Kochel KV6

Salzburgo
ene-feb
1761
1a
Andante en do mayor
para piano
Salzburgo
ene-feb
1761
1b
Allegro en do mayor
para piano
Salzburgo
11 diciembre
1761
1c
Allegro en fa mayor
para piano
Salzburgo
16 diciembre
1761
1d
Minueto en fa mayor
para piano
Salzburgo
diciembre
1761
1 / 1e
Minueto en sol mayor

para piano
Salzburgo
diciembre
1761
1f
Minueto en do mayor
para piano
Salzburgo
enero
1762
Minueto en fa mayor
para piano
Salzburgo
4 marzo
1762
Allegro en si bemol mayor

para piano
Salzburgo
11 mayo
1762
Minueto en fa mayor
para piano
Salzburgo
5 julio
1762
Minueto en fa mayor
para piano
Salzburgo
jun-sep
1763
9a / 5 a
Allegro en do mayor
para piano
Salzburgo
jun-oct
1763
9b / 5 b
Andante en si bemol mayor

para piano (fragmento)
Pars
1763
Sonata en do mayor
para clave y violn (o clave)
Pars
1763
Sonata en re mayor
Pars
1763
Sonata en si bemol mayor

para clave y violn
Pars
enero
1764
Sonata en sol mayor

para clave y violn
Londres
noviembre
1764
10

para clave y violn (o flauta)
Londres
noviembre
1764
11
Sonata en sol mayor

Londres
noviembre
1764
12
Sonata en la mayor
Londres
noviembre
1764
13
Sonata en fa mayor
Londres
noviembre
1764
14
Sonata en do mayor
Londres
noviembre
1764
15

Chelsea
abr-jul
1764
15 aa
El Cuaderno de Londres
para piano
Londres
1764
16
Sinfona N. 1 en mi bemol mayor
Londres
1765
Ap. 220 / 16 a
Sinfona N. 2 en la menor "Odense"

(perdida)
Londres
Londres
1765
feb-abr
1765
19
Ap. 223 / 19 a
Sinfona N. 4 en re mayor
Sinfona [N. 4 a] en fa mayor
Londres
1765
Ap. 222 / 19 b
Sinfona en do mayor
(perdida)
Londres
Londres
13 mayo
1765
21 / 19 c
1765
19 d
Va, dal furor portata

Aria en do mayor para tenor.
Pietro Metastasio: "Ezio" II, 4.
Sonata en do mayor
para piano a cuatro manos
Londres
julio
Londres
1765
1765
20
Ap. 206 / 21 a
God Is Our Refuge

Motete en sol menor para soprano, contraalto, tenor y bajo.
Salmo 46
Variaciones en do mayor
para piano (perdidas)
La Haya
diciembre
1765
22
Sinfona N. 5 en si bemol mayor
La Haya
enero
1766
23
Conservati fedele
Aria para contralto .
Pietro Metastasio: "Artaserse" I, 1
La Haya
enero
1766
24
Ocho Variaciones en sol mayor Laat ons juichen, batavieren!

para piano
sobre: Laat ons juichen, batavieren! (C.E. Graaf)
Amsterdam
febrero
1766
25
Siete Variaciones en re mayor Willhelmus van Nassouwe

para piano
sobre: Willhelmus van Nassouwe
La Haya
febrero
1766
26
Sonata en mi bemol mayor

para clave y violn
La Haya
febrero
1766
27
Sonata en sol mayor

para clave y violn
La Haya
febrero
1766
28
Sonata en do mayor
para clave y violn
La Haya
febrero
1766
29
Sonata en re mayor
para clave y violn
La Haya
febrero
1766
30
Sonata en fa mayor
para clave y violn
La Haya
febrero
1766
31

para clave y violn
La Haya
marzo
1766
32
Galimathias musicum
Quodlibet en re mayor
para dos violines, dos oboes, dos cormos, clave, dos fagot, viola y bajo.
Pars
Pars
Lausanne
12 junio
septiembre
1766
32a
El Tercer Cuaderno - Capricci

para piano (perdido)
1766
33
Kyrie en fa mayor
para cuatro voces, dos violines, viola y bajo
1766
33 a
Solo
para flauta (perdido)
Zurich
octubre
1766
33 B
[Movimiento en fa mayor]
para piano
33 b
Solo
33 c
Ap. 199 / 33 d
Stabat Mater
(perdido)
Sonata en sol mayor
para piano (perdida)
Ap. 200 / 33 e

Ap. 201 / 33 f
Sonata en do mayor
Ap. 202 / 33 g
Sonata en fa mayor
33 h
Pieza
para corno (perdida)
Salzburgo
21 diciembre
1766
36 / 33 i
Or che il dover m'astringe

Tali e contanti sono
Recitativo y Aria en do mayor para tenor.
Autor del texto desconocido
Salzburgo
marzo
1767
34
Scande coeli limina

Offertorium in Festo Sancti Benedicti
Ofertorio en do mayor para cuatro voces, dos violines, tipanos, bajo y organo
Texto de San Benito.
Salzburgo
12 marzo
1767
35
42 / 35 a
Salzburgo
abril
1767
37
Die Schuldigkeit des ersten Gebots

El deber del Primer mandamiento
Primera parte de un drama sacro
Libreto: I. A. Weiser
en do mayor
Grabmusik
Msica funebre en do mayor
Concierto N. 1 en fa mayor
para piano
Salzburgo
Salzburgo
13 mayo
junio
1767
38
Apollo et Hyacinthus
Apolo y Jacinta
Intermedio latino
Libreto del Padre Rufinus Widl
en re mayor
1767
39
Concierto N. 2 en si bemol mayor

para piano
Salzburgo
julio
1767
40
Concierto N. 3 en re mayor
para piano
Salzburgo
julio
1767
41
Concierto N. 4 en sol mayor

para piano
41 a
Seis Divertimentos
para orquesta (perdidos)
41 b
Piezas
para vientos
41 c
Marchas
(perdidos)
41 d
Minuetos
(perdidos)
41 e
Fuga
41 f
Fugas
para 4 voces (perdidos)
41 g
Natchmusik de Nannerl (Msica de Noche de Nannerl)

para 2 violines y bajo
Salzburgo
1767
67 / 41 h
Sonata de iglesia N. 1 en mi bemol mayor

para rgano
Salzburgo
1767
68 / 41 i
Sonata de iglesia N. 2 en si bemol mayor

para rgano
Salzburgo
1767
69 / 41 k
Sonata de iglesia N. 3 en re mayor

para rgano
1767
76 / 42 a
Sinfona [N. 43] en fa mayor
Viena
Olmtz
Viena
Viena
septiembre
30 diciembre
1767
43
Sinfona N. 6 en fa mayor
finales
1767
43 a
Ach, was men wir erfahren?

Duo en fa mayor para 2 sopranos (fragmento)
1768
45

(Obertura "La finta semplice")
16 enero
Viena
1768
Ap. 221 / 45 a
Sinfona [N. 7a] en sol mayor Alte Lambacher
Viena
1768
Ap. 214 / 45 b
Sinfona [N. 55] en si bemol mayor
Viena
abr-jul
1768
51 / 46 a
La Finta Semplice
La falsa ingenua
Opera
Libreto
en re mayor
Viena
sep-oct
1768
50 / 46 b
Bastien und Bastiene

Bastian y Bastiana
Opera
Libreto
sol mayor
1768
52 / 46 c
Viena
Daphne, deine Rosenwangen

## Lied en la mayor para soprano y clave
Viena
1 septiembre
1768
46 d
Sonata en do mayor
para violn y fagot [o piano]
Viena
septiembre
1768
46 e
Sonata en fa mayor
47
Veni, Sacte Spiritus

Ofertorio en do mayor
para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, trompa, timpanos, bajo y organo.
Viena
7 diciembre
1768
Viena
7 diciembre
1768
139 / 47 a
Viena
1768
47 b
Ofertorio
(perdido)
Viena
1768
47 c
Concierto
para trompeta (perdido)
Misa [solemnis] en do menor Waisenhaus-Messe

para 4 solistas, coro, 2 violines, 2 violas, bajo, 2 oboes, 3 trombones,
4 trompetas, timpanos y organo.
Viena
oct-nov
1768
49 / 47 d
Misa en sol mayor

para 4 coro, 2 violines, viola, bajo, organo.
Viena
noviembre
1768
53 / 47 e
An die Freude
Freude, Knigin der Weisen
Lied en fa mayor para soprano y clave.
sobre un texto de Johann Peter Uz
48
Viena
13 diciembre
1768
Salzburgo
14 enero
1769
65 / 61 a
Salzburgo
26 enero
1769
65a / 61 b
1769
70 / 61 c
Salzburgo
1769
103 / 61 d
19 Minuetos
Salzburgo
1769
61e / 61 e
6 Minuetos
Salzburgo
1769
105 / 61 f
6 Minuetos
Salzburgo
1769
61 g
2 Minuettos
Salzburgo
1769
61 h
6 Minuetos
62
Marcha en re mayor
para orquesta
Salzburgo
febrero
Salzburgo
agosto
1769
Salzburgo
agosto
1769
Salzburgo
6-8 agosto
1769
Salzburgo
6-8 agosto
1769
100 / 62 a
63
99 / 63 a
Misa brevis en re menor

para 4 voces, 2 violines, bajo, 3 trombones y rgano.
7 Minuetos
A Berenice e Vologeso sposi Sol nascente in questo giorno
Recitativo y Aria (Licencia) en sol mayor para soprano
de la opera "Vologeso" de G. Sarti ?
Autor del texto desconocido.
Casacin en re mayor
para orquesta
Casacin (Final-Musik) en sol mayor
para orquesta
Casacin en si bemol mayor
para orquesta
Salzburgo
Salzburgo
15 octubre
1769
64
Minuet en re mayor
para orquesta
1769
66
Misa en do mayor Dominikus

Salzburgo
1769
117 / 66 a
Benedictus sit Deus Pater

Offertorium [pro omni tempore]
para 4 voces, 2 violines, 2 flautas, 2 cornos, 2 trompetas, timpanos, bajo y rgano.
Salzburgo
1769
141 / 66 b
Te Deum laudamus
Te Deum en do mayor
para 4 voces, 2 violines, bajo y rgano.
Salzburgo
1769
Ap. 215 / 66 c
Sinfona en re mayor
(perdida)
Salzburgo
1769
Ap. 217 / 66 d
Sinfona en si bemol mayor

(perdida)
Salzburgo
1769
Ap. 218 / 66 e

(perdida)
Salzburgo
1769
71
Ah, piu tremar non voglio

Aria en fa mayor para tenor (fragmento)
Salzburgo
1769
72 a
Allegro en sol mayor

Salzburgo
1769
73
Sinfona N. 9 en do mayor
Miln
Miln
febrero
1770
Ap. 2 / 73 A
1770
143 / 73 a
Misero tu non sei

Aria (perdida)
Ergo interest
Recitativo y Aria en sol mayor
para soprano, 2 violines, viola, bajo y organo.
Miln
12 marzo
1770
78 / 73 b
Per piet, bell'idol mio

Aria en mi bemol mayor para soprano.
Pietro Metastasio: "Artaserse" I, 5.
Miln
12 marzo
1770
88 / 73 c
Fra cento affanni e cento

Aria en do mayor para soprano.
73 D
Per quel paterno ampleso

Texto ?
O temerario Arbace! Per quel paterno amplesso
Recitativo y Aria en si bemol mayor para soprano.
Pietro Metastasio: "Artaserse" II, 11.
Miln
12 marzo
1770
79 / 73 d
Miln
12 marzo
1770
77 / 73 e
Lodi
15 marzo
1770
80 / 73 f
Roma
13 abril
1770
123 / 73 g
Roma
abril
1770
94 / 73 h
Roma
abril
1770
Roma
abril
1770
89 / 73 k
Kyrie
Canon en sol mayor para 5 sopranos
Roma
abril
1770
81 / 73 l
Sinfona [N. 44] en re mayor
Roma
abril
1770
97 / 73 m
Roma
abril
1770
95 / 73 n
Roma
25 abril
1770
82 / 73 o
Se ardire e speranza
Aria en fa mayor para soprano.
Pietro Metastasio: "Demofoonte" I, 13.
73 i
Misero me!Misero pargoletto

Pietro Metastasio: "Demofoonte" III, 4-5.
Cuarteto N. 1 en sol mayor Lodi
para cuerdas
Contradanza en si bemol mayor
Minueto en re mayor
Canon en la mayor
para 4 clarinetes
Roam
mayo
1770
83 / 73 p
Se tutti i mali miei

Pietro Metastasio: "Demofoonte" II, 6.
Boloa
julio
1770
84 / 73 q
1770
89 a / 73 r
Boloa
Boloa
agosto
1770
85 / 73 s
Boloa
agosto
1770
122 / 73 t
Cuatro Canones enigmticos

Miserere mei, Deus
Miserere en la menor
para alto, tenor, bajo y rgano continuo.
Minueto en mi bemol mayor
para
Boloa
9 octubre
1770
44 / 73 u
Civavit eos ex adipe frumenti

Antfona en la menor [Introitus]
para 4 voces y rgano.
Boloa
9 octubre
1770
86 / 73 v
Quaerite primum regnum Dei

Antfona en do menor
para 4 voces.
Boloa
octubre
1770
73 w
Fuga en re mayor
Boloa
octubre
1770
73 x
14 estudios en forma de canones
Miln
diciembre
1770
74
Sinfona N. 10 en sol mayor
Miln
26 diciembre
1770
89 / 74 a
Miln
enero
1771
74 b
Non curo l'affetto

Aria en mi mayor para soprano.
Salzburgo
marzo
1771
118 / 74 c
La Betulia liberata
La Betulia liberada
Accin sacra (Oratorio) en dos partes
Libreto: Pietro Metastasio
en fa mayor
Salzburgo
mayo
1771
108 / 74 d
Regina coeli, laetare

Antfona mariana en do mayor
para 4 voces, 2 vioines, viola, 2 oboes (o flautas) 2 cornos, 2 trompas, timpanos,
Salzburgo
mayo
1771
109 / 74 e
Litaniae de Beata Maria Virgine

(Lauretanae)
Letana en si bemol mayor
para 4 voces, 2 violines, 3 trombones, bajo y rgano.
1771
72 / 74 f
Salzburgo
24 junio
Salzburgo
Salzburgo
1771
julio
1771
75
110 / 75 b
90
Salzburgo
116 / 90 a
Salzburgo
Miln
1771
107
Mitridate, re di Ponto
Mitridate, rey del Ponto
Opera seria en tres actos
Libreto de Cigna Santi
en re mayor
Inter natos mulierum

Offertorium pro Festo Sancti Joannis Baptistae
Ofertorio en sol mayor
Kyrie en re menor
Misa brevis en fa mayor
para piano
de: J. C. Bach, Sonata Op. 5 N. 2
para piano
para piano
Miln
17 octubre
1771
111
Miln
1771 111&120 / 111 a
Miln
1771
96 / 111 b
Ascanio in Alba
Festa teatral
Libreto de
en re mayor
(Obertura Ascanio in Alba & N.1)
Sinfona [N. 46] en do mayor
Miln
2 noviembre
1771
112
Miln
22 noviembre
1771
113
Divertimento en mi bemol mayor

para dos clarinetes, dos cornos y arcos solistas
Salzburgo
30 diciembre
1771
114
Sinfona N. 14 en la mayor
Salzburgo
1772
381 / 123 a
Sonata en re mayor
1772
124
Salzburgo
1772
124 A
Sonata de iglesia en re mayor

para rgano (fragmento)
Salzburgo
1772
144 / 124 a

para rgano
Salzburgo
1772
145 / 124 b
Sonata de iglesia N. 5 en fa mayor

para rgano
Salzburgo
21 febrero
125
Litaniae de venerabili altaris sacramento

Letana en do mayor
para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, 2 trompetas, bajo y rgano.
Salzburgo
marzo
1772
Salzburgo
marzo
1772
136 / 125 a
Divertimento en re mayor
para cuerdas y vientos
Salzburgo
marzo
1772
137 / 125 b
Divertimento en si bemol mayor

Salzburgo
marzo
1772
138 / 125 c
Divertimento en fa mayor
149 / 125 d
150 / 125 e
151 / 125 f
Salzburgo
1772
147 / 125 g
Wie unglcklich bin ich nit

Lied en fa mayor para soprano y piano
Salzburgo
1772
148 / 125 h
An die Freundschaft
O heiliger Bund, dir weih'ich meine Lieder
Lobgesang auf die feierliche Johannisloge
Lied en re mayor para soprano y piano
Texto de Ludwig Friedrich Lenz
Salzburgo
mayo
1772
126
Il sogno di Scipione
El sueo de Scipione
Accion Teatral
Libreto
Salzburgo
mayo
1772
127

Antfona mariana para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y rgano.
Salzburgo
mayo
1772
128
Salzburgo
mayo
1772
129
Salzburgo
mayo
1772
130
Salzburgo
junio
1772
Salzburgo
junio
1772
131
para orquesta
Salzburgo
julio
1772
132
Salzburgo
julio
1772
133
Salzburgo
agosto
1772
134
Bolzano
oct-nov
1772
155 / 134 a
Cuarteto N. 2 en re mayor
para cuerdas
Miln
oct-nov
1772
156 / 134 b
Cuarteto N. 3 en sol mayor

para cuerdas
Miln
26 diciembre
1772
164 / 130 a
135
6 Minuetos
Lucio Silla
Lucio Silla
Opera Seria en tres actos
Libreto
Ap. 109 / 135 a
La gelosie del Serraglio

Ballet
Miln
diciembre
1772
Miln
diciembre
1772 161&163 / 141 a
Miln
enero
1773
157
Cuarteto N. 4 en do mayor
para cuerdas
Miln
enero
1773
158
Cuarteto N. 5 en fa mayor
para cuerdas
Miln
17 enero
1773
Miln
marzo
1773
Miln
marzo
1773
160 / 159 a
Cuarteto N. 7 en mi bemol mayor

para cuerdas
Miln
marzo
1773
186 / 159 b

para 2 oboes, 2 cornos ingls, 2 clarinetes, 2 cornos y 2 fagotes
165 / 158 a
159

(Obertura Il sogno di Scipione & Finale)
Exsultate, jubilate
Motete en fa mayor
para soprano, 2 violines, viola, 2 oboes, 2 cornos, bajo y rgano.
Cuarteto N. 6 en si bemol mayor
para cuerdas
Salzburgo
24 marzo
1773
166 / 159 d

Salzburgo
30 marzo
1773
184 / 161 a
Sinfona N. 26 en mi bemol mayor (Obertura)
Salzburgo
10 abril
1773
199 / 161 b
Salzburgo
19 abril
1773
Salzburgo
19 mayo
1773
162
181 / 162 a
115 / 166 d
Misa brevis en do mayor
1773
223 / 166 e
Hosanna
(fragmento)
Salzburgo
1773
Ap. 18 / 166 f
Kyrie en do mayor
(fragmento)
Salzburgo
1773
Ap. 19 / 166 g
Kyrie en re mayor
(fragmento)
Salzburgo
1773
Ap. 23 / 166 h
In te Domine speravi
Salmo en do mayor (fragmento)
Salzburgo
1773
Viena
1773
205 / 167 A
Viena
1773
290 / 167 AB
Marcha en re mayor
Salzburgo
junio
167
Misa en do mayor in honorem S[anctissi]mae Trinitatis

para 2 violines y bajo, con 2 oboes, 2 clarinetes trompetas, 2 trompetas y rgano.
Viena
julio
1773
185 / 167 a
Serenata (Final-Musik) en re mayor "Andretter"

para orquesta
Viena
julio
1773
189 / 167 b
Marcha en re mayor
para orquesta
Viena
agosto
1773
168
para cuerdas
168 a
Minuetto en fa mayor
para un cuarteto de cuerdas
Viena
agosto
1773
169
Cuarteto N. 9 en la mayor
para cuerdas
Viena
agosto
1773
170
para cuerdas
Viena
agosto
1773
171

para cuerdas
Viena
septiembre
1773
172

para cuerdas
Viena
septiembre
1773
173
Cuarteto N. 13 en re menor
para cuerdas
Viena
septiembre
1773
180 / 173 c
Viena
septiembre
1773
173 d
Seis Variaciones en sol mayor Mio caro Adone

para piano
sobre Mio caro Adone (A. Salieri)
2 Coros y 5 entractos
Salzburgo
3 octubre
1773
182 / 173 dA
Salzburgo
5 octubre
1773
183 / 173 dB
Sinfona N. 25 en sol menor
Salzburgo
diciembre
1773
174
Quinteto N. 1 en si bemol mayor

para cuerdas
Salzburgo
diciembre
1773
175
para piano
Salzburgo
diciembre
1773
176
16 Minuetos, KV 176
Salzburgo
6 abril
1774
201 / 186 a
Salzburgo
5 mayo
1774
202 / 186 b
Salzburgo
mayo
1774
358 / 186 c

