List of compositions by Wolfgang Amadeus Mozart, by genre

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Contents

Symphonies

Mozart's symphonic production covers a 24 year interval, from 1764 to 1788. According to most recent investigations, Mozart wrote not just the 41 symphonies reported in traditional editions, but up to 68 complete works of this type. However, by convention, the original numbering has been retained, and so his last symphony is still known as "No. 41". Some of the symphonies (K .297, 385, 550) were revised by the author after their first versions.

Childhood symphonies (1764-1771)

These are the numbered symphonies from Mozart's early childhood. It should be noted that there are also a fair amount of unnumbered symphonies from this time period.

There are also several "unnumbered" symphonies from this time period.

Salzburg-era symphonies (1771-1781)

These symphonies are sometimes subcategorized as "Early" (1771-1773) and "Late" (1773-1775), and sometimes subcategorized as "Germanic" (with minuet) or "Italian" (without minuet). None of these were printed during Mozart's lifetime.

Although not counted as "symphonies" the three Divertimenti K. 136-138, in 3-movement Italian overture style, are sometimes indicated as "Salzburg Symphonies" too.

Late symphonies (1781-1791)

For years this was categorized as a Mozart symphony, but later scholarship determined that it was actually composed by Michael Haydn (No. 26), and Mozart wrote only the slow introduction for it.

The three final symphonies (Nos. 39-41) were completed in about three months in 1788. It is quite likely that he hoped to publish these three works together as a single opus, although actually they remained unpublished until after his death. One or two of them might have been played in public in Leipzig in 1789.

Concertos

Piano Concertos

Mozart's production for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works. The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.

Violin Concertos

Five violin concertos were written in his late teens while he was still touring with his father throughout Europe, an exceptional feat for a travelling composer. Mozart's Violin Concertos are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart probably never went through all the violin possibilities like others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto–like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)

Horn Concertos

Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. It is said that Mozart wrote them for his friend and lifelong companion, Joseph Ignaz Leitgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities. (In Mozart's time the horn had no valves making it a very difficult piece.)

The Horn Concertos are characterized by an elegant and humorous dialogue between the soloist and the orchestra. Many of the autographs contain jokes aimed at the dedicatee.

Other Concertos

Concertante symphonies

Piano Music

Mozart's earliest composition attempts begin with piano sonatas and other piano pieces, as this is the instrument on which his musical education took place. Almost everything that he wrote for piano was intended to be played by himself (or by his sister, also a proficient piano player). Examples of his earliest works are those found in Nannerl's Music Book. Between 1782 and 1786 he wrote 20 works for piano solo (including sonatas, variations, fantasias, suites, fugues, rondo) and works for piano four hands and two pianos.

Solo Piano Works

  1. Andante in C, K. 1a
  2. Allegro in C, K. 1b
  3. Allegro in F, K. 1c
  4. Minuet in F, K. 1d
  5. Minuet in G, K. 1e
  6. Minuet in C, K. 1f
  7. Minuet in F, K. 2
  8. Allegro in B-flat, K. 3
  9. Minuet in F, K. 4
  10. Minuet in F, K. 5
  11. Allegro in C, K. 5a
  12. Andante in B-flat, K. 5b

Variations

  • 8 Variations in G major on the Dutch song "Laat ons Juichen, Batavieren!" by Christian Ernst Graaf, K. 24
  • 7 Variations in D major on the Dutch song "Willem van Nassau"", K. 25
  • 6 Variations in F major, K 54 (Anh 138a)
  • 12 Variations in C major on a Menuet by Johann Christian Fischer, K 179
  • 6 Variations in G major on "Mio car Adone" from the opera "La fiera di Venezia" by Antonio Salieri, K. 180
  • 9 Variations in C major on the arietta "Lison dormait" from the opera "Julie" by Nicolas Dezède(Fr.), K 264
  • 12 Variations in C major on the French song "Ah, vous dirai-je, Maman", K. 265
  • 8 Variations in F major on the choir "Dieu d'amour" from the opera "Les mariages samnites" by Andre-Ernest-Modeste Gretry, K. 352
  • 12 Variations in E-flat major on the French song "La belle Françoise", K. 353
  • 12 Variations in E-flat major on the Romance "Je suis Lindor" from "Le Barbier de Seville" by Pierre Beaumarchais, music by Antoine-Laurent Baudron, K. 354
  • 6 Variations in F major on the aria "Salve tu, Domine" from the opera "I filosofi immaginarii" by Giovanni Paisiello, K 398
  • 10 Variations in G major on the aria "Unser dummer Pöbel meint" from "La rencontre imprévue" by Christophe Willibald Gluck, K 455
  • 8 Variations in A major on "Come un'agnello" from "Fra i due litiganti il terzo gode" by Giuseppe Sarti, K 460
  • 12 Variations on an Allegretto in B major, K 500
  • 9 Variations in D major on a Menuet by Jean-Pierre Duport, K 573
  • 8 Variations in F major on the song "Ein Weib ist das herrlichste Ding" from the Singspiel "Der dumme Gartner" by Benedikt Schack, K 613

