IV 1'12"
Variazione V 1'16"
Variazione VI 1'19"
1. Allegro 13'20"
2. Andante 9'33"
Canto masónico
Texto: A.V. Von Schittlersberg
(Tenor)
Zerfließet heut' geliebte Brüder,
in Wonn' und Jubellieder,
Josephs Wohltätigkeit
hat uns, in deren Brust
ein dreifech Feuer brennt,
hat unsre Hoffnung neu gekrönt.
(Chor)
Vereineter Herzen und Zungen
sei Joseph dies Loblied gesungen,
dem Vater, der enger uns band.
Wohltun ist die schönste der Pflichten;
er sah sie uns feurig verrichten
und krönt' uns mit liebvoller Hand.
(Tenor)
Dank auch der Schar, die eh uns wachte,
der Tungend Flamm' entfachte
und uns zum Beispiel war,
aus deren jedem Tritt
auf ihrem Maurergang
ein Quell des Bruderwohls entsprang.
(Chor)
Das innigste, tätigste Streben,
zu ihnen empor sich zu heben,
ist allen der herzlichste Dank.
Drum laßt uns, verdreifacht die Kräfte,
beginnen den frohen Gesang.
Canto masónico
Texto: A.V. Von Schittlersberg
(Tenor)
Ihr, unsre neuen Leiter,
nun danken wir auch eure Treue;
führt stets am Tugendpfad uns weiter,
daß jeder sich der Kette freue,
die ihn an bess're Menschen schließt
und ihm des Lebens Kelch versüßt.
(Chor)
Beim heiligen Eide geloben auch wir,
am großen Gebäude zu bauen wie ihr.
(Tenor)
Hebt auf der Wahrheit Schwingen
uns höher zu der Weisheit Throne,
daß wir ihr Heiligtum erringen
und würdig werden ihrer Krone,
wenn ihr wohltätig für den Neid
Profaner selbst durch uns verscheut.
(Chor)
Beim heiligen Eide geloben auch wir,
am großen Gebäude zu bauen wie ihr.
1. Allegro 11'05"
2. Adagio 6'48"
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.
Non temer, amato bene,
Per te sempre il cor sarà.
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.
1. Allegro 13'14"
2. Larghetto 7'12"
3. (Allegretto) 9'00"
1. Allegro 14'09"
2. Larghetto 9'13"
3. Allegretto 8'24"
1. Allegro 8'29"
2. Andante 7'54"
2. Andante 8'47"
3. Allegro 8'07"
1. Andante 6'19"
2. Menuetto 5'51"
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
2. Larghetto 9'11"
3. Allegretto 6'00"
2. Andante 8'21"
3. (Allegretto) 9'18"
2. Andante 9'05"
[Recitativo]
IDAMANTE:
[Aria]
1. Do mayor
2. Sol mayor
3. Si bemol mayor
4. Re mayor
5. Fa mayor
6. Fa mayor
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.
para piano
[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]
DARIO:
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
1. Allegro 10'44"
1. Allegro 8'05"
2. Andante 4'11"
4. Allegro 6'23"
Viena 26 mayo 1787 520 «Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte»
«Erzeugt von heißer Phantasie»
Lied en --- para soprano y piano
Texto de G. von Baumberg)
1. Allegro 9'11"
2. Andante 7'31"
3. Allegretto 8'01"
1. Allegro 4'46"
4. Presto 4'08"
1. Allegro 5'45"
2. Andante 6'59"
3. Presto 7'06"
[Recitativo]
TITANO:
[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!
Contradanza en re mayor
1. Do mayor
2. Sol mayor
3. Sol mayor
1. Do mayor 1'47"
4. Re mayor 1'43"
5. Fa mayor 1'38"
6. Fa mayor 1'44"
1. Allegro 14'21"
2. (Larghetto) 6'07"
3. (Allegretto) 10'07"
LISINGA:
Viena 5 marzo 1788 539 «Ich mochte wohl der Kaiser sein»
Aria en
para tenor
para piano
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.