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 rgano.
Salzburgo
31 mayo
1774
190 / 186 E
Concertone en do mayor
para 2 pianos y orquesta
Salzburgo
4 junio
1774
191 / 186 e
Concierto en si bemol mayor

para fagot
Salzburgo
24 junio
1774
192 / 186 f

para solistas, coro, 2 violines, bajo y rgano.
Salzburgo
julio
1774
193 / 186 g
Dixit et Magnificat
en do mayor para 4 voces, 2 violines, 2 trompetas, timpanos, bajo y rgano.
Salzburgo
8 agosto
1774
194 / 186h
Misa breve en re mayor

Salzburgo
agosto
1774
91 / 186 i
Salzburgo
agosto
1774
179 / 189 a
Doce Variaciones en do mayor

para piano
sobre un minuetto de Johann Christian Fischer
Salzburgo
30 septiembre
1774
203 / 189 b
Serenata en re mayor
para orquesta
Salzburgo
30 septiembre
1774
237 / 189 c
Marcha en re mayor
para orquesta
Salzburgo
1774
279 / 189 d
Sonata en do mayor
para piano
Salzburgo
1774
280 / 189 e
Sonata en fa mayor
para piano
Salzburgo
1774
281 / 189 f

para piano
Salzburgo
1774
282 / 189 g

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

para piano
1774
200 / 189 k
Salzburgo
17 noviembre
Kyrie en re mayor
de Georg Reutter jr.
196
La Finta Giardiniera
La falsa jardinera
Opera Buffa en 3 actos
Libretto
Munich
13 enero
1775
Munich
enero
1775
Ap. 16 / 196 a
Munich
enero
1775
220 / 196 b
Misa brevis en do mayor Spatzenmesse

para solistas, coro, 2 violines, bajo y rgano
Munich
enero
1775
292 / 196 c
Sonata (Duo) en si bemol mayor

para oboe y violoncello
1775
Ap. 230 / 196 d
Munich
Kyrie en sol mayor

(fragmeto)
Concierto en fa mayor
para fagot (perdido)
Munich
febrero
1775
222 / 205 a
Misericordias Domini
Ofertorio en re menor
Munich
febrero
1775
284 / 205 b
Sonata en re mayor Drnitz

para piano
Salzburgo
marzo
1775
206 a
para cello (perdido)
1775
207

para violn
Salzburgo
14 abril
Salzburgo
abril
Salzburgo
23 abril
1775
208
Il Re Pastore
El rey pastor
Serenata para msica
Libreto
Salzburgo
19 mayo
1775
209
Si mostra la sorte
Aria en re mayor para tenor
de la opera "L'Astratto ovvero il giocatore fortunato"
de Nicola Piccinni - texto: G. Petrosellini
Salzburgo
mayo
1775
209 a
Un dente guasto
Aria para bajo (fragmento)
Salzburgo
mayo
1775
210
Con ossequio, con rispetto

1775 96 & 121 / 207 a
152 / 210 a
Salzburgo
14 junio

(Obertura La finta giardinera & Finale)
Ridente la calma
Canzonetta en fa mayor
para soprano
Texto Anonimo
Arreglo de Joseph Misliveel
1775
211
para violn
Salzburgo
julio
1775
212

para rgano
Salzburgo
julio
1775
213
para 2 oboes, 2 cornos y 2 fagotes
Salzburgo
5 agosto
1775
204 / 213 a
para orquesta
Salzburgo
5 agosto
1775
215 / 213 b
Marcha en re mayor
para orquesta
Salzburgo
agosto
Salzburgo
20 agosto
1775
214
Marcha en re mayor
para orquesta
Salzburgo
12 septiembre
1775
216

para violn
1775 08 & 102 / 213 c

(Obertura Il re pastore & Finale)
Salzburgo
26 octubre
1775
217
Voi avete un cor fedele

Aria para soprano para el drama jocoso de Baldassare Galuppi
"Le nozze di Dorina" I, 4 - texto de Carlo Goldoni.
Salzburgo
octubre
1775
218
para violn
1775
219
Concierto N. 5 en la mayor
para violn
Salzburgo
20 diciembre
Salzburgo
enero
1776
238

para piano
Salzburgo
enero
1776
239
Serenata en re mayor Notturna

para orquesta
Salzburgo
enero
1776
240

Salzburgo
enero
1776
252 / 240 a

Salzburgo
enero
1776
188 / 240 b
Divertimento en do mayor
para 2 flautas, 5 trompetas y timbales
Salzburgo
enero
1776
Salzburgo
enero
1776
224 / 241 a

para rgano
Salzburgo
enero
1776
225 / 241b
Sonata de iglesia N. 8 en la mayor

para rgano
Salzburgo
febrero
1776
242
Concierto N. 7 en fa mayor Lodron

para piano
Salzburgo
marzo
1776
243

Letana en mi bemol mayor
para 4 voces, 2 violines, viola, 2 oboes, 2 fagotes, 2 cornos, 3 trombones,
Salzburgo
abril
1776
244

para rgano
Salzburgo
abril
1776
245

para rgano
Salzburgo
abril
1776
246
Concierto N. 8 en do mayor Ltzow

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

para tro, 2 oboes, 2 cornos, 2 trompetas, 3 trombones y timpano.
Salzburgo
junio
1776
288 / 246 c
Allegro en fa mayor
para cuerdas y corno (fragmento)
Salzburgo
13 junio
1776
247
Salzburgo
13 junio
1776
248
Marcha en fa mayor
Salzburgo
junio
1776
260 / 248 a
Venite, populi, venite

Offertorium de Venerabili Sacramento
para 4 voces, 2 violines, bajo y rgano. (trombones ad libitum)
250 / 248 b
Serenata en re mayor Haffner

para orquesta
241
Sonata de iglesia N. 9 en sol mayor

para rgano
Salzburgo
22 julio
1776
Salzburgo
20 julio
1776
Salzburgo
julio
1776
Salzburgo
26 julio
1776
251
Salzburgo
julio
1776
253
Salzburgo
agosto
1776
254
Trio (Divertimento) en si bemol mayor

para piano
Salzburgo
septiembre
1776
255
Salzburgo
septiembre
1776
256
249
101 / 250 a
Marcha en re mayor
para orquesta
4 Contradanzas
Ombra felice!
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.
Clarice cara mia sposa dev'essere
Aria buffa ('Escena') en re mayor para tenor

de la opera buffa "L'Astratto ovvero il giocatore fortunato",
de Nicola Piccinni, texto de G. Petrosellini.
Salzburgo
noviembre
1776
257
Misa en do mayor Credo

para 2 oboes, 2 trompetas, 3 trombones, timpanos y rgano.
Salzburgo
diciembre
1776
258
Misa en do mayor Spaur-Messe
Salzburgo
diciembre
1776
Salzburgo
28 diciembre
1776
259
Misa brevis en mayor Orgelsolo-Messe
Salzburgo
diciembre
1776
261
Adagio en mi mayor
para violn y orquesta
Salzburgo
diciembre
1776
Salzburgo
diciembre
1776
Salzburgo
diciembre
1776
286 / 269 a
Salzburgo
enero
1777
269 b
2 Contradanzas
Salzburgo
enero
1777
270

Salzburgo
enero
1777
271
Concierto N. 9 en mi bemol mayor Jeunehomme

para piano
Salzburgo
febrero
1777
267 / 271 c
4 Contradanzas
Salzburgo
febrero
1777
274 / 271 d

para rgano
Salzburgo
febrero
1777
278 / 271 e
Sonata de iglesia N. 14 en do mayor

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

Salzburgo
febrero
1777
289 / 271 g

1777
287 / 271 H

Salzburgo
13 julio
Salzburgo
1777
Salzburgo
1777
Salzburgo
agosto
1777
Ap. 13 / 258 a
269 / 261 a
263
271a / 271 i
314 / 271 k
272
Kyrie en do mayor
(fragmento)
Rondo en si bemol mayor

para rgano
Notturno en re mayor
para cuatro orquestas
para violn
Concierto en do mayor
para oboe
Ah, lo prevedi! Ah, t'invola agl'occhi miei Deh, non varcar
Escena en do menor para soprano, de la opera "Andromeda" III, 10
de Giovanni Paisiello - libreto de V.A. Cigna-Santi.
Salzburgo
1777
277 / 272 a
Alma Dei creatoris

Offertorium de Beata Maria Virgine
Ofertorio en fa mayor
Salzburgo
1777
275 / 272 b
Misa brevis en si bemol mayor

Salzburgo
9 septiembre
1777
273
Sancta Maria, mater Dei

Graduale ad Festum Beata Maria Virgine.
Gradual en fa mayor
para 4 voces, 2 violines, viola, bajo y rgano.
Munich
octubre
1777
284
Instrumentacin
para un concierto para flauta de J.B. Wendling (perdido)
Munich
octubre
1777
284 a
4 Preludios
para piano (perdidos)
Mannheim
noviembre
1777
309 / 284 b
Sonata en do mayor
para piano
Mannheim
noviembre
1777
311 / 284 c
Sonata en re mayor
para piano
Mannheim
noviembre
1777
307 / 384 d
Oiseaux, si tous les ans

Lied en do mayor para soprano y piano
Texto de Antoine Ferrand
Mannheim
1777
284 e
Instrumentacin
Para un concierto de flauta para Wendling (perdido)
Mannheim
1777
284 f
Rondo para piano

Mannheim
25 diciembre
1777
285
Cuarteto en re mayor
para flauta
Mannheim
enero
1778
285 a
Cuarteto en sol mayor

para flauta
Mannheim
enero
1778
Ap. 171 / 285 b
Cuarteto en do mayor
para flauta
Mannheim
enero
1778
313 / 285 c
Concierto en sol mayor

para flauta y orquesta
Mannheim
enero
1778
314 / 285 d
Concierto en re mayor
para flauta
Mannheim
enero
1778
315 / 285 e
Andante en do mayor
Mannheim
1778
301 / 293 a
Sonata en sol mayor

para violn y piano
Mannheim
1778
302 / 293 b

para violn y piano
Mannheim
1778
303 / 293 c
Sonata en do mayor
para violn y piano
Mannheim
1778
305 / 293 d
Sonata en la mayor
para violn y piano
Mannheim
febrero
1778
293 e
Mannheim
24 febrero
1778
294
Mannheim
27 febrero
1778
295
Mannheim
27 febrero
1778
486a / 295 a
308 / 295 b
Mannheim
marzo
1778
Mannheim
11 marzo
1778
296
19 cadenzas
para un aria de J. C. Bach
Alcandro lo confesso
Non so d'onde viene
Recitativo y Aria en mi bemol mayor para soprano.
Pietro Metastasio: "Olimpiade" III, 6.
Se al labbro mio non credi
Il cor dolente afflitto
Recitativo y Aria en si bemol mayor para tenor
sobre un texto de la opera "Artaserse" (I, 14)
de Johann Adolf Hasse con libreto de Pietro Metastasio.
Autor del texto, posiblemente A. Salvi.
Basta, vincesti; eccoti il foglio
Ah, non lasciarmi, no
Pietro Metastasio: "Didone abbandonata" II, 4.
Dans un bois solitaire
Lied en la bemol mayor para soprano y piano
Texto de A. H. de la Motte
Sonata en do mayor
para violn y piano
1778
322 / 296 a
Pars
1778
Ap. 12 / 296 b
Pars
1778
296 c
Mannheim
marzo
Kyrie en mi bemol mayor

(fragmento)
Kyrie
(fragmento / perdido)
Sanctus & Benedictus en mi bemol mayor
(apuntes)
Pars
abril
1778
Ap. 1 / 297 a
Ocho nmeros para un Miserere de Holzbauer

(perdido)
Pars
5-9 abril
1778
Ap. 9 / 297 B
Sinfona concertante en mi bemol mayor

para flauta, oboe, corno, fagot y orquesta
Pars
abril
1778 p.C14.01 / 297 B

para clarinete, oboe, corno, fagot y orquesta
Pars
abril
1778
Pars
abril
1778
299 / 297 c
298
para flauta, arpa y orquesta
Cuarteto en la mayor
para flauta
Pars
1778
354 / 299 a
Pars
1778
Ap. 103 / 299 d
Esbozo para Ballet

(fragmento)
Pars
1778
Ap. 103 / 299 d
La Chase
Rondo para orquesta (fragmento)
Pars
1778
300
Doce Variaciones en mi bemol mayor Je suis Lindor

para piano
sobre: Je suis Lindor (A.L. Baudron)
Gavota en si bemol mayor

para orquesta
1778
297 / 300 a
Pars
1778
316 / 300 b
Pars
1778
304 / 300 c
Sonata en mi menor
para violn y piano
Pars
1778
310 / 300 d
Sonata en la menor
para piano
Pars
1778
265 / 300 e
Doce Variaciones en do mayor Ah!, vous dirai-je, Maman

para piano
sobre: Ah!, vous dirai-je, Maman
Pars
1778
353 / 300 f
Doce Variaciones en mi bemol mayor La belle franoise

para piano
sobre:La belle franoise
Pars
1778
395 / 300 g
Capricho en do mayor
para piano
Pars
1778
330 / 300 h
Sonata en do mayor
para piano
Pars
1778
331 / 300 i
Sonata en la mayor
para piano
Pars
1778
332 / 300 k
Sonata en fa mayor
para piano
Pars
1778
306 / 300 l
Sonata en re mayor
para violn y piano
Pars
1778
Ap. 8 / 311 A
Obertura
(perdida)
Pars
1778
Ap. 3 / 315 b
Escena
para soprano (perdida)
Pars
18 junio
Sinfona N. 31 en re mayor Pars

Popoli di Tessaglia 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.
Pars
1778
333 / 315 c

para piano
Pars
1778
264 / 315 d
Nueve Variaciones en do mayor Lison dormait

para piano
sobre Lison dormait (N. Dezde)
Pars
septiembre
1778
Ap. 11 / 315 e
Semiramis
(perdida)
Mannheim
noviembre
1778
Ap. 56 / 315 f
para violn, piano y orquesta
Salzburgo
1779
315a / 315 g
Salzburgo
1779
365 / 316 a
317
8 Minuetos
Concierto N. 10 en mi bemol mayor
para piano
Misa en do mayor Krnungsmesse
Salzburgo
23 marzo
1779
Salzburgo
marzo
1779
329 / 317 a

para rgano
Salzburgo
abril
1779
146 / 317 b
Kommet her, ihr frechen Sunder

Aria para soprano
Salzburgo
abril
1779
328 / 317 c

para rgano
Salzburgo
abril
1779
378 / 317 d

para violn y piano
Salzburgo
26 abril
1779
318
Sinfona N. 32 en sol mayor (Obertura)
Salzburgo
9 julio
1779
319
Salzburgo
3 agosto
1779
320
Serenata en re mayor Corno de Posta

para orquesta
Salzburgo
3 agosto
1779
335 / 320 a
Salzburgo
1779
320 B
Salzburgo
1779
334 / 320 b
Divertimento en fa mayor Robinig

Salzburgo
1779
445 / 320 c
Marcha en re mayor
para orquesta
para violn, viola y orquesta
Salzburgo
septiembre
1779
364 / 320 d
Salzburgo
septiembre
1779
Ap. 104 / 320 e
2 Marchas
para orquesta
Divertimento
(fragmento)
Sinfona concertante en la mayor

Salzburgo
1779
321
Vesperae solennes de Dominica

Vispera en do mayor
para
Salzburgo
1779
321 a
Magnificat en do mayor
(fragmento)
Salzburgo
1779
276 / 321 b
Salzburgo
1779
Ap. 15 / 323
Kyrie en do mayor
(fragmento)
Salzburgo
1779
Ap. 20 / 323 a
Gloria en do mayor
(fragmento)
Salzburgo
1779
345 / 336 a
Thamos, Knnig in gypten

Opera
Libreto
Salzburgo
1779
344 / 336 b
Zaide
opera
Libreto
Salzburgo
1779
343 / 336 c
Dos Cantos Alemanes

Lieder en fa mayor para soprano y rgano
Lieder en do mayor para soprano y rgano
Regina coeli
para 4 voces, coro, orquesta y rgano.
a. O Gottes Lamm
b. Als aus gypten
Salzburgo
marzo
1780
336 / 336 d
para rgano
Salzburgo
marzo
1780
337
Misa en do mayor
Salzburgo
agosto
1780
338
Salzburgo
agosto
1780
339
Vesperae solennes de confessore

Vispera en do mayor
para
Verdankt sei es dem Glanz
Texto de Johann Timotheus Hermes
Salzburgo
1780
392 / 340 a
Salzburgo
1780
391 / 340 b
An die Einsamkeit
Lied en si bemol mayor para soprano y piano
Salzburgo
1780
390 / 340 c
Ich wrd' auf meinem Pfad

Lied en re menor para soprano y piano
Salzburgo
1780
Salzburgo
1780
363
Ap. / 365 a
3 Minuetos
Warum, o Liebe
Recitativo y Aria
Munich
29 enero
1781
366
Idomeneo, re di Creta
Opera Seria en 3 actos
Libreto
Munich
29 enero
1781
367
Ballet para Idomeneo
Munich
marzo
1781
349 / 367 a
Die Zufriedenheit
Was frag'ich viel nach Geld und Gut
Lied en sol mayor para soprano y piano
Texto de Johann Martin Miller
Munich
marzo
1781
351 / 367 b
Komm, liebe Zither, komm

Lied en do mayor para soprano y mandolina
Munich
marzo
1781
Munich
marzo
1781
341 / 368 a
Kyrie en do menor
Munich
marzo
1781
370 / 368 b
Cuarteto en fa mayor
para oboe
Munich
8 marzo
1781
Munich
marzo
1781
361 / 370 a
Munich
marzo
1781
370 b
Allegro en mi bemol mayor

para corno (fragmento)
Viena
21 marzo
1781
371
Rondo en mi bemol mayor

para corno y orquesta (fragmento)
Viena
24 marzo
1781
372

para violn y piano
Viena
marzo
1781
372 a

373
Rondo en do mayor
368
369
Ma che vi fece, o stelle Sperai vicino il lido

Recitativo y Aria para soprano. Pietro Metastasio: "Demofoonte" I, 4.
Misera! Dove son? L'aure del Tebro

Ah! Non son io che parlo
Escena para soprano. Pietro Metastasio: "Ezio" III, 12.
Serenata en si bemol mayor Gran Partita
para 2 oboes, 2 clarinetes, 2 cornos di bassetto, 4 cornos, 2 fagotes y contrabajo
Viena
2 abril
1781
Viena
abril
1781
Viena
8 abril
1781
Viena
junio
1781
359 / 374 a
Doce Variaciones en sol mayor La berger Climne

para violn y piano
Viena
junio
1781
360 / 374 b
Seis Variaciones en sol menor Hlas, j'ai perdu mon amant

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

para piano
sobre: Dieu d'Amour! (A.E. Grtry)
Viena
septiembre
1781
376 / 374 d
Sonata en fa mayor
para violn y piano
Viena
septiembre
1781
377 / 374 e
Sonata en fa mayor
para violn y piano
Viena
septiembre
1781
380 / 374 f

para violn y piano
1781
Ap. 46 / 374 g
Viena
Viena
Viena
15 octubre
noviembre
1781
1781
379 / 373 a
374
375
448 / 375 a
Sonata en sol mayor

para violn y piano
A questo seno deh vieni
Or che il cielo a me ti rende
Recitativo y Rondeau para soprano. Giovanni de Gamerra: "Sismano nel Mogol" III, 7.
Andantino en si bemol mayor

para piano y cello (fragmento)
Serenata en mi bemol mayor
para 2 oboes, 2 clarinetes, 2 fagotes y 2 cornos
Sonata en re mayor
para dos pianos
Viena
1782
Ap. 42 / 375 b
Grave y Presto en si bemol mayor

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

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

Viena
1782
401 / 375 e
Fuga en sol menor

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

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

Viena
1782
375 h
Fuga en fa mayor
1782
382
Rondo en re mayor
para piano
Viena
marzo
229 / 382 a
[Sie ist dahin]

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

231 / 382 c
Leck mich im Arch

[Lat uns froh sein]
Canon en si bemol mayor para 6 voces
233 / 382 d
[Nichts labt mich mehr als wein]

Leck mir den Arch fein recht schn sauber
234 / 382 e
[Essen, Trinken, das erhlt]

Canon en sol mayor para 3 voces
347 / 382 f
Wo der perlende Wein im Glase blinkt

Canon en re mayor para 6 voces
348 / 382 g
V'amo di core teneramente

119 / 382 h
Der Liebe Himmlisches Gefhl

Aria para soprano. Autor del texto desconocido.
Viena
abril
1782
Viena
abril
1782
Viena
abril
1782
394 / 383 a
Viena
abril
1782
33 - 40 / 383 b
Viena
abril
1782
Ap. 32 / 383 C
Fantasa en si bemol mayor

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

Viena
abril
1782
Ap. 39 / 383 d

Viena
abril
1782 408 N 1 / 383 e
Marcha en do mayor
para
408 N 3 / 383 F
Marcha en do mayor
para
Viena
Viena
mayo
383
1782
409 / 383 f
1782
Ap. 100 / 383 g
Nehmt meinem dank, ihr holden gnner!