Piano Four-hands

Two pianos

Chamber music

Violin music

He also wrote for piano and variation sets, where - mainly in the more mature years - the piano does not play just a support to the other solo instrument, but builds a dialogue with it.

Childhood Violin Sonatas (1763-66)

Mature Violin Sonatas (1778-88)

Spurious Violin Sonatas

Variations for Violin and Piano

String Duos and Trios

String quartets

  • Quartetti Milanesi, K. 80 and K. 155-160 (1770-1773)
This cycle, in three movements, is interesting as far as these works can be considered precursors of the later - more complete - string quartets.
  • Vienna Quartets, K. 168-173 (1773) +
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression. Even if Mozart tries in these works to emulate the older musician, he still cannot reach Haydn's heights in the most difficult of all the musical genres.
  • Haydn Quartets K. 387, 421, 428, 458, 464, 465, Opus 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
This work was published by (dedicated to?) Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.
  • Prussian Quartets K. 575, 589, 590 (1789-1790)

String quintets

This is a transcription for string quintet of the earlier Serenade for wind octet in C minor (K. 388).

Piano trios

Other chamber music

Serenades, divertimenti, and other instrumental works

The production for instrumental ensembles includes several Divertimenti, Notturni, Serenate, Cassazioni, Marches, and Dances, besides, of course, the Symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.

Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler).

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale K. 535, La Bataille K. 600, Canarino K. 602, etc.

Serenades

Divertimenti

Dances

Sacred music

Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780.

Mozart's sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work.

We include in this genre, for their liturgical character, also the compositions written for the Masonic Lodge, like The Cantata Laut Verkunde unsre Freude K623 and the Maurerische Trauermusik (Masonic Funeral Music) K477.

Masses

Other sacred music

Church sonatas

Organ music

Operas

In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus.
With respect to that first attempt, Bastien et Bastienne generates a definitely different result. The young musician is already able to dominate texts and his music emanates pastoral joy and spontaneous fascination.
La finta semplice can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre.
Then, the first Italian operas were composed, upon assignments received in Milan and Salzburg: Mitridate, re di Ponto, * Ascanio in Alba, Il sogno di Scipione, and Lucio Silla. In all of these works, Mozart still shows some awkwardness while moving in the traditional opera seria frame. The librettos are often dramatically weak and improbable. Nevertheless, one can find in these works some unambiguously Mozartian distinguishing marks, though the weight, substance and formal perfection of the older Mozart are still lacking.
On the subject of Judith and Holofernes.
With La finta giardiniera, Mozart comes back to the opera buffa, outranging all previous models of that genre. The libretto is still weak, but characters are not schematic anymore and become real individuals, with music definitely contributing to their definition.
After many years from his debut in the German music drama (Singspiel), Mozart came back to this genre with Die Entführung aus dem Serail and, finally, with Die Zauberflöte.
Le mariage de Figaro by Pierre Beaumarchais, a work that was hardly accepted - and performed - in France, due to its denunciation contents against the flaws of the higher dominating classes (Clergy and Aristocracy), opposed to the healthy activism of the Third Estate. In Austria, too, Mozart's opera met the opposition of the imperial court, though it should be said that Da Ponte had purged the most shocking aspects from the original text. Actually, the opera was executed during the Spring of 1786 at the Vienna Burgtheater, with enormous success.
The trilogy of Da Ponte librettos continued with Don Giovanni and Così fan tutte, both dealing - but in highly different ways - with the subject of love between men and women.
Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. It also achieved scarce success at its first performance. Nevertheless its music proposes elements of great brightness and spirituality, with the composition of sacred and profane love in unique delight. This work was also influenced by Freemasonry.