LEPORELLO:
ZERLINA:
LEPORELLO:
ZERLINA:
LEPORELLO:
ZERLINA:
Barbaro traditore!
Del tuo padrone il core
avessi qui con te.
LEPORELLO:
ZERLINA:
LEPORELLO:
[Recitativo]
DONNA ELVIRA:
[Aria]
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.
3. Allegro 6'47"
1. Allegro 4'33"
2. Andante 7'00"
Adagio 2'16"
Fuga 4'01"
2. Allegro 6'06"
1. Allegro 7'27"
3. Allegro 4'14"
2. Andante 7'50"
Canon en
para 4 voces
Alleluia. Amen.
Canon en
para 4 voces
Ave Maria.
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!
Canon en
para 4 voces
Canon en
para 3 voces
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!
Canon en
para 4 voces
para 4 voces
1. Allegro 8'28"
2. Adagio 8'14"
4. Andante 7'30"
6. Allegro 5'56"
1. Allegro 5'14"
3. Allegretto 4'47"
4. Re mayor 1'33"
5. La mayor 2'01"
6. Do mayor 1'52"
1. Do mayor 1'59"
2. Fa mayor 2'03"
6. Re mayor 1'50"
7. La mayor 2'08"
8. Fa mayor 2'12"
1. Allegro 5'43"
2. Adagio 9'04"
3. Allegretto 3'29"
1. Re mayor 1'28"
2. La mayor 1'30"
3. Do mayor 1'22"
6. Re mayor 1'58"
572 «Messiah»
para piano
sobre un minuetto de Jean-Pierre Duport
para piano
1. Allegretto 7'25"
2. Andante 4'50"
4. Allegretto 6'16"
1. Allegro 5'05"
2. Adagio 5'17"
3. Allegretto 4'16"
[Recitativo]
SUSANNA:
[Aria]
SUSANNA:
Un moto di gioia
Mi sento nel petto
Che annunzia diletto
In mezzo il timor.
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
Autor del texto desconocido.
ROSINE:
1. Allegro 9'55"
2. Larghetto 7'29"
3. Menuetto 7'40"
MADAMA LUCILLA:
MADAMA LUCILLA:
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.
585 12 Minuetos
1. Re mayor 2'03"
2. Fa mayor 2'02"
6. Do mayor 2'11"
7. La mayor 2'18"
8. Fa mayor 2'06"
1. Do mayor 2'03"
4. Fa mayor 2'00"
5. La mayor 2'14"
6. Re mayor 2'11"
1. Allegro 6'14"
2. Larghetto 6'34"
2. Allegretto 7'29"
4. Allegro 7'04"
para piano
2. Adagio 7'21"
4. Allegro 5'15"
Adagio 2'12"
Allegro 7'16"
Adagio 2'17"
1. Allegro 13'45"
2. Larghetto 6'57"
3. Allegro 8'28"
599 6 Minuetos
1. Do mayor 2'12"
5. Fa mayor 1'54"
6. Re mayor 1'55"
1. Do mayor 1'56"
2. Fa mayor 1'57"
6. Re mayor 2'08"
601 4 Minuetos
1. La mayor 2'14"
2. Do mayor 2'35"
4. Re mayor 1'59"
2. Fa mayor 1'56"
4. La mayor 1'45"
603 2 Contradanzas
1. Re mayor 0'51"
604 2 Minuetos
1. Re mayor 1'52"
Allegro 3'40"
Andante 5'09"
Allegro 2'49"
609 5 Contradanzas
3. Re mayor 1'08"
4. Do mayor 2'00"
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)
2. Andante 7'10"
4. Allegro 5'30"
1. Adagio 6'38"
2. Rondo 9'35"
Motete en re mayor
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.
1. Allegro 11'59"
2. Adagio 7'43"
Kyrie 2'39"
Recordare 5'30"
Confutatis 2'47"
Lacrimosa 3'03"
Hostias 4'38"
Santus 1'39"
Benedictus 5'18"
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.
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.
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.
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.
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.
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.
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.
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.
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.