Preludio y Fuga en do mayor
para piano
Fuga en fa mayor
Minueto en do mayor
para una Sinfona
Sinfona
(perdida)
440 / 383 h
In te spero, o sposo amato

Aria para soprano. Pietro Metastasio: "Demofoonte" I, 2.
Viena
1782
Viena
1782
383 i
Apuntes
para una Sinfona u obertura
1782
384
Die Entfuhrung aus dem Serail

El rapto del Serrallo
Opera
Libreto:
Viena
16 junio
Viena
agosto
1782
388 / 384 a
Viena
agosto
1782
384B
Andante en mi bemol mayor

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

(fragmento)
Viena
agosto
1782
Ap. 96 / 384 c

(fragmento)
Viena
agosto
1782
Viena
agosto
1782 408 N 2 / 385 a
Viena
agosto
1782
393 / 385 b
Solfeo
para soprano
Viena
septiembre
1782
403 / 385 c
Sonata en do mayor
para piano y violn (fragmento)
Viena
septiembre
1782
404 / 385 d
Andante y Allegreto en do mayor

Viena
septiembre
1782
Ap. 48 / 385 E
Viena
septiembre
1782
402 / 385 e
Andante y Fuga en la mayor

Viena
septiembre
1782
396 / 385 f
Adagio en do menor
Viena
1782
397 / 385 g
Fantasa en re menor
Viena
1782
Ap. 34 / 385 h
385
Serenata en do menor Nacht Musique

Sinfona N. 35 en re mayor Haffner

Marcha en do mayor
para
Sonata en la mayor
Adagio en re menor
1782
399 / 385 i
Suite en do mayor
Viena
1782
154 / 385 k
Fuga en sol menor

Viena
1782
385 n
Fuga en la menor
Viena
1782
385 o
Apuntes
para un concierto para piano
Viena
1782
414 / 385 p
Viena
1782
Viena
octubre
386
Viena
diciembre
1782 12 & 514 / 386 b
Viena
diciembre
1782
407 / 386 c
Viena
diciembre
1782
Ap. 25 / 386 d
Viena
diciembre
1782
387
para piano
Rondo en la mayor
para piano
para corno
Quinteto en mi bemol mayor
para corno
O Calpe
Aria para tenor (fragmento)
para cuerdas (Haydn N. 1)

Viena
diciembre
1782
413 / 387 a
para piano
Viena
diciembre
1782
415 / 387 b
Concierto N. 13 en do mayor
para piano
Viena
diciembre
1782
404 a
Viena
diciembre
1782
443 / 404 b
Viena
diciembre
1782
405
Arreglos de cinco Fugas

de J. S. Bach
Viena
diciembre
1782
405 a
Fuga en do mayor
Seis Preludios y fugas

para violn, viola y violonchelo
Fuga en sol mayor
416
Mia speranza adorata!

Ah non sai qual pena sia
Recitativo y Aria para soprano
Viena
8 enero
1783
Viena
enero
1783
435 / 416 b
Mutich auch durch tausend Drachen

Aria para Tenor
Viena
enero
1783
433 / 416 c
Warnung
Mnner suchen stets zu naschen
Aria en fa mayor para Bajo
Viena
marzo
1783
446 / 416 d
Pantaleon und Colombina

Pantomima (fragmento)
Viena
marzo
1783
398 / 416 e
Seis variaciones Salve tu Domine

para piano en fa mayor
1783
293 / 416 f
Concierto
para oboe (fragmento)
Viena
417
Concierto en mi bemol mayor

para corno
Viena
27 mayo
1783
Viena
mayo
1783
427 / 417 a
Misa en do menor Grosse Messe

Viena
17 junio
1783
421 / 417 b
Viena
junio
1783
Ap. 76 / 417 c
Cuarteto
para cuerdas (fragmento)
Viena
junio
1783
417 d
Cuarteto
Viena
junio
1783
178 / 417 e
Ah, spiegarti, oh Dio

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

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

Aria para Soprano
Viena
21 junio
1783
420
Per piet, non ricercate

Aria para Tenor
Viena
junio
1783
432 / 421 a
Cos dunque tradisci

Aspri rimorsi atroci
Recitativo y Aria para Bajo
Viena
junio
1783
428 / 421 b

Salzburgo
julio
1783
Salzburgo
1783
422
Ap. 14 / 422 a
L'Oca del Cairo

Opera Buffa (fragmento)
Libreto
Kyrie
(fragmento)
Salzburgo
octubre
1783
423
Duo en sol mayor

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

para violn y viola
Salzburgo
1783
430 / 424 a
425
Lo sposo deluso
Libreto
Sinfona N. 36 en do mayor Linz
Linz
4 noviembre
1783
Linz
noviembre
1783
444 / 425 a
Adagio maestoso en sol mayor [ex N. 37]

Introduccin a una sinfona de Michael Haydn
Viena
diciembre
1783
431 / 425 b
Misero! O sogno!
Recitativo y Aria para tenor
Viena
29 diciembre
1783
426
Fuga en do menor
para dos pianos

Ap. 44 / 426a
Allegro en do menor
para dos pianos (fragmento)
Viena
diciembre
1783
Viena
diciembre
1783
436
Ecco quel fiero istante

Notturno en fa mayor para dos sopranos y bajo
Texto de Pietro Metastasio
Viena
diciembre
1783
437
Mi lagner tacendo
Escena y rondo en sol mayor para Soprano
Viena
diciembre
1783
438
Se lontan, ben mio, tu sei

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

Notturno en fa mayor para dos sopranos y bajo
Viena
diciembre
1783
346 / 439 a
Viena
diciembre
1783
Ap. 229 / 439 b
Luci care, care belle

Notturno en fa mayor para dos sopranos y dos bajo
Texto de Pietro Metastasio?
Divertimento N. 1 en si bemol mayor
para 3 cornos de bassetto
Viena
diciembre
1783
441
Liebes Mandel, wo is's Bandel?

Ensamble para Soprano, Tenor y Bajo
Viena
diciembre
1783
441 a
Ja! Gruss dich Gott

Lied (fragmento)
Viena
diciembre
1783
442
Trio en re menor
para piano, violn y cello (fragmento)
Viena
diciembre
1783
447

para corno
448
Sonata en re mayor
para dos pianos
Viena
enero
1784
Viena
enero
1784
461 / 448 a
5 Minuetos
Viena
enero
1784
462 / 448 b
6 Contradanzas
Viena
enero
1784
463 / 448 c
2 Minuetos con contradanzas
Viena
9 febrero
1784
449

para piano
Viena
15 marzo
1784
450

para piano
Viena
22 marzo
1784
451
para piano
Viena
30 marzo
1784
452

para piano, oboe, clarinete, corno y fagot
Viena
marzo
1784
Ap. 54 / 452 a
Larghetto
para piano y vientos (fragmento)
Viena
1784
Ap. 55 / 452 b
Msica de cmara
(fragmento)
Viena
1784
Ap. 65 / 452 c
Movimiento
para un concierto para piano (fragmento)
Viena
12 abril
1784
453

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

Marcha fnebre para piano
Viena
abril
1784
453 b
Cuaderno de ejercicios de Barbara Ployer
Viena
21 abril
1784
454
Sonata en si bemol mayor "Strinasacchi"
Viena
junio
1784
460 / 454 a
Tema y Doce Variaciones en la mayor

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

para piano
sobre: Unser dummer Pbel meint (C.W. Gluck)
Viena
30 septiembre
1784
456

para piano
Viena
14 octubre
1784
457
Sonata en do menor
para piano
1784
458
Cuarteto N. 17 en si bemol mayor La Caza

para cuerdas
Viena
9 noviembre
Viena
1784
Ap. 75 / 458 a
Minuetto
(fragmento)
Viena
1784
Ap. 71 / 458 b
Cuarteto
(fragmento)
Viena
11 diciembre
1784
Viena
diciembre
1784
459
Ap. 59 / 459 b
para piano
Concierto
464
Viena
10 enero
1785
Viena
enero
1785
Viena
14 enero
1785
465
Cuarteto N. 19 en do mayor Disonante

Viena
10 febrero
1785
466
Concierto N. 20 en re menor
para piano
Viena
9 marzo
1785
467
para piano
Viena
26 marzo
1785
468
Gesellenreise
Wenn den langen Weg durchs Leben
Texto: D. Jger
Viena
marzo
1785
Viena
marzo
1785
469
Davide penitente
Cantata
Libreto: Lorenzo Da Ponte ?
Ap. 72 / 464 a
429 / 468 a
Movimiento en la mayor
Die, Seele des Wetalls

Cantata masnica
Texto: L.L. Haschka
Viena
1 abril
1785
470
Andante
para un concierto de violn para Viotti (perdido)
Viena
abril
1785
470 a
Instrumentacin
para un concierto de violn para Viotti
Viena
20 abril
1785
471
Die Maurerfreude
Cantata
Texto: L.L. Haschka
Viena
7 mayo
1785
472
Der Zauberer
Ihr Mdchen, flieht Damten ja!
Lied en --- para soprano y piano
Texto de C. F. Weie
Viena
7 mayo
1785
473
Die Zufriedenheit
Wie sanft, wie ruhig fhl' ich hier
Texto de C. F. Weie
Viena
7 mayo
1785
474
Die betrogene Welt

Der reiche Tor, mit Gold geschmcket
Texto de C. F. Weie
Viena
20 mayo
1785
475
Fantasa en do menor
para piano
1785
475 a
Lied
Viena
Viena
8 junio
Viena
Viena
16 octubre
1785
Ap. 26 / 476
Das Veilchen
Ein Veilchen auf der Wiese stand
Texto de Johann Wolfgang Goethe
1785
Ap. 11 / 477 a
Cantata
1785
478
Cuarteto en sol menor

para piano
479
Ensamble
Viena
5 noviembre
1785
Viena
noviembre
1785
Viena
21 noviembre
1785
Viena
noviembre
1785
Viena
12 diciembre
1785
477 / 479 a
480
434 / 480 a
481
Maurerische Trauermusik
Msica fnebre masnica
Mandina amabile
Ensamble para Tenor y Bajos
Il gran regno delle Amazoni
Ensamble para Tenor y dos Bajos
para piano y violn

Viena
16 diciembre
1785
482

para piano
Viena
diciembre
1785
483
Viena
diciembre
1785
484
Viena
diciembre
1785
411 / 484 a
Viena
diciembre
1785
Ap. 95 / 484 b
Allegro assai en si bemol mayor

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

para 2 clarinetes y 3 cornos de bassetto
Viena
diciembre
1785
410 / 484 d
Viena
diciembre
1785
484 e
Zur Erffnung der Freimaurerloge:

Zerflieet heut', geliebte Brder
Canto masnico
Texto: A.V. Von Schittlersberg
Zum Schlu der freimaurerloge:
Ihr unsre neuen Leiter
Canto masnico
Adagio en fa mayor
para 2 cornos de bassetto y fagot
Allegro en fa mayor
para 2 cornos de bassetto (fragmento)
Viena
10 enero
1786
485
Rondo en re mayor
Viena
3 febrero
1786
486
Der Schauspieldirektor
Opera
Libreto
Viena
2 marzo
1786
488
para piano
Viena
marzo
1786
Ap. 58 / 488 a
Concierto
Viena
marzo
1786
Ap. 63 / 488 b
Concierto
Viena
marzo
1786
Ap. 64 / 488 c
Concierto
Viena
marzo
1786
488 d
Concierto
Viena
13 marzo
1786
489
Spiegarti no poss'io
Ensamble para Soprano y Tenor
Viena
13 marzo
1786
490
Venga la morte
Non temer amato bene
Viena
24 marzo
1786
491
Concierto N. 24 en do menor
para piano
Viena
marzo
1786
Ap. 62 / 491 a
Concierto
Viena
1 mayo
1786
492
Le Nozze di Figaro
Opera 4 actos
Libreto
Viena
3 junio
1786
493
Cuarteto en mi bemol mayor

para piano
Viena
junio
1786
Viena
10 junio
1786
494
Rondo en fa mayor
para piano
Viena
26 junio
1786
495

para corno
Viena
8 julio
1786
496
Trio en sol mayor

para piano
Viena
27 julio
1786
Ap. 53 / 493 a
487 / 496 a
497
Cuarteto
para piano y cuerdas
Doce Duos
para 2 cornos
Sonata en fa mayor
Viena
1 agosto
1786
Viena
agosto
1786
Viena
5 agosto
1786
498

para piano, clarinete y viola
Viena
19 agosto
1786
499
Cuarteto N. 20 en re mayor Hoffmeister

para cuerdas
Viena
12 septiembre
1786
500
[Allegretto y] Doce Variaciones en si bemol mayor

para piano
Viena
noviembre
1786
500a
Sonata en sol mayor

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

Viena
18 noviembre
1786
502
Trio en si bemol mayor

para piano, violn y cello
357 / 497 a
Sonata en sol mayor

Viena
4 diciembre
1786
503
para piano
Viena
6 diciembre
1786
504
Sinfona N. 38 en re mayor Praga
Viena
27 diciembre
1786
505
Ch'io mi scordi di te?

Viena
diciembre
1786
506
Wer unter eines Madchens Hand

Wer unter eines Mdchens Hand
Lied en --- para soprano
Texto de J. A. Blumauer
Viena
diciembre
1786
507
Heiterkeit und leichtes Blut

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

Canon en fa mayor
para 3 voces
Praga
febrero
1787
Viena
febrero
1787
509
232 / 509 a
6 Danzas Alemanas
Lieber Freistdtler, lieber Gaulimauli
Canon en fa mayor
para 4 voces
Viena
11 marzo
1787
511
Rondo en la menor
para piano
Viena
18 marzo
1787
512
Recitativo y Aria en
para bajo
Viena
23 marzo
1787
513
Mentre ti lascio
para bajo
514 a
[Allegro] en si bemol mayor

515
Quinteto N. 2 en do mayor
para cuerdas
Ap. 80
Viena
abril
1787
Viena
19 abril
1787
Viena
24 abril
1787
Viena
16 mayo
1787
Viena
mayo
1787
406 / 516 b
Viena
mayo
1787
Ap. 91 / 516 c
Viena
18 mayo
1787
517
Die Alte
Zu meiner Zeit
Texto en F. von Hagedorn
Viena
20 mayo
1787
518
Die Verschweigung
Sobald Damtas Chlon sieht
Texto de C. F. Weie
Viena
23 mayo
1787
519
Das Lied der Trennung

Die Engel Gottes weinen
Texto de K. E. K. Schmidt
Viena
26 mayo
1787
520
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte

Erzeugt von heier Phantasie
Texto de G. von Baumberg)
Viena
29 mayo
1787
521
Sonata en do mayor
Viena
14 junio
1787
522
Eine musikalischer Spa
Viena
24 junio
1787
523
Abendempfindung
Abend ist's, die
Texto de J. H. Campe
Viena
26 junio
1787
524
An Chlo
Wenn die Lieb' aus deinen blauen
Texto de J. G. Jacobi
Viena
10 agosto
1787
525
Eine kleine Nachmusik

Serenata en sol mayor
Viena
24 agosto
1787
526
Sonata en la mayor
Praga
29 octubre
1787
527
Don Giovanni
Opera en 2 actos
Libreto
228 / 515 b
516
Ach, zu kurz ist unsers Lebens Lauf

Canon en mi bemol mayor
para 4 voces
Quinteto N. 3 en sol menor
para cuerdas
Quinteto N. 4 en do menor
para cuerdas
para un Quinteto con clarinete
Praga
3 noviembre
1787
528
Bella mia fiamma, addio

Resta oh cara
para soprano
Praga
6 noviembre
1787
529
Des kleinen Friedrichs Geburtstag

Es war einmal, ihr Leute
Texto de J. E: F. Schall / J. H. Campe)
Praga
6 noviembre
1787
530
Das Traumbild
Wo bist du, Bild
Texto de L. H. C. Hlty
Viena
11 diciembre
1787
531
Die kleine Spinnerin

Was spinnst du?"
Texto de Anon / D. Jger
Viena
diciembre
1787
532
Grazie agl'inganni tuoi

Ensamble en
para soprano, tenor y bajo
Viena
3 enero
1788
533
Sonata para piano en fa mayor

para piano
Viena
14 enero
1788
534
Das Donnerwetter
Contradanza en re mayor
Viena
23 enero
1788
535
La Bataille
Contradanza en do mayor
Viena
enero
1788
535 a
3 Contradanzas
Viena
27 enero
1788
536
6 Danzas Alemanas
Viena
24 febrero
1788
537
Concierto N. 26 en re mayor Coronacin

para piano
Viena
4 marzo
1788
538
Ah se in ciel, benigne stelle

Aria en
para soprano
Viena
5 marzo
1788
539
Ich mochte wohl der Kaiser sein

Aria en
para tenor
Viena
19 marzo
1788
540
Adagio en si menor
para piano
Viena
24 marzo
1788
540 a
Dalla sua pace

Aria en
para tenor
Viena
28 abril
1788
540 b
Per queste tue manine

Duo en
para soprano y bajo
Viena
30 abril
1788
540 c
In quali eccessi
para soprano
1788
541
Un baccio di mano
Aria en
para bajo
Viena
mayo
Viena
22 junio
1788
542
Trio para piano en mi mayor

para piano
Viena
26 junio
1788
543
Viena
16 junio
1788
544
Marcha en re mayor
(perdida)
Viena
26 junio
1788
545
Sonata para piano en do mayor facil

para piano
Viena
28 junio
1788
546
Adagio y Fuga en do menor

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

para piano y violn
Viena
14 julio
1788
548
Trio en do mayor
Viena
16 julio
1788
549
Piu non si trovano

Notturno en
para 2 sopranos y bajo
Viena
25 julio
1788
550
Sinfona N. 40 en sol menor Grande
Viena
10 agosto
1788
551
Sinfona N. 41 en do mayor Jupiter
Viena
11 agosto
1788
552
553
554
555
556
557
558
559
559 a
560
561
562
562 a
562 b
Ap. 191 / 562 c
Ap. 66 / 562 e
Viena
27 septiembre
1788
563

(Trio para cuerdas)
Viena
27 octubre
1788
564
Trio en sol mayor

Viena
30 octubre
1788
565
2 Contradanzas
1788
566
Acis und Galatea
Viena
noviembre
Viena
6 diciembre
1788
567
6 Danzas Alemanas
Viena
24 diciembre
1788
568
12 Minuetos
Salzburgo
ene-feb
1761
1a
Andante en do mayor
0'19"
para piano
Salzburgo
ene-feb
1761
1b
Allegro en do mayor
0'15"
para piano
Salzburgo
11 diciembre
1761
1c
Allegro en fa mayor
0'33"
para piano
Salzburgo
16 diciembre
1761
1d
Minueto en fa mayor
1'19"
para piano
Salzburgo
diciembre
1761
1/ 1e
Minueto en sol mayor
1'07"
para piano
Salzburgo
diciembre
1761
1f
Salzburgo
enero
1762
Minueto en do mayor
para piano
Minueto en fa mayor
1'03"
para piano
Salzburgo
4 marzo
1762
1'02"
para piano
Salzburgo
11 mayo
1762
Minueto en fa mayor
1'09"
para piano
Salzburgo
5 julio
1762
Minueto en fa mayor
1'03"
para piano
Salzburgo
jun-sep
1763
9a / 5 a
10
Allegro en do mayor
2'12"
para piano
Salzburgo
jun-oct
1763
9b / 5 b
Andante en si bemol mayor