Concert arias, songs and canons

Arias, canzonettas, cavatinas

Soprano

K1 K6 Title Librettist Date
02323   "Conservati fedele" (Score/Crit. report)
Aria for soprano and orchestra		 Metastasio,
Artaserse I,1		 1765-10October 1765
07070 61c "A Berenice … Sol nascente"
Recitative and aria (Licenza) for soprano and orchestra		 unknown 1767-02-2828 February 1767 or 1769
07777 73e [[Misero me, K.77/73e (Mozart, Wolfgang Amadeus)|"Misero me! … Misero pargoletto"}}
Recitative and aria for soprano and orchestra		 Metastasio,
Demofoonte III, 4&5		 1770-03March 1770
07878 73b "Per pietà, bell'idol mio"
Aria for soprano and orchestra		 Metastasio 1766--1766
07979 73d "O temerario Arbace! … Per quel paterno amplesso"
Recitative and aria for soprano and orchestra		 Metastasio,
Artaserse II,11		 1766--1766
901deest   "Cara, se le mie pene" (Score/Crit. report)
Aria for soprano, 2 horns, violin, viola & bass		 unknown 1769--1769
08282 73o "Se ardire, e speranza" (Score/Crit. report)
Aria for soprano and orchestra		 Metastasio 1770-04-2525 April 1770
08383 73p "Se tutti i mali miei"
Aria for soprano and orchestra		 Metastasio 1770--1770
08888 73c "Fra cento affanni e cento"
Aria for soprano and orchestra		 Metastasio 1770--1770
119119 382h "Der Liebe himmlisches Gefühl"
Aria for soprano and orchestra (piano reduction)
This is possibly (Kunze) the aria for Gretl Marchard from K. deest		 unknown 1782--1782
152152 210a "Ridente la calma"
Aria (canzonetta) for voice and piano
arrangement of Josef Mysliveček's aria from Armida		 Giovanni Ambrogio Migliavacca 1773--between 1772 and 1775
178178 417e "Ah, spiegarti, oh Dio"
Aria for soprano and orchestra (piano reduction)		 unknown 1783-06June 1783
217217   "Voi avete un cor fedele"
Aria for soprano and orchestra		 Carlo Goldoni 1775-10-2626 October 1775
272272   "Ah, lo previdi! … Ah, t'invola … Deh, non varcar"
Recitative, aria and cavatina for soprano and orchestra		 Vittorio Amedio Cigna-Santi 1777-08August 1777
294294   "Alcandro, Io confesso … Non sò d'onde viene"
Recitative and aria for soprano and orchestra		 Metastasio
L'Olimpiade III,6		 1778-02-2424 February 1778
316316 300b "Popoli di Tessaglia! … Io non chiedo, eterni Dei"
Recitative and aria for soprano and orchestra		 Ranieri de' Calzabigi 1779-01-088 January 1779
368368   "Ma che vi fece, o stelle … Sperai vicino il lido"
Recitative and aria for soprano and orchestra		 Metastasio 1781-01January 1781
369369   "Misera, dove son! … Ah! non son io che parlo"
Recitative and aria for soprano and orchestra		 Metastasio 1781-03-088 March 1781
374374   "A questo seno deh vieni … Or che il cielo a me ti rende"
Recitative and aria for soprano and orchestra		 Giovanni de Gamerra 1781-04April 1781
383383   "Nehmt meinen Dank, ihr holden Gönner!"
Aria for soprano and orchestra		 unknown 1782-04-1010 April 1782
416416   "Mia speranza adorata! … Ah, non sai qual pena"
Recitavo and aria (rondo) for soprano and orchestra		 Gaetano Sertor 1783-01-088 January 1783
418418   "Vorrei spiegarvi, oh Dio!"
Aria for soprano and orchestra		 unknown 1783-06-2020 June 1783
419419   "No, che non sei capace"
Aria for soprano and orchestra		 unknown 1783-06June 1783
440440 383h "In te spero, oh sposo amato"
Aria for soprano and orchestra (sketch)		 Metastasio 1782-02February 1782
486486a 295a "Basta, vincesti … Ah, non lasciarmi, no" (Score/Crit. report)
Recitative and aria for soprano and orchestra		 Metastasio 1778-02-2828 February 1778
505505   "Ch'io mi scordi di te? … Non temer, amato bene"
Recitative and aria (rondo) for soprano, piano obbligato and orchestra		 unknown 1786-12-2626 December 1786
528528   "Bella mia fiamma, addio! … Resta, oh cara!"
 D. Michele Sarcone 1787-11-033 November 1787
538538   "Ah se in ciel, benigne stelle"
Aria for soprano and orchestra		 Metastasio 1788-03-044 March 1788
569569   "Ohne Zwang aus eignem Triebe" (lost)
Aria for soprano		 Michel-Jean Sedaine, Le roi et le fermier, tr. Johann Heinrich Faber<ref>Dexter Edge, "Mozart's Reception in Vienna, 1787–91" pp. 66–117 in Wolfgang Amadè Mozart: Essays on His Life and Music, ed. Stanley Sadie, Oxford University Press, 1996. p. 86, note 65 ISBN 9780198164432</ref> 1789-01January 1789
578578   Alma grande e nobil core, K.578 (Mozart, Wolfgang Amadeus)|"Alma grande e nobil core"]]
Aria for soprano and orchestra		 Giuseppe Palomba 1789-08August 1789
580580   "Schon lacht der holde Frühling"
Aria for soprano and orchestra		 unknown 1789-09-1717 September 1789
582582   "Chi sà, chi sà, qual sia"
Aria for soprano and orchestra		 Lorenzo Da Ponte 1789-10October 1789
583583   "Vado, ma dove? oh Dei!"
Aria for soprano and orchestra		 Lorenzo Da Ponte 1789-10October 1789
74b  74b "Non curo l'affetto" (Score/Crit. report)
Aria for soprano and orchestra		 Metastasio,
Demofoonte I,7		 1771-03early 1771