626b/32 -- Sketch -- F --
626b/33 -- Sketch -- Bb --
626b/34 -- Sketch -- D --
626b/35 -- Sketch -- G --
626b/36 -- Sketch -- F --
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).
-- (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
(Wolff-MJb 1978/79).
(See #16 above.) Copy in hand of Leopold and Nannerl Mozart
dates from origin time of Concerto in 1777
(Wolff-MJb 1978/79).
Autograph on same page as #20 below. Stylistically seen to be later than #21 and #22,
thus possibly March 1783 (Wolff-MJb 1978/79).
Autograph on same page as #22 below; on 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 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 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)
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.
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).
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).
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 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).
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).
-- --
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)
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 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 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)
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 1.20 -- -- 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 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 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 7.09 -- Mentioned Terzett for a comic Copy in Paris private possession;
with Anh scene Einstein remarked surely not
243a Mozart.
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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"
Anh C 8.20 Anh 259 Anh 259 Song with piano Listed in B & H manuscript
accompaniment "Lied catalogue; published by Böhme in
der Freundschaft" Hamburg
Text: "Wenn ich der
Kaiser wäre"
Anh C 8.21 Anh 260 Anh 260 Song with piano Listed in B & H manuscript
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
Anh C 8.23 Anh 262 Anh 262 Song with piano (See remarks to C8.22)
accompaniment
"Frühlingslied" Text:
"Unsre wiesen grünen
wieder"
Anh C 8.24 Anh 263 Anh 263 Song with piano (See remarks to C8.22)
accompaniment
"Mailied" "Wie herrlich
leuchtet mir die Natur"
Anh C 8.25 Anh 264 Anh 264 Song with piano (See remarks to C8.22)
accompaniment
"Frühlingslied" Text:
"Freude jubelt, Liebe
waltet"
Anh C 8.26 Anh 265 Anh 265 Song with piano (See remarks to C8.22)
accompaniment
"Frühlingslied" Text:
"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.
Anh C 8.29 Anh 268 Anh 268 Song with piano (See remarks to C8.22)
accompaniment
"Mailied" Text: "O der
schöner Maiemond"
Anh C 8.30 Anh 269 Anh 269 Song with piano (See remarks to C8.22)
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"
Anh C 8.38 Anh 275 Anh 275 Song with piano Issued by Löschenkohl in Vienna
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"
Anh C 8.40 Anh 278 Anh 278 Song with piano Issued by Löschenkohl in Vienna
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.
Anh C 8.41 Anh 279 Anh 279 Song with piano Issued by Löschenkohl in Vienna
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
accompaniment in 1801
"Geduld" Text: "Ein
Herz, o Gott, in Leid
und Kreuz"
Anh C 8.44 Anh 281 Anh 281 Song with piano Issued by Löschenkohl in Vienna
accompaniment "Vom in 1801
Worte Gottes" Text:
"Gott ist mein Hort"
Anh C 8.45 Anh 282 Anh 282 Song with piano Issued by Löschenkohl in Vienna
accompaniment in 1801
"Prüfung am Abend"
Text: "Der Tag ist
wieder hier"
Anh C 8.46 Anh 283 Anh 283 Song with piano Issued by Löschenkohl in Vienna
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 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 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.
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Münster (Acta Mozartiana 1963) reported
manuscript parts at Abby St. Veit of this and
KV 197 attributed to "Sigre Cavaliere
Amadeo Wolfgango Mozart: academico
Filarmonico di Bologna e Verona", as Mozart
only used the title "Cavaliere" in Salzburg
Münster believed copy of authentic work
from 1772; then Münster (Acta Mozartiana
1965) found a manuscript of this Tantum
ergo attributed to [Johann] Zach (1699-
1773) with slightly larger orchestration and
no concluding Amen. Appears Mozart slightly
revised Zach's work and added an Amen.
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Federhofer (MJB-1959) believed Mozart's
work before M.Haydn's and believed
authentic Mozart from 1772 for perhaps
1777; NMA (Federhofer-1962) placed KV
198 in authentic works volume; Münster
found copy in St.Peter form end of 18th
Century for 2 Sopranos and NMA-Critical
Rep (Federhofer-1963) changed opinion and
stated original version for 2 young boys;
Water/Wade (Quarterly Journal of Music
Library Association-1963) reported there is
no attribution to Myslivecek in Massin book.