Pars
1763
Sonata en do mayor
Pars
1763
11
1. Allegro
4'29"
12
2. Andante
3'17"
13
3. Menuetto I & II
2'09"
14
4. Allegro molto
2'48"
Sonata en re mayor
Pars
1763
15
1. Allegro molto
3'48"
16
2. Adagio
2'59"
17
3. Menuetto I & II
2'25"

para clave y violn
Pars
enero
1764
18
1. Allegro
3'24"
19
2. Andante grazioso
4'03"
20
3. Menuetto I & II
3'06"
Sonata en sol mayor

para clave y violn
Londres
noviembre
1764
21
1. Allegro spiritoso
5'52"
22
2. Andante
3'48"
23
3. Menuetto I & II
4'44"
10

Londres
noviembre
1764
24
1. Allegro
2'32"
25
2. Andante
3'09"
26
3. Menuetto I & II
2'48"
11
Sonata en sol mayor

27
1. Andante
2'56"
28
2. Allegro
3'55"
3. Menuetto
Londres
noviembre
1764
12
Sonata en la mayor
Londres
noviembre
1764
29
1. Andante
3'14"
30
2. Allegro
2'19"
13
Sonata en fa mayor
Londres
noviembre
1764
31
1. Allegro
2'48"
32
2. Andante
3'15"
33
3. Menuetto I & II
1'38"
14
Sonata en do mayor
34
1. Allegro
2'49"
35
2. Allegro
2'39"
36
3. Menuetto I
3'02"
Menuetto II en carrilln
Londres
noviembre
1764
15

37
1. Andante maestoso
4'34"
38
2. Allegro grazioso
1'25"
Chelsea
abr-jul
El Cuaderno de Londres
1764
para piano
Ap. 109b-1 / 15 a
Ap. 109b-2 / 15 b
15 c
15 d
15 e
15 f
15 g
15 h
15 i
15 k
15 l
Ap. 109b-4 / 15 m
15 n
15 o
Ap. 109b-3 / 15 p
15 q
Ap. 109b-7 / 15 r
15 s
Ap. 109b-5 / 15 t
15 u
15 v
15 w
Ap. 109b-6 / 15 x
15 y
15 z
15 aa
15 bb
15 cc
15 dd
15 ee
Ap. 109b-8 / 15 f
15 gg
15 hh
15 ii
15 kk
Ap. 109b-9 / 15 ll
15 mm
15 nn
15 oo
15 pp
15 qq
15 rr
15 ss
39
[Allegro] en fa mayor
1'01"
40
[Andantino] - [Maestoso] en do mayor
1'48"
[Minuet] en sol mayor
41
[Rondo] - [Finale (Allegro moderato)] en re mayor
1'14"
42
Contradanza para piano en sol mayor
0'30"
43
[Tempo de Minuetto] - [Menuetto] en do mayor
2'35"
[Preludio para rgano?] en sol amyor
44
Contradanza en fa mayor
0'46"
45
[Menuetto] en la mayor
2'21"
45
[Minore] - [Trio] en la menor
46
[Contradanza con minore (Allegro)] en la mayor
1'07"
[Minuetto piano] en fa mayor
[Andante piano] en do mayor
47
[Andante piano] - [Marcia (Andantino)] en re mayor
2'05"
48
[Movimiento para una Sonata] - [Allegro non troppo] en sol menor
2'23"
49
[Andante] en si bemol mayor
3'16"
50
[Andante] - [Finale] en sol menor
2'06"
[Rondeau con Minore] en do mayor
51
[Movimiento para una Sonata] - [Allegro] en fa mayor
3'29"
52
[Siciliana (Andantino)] en re menor
2'04"
53
[Movimiento Final de una Sonata (Allegro)] en fa mayor
3'31"
54
55
[Allemande] en si bemol mayor
[Final de una Sonata] [Apuntes para Sinfona] - Contradanza en fa mayor
0'54"
[Minuetto] en sol mayor
[Giga] Contradanza en do menor
2'23"
[Movimiento Final de una Sonata] en si bemol mayor
56
[Movimiento Final de una Sonata] - [Nocturno (Andantino)] en re mayor
1'30"
57
[Tempo di Menuetto] - Menuetto] en mi bemol mayor
4'40"
58
[Andante] en la bemol mayor
2'20"
[Minuetto] en mi bemol mayor
57
[Minuetto] - [Trio] la bemol mayor
59
[Contradanza en Rondo] - [Cotillon (Allegro)] en si bemol mayor
1'52"
[Rondo] en fa mayor
60
[Andante] - [Marcha (Andantino)] en si bemol mayor
3'18"
61
[Movimiento para Sonata] - [Allegro assai] en mi bemol mayor
1'45"
62
[Movimiento Final para Sonata] - [Presto] en si bemol mayor
0'45"
63
[Andante] - [Adagio] en mi bemol mayor
2'04"
[Movimiento para Sonata] en fa mayor
[Tempo di Menuetto] en fa mayor
64
[Menuetto] en si bemol mayor
2'26"
64
[Menuetto] - [Trio] en mi bemol mayor
[Menuetto] en do mayor
[Fuga para 4 voces] en la menor
Londres
1764
Londres
1765
16
Ap. 220 / 16 a

65
1. Allegro molto
6'06"
66
2. Andante
2'47"
67
3. Presto
2'13"
Sinfona N. 2 en la menor "Odense"
(perdida)
Londres
Londres
Londres
1765
feb-abr
1765
1765
19
68
1. Allegro
4'40"
69
2. Andante
3'19"
70
3. Presto
2'12"
Ap. 223 / 19 a
Ap. 222 / 19 b
Sinfona [N. 4 a] en fa mayor

71
1. Allegro assai
3'47"
72
2. Andante
3'41"
73
3. Presto
2'42"
Sinfona en do mayor
(perdida)
Londres
1765
21 / 19 c
Va, dal furor portata

Aria en do mayor para tenor.
Pietro Metastasio: "Ezio" II, 4.
74
Londres
13 mayo
1765
19 d
MASSIMO:
MASSIMO:
Va, dal furor portata,
Ves, portada per l'ira,
Palesa il tradimento;
revela la traci;
Ma ti sovvenga, ingrata,
per adona-te'n, ingrata,
Il traditor qual'.
de qui s el trador.
Scopri la frode ordita,
Descobreix el complot ordit,
Ma pensa in quel momento,
per pensa en aquell moment,
Ch'io ti donai la vita,
que jo et vaig donar la vida,
Che tu la togli a me.
i que tu me la lleves a mi.
6'34"
Sonata en do mayor
Londres
julio
1765
75
1. [Allegro]
4'40"
76
2. Menuetto
3'51"
77
3. Rondo. Allegretto
3'45"
20
God Is Our Refuge

Motete en sol menor para soprano, contraalto, tenor y bajo.
Salmo 46
78
Londres
1765
Ap. 206 / 21 a
God is our refuge and strength,
Dios es mi refugio y fortaleza
a very present help in trouble.
y es ayuda en los temores
Variaciones en do mayor
1'28"
para piano (perdidas)

La Haya
La Haya
diciembre
enero
1765
1766
22

79
1. Allegro
2'30"
80
2. Andante
3'04"
81
3. Allegro molto
1'18"
23
Conservati fedele
Aria para contralto .
Pietro Metastasio: "Artaserse" I, 1
82
La Haya
enero
1766
24
83
MANDANE
MANDANE
Conservati fedele;
Mantingues-te fidel;
Pensa ch'io resto, e peno,
pensa que jo em quedo i pateixo,
E qualche volta almeno
i almenys una vegada
Ricordati di me.
recorda't de mi.
Ch'io per virt d'amore,
Mitjanant la virtut de l'amor,
Parlando col mio core,
parlant amb el meu cor,
Ragioner con te.
estar en contacte amb tu.
Ocho Variaciones en sol mayor Laat ons juichen, batavieren!
6'18"
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

para piano
sobre: Willhelmus van Nassouwe
6'40"
La Haya
febrero
1766
26

para clave y violn
La Haya
febrero
1766
85
1. Allegro molto
3'21"
86
2. Adagio poco andante
3'34"
87
3. Rondo. Allegro
2'19"
27
Sonata en sol mayor

para clave y violn
La Haya
febrero
1766
88
1. Andante un poco adagio
3'26"
89
2. Allegro
3'49"
28
Sonata en do mayor
para clave y violn
La Haya
febrero
1766
90
1. Allegro maestoso
3'15"
91
2. Allegro grazioso
2'26"
29
Sonata en re mayor
para clave y violn
La Haya
febrero
1766
92
1. Allegro molto
3'31"
93
2. Menuetto
3'30"
30
Sonata en fa mayor
para clave y violn
La Haya
febrero
1766
94
1. Adagio
3'12"
95
2. Rondo. Tempo di menuetto
2'42"
31

para clave y violn
96
1. Allegro
4'07"
97
2. Tempo di menuetto. Moderato
4'08"
La Haya
marzo
1766
32
Galimathias musicum
Quodlibet en re mayor
para dos violines, dos oboes, dos cormos, clave, dos fagot, viola y bajo.
98
1. Molto allegro
5'45"
2. Andante para cuerdas

3. Allegro
4. Pastorella para cuerdas y oboe
5. Allegro
6. Allegretto para cuerdas
7. Allegro
99
8. Molto adagio para cuerdas y oboe
6'20"
CORO
"Eitelkeit! Eitelkeit! Ewig's verderben!
Wenn all's versoffen ist,
gibts nichts zu erben"
9. Allegro
10. Largo para cuerdas
11. Allegro
12. Andante
13. Allegro para clave
14. Menueto
15. Adagio para cuerdas
16. Presto para cuerdas y oboe
100
17. Fuga
3'22"
Pars
1766
32a
El Tercer Cuaderno - Capricci

Pars
12 junio
1766
33
Kyrie en fa mayor
para cuatro voces, dos violines, viola y bajo
101
Lausanne
septiembre
1766
33 a
Kyrie eleison.
Seor ten piedad.
Christe eleison.
Cristo ten piedad.
Kyrie eleison.
Seor ten piedad.
Solo
3'43"

Zurich
octubre
1766
33 B
102
[Movimiento en fa mayor]
0'57"
para piano
33 b
33 c
Solo
Stabat Mater
(perdido)
Ap. 199 / 33 d
Sonata en sol mayor
Ap. 200 / 33 e
Ap. 201 / 33 f
Sonata en do mayor
Ap. 202 / 33 g
Sonata en fa mayor
33 h
Pieza
para corno (perdida)
Salzburgo
21 diciembre
1766
Or che il dover m'astringe

36 / 33 i
Recitativo y Aria en do mayor para tenor.

[Recitativo]
103
Or che il dover m'astringe,
9'22"
In scelte e corte rime

Grato mostrarmi a qual onor sublime,
Di cui ci ricolmaste, o prence eccelso,
Ne' miei pensieri immerso
Ricerco un bon concceto.
Rumino colla mente,
Penso, ripenso, e poi non trovo niente.
Febo e le Muse in mio soccorso imploro;
Compariscono tutte a me dinanzi,
Confuse in volto e colle cetre infrante.
D'un simile scompiglio
Le chiedo la ragion, tacer le miro,
E dopo mille al pi sospir cocenti
Una cos ripose:
Riverendo pastor, t'accheta, e in simil giorno
Non obbligarci a dire il nostro scorno;
Sulle rive della Salza
Ogni nostro potere,
Ogni saper fu crine
Da quella luce onde il suo prence cinto.
[Aria]
Di Sigismondo i merti,
Che i nostri ingegni incerti,
Non sanno qual Riverendo cor.
Se la piet si canta,
La giustizia non cede,
Ch'ogni virt, Riverendo, siede
In trono suo cor.
Salzburgo
marzo
1767
34
Scande coeli limina

Offertorium in Festo Sancti Benedicti
Ofertorio en do mayor para cuatro voces, dos violines, tipanos, bajo y organo
Texto de San Benito.
104
I. Scande coeli limina
3'16"
anima sanctissima,
per lampadum luces,
quos superi duces
itineris obviam dant.
Sed quaeso?
Qui nati?
ui tacti amore,
afflicti dolore,
hic orphani stant.
105
II. Cara o pignona

protegam vos,
coeli ut patria
societ nos.
2'03"
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
Msica funebre en do mayor
Recitativo
122
Wo bin ich? Bittrer Schmerz!
0'55"
(Die Seele)
Aria
123
Felsen, spaltet euren Rachen
6'32"
(Die Seele)
Recitativo
124
Geliebte Seel' , was redest du?
1'01"
(Der Engel)
Aria
125
Betracht dies Herz und frage mich
4'37"
(Der Engel)
Recitativo
126
O Himmel, was ein traurig Licht
1'19"
(Die Seele)
Duetto
127
Jesu, was hab'ich getan?
4'29"
(Die Seele, der Engel)

Recitativo
128
O lobenswerter Sinn!
0'16"
(Die Seele)
Coro
129
Jesu, wahrer Gottessohn
4'39"
Salzburgo
abril
1767
37
para piano
Salzburgo
13 mayo
1767
130
1. Allegro de: H.F. Raupach, Sonata Op. 1 N. 5
5'23"
131
2. Andante
5'53"
132
3. (Allegro) de: L. Honauer, Sonata Op. 2 N. 3
4'49"
38
Apollo et Hyacinthus
Apolo y Jacinta
Intermedio latino
Libreto del Padre Rufinus Widl
en re mayor
Salzburgo
junio
1767
39

para piano
Salzburgo
julio
1767
133
1. Allegro spiritoso de: H.F. Raupach, Sonata Op. 1 N. 1
5'25"
134
2. Andante Staccato de: J. Schobert, Sonata Op. 17 N. 2
5'20"
135
3. Molto allegro de: H.F. Raupach, Sonata Op. 1 N. 1
3'47"
40
para piano
Salzburgo
julio
1767
136
1. Allegro maestoso de: L. Honauer, Sonata Op. 2 N. 1
5'27"
137
2. Andante Staccato de: J. Eckard, Sonata Op. 1 N. 4
4'50"
138
3. Presto de: C. P. E. Bach, La Boehmer
2'31"
41

para piano
139
1. Allegro de: L. Honauer, Sonata Op. 1 N. 1
5'23"
140
2. Andante de: H. F. Raupach, Sonata Op. 1 N. 1
4'15"
141
3. Molto allegro de: L. Honauer, Sonata Op. 1 N. 1
3'50"
41 a
Seis Divertimentos
para orquesta (perdidos)
41 b
Piezas
para vientos
41 c
Marchas
(perdidos)
41 d
Minuetos
(perdidos)
41 e
Fuga
41 f
Fugas
para 4 voces (perdidos)
41 g
Natchmusik de Nannerl (Msica de Noche de Nannerl)

Salzburgo
1767
67 / 41 h
142
Sonata de iglesia N. 1 en mi bemol mayor
2'20"
para rgano
Salzburgo
1767
68 / 41 i
143
4'09"
para rgano
Salzburgo
1767
69 / 41 k
144

para rgano
4'01"
Viena
Olmtz
Viena
septiembre
30 diciembre
finales
1767
1767
1767
76 / 42 a

145
1. Allegro maestoso
3'33"
146
2. Andante
4'20"
147
3. Menuetto
3'27"
148
4. Allegro
3'22"
43
43 a
149
1. Allegro
4'24"
150
2. Andante
3'40"
151
3. Menuetto
2'19"
152
4. Allegro
2'57"
Ach, was men wir erfahren?
Duo en fa mayor para 2 sopranos (fragmento)
Viena
16 enero
1768
45

(Obertura "La finta semplice")
Viena
Viena
1768
1768
153
1. Ouverture (Allegro)
2'47"
154
2. Andante
2'41"
155
3. Menuetto
3'39"
156
4. (Allegro)
2'15"
Ap. 221 / 45 a
Sinfona [N. 7a] en sol mayor Alte Lambacher

157
1. Allegro maestoso
2'37"
158
2. Andante
3'55"
159
3. Presto
1'50"
Ap. 214 / 45 b
Sinfona [N. 55] en si bemol mayor

160
1. Allegro
2'09"
161
2. Andante
3'32"
162
3. Menuet
2'47"
163
4. Allegro
2'45"
Viena
abr-jul
1768
51 / 46 a
La Finta Semplice
La falsa ingenua
Opera
Libreto
en re mayor
Viena
sep-oct
1768
50 / 46 b
Bastien und Bastiene

Bastian y Bastiana
Opera
Libreto
sol mayor
Viena
1768
52 / 46 c
Daphne, deine Rosenwangen
##
Viena
1 septiembre
1768
46 d
Lied en la mayor para soprano y clave
Sonata en do mayor
Viena
septiembre
1768
164
1. Allegro
2'01"
165
2. Menuetto I & II
2'10"
46 e
Sonata en fa mayor
Viena
7 diciembre
1768
166
1. Allegro
1'22"
167
2. Menuetto I & II
2'27"
47
Veni, Sacte Spiritus

para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, trompa, timpanos, bajo y organo.
168
Veni, Sancte Spiritus,
3'59"
reple tuorum corda fidelium:

et tui amoris
in eis ignem accende:
qui per diversitatem
linguarum cunctarum,
gentes in unitate
fidei congregasti.
Alleluja.
Viena
7 diciembre
1768
139 / 47 a
Misa [solemnis] en do menor Waisenhaus-Messe

para 4 solistas, coro, 2 violines, 2 violas, bajo, 2 oboes, 3 trombones,
4 trompetas, timpanos y organo.
Viena
1768
47 b
169
Kyrie
170
Gloria
11'49"
171
Credo
12'44"
172
Santus
1'29"
173
Benedictus
2'22"
174
Agnus Dei
5'00"
Ofertorio
7'42"
(perdido)
Viena
1768
47 c
Concierto
para trompeta (perdido)

Viena
oct-nov
1768
49 / 47 d
Misa en sol mayor

para 4 coro, 2 violines, viola, bajo, organo.
175
Kyrie
2'00"
176
Gloria
4'04"
177
Credo
9'00"
178
Santus
1'37"
179
Benedictus
1'45"
180
Agnus Dei
3'44"
Viena
noviembre
1768
53 / 47 e
An die Freude
Freude, Knigin der Weisen
Lied en fa mayor para soprano y clave.
sobre un texto de Johann Peter Uz
181
Freude, Knigin der Weisen,

Die, mit Blumen um ihr Haupt,
2'30"
Dich auf gld'ner Leier preisen,

Ruhig, wenn die torheit schnaubt:
Hre von deinem Throne,
Kind der Weisheit, deren Hand
Immer selbst in deine Krone
Ihre schnsten Reiz band.
Gttin, o so sei, ich flehe,

Deinem Dichter immer hold.
Da er schmmernd' Glck verschmhe,
Reich in sich, auch ohne Gold;
Da sein Leben zwar verbogen,
Aber ohne Sklaverei,
Ohne Flecken, ohne Sorgen
Weisen Freuden teuer sei!
Viena
Salzburgo
13 diciembre
14 enero
1768
1769
48
182
1. (Allegro)
3'05"
183
2. Andante
3'34"
184
3. Menuetto
3'48"
185
4. (Allegro)
2'37"
65 / 61 a
Misa brevis en re menor

186
Kyrie
2'08"
197
Gloria
2'40"
188
Credo
5'23"
189
Santus
1'03"
190
Benedictus
1'19"
191
Agnus Dei
2'13"
Salzburgo
Salzburgo
26 enero
febrero
1769
1769
65a / 61 b
7 Minuetos
192
1. Sol mayor
1'57"
193
2. Re mayor
2'07"
194
3. La mayor
1'58"
195
4. Fa mayor
2'13"
196
5. Do mayor
1'39"
197
6. Sol mayor
2'03"
198
7. Re mayor
1'41"
A Berenice e Vologeso sposi Sol nascente in questo giorno
70 / 61 c
Recitativo y Aria (Licencia) en sol mayor para soprano

de la opera "Vologeso" de G. Sarti ?
[Recitativo]
199
A Berenice e Vologeso sposi
10'31"
Apparve al fin aurora