Contralto

K1 K6 Title Librettist Date
255255   "Ombra felice! … Io ti lascio"
Recitative for contralto and orchestra		 Giovanni de Gamerra 1776-09September 1776

Tenor

K1 K6 Title Librettist Date
02121 19c "Va, dal furor portata"
Aria for tenor and orchestra		 Metastasio 1765--1765
03636 33i "Or che il dover – Tali e cotanti sono"
Recitative and aria for tenor and orchestra		 unknown 1766-12December 1766
07171   "Ah, più tremar non voglio"
Aria for tenor and orchestra (fragment)		 Metastasio 1769--1769 or 1770
209209   "Si mostra la sorte"
Aria for tenor and orchestra		 unknown 1775-05-1919 May 1775
210210   "Con ossequio, con rispetto"
Aria for tenor and orchestra		 unknown 1775-05May 1775
256256   "Clarice cara mia sposa"
Aria for tenor and orchestra		 unknown 1776-09September 1776
295295   "Se al labbro mio non credi"
Aria for tenor and orchestra		 Antonio Salvi 1778-02-2828 February 1778
420420   "Per pietà, non ricercate"
Aria (rondo) for tenor and orchestra		 unknown 1783-06-2121 June 1783
431431 425b "Misero! O sogno … Aura, che intorno spiri"
Recitative and aria for tenor and orchestra		 unknown 1783-12December 1783
435435 416b "Müßt' ich auch durch tausend Drachen"
Aria for tenor and orchestra		 unknown 1783--1783

Bass

K1 K6 Title Librettist Date
209a  209a "Un dente guasto e gelato" (Score/Crit. report)
Aria for bass and orchestra		 unknown 1775--1775
432432 421a "Così dunque tradisci … Aspri rimorsi atroci"
Aria and recitative for bass and orchestra		 Metastasio 1783--1783
433433 416c "Männer suchen stets zu naschen"
Aria for bass and orchestra (sketch)		 unknown 1783--1783
512512   "Alcandro, Io confesso … Non sò d'onde viene"
Recitative and aria for bass and orchestra		 Metastasio
Olimpiade III,6		 1787-03-1818 or 19 March 1787
513513   "Mentre ti lascio, oh figlia"
Aria for bass and orchestra		 Duca Sant' Angioli-Morbilli 1787-03-2323 March 1787
539539   "Ich möchte wohl der Kaiser sein"
A German war song for bass and orchestra		 Johann Wilhelm Ludwig Gleim 1788-03-055 March 1788
541541   "Un bacio di mano"
Arietta for bass and orchestra		 Lorenzo Da Ponte 1788-06June 1788
Anh245Anh. 245 621a "Io ti lascio, oh cara, addio" (Score/Crit. report)
Aria for bass and orchestra		 unknown 1791--1791