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Kraus Thematic Catalogue (1998) shows
autograph of Kraus preserved; it was
published in 1796 by Breitkopf und Härtel as
Nr.2 in "Airs et Chansons pour le Clavecin,
composes par Joseph Kraus, Maitre de
Chapelle de S.M. le Roi de Suede".
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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.
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Mozart's sister Nannerl sent incipit to B & H
with a postscript to it "Harmoniale"--Plath
stated unclear what this meant, but not used
in sense of K483 or K484. Plath thought
possibly work of Leopold Mozart which
Nannerl erroneously took copy to be by
Wolfgang (Plath-MJB 1970/71); Berke (NMA
2000) shows two volumes--one recently
found-- of Gellert Lieder are not actually
designated Vol.1 and 2; the volume with
C8.32, 8.33, 8.34, 8.38 8.42 and K.deest of
Gelassenheit actually second volume
issued, and works in this volume are
possibly by Wolfgang; possibly "Harmoniale"
refers to Glassharmonica.
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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 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
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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 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 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 (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 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
autograph and attributed to
Beethoven by St.Foix; one of piano
pieces in bundle (see C24.01)
found to be transcription of ballet of
Kozeluch and all pieces attributed
to Kozeluch, although never proven
(see C13.01, C22.01, C24.01)
Anh 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 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 -- 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 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 -- 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
--
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.
--
--
--
--
--
--
--
--
--
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.
--
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).
--
--
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)
--
--
--
--
--
Eberl's autograph dated July 18, 1792
(A.White-PhD dissertation Piano music of
Eberl, 1971)
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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
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
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
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”
K1 K6 Work
346 439a Notturno 3 Voices, Winds
436 436 Notturno 3 Voices, Winds
437 437 Notturno 3 Voices, Winds
438 438 Notturno 3 Voices, Winds
439 439 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”
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”
536 536 6 German Dances
565 565 2 Contredances
567 567 6 German Dances
568 568 12 Minuets
571 571 6 German Dances
585 585 12 Minuets
586 586 12 German Dances
587 587 Contredance “Der Sieg von Helden Coburg”
599 599 6 Minuets
600 600 6 German Dances
601 601 4 Minuets
602 602 4 German Dances
603 603 2 Contredances
604 604 2 Minuets
605 605 2 German Dances
606 606 6 Ländler
607 605a Contredance “Il Tronfo delle Donne”
609 609 5 Contredances
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
447 447 Horn Concerto in Eb
495 495 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
175 175 Piano Concerto #5 in D
238 238 Piano Concerto #6 in Bb
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”
450 450 Piano Concerto #15 in Bb
451 451 Piano Concerto #16 in D
453 453 Piano Concerto #17 in G “2nd Ployer”
456 456 Piano Concerto #18 in Bb “Paradies”
459 459 Piano Concerto #19 in F
466 466 Piano Concerto #20 in d
467 467 Piano Concerto #21 in C “Elvira Madigan”
482 482 Piano Concerto #22 in 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”
595 595 Piano Concerto #27 in Bb
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
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
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
11 11 Piano,Violin Sonata in G
12 12 Piano,Violin Sonata in A
13 13 Piano,Violin Sonata in F
14 14 Piano,Violin Sonata in C
15 15 Piano,Violin Sonata in Bb
26 26 Piano,Violin Sonata in Eb
27 27 Piano,Violin Sonata in G
28 28 Piano,Violin Sonata in C
29 29 Piano,Violin Sonata in D
30 30 Piano,Violin Sonata in F
31 31 Piano,Violin Sonata in Bb
296 296 Piano,Violin Sonata in C
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)
454 454 Piano,Violin Sonata in Bb
481 481 Piano,Violin Sonata in Eb
526 526 Piano,Violin Sonata in A
547 547 Piano,Violin Sonata in F
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
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
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
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
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”