Di contentezza e pace.
Luce assai pi festiva e pi vivace,
Ch'oggi nacque di nuovo,
A me si rappresenta
In Sigismondo prence
E mi rammenta il mio dover
Di raccontar le lodi
Di questo d solenne.
Io lo previdi,
E volendo formar il mio concetto,
Deboli troppo i sensi miei trovai.
Confuso dunque e in fretta io mi portai
Del pegaso su le ale
Sin alla etrusca sponda
Da quella musa celebre e faconda,
A domandar soccorso.
Ma non bastante anche essa
A soddisfar le mie richieste ansiose,
In questi pochi accenti a me rispose:
Virt, che di lodare in ciel istesso
La cura ed il potere a s ritiene,
Solo ammirar tacendo a noi conviene.
[Aria]
Sol nascente in questo giorno,
Deh! perdona al tenue ingegno,
E ammirarti io vo' tacendo,
E ammirando io tacer.
Del tuo lustro chiaro e degno,

Di virt s rare adorno,
La grandezza io non comprendo,
E a dover spiegar non so
Salzburgo
Salzburgo
Salzburgo
Salzburgo
Salzburgo
1769
1769
1769
1769
1769
103 / 61 d
19 Minuetos
200
1. Do mayor
2'23"
201
2. Sol mayor
1'43"
202
3. Re mayor
2'10"
203
4. Fa mayor
1'49"
204
5. Do mayor
1'39"
205
6. Sol mayor
1'51"
206
7. Re mayor
2'28"
207
8. Fa mayor
1'55"
208
9. Re mayor
2'26"
209
10. Sol mayor
1'56"
210
11. Fa mayor
2'04"
211
12. Do mayor
1'41"
212
13. Do mayor
1'52"
213
14. Mi bemol mayor
2'07"
214
15. Si bemol mayor
1'46"
215
16. Sol mayor
0'41"
216
17. Mi mayor
1'54"
217
18. La mayor
0'43"
218
19. Do mayor
2'05"
61e / 61 e
6 Minuetos
219
1. Do mayor
2'02"
220
2. Fa mayor
1'44"
221
3. Do mayor
2'08"
222
4. La mayor
0'51"
223
5. Sol mayor
1'57"
224
6. Sol mayor
1'48"
105 / 61 f
6 Minuetos
225
1. Re mayor
(de Michael Haydn)
1'50"
226
2. Re mayor
(de Michael Haydn)
1'44"
227
3. Re mayor
1'50"
228
4. Sol mayor
1'38"
229
5. Sol mayor
1'37"
230
6. Sol mayor
1'29"
61 g
2 Minuettos
231
N. 1 en la mayor
0'56"
232
N. 2 en do mayor
2'17"
61 h
6 Minuetos
233
1. Do mayor
2'06"
234
2. Sol mayor
1'04"
235
3. Re mayor
2'02"
236
4. Si bemol mayor
0'51"
237
5. Sol mayor
2'12"
238
6. Do mayor
2'09"
Salzburgo
agosto
1769
62
239
Marcha en re mayor
3'35"
para orquesta
Salzburgo
agosto
1769
100 / 62 a
Casacin en re mayor
para orquesta
Salzburgo
6-8
agosto
1769
240
1. Allegro
4'25"
241
2. Andante
6'01"
242
3. Menuetto
2'29"
243
4. Allegro
3'05"
244
5. Menuetto
2'32"
245
6. Andante
3'43"
246
7. Menuetto
2'04"
247
8. Allegro
3'02"
63
Casacin (Final-Musik) en sol mayor

para orquesta
Salzburgo
6-8
agosto
1769
248
1. Marcia
3'05"
249
2. Allegro
3'50"
250
3. Andante
3'10"
251
4. Menuetto
3'14"
252
5. Adagio
5'59"
253
6. Menuetto
3'09"
254
7. Finale (Allegro assai)
2'04"
99 / 63 a
Casacin en si bemol mayor

para orquesta
Salzburgo
1769
64
255
1. Marche
2'42"
256
2. Allegro molto
1'50"
257
3. Andante
3'05"
258
4. Menuetto
2'25"
259
5. Andante
2'46"
260
6. Menuetto
2'05"
261
7. Allegro - Andante -Allegro - Andante - Marcha
3'48"
Minuet en re mayor
para orquesta
Salzburgo
15 octubre
1769
66
Misa en do mayor Dominikus

Salzburgo
1769
262
Kyrie
263
Gloria
15'18"
264
Credo
14'14"
265
Santus
266
Benedictus
2'11"
267
Agnus Dei
3'57"
117 / 66 a
3'05"
2'04"
Benedictus sit Deus Pater

Offertorium [pro omni tempore]
para 4 voces, 2 violines, 2 flautas, 2 cornos, 2 trompetas, timpanos, bajo y rgano.
268
1. Benedictus sit Deus Pater,
1'53"
unigenitusque Dei Filius,

Sanctus quoque Spiritus,
quia fecit nobiscum
misericordiam suam.
Benedictus sit Deus Pater,
benedictus sit Deus Filius,
benedictus sit sanctus Spiritus.
269
2. Introibo domum tuam,
4'32"
Domine,
in holocaustis;
reddam tibi vota mea,
quae distinxerunt labia mea,
270
3. Jubilate Deo omnis terra.
2'12"
Psalmum dicite nomini ejus,

date gloriam laudi ejus.
Salzburgo
1769
141 / 66 b
Te Deum laudamus
Te Deum en do mayor
271
1. Te Deum laudamus; te dominum confitemur.

Te aeternum Patrem omnis terra veneratur.
Tibi omnes angeli, tibi coeli et universae potestates;
Tibi Cherubim et Serephim incessabili voce proclamant:
Sanctus, sanctus, sanctus Dominus Deus Sabaoth.
Pleni sunt coeli et terra majestatis gloriae tuae.
Te gloriosus Apostulorum chrorus:
Te prophetarum laudabilis numerus:
Te martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia:
Patre immensae majestatis:
Venerandum tuum verum, et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Tu Rex gloriae, Christe.
Tu patris sempiternus et filius.
Tu ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu devicto mortis aculeo,
aperuisti credentibus regna coelorum.
Tu ad dexteram Dei sedes, in gloria Patris.
Judex crederis esse venturus.
Te ergo quaesumus, tuis famulis subveni, q
uos pretioso sanguine redemisti.
2. Aeterna fac cum Sanctis tuis gloria numerari.

Salvum fac populum tuum, Domine,
et benedic hereditati tuae.
Et rege eos, et extolle illos usque in aeternum.
Per singulos dies benedicimus te.
Et laudamus nomen tuum in saeculum,
et in saeculum saeculi.
Dignare, Domine, die isto sine peccato nos custodire.
Miserere nostri, Domine, miserere nostri.
Fiat misericordia tua, Domino super nos,
quemadmodum speravimus in te.
3. In te, Domine, speravi;

non confundar in aeternum.
6'47"
Salzburgo
1769
Ap. 215 / 66 c
Sinfona en re mayor
(perdida)
Salzburgo
1769
Ap. 217 / 66 d
(perdida)
Salzburgo
1769
Ap. 218 / 66 e
(perdida)
Salzburgo
1769
71
Ah, piu tremar non voglio
Aria en fa mayor para tenor (fragmento)

Salzburgo
1769
72 a

Salzburgo
1769
73
272
1. Allegro
273
2. Andante
3'11"
274
3. Menuetto
2'57"
275
4. Allegro molto
2'18"
3'22"
Miln
1770
Ap. 2 / 73 A
Misero tu non sei
Aria (perdida)
Miln
febrero
1770
143 / 73 a
Ergo interest
Recitativo y Aria en sol mayor
para soprano, 2 violines, viola, bajo y organo.
[Recitativo]
276
1. Ergo interest, an quis male vivat, an bene?
6'25"
Fidelis anima, cogita vias tuas,

facileque quis tibi sit videbis exitum.
Est aliquid, iram promeruisse, an gratiam!
[Aria]
2. Quaere superna,
fuge terrena,
non cura reliqua,
nil enim sunt.
Hoc dabit gaudia,
mortis solatia
in coelis praemia,
eterna quae sunt.
Miln
12 marzo
1770
78 / 73 b
Per piet, bell'idol mio

ARTASERSE
277
Per piet, bell'idol mio,
4'12"
Non mi dir ch'io sono ingrato:

Infelice e sventurato
Abbastanza il ciel mi fa.
Miln
12 marzo
1770
88 / 73 c
Fra cento afanni e cento
9'57"
Aria en do mayor para soprano.

ARBACE
278
Fra cento affanni e cento

Palpito, tremo e sento
Che freddo dalle vene
Fugge il mio sangue al cor.
Prevedo del mio bene

Il barbaro martiro,
E la virt sospiro,
Che perde il genitor.
73 D
Per quel paterno ampleso

Texto ?
Miln
12 marzo
1770
O temerario Arbace! Per quel paterno amplesso
79 / 73 d

Pietro Metastasio: "Artaserse" II, 11.
[Recitativo]
ARBACE
279
Oh, temerario Arbace!
5'53"
Dove trascorri? Ah, genitor, perdona:

Eccomi a' piedi tuoi; scusa i trasporti
D'un insano dolor. Tutto il mio sangue
Si versi pur, non me ne lagno; e invece
Di chiamarla tiranna,
Io bacio quella man che mi condana.
ARTABANO
Basta, sorgi; purtroppo
Hai ragion di lagnarti:
Ma sappi... (Oh Dio!) Prendi un abbracio.
[Aria]
ARBACE
Per quel paterno amplesso,
Per questo estremo addio,
Conservami te stesso,
Placami l'idol mio,
Difendimi il mio re.
Miln
12 marzo
1770
Misero me!
Misero pargoletto
77 / 73 e

Pietro Metastasio: "Demofoonte" III, 4-5.
[Recitativo]
TIMANTE
280
Misero me! Qual gelido torrente

Mi ruina sul cor! Qual nero aspetto
Prende la sorte mia! Tante sventure
Comprendo alfin. Perseguitava il cielo
Un vietato imeneo. Le chiome in fronte
Mi sento sollevar. Suocero e padre
M' dunque il re? Figlio e nipote Olinto?
Dircea moglie e germana? Ah, qual funesta
Confusion d'opposti nomi questa!
Fuggi, fuggi, Timante! Agli occhi altrui
Non esporti mai pi. Ciascuno a dito
Ti mostrer. Del genitor cadente
Tu sarai la vergogna: e quanto, oh Dio,
Si parler di te! Tracia infelice,
Ecco l'Edipo tuo. D'Argo e di Tebe
Le Furie in me tu rinnovar vedrai.
Ah, non t'avessi mai
Conosciuta, Dircea! Moti del sangue
Eran quei ch'io credevo
Violenze d'amor. Che infausto giorno
Fu quel che pria ti vidi! I nostri affetti
Che orribile memorie
Saran per noi! Che mostruoso oggetto
A me stesso io divengo! Odio la luce;
Ogni aura mi spaventa; al pi tremante
Parmi che manchi il suol; strider mi sento
Cento folgori intorno; e leggo, oh Dio!
Scolpito in ogni sasso il fallo mio.
[Aria]
Misero pargoleto,
Il tuo destin non sai.
Ah! non gli dite mai
Qual era il genitor.
Come in un punto, oh Dio,

Tutto cambi d'aspetto!
Voi foste il mio diletto,
Voi siete il mio terror,
13'37"
Lodi
15 marzo
1770
80 / 73 f
Cuarteto N. 1 en sol mayor Lodi

para cuerdas
281
1. Adagio
282
2. Allegro
3'11"
283
3. Minuetto
3'05"
284
4. Rondeau
2'13"
6'42"
Roma
13 abril
1770
123 / 73 g
285
Contradanza en si bemol mayor
1'15"
Roma
abril
1770
94 / 73 h
286
Minueto en re mayor
1'18"
Roma
abril
1770
287
Canon en la mayor
1'36"
73 i
para 4 clarinetes
Roma
abril
1770
89 / 73 k
288
Kyrie
4'12"
Canon en sol mayor para 5 sopranos

Roma
Roma
Roma
Roma
abril
abril
abril
25 abril
1770
1770
1770
1770
81 / 73 l

289
1. Allegro
3'01"
290
2. Andante
5'00"
291
3. Allego molto
2'27"
97 / 73 m

292
1. Allegro
2'37"
293
2. Andante
2'33"
294
3. Menuetto
2'32"
295
4. Presto
1'35"
95 / 73 n

296
1. Allegro
2'20"
297
2. Andante
3'16"
298
3. Menuetto
2'55"
299
4. Allegro
2'41"
82 / 73 o
Aria en fa mayor para soprano.
TIMANTE
300
6'26"
Dal ciel non mi viene,

Mi manca constanza
Per tanto dolor.
La dolce compagna
Vedersi rapire,
Udir che si lagna,
Condotta a morire,
Son smanie, son pene
Che opprimono un cor.
Roam
mayo
1770
83 / 73 p

Pietro Metastasio: "Demofoonte" II, 6.
DIRCEA
301

Io potessi dir,
Divider ti farei
Per tenerezza il cor.
In questo amaro passo

Si giusto il mio martir,
Che, se tu fossi un sasso,
Ne piangeresti ancor.
7'07"
Boloa
julio
Boloa
1770
1770
84 / 73 q
302
1. Allegro
3'48"
303
2. Andante
3'06"
304
3. Allegro
3'48"
89 a / 73 r
Cuatro Canones enigmticos

I. Canon. Sit trium series una.
Canon a 3 voces. Coro masculino
305
Incipe Menalios mecum mea tibia versus.
2'07"
II. Canon. Ter ternis canite vocibus.

Canon a 9 voces. Coro femenino.
306
Cantate Domino omnis terra.
1'41"
III. Canon ad duodeciman. Clama ne cesses. Tertia pars si placet.

Canon a 2 voces. Coro mixto.
307
Allen Lande beten dich an und lobsingen dir,
1'33"
lobsingen deinem Namen.
IV. Ter voce ciemus.

Canon a 6 voces. Coro mixto.
308
Thebana bella cantus Troiana cantat alter.
0'42"
Voce ter insonuit.
Troiana cantat aller Thebana bella cantus.
Boloa
agosto
1770
85 / 73 s
Miserere mei, Deus

Miserere en la menor
para alto, tenor, bajo y rgano continuo.
309
Miserere mei, Deus,
9'39"
secundum magnam misericordiam tuam

Amplius, lava me ab iniquitate mea:
et a peccato meo munda me.
Tibi solli peccavi, et malum coram te feci:
ut justificeris in sermonibus tuis,
et vincas cum judicaris.
Ecce enim veritatem dilexisti:
incerta et occulta sapientiae tuae manifestati mihi.
Auditui meo dabis gaudium et laetitiam:
et exsultabunt ossa humiliata.
Cor mundum crea in mea, Deus:
et spiritum rectum innova, in visceribus meis.
Redde mihi laetitiam salutaris tui:
principali confirma me.
Libera me de sanguinibus, Deus, salutis meae:
et exsultabit lingua mea justitiam tuam.
Boloa
agosto
1770
122 / 73 t
310
Minueto en mi bemol mayor
1'18"
para
Boloa
9 octubre
1770
44 / 73 u
Civavit eos ex adipe frumenti

Antfona en la menor [Introitus]
311
Civavit eos ex adipe frumenti, alleluja.
3'43"
Et de petra melle saturavit eos, alleluja.
Boloa
9 octubre
1770
86 / 73 v

Antfona en do menor
para 4 voces.
312
1'55"
et justitiam ejus:
Et haec omnia
adjicientur vobis.
Alleluja.
Boloa
octubre
1770
73 w
Fuga en re mayor

Boloa
octubre
1770
73 x
14 estudios en forma de canones
Miln
Miln
diciembre
26 diciembre
1770
1770
74

313
1. (Allegro)
3'03"
314
2. (Andante)
3'28"
315
3. (Allegro)
2'02"
89 / 74 a
Mitridate, re di Ponto
Mitridate, rey del Ponto
Opera seria en tres actos
Libreto de Cigna Santi
Miln
enero
1771
74 b
Non curo l'afetto

Aria en mi mayor para soprano.
CREUSA
316
Non curo l'affetto

D'un timido amante,
Che serba nel petto
S poco valor.
Che trema, se deve

Far uso del brando,
Che audace sol quando
Si parla d'amor.
4'44"
Salzburgo
marzo
1771
118 / 74 c
La Betulia liberata
La Betulia liberada
Accin sacra (Oratorio) en dos partes
Libreto: Pietro Metastasio
Salzburgo
mayo
1771
108 / 74 d

para 4 voces, 2 vioines, viola, 2 oboes (o flautas) 2 cornos, 2 trompas, timpanos, bajo y rgano.
349
I. Regina coeli, laetare, alleluja.
3'02"
350
II. Quia quem meruisti portare, alleluja.
4'44"
resurrexit sicut dixit, alleluja.
Salzburgo
mayo
1771
351
III. Ora pro nobis Deum
5'41"
352
IV. alleluja
2'52"
109 / 74 e
Litaniae de Beata Maria Virgine

(Lauretanae)
Letana en si bemol mayor
para 4 voces, 2 violines, 3 trombones, bajo y rgano.
353
I. Kyrie
1'51"
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Christe, audi nos.
Christe, exaudi nos.
Pater de coeli, Deus,
miserere nobis.
Fili, redemptor mundi, Deus,
miserere nobis.
Spiritu sancte, Deus,
miserere nobis.
Sancta Trinitas, unus Deus,
miserere nobis.
354
II. Sancta Maria
4'55"
Sancta Maria,
ora pro nobis.
Sancta Dei genetrix,
sancta Virgo virginum,
ora pro nobis.
Mater Christi,
mater divinae gratiae,
mater purissima,
mater castissima,
ora pro nobis.
Mater inviolata,
mater intemerata,
ora pro nobis.
Mater amabilis,
mater admirabilis,
ora pro nobis.
Virgo prudentissima,
virgo veneranda,
virgo praedicanda,
ora pro nobis.
Virgo potens,
virgo clemens,
virgo fidelis,
ora pro nobis.
Speculum justitiae
sedes sapientiae,
ora pro nobis.
Causa nostrae laetitiae
ora pro nobis.
Vas spirituale,
vas honorabile,
vas insigne devotionis,
ora pro nobis.
Rosa mystica,
turris Davidica,
ora pro nobis.
Turris eburnea,
domus aurea,
foederis arca,
stella matutina,
ora pro nobis.
355
III. Salus informorum

Salus informorum,
refugium peccatorum,
consolatrix afflictorum,
ora pro nobis.
Auxilium christianorum,
ora pro nobis.
1'05"
356
IV. Regina angelorum
1'45"
Regina angelorum,
Regina patriarcharum,
regina prophetarum,
ora pro nobis.
Regina apostolorum,
ora pro nobis.
Regina martyrum,
ora pro nobis.
Regina confessorum,
regina virginum,
ora pro nobis.
Regina sanctorum omnium,
ora pro nobis.
357
V. Agnus Dei
2'53"
Agnus Dei,
qui tollis peccata mundi,
parce nobis, Domine.
Agnus Dei,
exaudi nos, Domine.
Agnus Dei,
miserere nobis.
Salzburgo
24 junio
1771
72 / 74 f
358
Inter natos mulierum

Offertorium pro Festo Sancti Joannis Baptistae
Ofertorio en sol mayor
Intenatos mulierum
nos surrexit major
Joanne Baptista,
qui viam Domino praeparavit
in eremo.
Ecce agnus Dei

Alleluja.
7'24"
Salzburgo
Salzburgo
Salzburgo
1771
julio
1771
75

359
1. Allegro
3'13"
360
2. Menuetto
2'54"
361
3. Andantino
3'53"
362
4. Allegro
2'15"
110 / 75 b
90

363
1. Allegro
4'37"
364
2. Andante
3'24"
365
3. Menuetto
4'06"
366
4. Allegro
2'13"
Kyrie en re menor
3'09"

Kyrie eleison.
Christe eleison.
Kyrie eleison.
Salzburgo
116 / 90 a
Miln
1771
107
para piano
367
1. Allegro
5'21"
368
2. Andante
4'31"
369
3. Tempo di Minuetto
3'47"
para piano
370
1. Allegro
3'58"
371
2. Allegretto
4'28"
para piano
372
1. Allegro
5'04"
373
2. Allegretto (Rondeaux)
4'30"
Miln
17 octubre
1771
111
Ascanio in Alba
Festa teatral
Libreto de
Miln
1771
111&120 / 111 a