Group

K1 K6 Title Librettist Date
2020   "God is our refuge" (Score)
Choral for soprano, contralto, tenor, bass		 Psalms 46:1 1765-07July 1765
Anh024aAnh. 024a 43a "Ach, was müssen wir erfahren!" (Score)
Duet for two sopranos (fragment)		 unknown 1767-10-1515 October 1767
346346 439a "Luci care, luci belle" (Score)
Notturno (terzet) for two sopranos and bass		 Angelo Lungi, La Pupilla 1783--possibly 1783
436436   "Ecco quel fiero istante"
Notturno (terzet) for two sopranos and bass		 Metastasio
(from La partenza)		 1783--possibly 1783
437437   "Mi lagnerò tacendo"
Notturno (terzet) for two sopranos and bass		 Metastasio
(from Siroe', II, 1)		 1783--possibly 1783
438438   "Se lontan, ben mio, tu sei"
Notturno (terzet) for two sopranos and bass		 Metastasio
(Strofe per musica)		 1783--possibly 1783
439439   "Due pupille amabili" (Score)
Notturno (terzet) for two sopranos and bass		 Giuseppe Petrosellini, L'incognita perseguitata 1783--possibly 1783
441441   "Liebes Manndel, wo ist's Bandel?"
Terzet for soprano, tenor and bass		 Vienna dialect 1783--possibly 1783
479479   "Dite almeno, in che mancai"
Aria for soprano, tenor, 2 basses		 unknown 1785-11-055 November 1785
480480   "Mandina amabile"
Aria for soprano, tenor, bass, and orchestra		 unknown 1785-11-2121 November 1785
483483   "Zerfließet heut', geliebte Brüder"
Song with 3-part male choir		 Augustin Veith Edler von Schittlersberg 1785-12December 1785
484484   "Ihr unsre neuen Leiter"
Song with 3-part male choir		 Augustin Veith Edler von Schittlersberg 1785-12December 1785
434434 480b "Del gran regno delle amazzone"
Aria for tenor, 2 basses, and orchestra		 Giuseppe Petrosellini 1785-99end of 1785
532532   "Grazie agl'inganni tuoi"
Untexted sketch for a terzet for soprano, tenor and Bass 		Metastasio 1787--possibly 1787
549549   "Più non si trovano"
Canzonetta (terzet) for two sopranos and bass		 Metastasio
(from Olimpiade', I, 7)		 1788-07-1616 July 1788
Anh005Anh. 5 571a "Caro mio Druck und Schluck"
Quartet for soprano, two tenors and bass		 Wolfgang Amadeus Mozart 1789-03beginning of 1789
612612   "Per questa bella mano"
Aria for bass, contrabass obbligato, and orchestra		 unknown 1791-03-088 March 1791

Songs

K1 K6 Title Librettist Date
05353 47e "An die Freude"
Freude, Königin der Weisen
Possibly (Einstein) the aria for the daughter of Joseph Wolf from K. deest		 Uz, Johann Peter (1720–1796) 1768-11November 1768
147147 125g "Wie unglücklich bin ich nit" unknown 1772--1772
148148 125h "Lobgesang auf die feierliche Johannisloge"
O heiliges Band der Freundschaft treuer Brüder		 Ludwig Friedrich Lenz (1717–1780) 1772--1772
307307 284d "Oiseaux, si tous les ans" Antoine Houdart Ferrand (1678–1719) 1777-10-3030 October 1777
308308 295b "Dans un bois solitaire" Antoine Houdar de la Motte (1672–1731) 1777-99-99between 30 October 1777 and 13/14 March 1778
343343 336c "Zwei deutsche Kirchenlieder"
O Gotteslamm, Als aus Ägypten Israel		 unknown 1787-04Spring 1787
349349 367a "Die Zufriedenheit"
Was frag' ich viel nach Geld und Gut		 Johann Martin Miller (1750–1814) 1780-99-99between 8 November 1780 and mid-March 1781
351351 367b "Komm, liebe Zither, komm" unknown 1780-99-99between 8 November 1780 and mid-March 1781
390390 340c "Ich würd' auf meinem Pfad" Johann Timotheus Hermes (1738–1821) 1781-99-99between August 1781 and Mai 1782
391391 340b "Sei du mein Trost" Johann Timotheus Hermes (1738–1821) 1781-99-99between August 1781 and Mai 1782
392392 340a "Verdankt sei es dem Glanz der Großen" Johann Timotheus Hermes (1738–1821) 1781-99-99between August 1781 and Mai 1782
Anh025Anh. 25 386d "Bardengesang auf Gibraltar" (Score/Crit. report)
'O Calpe! Dir donnert's am Fusse (sketch)		 Michael Denis (1729–1800) 1782-12-99end of December 1782
468468   "Lied zur Gesellenreise"
Die ihr einem neuen Grad		 Joseph Franz von Ratschky (1757–1810) 1785-03-2626 March 1785
472472   "Der Zauberer"
Ihr Mädchen, flieht Damöten [Damoetas] ja!		 Christian Felix Weiße (1726–1804) 1785-05-077 May 1785
473473   "Die Zufriedenheit"
Wie sanft, wie ruhig		 Christian Felix Weiße (1726–1804) 1785-05-077 May 1785
474474   "Die betrogene Welt"
Der reiche Tor		 Christian Felix Weiße (1726–1804) 1785-05-077 May 1785
476476   "Das Veilchen"
Ein Veilchen auf der Wiese stand		 Johann Wolfgang von Goethe 1785-06-088 June 1785
506506   "Lied der Freiheit"
Wer unter eines Mädchens Hand		 Aloys Blumauer (1755–1798) 1785-99end of 1785
Anh026Anh. 26 475a "Einsam bin ich, meine Liebe" (Score/Crit. report)
fragment		 Johann Martin Miller (1750–1814) 1785--possibly 1785
517517   "Die Alte"
Ein bißchen aus der Nase		 Friedrich von Hagedorn (1708–1754) 1787-05-1718 May 1787
518518   "Die Verschweigung"
Sobald Damötas Chloen sieht		 Christian Felix Weiße (1726–1804) 1787-05-2020 May 1787
519519   "Das Lied der Trennung"
Die Engel Gottes weinen		 Klamer Eberhard Karl Schmidt (1746–1824) 1787-05-2323 May 1787
520520   "Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte"
Erzeugt von heißer Phantasie		 Gabriele von Baumberg (1766–1839) 1787-05-2626 May 1787
523523   "Abendempfindung an Laura"
Abend ist's, die Sonne ist verschwunden		 unknown 1787-06-2424 June 1787
524524   "An Chloe"
Wenn die Lieb’ aus deinen blauen, hellen, offnen Augen sieht		 Johann Georg Jacobi (1740–1814) 1787-06-2424 June 1787
529529   "Des kleinen Friedrichs Geburtstag"
Es war einmal, ihr Leute		 Johann Eberhard Friedrich Schall (1742–1790),
last verse by Joachim Heinrich Campe (1746–1818)		 1787-11-066 November 1787
530530   "Das Traumbild"
Wo bist du, Bild		 Ludwig Christoph Heinrich Hölty (1748–1776) 1787-11-066 November 1787
531531   "Die kleine Spinnerin"
Was spinnst du?		 unknown 1787-12-1111 December 1787
552552   "Lied beim Auszug in in das Feld" (Score/Crit. report)
Dem hohen Kaiserworte treu		 unknown 1788-08-1111 August 1788
596596   "Sehnsucht nach dem Frühling"
Komm, lieber Mai, und mache		 Christian Adolph Overbeck (1755–1821) 1791-01-1414 January 1791
597597   "Der Frühling"
Erwacht zum neuen Leben		 Christoph Christian Sturm (1740–1786) 1791-01-1414 January 1791
598598   "Das Kinderspiel"
Wir Kinder, wir schmecken der Freuden recht viel!		 Christian Adolph Overbeck (1755–1821) 1791-01-1414 January 1791