(Obertura Ascanio in Alba & N.1)
Miln
Miln
Miln
1771
2 noviembre
22 noviembre
1771
1771
374
1. Allegro
375
2. Andantino grazioso
376
3. Menuetto
96 / 111 b
6'38"

377
1. Allegro
2'04"
378
2. Andante
4'18"
379
3. Menuetto
3'25"
380
4. Allegro molto
2'09"
112
381
1. Allegro
3'56"
382
2. Andante
4'24"
383
3. Menuetto
2'29"
384
4. Molto allegro
2'49"
113

para dos clarinetes, dos cornos y arcos solistas
Salzburgo
30 diciembre
Salzburgo
1771
1772
385
1. Allegro
4'00"
386
2. Andante
3'48"
387
3. Menuetto - Trio
1'50"
388
4. Allegro
3'19"
114
389
1. Allegro moderato
5'22"
390
2. Andante
4'08"
391
3. Menuetto
392
4. Allegro molto
3'22"
393
3. Menuetto
1'04"
381 / 123 a
3'17"
(alternativo)*
Sonata en re mayor
Salzburgo
21 febrero
1772
394
1. Allegro
3'30"
395
2. Andante
6'13"
396
3. Allegro molto
3'12"
124

397
1. Allegro
3'14"
398
2. Andante
3'34"
399
3. Menuetto
3'04"
400
4. Allegro
2'35"
Salzburgo
1772
124 A
Sonata de iglesia en re mayor
para rgano (fragmento)

Salzburgo
1772
144 / 124 a
401
4'49"
para rgano
Salzburgo
1772
145 / 124 b
402
3'09"
para rgano
Salzburgo
marzo
1772
125

Letana en do mayor
para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, 2 trompetas, bajo y rgano.
403
I. Kyrie
3'52"
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Christe, audi nos.
miserere nobis.
miserere nobis.
miserere nobis.
miserere nobis.
404
II. Panis vivus
5'52"
Panis vivus,
qui de coelo descendisti,
miserere nobis.
Deus absconditus et Salvator,
miserere nobis.
Frumentum electorum,
miserere nobis.
Vinum germinans virgines,
miserere nobis.
Panis pinguis et deliciae regum,
miserere nobis.
Juge sacrificium,
oblatio munda,
miserere nobis.
Agnus absque macula,
miserere nobis.
Mensa purissima,
angelorum esca,
miserere nobis.
Manna absconditum,
miserere nobis.
Memoria mirabililium Dei,
panis supersubstantialis,
miserere nobis.
405
III. Verbum caro factum

Verbum caro factum,
habitans in nobis,
miserere nobis.
1'13"
406
IV. Hostia sancta
4'06"
Hostia sancta,
calix benedictionis.
Mysterium fidei,
miserere nobis.
Praecelsum et venerabile sacramentum,
miserere nobis.
Sacrificium omnium sanctissimun,
miserere nobis.
Vere propitiatorium
pro vivis et defunctis,
miserere nobis.
Coeleste antidotum
quo a peccatis praeservamur,
miserere nobis.
Stupendum supra omnia miracula,
miserere nobis.
Sacratissima Dominicae
passionis commemoratio,
donum transcendens
omnem plenitudinem,
memoriale praecipuum
divini amoris,
divinae affluentia largitatis,
miserere nobis.
Sacrosanctum et augustissimum mysterium,
pharmacum immortalitatis,
miserere nobis.
V. Tremendum ac vivificum
Tremendum ac vivificum sacramentum,
miserere nobis.
407
VI. Panis omnipotentia
5'53"
Panis omnipotentia
verbi caro factus,
incruentum sacrificium,
miserere nobis.
Cibus et conviva,
miserere nobis.
Dulcissimum convivium,
cui assistunt angeli ministrantes,
sacramentum pietatis,
vinculum caritatis,
miserere nobis.
Offerens et oblatio,
miserere nobis.
Spiritualis dulcedo
in propria fonte degustata,
refectio animarum sanctarum,
miserere nobis.
408
VII. Viaticum in Domino morientum
2'04"
Viaticum in Domino morientum,

miserere nobis.
409
VIII. Pignus futurae gloriae
5'11"
Pignus futurae gloriae,

miserere nobis.
410
IX. Agnus Dei

Agnus Dei,
Agnus Dei,
exaudi nos, Domine.
Agnus Dei,
miserere nobis.
7'38"
Salzburgo
marzo
1772
136 / 125 a
Salzburgo
marzo
1772
411
1. Allegro
4'13"
412
2. Andante
4'37"
413
3. Presto
2'35"
137 / 125 b

Salzburgo
marzo
1772
414
1. Andante
7'53"
415
2. Allegro di molto
3'26"
416
3. Allegro assai
3'20"
138 / 125 c
417
1. (Allegro)
3'36"
418
2. Andante
5'32"
419
3. Presto
2'24"
149 / 125 d
0'45"
150 / 125 e
1'20"
151 / 125 f
Salzburgo
1772
0'58"
147 / 125 g
Wie unglcklich bin ich nit

420
Wie unglcklich bin ich nit,
1'04"
Wie schmachtend sind meine Tritt',

Wenn ich mich nach dir lenke.
Nur die Seufzer trsten mich,
Alle Schmerzen hufen sich,
Wenn ich auf dich gedenke.
Salzburgo
1772
148 / 125 h
An die Freundschaft
O heiliger Bund, dir weih'ich meine Lieder
Lobgesang auf die feierliche Johannisloge
Lied en re mayor para soprano y piano
Texto de Ludwig Friedrich Lenz
421
O heiliger bund, dir weih'ich meine Lieder

Du hchstes Glck und Edens Wonne gleich!
In deine Kreise zieht mich's immer wieder,
Du machst das Leben schn und wonnereich.
Solang auf diesem Sterne wir hienieden,

Woll'n wir der Freundschft immerdar uns weih'n.
Und wenn wir eingeh'n Elysiums frieden,
Dann woll'n wir dorten unsern Bund erneu'n.
1'42"
Salzburgo
mayo
1772
126
Il sogno di Scipione
El sueo de Scipione
Accion Teatral
Libreto
Salzburgo
mayo
1772
127

Antfona mariana para 4 voces, 2 violines, viola, 2 oboes, 2 cornos, bajo y rgano.
422
I. Regina coeli, laetare, alleluja.
3'02"
423
II. Quia quem meruisti portare, alleluja.
4'44"
Salzburgo
Salzburgo
Salzburgo
mayo
mayo
mayo
1772
1772
1772
424
III. Ora pro nobis Deum
5'41"
425
IV. alleluja
2'52"
128
426
1. Allegro maestoso
4'18"
427
2. Andante grazioso
3'48"
428
3. Allegro
3'56"
129

429
1. Allegro
4'48"
430
2. Andante
4'15"
431
3. Allegro
3'05"
130
432
1. Allegro
5'46"
433
4'47"
434
3. Menuetto
2'26"
435
4. Allegro molto
7'36"
164 / 130 a
Salzburgo
Salzburgo
junio
junio
6 Minuetos
1772
1772
436
1. Re mayor
1'58"
437
2. Sol mayor
1'55"
438
3. Re mayor
2'04"
439
4. Sol mayor
1'43"
440
5. Re mayor
1'45"
441
6. Sol mayor
1'50"
131
para orquesta
442
1. (Allegro)
5'12"
443
2. Adagio
6'39"
444
3. Menuetto
5'34"
445
4. Allegretto
3'11"
446
5. Menuetto
3'39"
447
6. Adagio -
7'49"
7. Allegro molto
Salzburgo
Salzburgo
Salzburgo
julio
julio
agosto
1772
1772
1772
132

448
1. Allegro
4'07"
449
2. Andante
5'24"
450
3. Menuetto
451
4. Allegro
452
133
4'11"
4'34"
(alternativo)
3'36"
453
1. Allegro
7'54"
454
2. Andante
4'49"
455
3. Menuetto
3'47"
456
4. (Allegro)
4'09"
134
457
1. Allegro
5'49"
458
2. Andante
6'18"
459
3. Menuetto
3'45"
460
4. Allegro
4'11"
Bolzano
oct-nov
1772
155 / 134 a
para cuerdas
Miln
oct-nov
1772
461
1. Allegro
3'34"
462
2. Andante
4'40"
463
3. Molto allegro
1'25"
156 / 134 b

para cuerdas
Miln
26 diciembre
1772
464
1. Presto
465
2. Adagio
466
3. Tempo di menuetto
3'51"
467
2. Adagio
2'44"
135
3'03"
6'43"
(Versin original)
Lucio Silla
Lucio Silla
Opera Seria en tres actos
Libreto
Miln
diciembre
1772
Ap. 109 / 135 a
La gelosie del Serraglio
Ballet
Miln
diciembre
1772
161&163 / 141 a

(Obertura Il sogno di Scipione & Finale)
Miln
enero
1773
469
1. Allegro
3'10"
470
2. Andante
2'55"
471
3. Allegro
2'08"
157
para cuerdas
Miln
enero
1773
472
1. Allegro
5'22"
473
2. Andante
5'01"
474
3. Presto
1'55"
158
para cuerdas
Miln
17 enero
1773
475
1. Allegro
3'28"
476
2. Andante un poco allegretto
5'45"
477
6'19"
165 / 158 a
Exsultate, jubilate
Motete en fa mayor
para soprano, 2 violines, viola, 2 oboes, 2 cornos, bajo y rgano.
478
Exsultate, jubilate,
15'14"
o vos animae beatae,

dulcia cantica canendo;
cantui vestro respondendo
psallant aethera cum me.
Fulget amica dies, jam fugere et nubila et

procellae: exorta est justis inexpectata
quies. Undique obscura regnabat nox;
surgite tandem laeti, qui timuisti adhuc, et
jucundi aurorae fortunatae dextera plena et lilia date.
Tu virgunum corona,
tu nobis pacem dona,
tu consolare affectus,
unde suspirat cor.
Alleluja.
Miln
marzo
1773
159

para cuerdas
Miln
marzo
1773
479
1. Andante
5'27"
480
2. Allegro
5'18"
481
3. Rondo. Allegro grazioso
2'32"
160 / 159 a

para cuerdas
482
1. Allegro
3'11"
483
2. Un poco adagio
5'13"
484
3. Presto
2'40"
Miln
marzo
1773
186 / 159 b

Salzburgo
24 marzo
1773
485
1. Allegro assai
1'50"
486
2. Menuetto
2'20"
487
3. Andante
2'19"
488
4. Adagio
2'26"
489
5. Allegro
2'14"
166 / 159 d

Salzburgo
30 marzo
1773
490
1. Allegro
3'01"
491
2. Menuetto
4'33"
492
3. Andante grazioso
2'43"
493
4. Adagio
1'03"
494
5. Allegro
2'05"
184 / 161 a
Sinfona N. 26 en mi bemol mayor (Obertura)

495
1. Molto presto -
8'18"
2. Andante 3. Allegro
Salzburgo
Salzburgo
Salzburgo
10 abril
19 abril
19 mayo
1773
1773
1773
199 / 161 b

496
1. Allegro
4'39"
497
6'06"
498
3. Presto
4'40"
162
499
1. Allegro assai
3'21"
500
3'59"
501
3. Presto assai
1'38"
181 / 162 a
502
1. Allegro spiritoso 2. Andantino grazioso 3. Presto assai
10'09"
115 / 166 d
Misa brevis en do mayor

Kyrie
Gloria
Credo
Santus
Benedictus
Agnus Dei
Salzburgo
junio
1773
223 / 166 e
Hosanna
(fragmento)
Salzburgo
1773
Ap. 18 / 166 f
Kyrie en do mayor
(fragmento)
Salzburgo
1773
Ap. 19 / 166 g
Kyrie en re mayor
(fragmento)
Salzburgo
1773
Ap. 23 / 166 h
In te Domine speravi
Salmo en do mayor (fragmento)

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

para 2 violines y bajo, con 2 oboes, 2 clarinetes trompetas, 2 trompetas y rgano.
503
Kyrie
504
Gloria
4'24"
505
Credo
12'02"
506
Santus
1'25"
507
Benedictus
4'06"
508
Agnus Dei
6'08"
3'16"
Viena
1773
205 / 167 A
Viena
1773
290 / 167 AB
509
1. Largo - Allegro
4'35"
510
2. Menuetto
2'39"
511
3. Adagio
4'00"
512
4. Menuetto
2'51"
513
5. Finale (Presto)
3'40"
514
Marcha en re mayor
4'44"

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

para orquesta
Viena
julio
1773
189 / 167 b
515
1. Allegro assai
7'10"
516
2. Andante
5'40"
517
3. Allegro
2'42"
518
4. Menuetto
3'08"
519
5. Andante grazioso
4'27"
520
6. Menuetto
5'31"
521
7. Adagio - Allegro assai
5'56"
522
Marcha en re mayor
3'07"
para orquesta
Viena
agosto
1773
168
para cuerdas
523
1. Allegro
4'21"
524
2. Andante
5'34"
525
3. Menuetto
2'34"
526
4. Allegro
2'06"
168 a
Minuetto en fa mayor
Viena
agosto
1773
169
para cuerdas
Viena
agosto
1773
527
1. Molto allegro
3'22"
528
2. Andante
7'16"
529
3. Menuetto
3'06"
530
4. Rondeaux. Allegro
1'36"
170
para cuerdas
Viena
agosto
1773
531
1. Andante
4'48"
532
2. Menuetto
3'05"
533
3. Un poco adagio
5'12"
534
2'33"
171

para cuerdas
Viena
septiembre
1773
535
1. Adagio - Allegro assai - Adagio
5'56"
536
2. Menuetto
2'52"
537
3. Andante
4'48"
538
4. Allegro assai
2'53"
172

para cuerdas
Viena
septiembre
1773
539
4'01"
540
2. Adagio
5'03"
541
3. Menuetto
3'03"
542
4. Allegro assai
3'36"
173
para cuerdas
Viena
septiembre
1773
180 / 173 c
543
1. Allegro ma molto moderato
5'26"
544
3'22"
545
3. Menuetto
4'02"
546
4. Allegro
3'24"
547
Seis Variaciones en sol mayor Mio caro Adone
8'25"
para piano
sobre un Aria de la opera "La fiera di Venezia" de A. Salieri
Viena
septiembre
1773
173 d
2 Coros y 5 entractos
Salzburgo
Salzburgo
Salzburgo
3 octubre
5 octubre
diciembre
1773
1773
1773
182 / 173 dA

548
4'07"
549
3'47"
550
3. Allegro
3'02"
183 / 173 dB
Sinfona N. 25 en sol menor

551
1. Allegro con brio
7'40"
552
2. Andante
4'05"
553
3. Menuetto
3'39"
554
4. Allegro
4'41"
174
Quinteto N. 1 en si bemol mayor

para cuerdas
Salzburgo
diciembre
1773
555
1. Allegro moderato
8'47"
556
2. Adagio
5'31"
557
3. Menuetto ma allegretto
3'52"
558
4. Allegro
5'44"
175
para piano
Salzburgo
Salzburgo
Salzburgo
Salzburgo
diciembre
6 abril
5 mayo
mayo
1773
1774
1774
1774
559
1. Allegro
8'03"
560
2. Andante ma un poco adagio
8'40"
561
3. Allegro
5'10"
176
16 Minuetos, KV 176
562
1. Do mayor
1'49"
563
2. Sol mayor
2'17"
564
3. Mi bemol mayor
565
4. Si bemol mayor
2'05"
566
5. Fa mayor
1'54"
567
6. Re mayor
2'03"
568
7. La mayor
0'49"
569
8. Do mayor
1'42"
570
9. Sol mayor
1'55"
571
10. Si bemol mayor
0'55"
572
11. Fa mayor
1'42"
573
12. Re mayor
1'53"
574
13. Sol mayor
1'57"
575
14. Do mayor
1'50"
576
15. Fa mayor
2'19"
577
16. Re mayor
1'48"
201 / 186 a
578
1. Allegro moderato
7'23"
579
2. Andante
5'50"
580
3. Menuetto
3'05"
581
4. Allegro con spirito
4'59"
202 / 186 b
582
1. Molto allegro
6'30"
583
2. Andantino con moto
4'00"
584
3. Menuetto
4'00"
585
4. Presto
3'32"
358 / 186 c

586
1. Allegro
3'57"
587
2. Adagio
5'27"
588
3. Molto presto
3'04"
Salzburgo
mayo
1774
195 / 186 d
Litaniae Lauretanae Beata Maria Virgine

Letania Laurentana en re mayor
589
I. Kyrie
5'58"
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Christe, audi nos.
miserere nobis.
miserere nobis.
miserere nobis.
miserere nobis.
354
II. Sancta Maria
9'02"
Sancta Maria,
ora pro nobis.
Sancta Dei genetrix,
sancta Virgo virginum,
ora pro nobis.
Mater Christi,
mater divinae gratiae,
mater purissima,
mater castissima,
ora pro nobis.
Mater inviolata,
mater intemerata,
ora pro nobis.
Mater amabilis,
mater admirabilis,
ora pro nobis.
Virgo prudentissima,
virgo veneranda,
virgo praedicanda,
ora pro nobis.
Virgo potens,
virgo clemens,
virgo fidelis,
ora pro nobis.
Speculum justitiae
sedes sapientiae,
ora pro nobis.
Causa nostrae laetitiae
ora pro nobis.
Vas spirituale,
vas honorabile,
vas insigne devotionis,
ora pro nobis.
Rosa mystica,
turris Davidica,
ora pro nobis.
Turris eburnea,
domus aurea,
foederis arca,
stella matutina,
ora pro nobis.
355
III. Salus informorum
3'30"
Salus informorum,
refugium peccatorum,
consolatrix afflictorum,
ora pro nobis.
Auxilium christianorum,
ora pro nobis.
356
IV. Regina angelorum
4'43"
Regina angelorum,
Regina patriarcharum,
regina prophetarum,
ora pro nobis.
Regina apostolorum,
ora pro nobis.
Regina martyrum,
ora pro nobis.
Regina confessorum,
regina virginum,
ora pro nobis.
Regina sanctorum omnium,
ora pro nobis.
357
V. Agnus Dei
Agnus Dei,
Agnus Dei,
exaudi nos, Domine.
Agnus Dei,
5'05"
Salzburgo
31 mayo
1774
190 / 186 E
Concertone en do mayor
para 2 pianos y orquesta
Salzburgo
4 junio
1774
594
595
596
3. Tempo di Menuetto (Vivace)
191 / 186 e
9'00"
10'44"
9'52"
Concierto en si bemol mayor

para fagot
Salzburgo
24 junio
1774
597
1. Allegro
6'54"
598
2. Andante ma adagio
6'06"
599
3. Rondo (Tempo di Menuetto)
4'05"
192 / 186 f

Salzburgo
julio
1774
600
Kyrie
3'21"
601
Gloria
4'16"
602
Credo
5'50"
603
Santus
1'20"
604
Benedictus
1'48"
605
Agnus Dei
4'29"
193 / 186 g
Dixit et Magnificat
en do mayor para 4 voces, 2 violines, 2 trompetas, timpanos, bajo y rgano.
606
Dixit Dominus Domino meo
4'49"
sede a dextris meis,

donec ponam inimicos tuos
scabellum pedum tuorum.
Virgam virtutis tuaae emittet Dominus ex
Sion: dominare in medio inimicorum tuorum.
Tecum principium in die virtutis tuae, in
splendoribus sanctorum: ex utero ante
luciferum genui te.
Juravit Dominus et non poenitebit eum: Tu
es sacerdos in aeternum secundum ordinem
Melchisedech.
Dominus a dextris tuis confregit in die irae
suae reges.
Jubicabit in nationibus, implebit ruinas;
conquassabit capita in terra multorum.
de torrente in via bibet: proptera exaltabit
caput.
Gloria Patri, et Filio, et Spiritui Sancto.
Sicut erat in principio, et nunc, et seper,
et in saecula saeculorum. Amen
607
Magnificat anima meaDomiinum, et exsultavit
5'58"
spiritus meus in Deo salutari meo.

Quia respexit humilitatemancillae suae:
ecce enim ex hoc beatam me diceent omnes
generationes.
Quia fecit mihi magna qui potens est, et
sanctum nomen ejus.
Et misericordia ejus a progenie in progenie
timentibus eum.
Fecit potetiam in brachio suo: dispersit
superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit
humiles.
Esurientes implevit bonis: et divites dimisit
inanes.
Suscepit Israel puerum suum, recordatus
misericordia suae.
Sicut locutus est ad patres nostros,
Abraham et semini ejus in saecula.
Gloria Patri, etc.
Salzburgo
8 agosto
1774
194 / 186h
Misa breve en re mayor

Salzburgo
agosto
1774
91 / 186 i
608
Kyrie
2'04"
609
Gloria
2'47"
610
Credo
6'46"
611
Santus
1'24"
612
Benedictus
2'02"
613
Agnus Dei
4'55"
614
Kyrie en re mayor
2'14"
de Georg Reutter jr.

Kyrie eleison.
Christe eleison.
Kyrie eleison.
Salzburgo
agosto
1774
179 / 189 a
615
Doce Variaciones en do mayor
18'39"
para piano
sobre un minuetto de Johann Christian Fischer
Salzburgo
30 septiembre
1774
203 / 189 b
para orquesta
Salzburgo
30 septiembre
1774
237 / 189 c
616
1. Andante maestoso - Allegro assai
6'02"
617
2. (Andante)
5'54"
618
3. Menuetto
3'02"
619
4. (Allegro)
5'08"
620
5. Menuetto
3'03"
621
6. (Andante)
5'27"
622
7. Menuetto
4'03"
623
8. Prestissimo
5'01"
624
Marcha en re mayor
4'41"
para orquesta
Salzburgo
1774
279 / 189 d
Sonata en do mayor
para piano
Salzburgo
1774
625
1. Allegro
4'48"
626
2. Andante
5'43"
627
3. Allegro
3'13"
280 / 189 e
Sonata en fa mayor
para piano
Salzburgo
1774
628
1. Allegro assai
4'12"
629
2. Adagio
7'04"
630
3. Presto
2'45"
281 / 189 f

para piano
631
1. Allegro
4'25"
632
2. Andante amoroso
4'53"
633
3. Rondeau (Allegro)
4'26"
Salzburgo
1774
282 / 189 g

para piano
Salzburgo
1774
634
1. Adagio
5'48"
635
2. Menuetto I-II
3'56"
636
3. Allegro
2'13"
283 / 189 h
Sonata en sol mayor

para piano
Salzburgo
Munich
17 noviembre
13 enero
1774
1775
637
1. Allegro
3'43"
638
2. Andante
6'15"
639
3. Presto
3'51"
200 / 189 k
640
5'11"
641
2. Andante
5'12"
642
3. Menuetto (Allegretto)
3'52"
643
4. Presto
3'36"
196
La Finta Giardiniera
La falsa jardinera
Opera Buffa en 3 actos
Libretto
Munich
enero
1775
Ap. 16 / 196 a
Kyrie en sol mayor
(fragmeto)
Munich
enero
1775
220 / 196 b
Misa brevis en do mayor Spatzenmesse

para solistas, coro, 2 violines, bajo y rgano
Munich
enero
1775
644
Kyrie
1'51"
645
Gloria
2'58"
646
Credo
4'09"
647
Santus
0'58"
648
Benedictus
3'13"
649
Agnus Dei
3'44"
292 / 196 c
Sonata (Duo) en si bemol mayor

para oboe y violoncello
Munich
1775
Ap. 230 / 196 d
1775
222 / 205 a
650
1. Allegro
3'42"
651
2. Andante
2'56"
652
3. Rondo (Allegro)
2'42"
para fagot (perdido)
Munich
febrero
653
7'29"
Ofertorio en re menor
cantabo in aeternum.
Munich
febrero
1775
284 / 205 b
Sonata en re mayor Drnitz

para piano
Salzburgo
marzo
1775
206 a
654
1. Allegro
655
2. Rondeau en Polonaise (Andante)
656
3. Tema con variazioni
4'52"
4'16"
14'52"
para cello (perdido)

Salzburgo
14 abril
1775
207

para violn
Salzburgo
abril
1775
657
1. Allegro moderato
7'21"
658
2. Adagio
7'35"
659
3. Presto
5'56"
196 & 121 / 207 a

(Obertura La finta giardinera & Finale)
Salzburgo
23 abril
1775
660
1. Allegro molto
2'40"
661
3'17"
662
3. Allegro
2'33"
208
Il Re Pastore
El rey pastor
Serenata para msica
Libreto
Salzburgo
19 mayo
1775
209
663
Si mostra la sorte
4'03"

Si mostra la sorte
Propizia all'amante,
Che prova constante
Ardire in amor.
Ma sempre nemica
E pronta all'offese
Distrugge l'imprese
D'un timido cor.
Salzburgo
mayo
1775
209 a
Un dente guasto
Aria para bajo (fragmento)

Salzburgo
mayo
1775
210
664
2'38"

Io m'inchino, e mi profondo
A un sapiente s perfetto,
Che l'egual non v' nel mondo,
E l'eguale non verr
(Per l'orgoglio, e l'ignoranza,
Per la gran bestialit).
152 / 210 a
Ridente la calma
Canzonetta en fa mayor
para soprano
Texto Anonimo
Arreglo de Joseph Misliveel
Ridente la calma nell'alma si desti;
N resti [pi]segno di sdegno e timor.
Tu vieni frattanto a stringer mio bene,
Le dolci catene s grate al mio cor.
3'30"
Salzburgo
14 junio
1775
211
para violn
Salzburgo
julio
1775
212
665
1. Allegro moderato
8'36"
666
2. Andante
7'17"
667
3. Rondeau. (Allegro)
4'35"
668
4'41"
para rgano
Salzburgo
julio
1775
213
Salzburgo
5 agosto
1775
669
4'21"
670
2. Andante
2'37"
671
3. Menuetto
2'42"
672
4. Contradanse en Rondeau (Molto allegro)
1'17"
204 / 213 a
para orquesta
Salzburgo
5 agosto
1775
215 / 213 b
673
1. Allegro
8'21"
674
2. Andante
6'36"
675
3. Menuetto
5'41"
676
4. Allegro
3'07"
677
5. Menuetto
5'28"
678
6. Andante
3'41"
679
7. Menuetto
4'56"
680
Marcha en re mayor
3'23"
para orquesta
Salzburgo
agosto
1775
208 & 102 / 213 c

(Obertura Il re pastore & Finale)
Salzburgo
20 agosto
1775
214
681
1. Molto allegro
3'09"
682
2. Andantino
3'32"
683
3. Presto assai
4'30"
684
Marcha en re mayor
3'29"
para orquesta
Salzburgo
12 septiembre
1775
216

para violn
Salzburgo
26 octubre
1775
685
1. Allegro
9'56"
686
2. Adagio
8'14"
687
6'23"
217

Aria para soprano para el drama jocoso de Baldassare Galuppi
"Le nozze di Dorina" I, 4 - texto de Carlo Goldoni.
DORINA
688
6'36"
Come amante appassionato;

Ma mio sposo dichiarato,
Che farete? Cangerete?
Dite, allora che sar?
Mantenete fedelt?
Ah, non credo! Gi prevedo,

Mi potreste corbellar.
Non ancora, non per ora,
Non mi vuo' di voi fidar.
Salzburgo
octubre
1775
218
para violn
Salzburgo
20 diciembre
1775
689
1. Allegro
9'29"
690
2. Andante cantabile
6'44"
691
3. Rondeau. (Andante grazioso)
7'19"
219
para violn
Salzburgo
enero
1776
238
692
1. Allegro aperto
9'43"
693
2. Adagio
9'22"
694
3. Rondeau. Tempo di Menuetto
8'44"

para piano
Salzburgo
enero
1776
239
1. Allegro aperto
6'56"
2. (Andante un poco adagio)
6'35"
3. Rondeau. Allegro
7'06"
Serenata en re mayor Notturna

para orquesta
Salzburgo
enero
1776
240
1. Marcia (Maestoso)
4'21"
2. Menuetto
3'49"
3. Rondeau (Allegretto - Adagio - Allegro)
4'35"

Salzburgo
enero
1776
252 / 240 a
1. Allegro
4'36"
2. Andante grazioso
2'54"
3. Menuetto
2'22"
4. Allegro
4'28"

Salzburgo
enero
1776
188 / 240 b
1. Andante
5'02"
2. Menuetto
2'43"
3. Polonaise (Andante)
2'44"
4. Presto assai
1'28"
Divertimento en do mayor
para 2 flautas, 5 trompetas y timbales
Salzburgo
enero
1776
241
1. Andante
2'10"
2. Allegro
1'52"
3. Menuetto
1'09"
4. Andante
1'44"
5. Menuetto
0'51"
6. Gavotte
0'48"
4'00"
para rgano
Salzburgo
enero
1776
224 / 241 a
6'26"
para rgano
Salzburgo
enero
1776
225 / 241b
Sonata de iglesia N. 8 en la mayor
6'11"
para rgano
Salzburgo
febrero
1776
242
Concierto N. 7 en fa mayor Lodron

para piano
Salzburgo
marzo
1776
243
1. Allegro
8'01"
2. Adagio
9'05"
5'13"

Letana en mi bemol mayor
para 4 voces, 2 violines, viola, 2 oboes, 2 fagotes, 2 cornos, 3 trombones, bajo y rgano.
403
I. Kyrie
3'53"
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Christe, audi nos.
miserere nobis.
miserere nobis.
miserere nobis.
miserere nobis.
404
II. Panis vivus
4'58"
Panis vivus,
qui de coelo descendisti,
miserere nobis.
Deus absconditus et Salvator,
miserere nobis.
Frumentum electorum,
miserere nobis.
Vinum germinans virgines,
miserere nobis.
Panis pinguis et deliciae regum,
miserere nobis.
Juge sacrificium,
oblatio munda,
miserere nobis.
Agnus absque macula,
miserere nobis.
Mensa purissima,
angelorum esca,
miserere nobis.
Manna absconditum,
miserere nobis.
Memoria mirabililium Dei,
panis supersubstantialis,
miserere nobis.
405
III. Verbum caro factum
1'32"
Verbum caro factum,

habitans in nobis,
miserere nobis.
406
IV. Hostia sancta
4'53"
Hostia sancta,
calix benedictionis.
Mysterium fidei,
miserere nobis.
Praecelsum et venerabile sacramentum,
miserere nobis.
Sacrificium omnium sanctissimun,
miserere nobis.
Vere propitiatorium
pro vivis et defunctis,
miserere nobis.
Coeleste antidotum
quo a peccatis praeservamur,
miserere nobis.
Stupendum supra omnia miracula,
miserere nobis.
Sacratissima Dominicae
passionis commemoratio,
donum transcendens
omnem plenitudinem,
memoriale praecipuum
divini amoris,
divinae affluentia largitatis,
miserere nobis.
Sacrosanctum et augustissimum mysterium,
pharmacum immortalitatis,
miserere nobis.
407
V. Tremendum ac vivificum
3'16"
Tremendum ac vivificum sacramentum,

miserere nobis.
Panis omnipotentia
verbi caro factus,
incruentum sacrificium,
miserere nobis.
Cibus et conviva,
miserere nobis.
408
VI. Dulcissimum convivium
3'45"
Dulcissimum convivium,
cui assistunt angeli ministrantes,
sacramentum pietatis,
vinculum caritatis,
miserere nobis.
Offerens et oblatio,
miserere nobis.
Spiritualis dulcedo
in propria fonte degustata,
refectio animarum sanctarum,
miserere nobis.
408
VII. Viaticum in Domino morientum
1'41"
Viaticum in Domino morientum,

miserere nobis.
409
VIII. Pignus futurae gloriae
4'50"
Pignus futurae gloriae,

miserere nobis.
410
IX. Agnus Dei

Agnus Dei,
Agnus Dei,
exaudi nos, Domine.
Agnus Dei,
4'37"
X. Miserere
2'30"
Miserere nobis.
Salzburgo
abril
1776
244
5'23"
para rgano
Salzburgo
abril
1776
245
5'36"
para rgano
Salzburgo
abril
1776
246
Concierto N. 8 en do mayor Ltzow

para piano
Salzburgo
mayo
1776
262 / 246 a
1. Allegro aperto
7'29"
2. Andante
8'04"
7'39"
Misa longa en do mayor

para tro, 2 oboes, 2 cornos, 2 trompetas, 3 trombones y timpano.
Kyrie
Salzburgo
junio
1776
288 / 246 c
3'17"
Gloria
5'50"
Credo
12'36"
Santus
1'19"
Benedictus
3'07"
Agnus Dei
4'24"
Allegro en fa mayor
para cuerdas y corno (fragmento)

Salzburgo
13 junio
1776
247
Salzburgo
13 junio
1776
248
1. Allegro
7'41"
2. Andante grazioso
3'33"
3. Menuetto
3'55"
4. Adagio
7'05"
5. Menuetto
3'21"
6. Andante - Allegro assai
5'29"
Marcha en fa mayor
4'30"

Salzburgo
junio
1776
260 / 248 a
Venite, populi, venite
5'33"
Offertorium de Venerabili Sacramento

para 4 voces, 2 violines, bajo y rgano. (trombones ad libitum)
Venite, populi, venite,
de longe venite
et admiramini gentes.
Venite, populi, venite,
an alia natio tam grandis
quae habet deos
appropinquantes sibi,
sicut Deus?
Deus Noster adest nobis,
cujus in ara veram praesentiam
comtemplamur jugiter
per fedem vivam;
an alias natio tam grandis?
O sors cunctis beatior,
o sor sola fidelium,
quibus panis fratio et calicis
communio est in auxilium.
Eja ergo epulemur
in azymis veritatis
et sinceritatis,
eja ergo epulemur
et inebriemur
vino laetitiae sempiternae;
an alia natio tam grandis?
Venite, populi, venite.
Salzburgo
22 julio
1776
250 / 248 b
Serenata en re mayor Hafner

para orquesta
1. Allegro maestoso -
9'50"
Allegro molto
2. Andante
9'29"
3. Menuetto
3'51"
4. Rondo (Allegro)
7'20"
5. Menuetto galante
5'29"
6. Andante
7'20"
7. Menuetto
5'02"
8. Adagio -
7'45"
Allegro assai
Salzburgo
20 julio
1776
249
Marcha en re mayor
3'36"
para orquesta
Salzburgo
Salzburgo
julio
26 julio
1776
1776
101 / 250 a
251
4 Contradanzas
1. Fa mayor (Gavota)
1'48"
2. Sol mayor
1'58"
3. Re mayor
0'55"
4. Fa mayor (Gavota)
1'59"
Salzburgo
julio
1776
253
1. Molto allegro
4'53"
2. Menuetto - Trio
3'51"
3. Andantino - Adagio - Allegretto
3'43"
4. Menuetto (Tema con variazioni)
4'28"
5. Rondeau (Allegro assai - Adagio- Allegro assai)
5'26"
6. Marcia alla francese
2'03"
1. Tema con variazioni (Andante)
Salzburgo
agosto
1776
254
10'02"
2. Menuetto
2'56"
3. Allegro assai
1'58"
Trio (Divertimento) en si bemol mayor

para piano
Salzburgo
septiembre
1776
255
1. Allegro assai
6'23"
2. Adagio
7'22"
3. Rondeaux (Tempo di menuetto)
6'47"
Ombra felice!
6'42"
Recitativo y Aria 'en rondeau' para contralto,

de la opera "Arsace" II, 8 de M. Mortellari, con texto de Giovanni de Gamerra.
[Recitativo]
ARSACE
Ombra felice!
Torner a rivederti. Apri i bei lumi,
E consola, deh, almeno in questo istante
Con un pietoso sguardo il fido amante.
Porgimi la tua destra, un pegno estremo
Del tuo affetto mi dona.
Ah, che la mia costanza or m'abbandona.
[Aria]
Se sia l'ultimo non so.
Ah, chi sa, bell'idol mio,
Se mai pi ti rivedr.
Vengo, oh ciel! deh lascia, oh pene!
Per te sol, mio ben, pavento,
Il pi barbaro tormento,
Giusti Dei, chi mai prov!
Salzburgo
septiembre
1776
256
Clarice cara mia sposa dev'essere
1'47"
Aria buffa ('Escena') en re mayor para tenor

de la opera buffa "L'Astratto ovvero il giocatore fortunato",
de Nicola Piccinni, texto de G. Petrosellini.
CAPITANO
Clarice cara
Mia sposa dev'essere
Per la magnetica
Virt simpatica,
Voglio convincermi
Colla grammatica,
Colla retorica,
Logica e fisica,
La matematica
Non pu fallar.
DON TIMOTEO
Piano, per carit...
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.
Sapr 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
Sapr ritrovar.
Se mi diceste
Che cosa impossibile,
Quel vostro petto
Di tigre inflessibile
Con un fendente
Vorrei spalancar.
DON TIMOTEO:
Molto tenuto io sono

Alle finezze sue;
Ma cospettaccio!
CAPITANO:
Ma se poi facile
Siete e pieghevole,
Cento bucefali (2)
Vuo' che s'attacchino,
E Salamanca,
Firenze e poi Tunesi,
Londra, Berlin, Roma,
Torino e Padova,
Amsterdam, Montpellier,
Livorno e Genova,
Vuo' testimoni
Dell'inclito merito
Della mia bella,
Dell'impareggiabile
Sposa adorabile
Del celeberrimo
Dottor giuridico,
Medico, fisico,
Che tutto il mondo
Vedrem stupefar.
Salzburgo
noviembre
1776
257
Misa en do mayor Credo

para 2 oboes, 2 trompetas, 3 trombones, timpanos y rgano.
Salzburgo
diciembre
1776
Salzburgo
diciembre
1776
Salzburgo
28 diciembre
1776
258
Ap. 13 / 258 a
Kyrie
2'24"
Gloria
3'18"
Credo
7'42"
Santus
1'38"
Benedictus
5'22"
Agnus Dei
6'31"
Misa en do mayor Spaur-Messe

Kyrie
2'15"
Gloria
2'43"
Credo
5'51"
Santus
1'05"
Benedictus
2'23"
Agnus Dei
3'24"
Kyrie en do mayor
(fragmento)
259
Misa brevis en mayor Orgelsolo-Messe

Kyrie
1'51"
Salzburgo
diciembre
1776
261
Gloria
1'44"
Credo
3'35"
Santus
1'00"
Benedictus
1'49"
Agnus Dei
3'26"
Adagio en mi mayor
6'39"

Salzburgo
diciembre
1776
269 / 261 a
Rondo en si bemol mayor
6'25"

Salzburgo
diciembre
1776
263
5'20"
para rgano
Salzburgo
diciembre
1776
286 / 269 a
Nocturno en re mayor
para cuatro orquestas
Salzburgo
Salzburgo
enero
enero
1777
1777
269 b
270
1. Andante
6'21"
2. Allegretto grazioso
3'01"
3. Menuetto
7'30"
2 Contradanzas
3. Do mayor
0'58"
1. Sol mayor
2'06"

Salzburgo
enero
1777
271
1. Allegro molto
6'02"
2. Andantino
1'58"
3. Menuetto (Moderato)
2'41"
4. Presto
1'35"
Concierto N. 9 en mi bemol mayor Jeunehomme

para piano
Salzburgo
Salzburgo
febrero
febrero
1777
1777
267 / 271 c
274 / 271 d
1. Allegro
10'21"
2. Andantino
12'15"
3. Rondeau. Presto
10'10"
4 Contradanzas
1. Sol mayor
1'24"
2. Mi bemol mayor (Gavota)
1'31"
3. La mayor (Gavota)
1'14"
4. Re mayor
1'33"
5'07"
para rgano
Salzburgo
febrero
1777
278 / 271 e
3'59"
para rgano
Salzburgo
febrero
1777
266 / 271 f
Sonata (Trio) en si bemol mayor

Salzburgo
febrero
1777
289 / 271 g
1. Adagio
6'06"
3'19"

Salzburgo
13 julio
1777
287 / 271 H
1. Adagio - Allegro
3'01"
2. Menuetto
4'33"
3. Adagio
2'43"
4. Finale (Presto)
1'03"

1. Allegro
8'27"
2. Thema mit Variationen

Andante grazioso
1'08"
Variation I
1'09"
Variation II
1'06"
Variation III
1'02"
Variation IV
1'15"
Variation V
1'04"
Variation VI
3. Menuetto
4. Adagio
Salzburgo
1777
271a / 271 i
1'07"
3'07"
10'46"
5. Menuetto
4'19"
6. Andante - Allegro molto
7'23"
para violn
1. Allegro maestoso
Salzburgo
1777
314 / 271 k
11'46"
2. Andante
8'09"
9'13"
para oboe
Salzburgo
agosto
1777
272
1. Allegro aperto
6'47"
2. Adagio non troppo
7'25"
3. Rondo (Allegretto)
5'31"
Ah, lo prevedi!
Ah, t'invola agl'occhi miei
Deh, non varcar
Escena en do menor para soprano, de la opera "Andromeda" III, 10
de Giovanni Paisiello - libreto de V.A. Cigna-Santi.
[Recitativo]
ANDROMEDA
Ah, lo previdi!
Povero Prence, con quel ferro istesso,
Che me salv, ti lacerasti il petto.
(ad Euristeo)
Ma tu s fiero scempio
Perch non impedir? Come, o crudele,
D'un misero a piet 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,
13'19"
E nel suo sangue intanto

Nuota gi l'idol mio... Con quell'acciaro,
Ah Perseo, che facesti?
Mi salvasti poc'anzi, or m'uccidesti.
Col sangue, ahi, la bell'alma,
Ecco, gi usci dallo squarciato seno.
Me infelice! Si oscura
Il giorno agli occhi miei,
E nel barbaro affanno il cor vien meno.
Ah, non partir, ombra diletta, io voglio
Unirmi a te. Sul grado estremo, intanto
Che m'uccide il dolor, fermati alquanto!
[Cavatina]
Deh, non varcar quell'onda,
Anima del cor mio.
Di Lete all'altra sponda,
Ombra, compagna anch'io
Voglio venir con te.
Salzburgo
1777
277 / 272 a
Alma Dei creatoris
5'56"
Offertorium de Beata Maria Virgine

Ofertorio en fa mayor
Alma Dei creatoris
sedet rei peccatoris
mater clementissima.
Tu fac clemens quod rogamus
fortes ad certamina.
Salzburgo
1777
275 / 272 b
Misa brevis en si bemol mayor

Kyrie
Gloria
Credo
Santus
Benedictus
Agnus Dei
Salzburgo
9 septiembre
1777
273
Sancta Maria, mater Dei
5'24"
Graduale ad Festum Beata Maria Virgine.