Canons

K1 K6 Title Librettist Date
8989 73k "Kyrie in G" (Score)
Kyrie a cinque con diversi canoni		 liturgical text 1770-05May 1770
089a89a II 73r "Four Riddle Canons" (Score)
Sit trium series una: Incipe Menalios for 3 voices;
Ter ternis canite vocibus: Cantate Domino for 9 voices;
Canon ad duodecimam: Confitebor tibi Domine for 3 voices;
Canon. Ter voce ciemus: Thebana bella for 6 voices		 unknown 1770-07Summer 1770
089a89a 73i "Canon for 4 instruments" — 1770-04April 1770
228228 525b "Ach! zu kurz" - Double canon for 4 voices unknown 1787-04-24before 24 June 1787
229229 382a "Sie ist dahin" - Canon for 3 voices Ludwig Heinrich Christoph Hölty (1748–1776) 1782--1782
230230 382b "Selig, selig" - Canon for 2 voices Ludwig Heinrich Christoph Hölty (1748–1776) 1782--1782
231231 382c "Leck mich im Arsch" / "Lasst uns froh sein"
Canon for 6 voices		 unknown 1782--1782
232232 509a "Lieber Freistädtler, lieber Gaulimauli" - Canon for 4 voices unknown 1787-07-04after 4 June 1787
233233 382d "Leck mir den Arsch fein recht schön sauber" / "Nichts labt mich mehr als Wein" – Canon for 3 voices unknown 1782--1782
234234 382e "Bei der Hitz im Sommer eß ich"
/ "Essen, Trinken" – Canon for 3 voices		 unknown 1782--1782
347347 382f "Wo der perlende Wein im Glase blinkt" - Canon for 6 voices unknown 1782--1782
348348 382g "V'amo di core" - Quadruple canon for 12 voices (3 choirs) unknown 1782--1782
deest01deest   1. "Canon for 6" (sketch) (Score) — 1782--1781/82 or later
deest02deest   2. "Canon for 4" (sketch) (Score) — 1782--1781/82 or later
deest03deest   3. "Canon for 4" (sketch) (Score) — 1782--1781/82 or later
deest04deest   4. "Canon for 4" (sketch) (Score) — 1785-99end of 1785/1786
507507   "Heiterkeit und leichtes Blut" - Canon for 3 voices 1786-06-03after 3 June 1786
508508   "Auf das Wohl aller Freunde" - Canon for 3 voices (sopranos) unknown 1786-06-03after 3 June 1786
508a  508a 2 canons for 3 sopranos / 14 Interval canons (Score)
Canons for various voices (sketches)		 — 1786-06-03after 3 June 1786
deest06deest   6. "Canon for 3" (sketch) (Score) — 1786-06-03after 3 June 1786
deest07deest   7. "Canon for 2" (sketch) (Score) — 1786-06-03after 3 June 1786
deest00deest   "Canon for 4" (Score) — 1786-07Summer 1786
553553   "Alleluia" - Canon for 4 voices liturgical text 1788-09-022 September 1788
554554   "Ave Maria" - Canon for 3 voices liturgical text 1788-09-022 September 1788
555555   "Lacrimoso son'io" - Canon for 4 voices liturgical text 1788-09-022 September 1788
556556   "Grechtelt's enk" - Canon for 4 voices unknown 1788-09-022 September 1788
557557   "Nascoso è il mio sol" - Canon for 4 voices unknown 1788-09-022 September 1788
558558   "Gehn wir im Prater, gehn wir in d'Hetz" - Canon for 4 voices unknown 1788-09-022 September 1788
559559   "Difficile lectu mihi mars" - Canon for 3 voices probably WA Mozart himself 1788-09-022 September 1788
560a560a 559a O du eselhafter Peierl" (Score)
Canon for 3 voices		 probably WA Mozart himself 1786--between 1785 and 1787
560b560b 560 "O du eselhafter Martin (Jakob)"
Canon for 4 voices		 probably WA Mozart himself 1788-09-022 September 1788
deest09deest   9. "Canon for 4" (sketch) (Score) — 1787--1787 or 1788
deest10deest   10. "Canon for 4" (sketch) (Score) — 1787--1787 or 1788
deest11deest   11. "Canon for 4" (sketch) (Score) — 1787--1787 or 1788
561561   "Bona nox! bist a rechta Ox" - Canon for 4 voices WA Mozart 1788-09-022 September 1788
562562   "Caro bell' idol mio" - Canon for 4 voices unknown 1788-09-022 September 1788
562a  562a "Canon for 4" (Score) — 1788--unknown
562c  562c "Canon for 4 Instruments" - Canon for 2 violins, viola, bass — 1788--unknown
616b  616b "Canonical Study for 4" (Score) — 1787-07Summer 1787
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