Gradual en fa mayor
para 4 voces, 2 violines, viola, bajo y rgano.
Santa Maria,
mater Dei,
ego omnia tibi debeo,
sed ab hac hora singulariter
me tuis servitiis devoveo,
te patronam,
te sospitatricem eligo.
Tuus honor
et cultus aeternum
mihi cordi fuerit,
quem ego nunquam deseram
neque ab aliis mihi subditis
verbo factoque violari patiar.
Sancta Maria,
tu pia me pedibus tuis
advolutum recipe,
in vita protege,
in mortis dicrimine defende.
Amen.
Munich
octubre
1777
284 a
Mannheim
noviembre
1777
309 / 284 b
4 Preludios
para piano (perdidos)
Sonata en do mayor
para piano
Mannheim
noviembre
1777
311 / 284 c
5'31"
2. Andante, un poco adagio
4'46"
3. Rondeau (Allegretto grazioso)
5'51"
Sonata en re mayor
para piano
Mannheim
noviembre
1777
307 / 384 d
4'17"
2. Andantino con spressione
4'52"
5'49"

Lied en do mayor para soprano y piano
Texto de Antoine Ferrand
1'27"
Vous changez [de]* climats,

Ds que le triste hiver
Dpouille nos bocages;
Ce n'est pas seulement
Pour changer de feuillages,
[Ni] pour viter nos frimats;
Mais votre destine
Ne vous permet d'aimer,
Qu' la saison des fleurs.
Et quand elle est passe,
Vous la cherchez ailleurs,
Afin d'aimer toute l'anne.
Mannheim
1777
284 e
Mannheim
1777
284 f
1777
285
Instrumentacin
Para un concierto de flauta para Wendling (perdido)
Rondo para piano

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

para flauta
Mannheim
enero
1778
Ap. 171 / 285 b
1. Andante
6'07"
2. Tempo di Menuetto
3'25"
Cuarteto en do mayor
para flauta
1. Allegro
5'46"
2. Tema (Andante) con variazioni
9'30"
Mannheim
enero
1778
313 / 285 c
Concierto en sol mayor

Mannheim
enero
1778
314 / 285 d
1. Allegro maestoso
9'01"
2. Adagio non troppo
8'28"
3. Rondo (Tempo di Menuetto)
6'47"
para flauta
Mannheim
enero
1778
315 / 285 e
1. Allegro aperto
7'55"
2. Andante ma non troppo
6'18"
3. Allegro
6'04"
Andante en do mayor
5'56"

Mannheim
1778
301 / 293 a
Sonata en sol mayor

para violn y piano (Palatina N. 1)
Mannheim
1778
302 / 293 b
7'54"
2. Allegro
5'13"

Mannheim
1778
303 / 293 c
1. Allegro
5'15"
2. Rondo. Andante grazioso
6'14"
Sonata en do mayor
Mannheim
1778
305 / 293 d
1. Adagio - Molto allegro
5'05"
4'39"
Sonata en la mayor
1. Allegro di molto
4'41"
2. Tema [con variazioni]:
Mannheim
febrero
1778
293 e
Tema
1'04"
Variazione I
0'57"
Variazione II
0'57"
Variazione III
0'56"
Variazione IV
1'09"
Variazione V
0'58"
Variazione VI
0'55"
19 cadenzas
para un aria de J. C. Bach
Mannheim
24 febrero
1778
294
Non so d'onde viene
11'56"

Pietro Metastasio: "Olimpiade" III, 6.
[Recitativo]
CLISTENE
Alcandro, lo confesso,
Stupisco di me stesso. Il volto, il ciglio,
La voce di costui nel cor mi desta
Un palpito improvviso,
Che lo risente in ogni fibra il sangue.
Fra tutti i miei pensieri
La cagion ne ricerco, e non la trovo.
Che sar, giusti Dei! questo ch'io provo?
[Aria]
Non so d'onde viene
Quel tenero affetto,
Quel moto che ignoto
Mi nasce nel petto,
Quel gel che le vene
Scorrendo mi va.
Nel seno a destarmi

S fieri contrasti
Non parmi che basti
La sola piet.
Mannheim
27 febrero
1778
295
Se al labbro mio non credi

Il cor dolente afflitto
Recitativo y Aria en si bemol mayor para tenor
sobre un texto de la opera "Artaserse" (I, 14)
de Johann Adolf Hasse con libreto de Pietro Metastasio.
Autor del texto, posiblemente A. Salvi.
[Recitativo]
ARBACE
Se al labbro mio non credi,
Cara nemica mia,
Aprimi il petto e vedi,
Qual sia l'amante cor.
[Aria]
Il cor dolente e afflitto,
Ma d'ogni culpa privo,
Se pur non delito,
Un innocente ardor.
Mannheim
27 febrero
1778
486a / 295 a
Basta, vincesti; eccoti il foglio

Ah, non lasciarmi, no
Pietro Metastasio: "Didone abbandonata" II, 4.
[Recitativo]
DIDONE
Basta, vincesti; eccoti il foglio.
Vedi quanto t'adoro ancora, ingrato!
Con un tuo sguardo solo
Mi togli ogni difesa e mi disarmi.
Ed hai cor di tradirmi? E puoi lasciarmi?
[Aria]
Ah, non lasciarmi, no,
Bell'idol mio;
Di chi mi fider
Se tu m'inganni?
Di vita mancherei
nel dirti: addio,
Ch viver non potrei
Fra tanti affanni!
Mannheim
marzo
1778
308 / 295 b
Dans un bois solitaire

Lied en la bemol mayor para soprano y piano
Texto de A. Houdart de la Motte
5'32"
Dans un bois solitaire et sombre
2'40"
Je me promenais l'autr' jour,

Un enfant y dormait l'ombre,
C'tait le redoutable Amour.
J'approche, sa beaut me flatte,

Mais je devais m'en dfier;
Il avait les traits d'une ingrate,
Que j'avais jur d'oublier.
Il avait la bouche vermeille,

Le teint aussi frais que le sien,
Un soupir m'chappe, il s'veille;
L'Amour se rveille de rien.
Aussitt dployant ses ales et saisissant

Son arc vengeur,
L'une de ses flches, cruelles en partant,
Il me blesse au coeur.
Va! va, dit-il, aux pieds de Sylvie,

De nouveau languir et brler!
Tu l'aimeras toute la vie,
Pour avoir os m'veiller.
Mannheim
11 marzo
1778
296
Sonata en do mayor
Mannheim
marzo
1778
322 / 296 a
1. Allegro vivace
6'18"
2. Andante sostenuto
4'51"
3. Allegro [Rondo]
4'55"
Kyrie en mi bemol mayor
(fragmento)
Pars
1778
Ap. 12 / 296 b
Kyrie
(fragmento / perdido)
Pars
1778
296 c
Sanctus & Benedictus en mi bemol mayor
(apuntes)
Pars
abril
1778
Ap. 1 / 297 a
Ocho nmeros para un Miserere de Holzbauer
(perdido)
Pars
5-9
abril
1778
Ap. 9 / 297 B

para flauta, oboe, corno, fagot y orquesta
1. Allegro
9'36"
2. Adagio
6'27"
3. Andantino con variazioni

Pars
abril
1778
Ap.C14.01 / 297 B
12'18"

para clarinete, oboe, corno, fagot y orquesta
Pars
abril
1778
299 / 297 c
1. Allegro
13'34"
2. Adagio
7'26"
3. Andantino con variazioni
8'45"
para flauta, arpa y orquesta
1. Allegro
Pars
abril
1778
298
10'27"
2. Andantino
8'32"
8'21"
Cuarteto en la mayor
para flauta y cuerdas
1. Tema (Andante) con variazioni
5'42"
2. Menuetto
2'06"
3. Rondeau (allegretto grazioso)

Pars
1778
354 / 299 a
Doce Variaciones en mi bemol mayor Je suis Lindor
2'54"
18'13"
para piano
sobre: Je suis Lindor (A.L. Baudron)
Pars
1778
Ap. 10 / 299 b
Les petits riens
1'47"
Ballet
299 c
Ouverture
3'08"
Lrghetto
1'13"
Gavotte (Allegro)
1'27"
Andantino - Allegro
1'25"
(Vivo)
1'03"
Gavotte gracieuse
1'14"
Pantomime
2'15"
Passepied
0'50"
[-]
1'19"
Gavotte
3'35"
Agit
0'43"
Andante
1'31"
Apuntes para un ballet para un intermedio

(Allegro)
0'55"
Contradanse
4'43"
Le forgeron travaille (Moderato) Pour la femme (Allegro)
2'01"
Un petit travaille (Allegretto)

Il danse avec un e autre danseuse (Allegretto)
Larghetto (Andante)
2'27"
Pantomime avec le bton (Allegro come una cadenza)

Elle lui dit de se mettre genoux (Allegretto)
2'15"
Gigue (Ils dansent ensemble)
2'33"
Elle le prend par le nez (Largo)
3'30"
Contradanse
Allegro agitato
Pars
1778
Ap. 103 / 299 d
Tambourin
1'19"
La Chase
1'47"
Rondo para orquesta (fragmento)

Pars
1778
300
Gavota en si bemol mayor
2'10"
para orquesta
Pars
18 junio
1778
297 / 300 a
Sinfona N. 31 en re mayor Pars

1. Allegro assai
7'22"
2. Andante
6'14"
3. Allegro
2. Andante
Pars
1778
316 / 300 b
3'32"
(alternativo)
Popoli di Tessaglia
Io non chiedo, eterni Dei
Recitativo y Aria en do mayor para soprano
de la opera "Alceste" I, 2 de C. W. Gluck
3'36"
11'19"
con libreto de Rainiero de' Calzabigi.

[Recitativo]
ALCESTE
Popoli di Tessaglia!
Ah mai non pi giusto fu il vostro pianto.
A voi non men che a questi
Innocenti fanciulli Admeto padre.
Io perdo l'amato sposo,
E voi l'amato re;
La nostra sola speranza,
Il nostro amor c'invola
Questo fato crudel.
N so chi prima in s grave sciagura
A compianger m'appigli
Del regno, di me stessa, o de' miei figli.
La piet degli Dei
Sola ci resta a implorare, a ottener.
Verr compagna, alle vostre preghiere,
Ai vostri sacrifizi;
Avanti all'ara una misera madre,
Due bambini infelici,
Tutto un popolo in pianto
Presenter cos.
Forse con questo spettacolo funesto,
In cui dolente gli affetti,
I voti suoi dichiara un regno,
Placato alfin sar del ciel lo sdegno.
[Aria]
Io non chiedo, eterni Dei,
Tutto il ciel per me sereno,
Ma il mio consoli almeno
Qualche raggio di piet.
Non comprende i mali miei,

N il terror, che m'empie il petto,
Chi di moglie il affetto,
Chi di madre il cor non ha.
Pars
1778
304 / 300 c
Sonata en mi menor
Pars
1778
310 / 300 d
1. Allegro
6'27"
5'30"
Sonata en la menor
para piano (Parisina N. 1)
1. Allegro maestoso
2. Andante cantabile con espressione
3. Presto
Pars
1778
265 / 300 e
Doce Variaciones en do mayor Ah!, vous dirai-je, Maman
8'04"
10'42"
2'48"
13'55"
para piano
sobre una cansin para nios
Pars
1778
353 / 300 f
Doce Variaciones en mi bemol mayor La belle franoise
14'08"
para piano
sobre una cansin popular "Adieu donc, Madame Franoise - "Sur le dpart et la mort de M. Malbourg"
Pars
1778
395 / 300 g
Capricho en do mayor
4'24"
para piano
Pars
1778
330 / 300 h
Sonata en do mayor
Pars
1778
331 / 300 i
1. Allegro moderato
6'12"
6'26"
3. Allegretto
5'17"
Sonata en la mayor
1. Tema (Andante grazioso) con variazioni
Pars
1778
332 / 300 k
13'49"
3. Menuetto
6'38"
3. Alla Turca (Allegretto)
3'31"
Sonata en fa mayor
Pars
1778
306 / 300 l
1. Allegro
6'57"
2. Adagio
5'01"
3. Allegro assai
6'35"
Sonata en re mayor
para violn y piano
Pars
1778
Ap. 8 / 311 A
Pars
1778
Ap. 3 / 315 b
Pars
1778
333 / 315 c
7'22"
6'36"
3. Allegretto
6'36"
Obertura
(perdida)
Escena
para soprano (perdida)

1. Allegro
7'00"
7'26"
3. Allegretto grazioso
Pars
1778
264 / 315 d
Nueve Variaciones en do mayor Lison dormait
6'05"
15'45"
para piano
sobre un aria de la opera "Julia" de N. Dezde
Pars
septiembre
1778
Ap. 11 / 315 e
Semiramis
Melodrama
Texto de Otto von Gemmingen
(perdido)
Mannheim
noviembre
1778
Ap. 56 / 315 f
para violn, piano y orquesta
1. Allegro
Salzburgo
1779
315a / 315 g
12'10"
2. Andantino cantabile
6'34"
3. Allegretto - Allegro
6'54"
8 Minuetos
1. Do mayor
1'55"
2. Sol mayor
1'51"
3. Re mayor
1'50"
8. Sol mayor
2'20"
Salzburgo
1779
365 / 316 a
4. Do mayor
1'57"
5. Fa mayor
1'53"
6. Re mayor
1'51"
7. La mayor
1'32"

para piano
Salzburgo
Salzburgo
23 marzo
marzo
1779
1779
317
329 / 317 a
1. Allegro
9'51"
2. Andante
8'05"
6'55"
Misa en do mayor Krnungsmesse

Kyrie
2'24"
Gloria
3'18"
Credo
7'42"
Santus
1'38"
Benedictus
5'22"
Agnus Dei
6'31"
4'32"
para rgano
Salzburgo
abril
1779
146 / 317 b
Kommet her, ihr frechen Sunder

Aria para soprano
Salzburgo
abril
1779
328 / 317 c
7'03"
para rgano
Salzburgo
abril
1779
378 / 317 d

para violn y piano
Salzburgo
26 abril
1779
318
1. Allegro moderato
8'55"
2. Andantino sostenuto e cantabile
5'38"
3. Rondeau. Allegro
4'10"
Sinfona N. 32 en sol mayor (Obertura)

1. Allegro spiritoso -
8'43"
2. Andante 3. Tempo I
Salzburgo
Salzburgo
9 julio
3 agosto
1779
1779
319
320

1. Allegro assai
7'02"
2. Andante moderato
5'08"
3. Menuetto
2'55"
6'33"
Serenata en re mayor Corno de Posta

para orquesta
Salzburgo
3 agosto
1779
335 / 320 a
1. Adagio maestoso - Allegro con spirito
8'18"
2. Minuetto
4'10"
3. Concertante (Andante grazioso)
9'02"
4. Rondeau (Allegro ma non troppo)
6'01"
5. Andantino
6'49"
6. Minuetto
4'41"
7. Finale (Presto)
4'21"
2 Marchas
para orquesta
Salzburgo
1779
320 B
Salzburgo
1779
334 / 320 b
N. 1 re mayor
3'36"
N. 2 re mayor
4'18"
Divertimento
(fragmento)
Divertimento en fa mayor Robinig

1. Allegro
2. Thema mit Variationen (Andante)
3. Menuetto
4. Adagio
Salzburgo
1779
445 / 320 c
9'50"
9'01"
4'31"
11'00"
5. Menuetto
7'09"
6. Rondo (Allegro)
9'38"
Marcha en re mayor
3'43"
para orquesta
Salzburgo
septiembre
1779
364 / 320 d

1. Allegro maestoso
13'53"
2. Andante
11'02"
3. Presto
Salzburgo
septiembre
1779
Ap. 104 / 320 e
Sinfona concertante en la mayor

6'11"
1. Allegro
Salzburgo
1779
321
11'08"
Vesperae solennes de Dominica

Vispera en do mayor
para
Salzburgo
1779
321 a
Salzburgo
1779
276 / 321 b
1. Dixit Dominus domino meo
3'16"
2. Confitebor tibi, Domine
5'56"
3. Beatus vir qui timet Dominum
4'17"
4. Laudate pueri Dominum
3'45"
5. Laudate Dominum omnes gentes
4'03"
6. Magnificat anima mea
4'58"
Magnificat en do mayor
(fragmento)
Regina coeli
7'29"

para 4 voces, coro, orquesta y rgano.
1. Regina coeli, laetare, alleluja.
2. Quia quem meruisti portare, alleluja.
3. Ora pro nobis Deum
4. Alleluja
Salzburgo
1779
Ap. 15 / 323
Salzburgo
1779
Ap. 20 / 323 a
Salzburgo
1779
345 / 336 a
Kyrie en do mayor
(fragmento)
Gloria en do mayor
(fragmento)
Thamos, Knnig in gypten

Thamos, Rey en Egipto
Opera
Libreto
N. 1 Chorus: Schon weichet dir, Sonne
N. 2 Interlude (Maestoso - Allegro)
7'361"
5'07"
despus del primer acto

N. 3 Interlude (Andante)
5'59"
despus del segundo acto

N. 4 Interludio (Allegro)
3'45"
despus del tercer acto

N. 5 Interlude (Allegro vivace assai)
3'45"
despus del cuarto acto

N. 6 Chorus: Gottheit, ber alle mchtig
N. 7a Interlude
10'09"
1'26"
despus del quinto acto

N. 7b Chorus: Ihr Kinder des Staubes
Salzburgo
1779
344 / 336 b
6'33"
Zaide
Zaida
opera
Libreto
Salzburgo
1779
343 / 336 c
Dos Cantos Alemanes

Lieder en fa mayor para soprano y rgano
Lieder en do mayor para soprano y rgano
a. O Gottes Lamm
O Gottes Lamm, dein Leben
1'39"
Hast du als Lsegeld

Am Kreuz uns dargegeben;
Du starbst fr alle Welt!
Wem das Verdienst hienieden

Des Glaubens du verlieh'n,
Nimm dort zum Lohn in Frieden
Zu deinen Sel'gen hin.
Die fromm in dir entschlafen,

La frei von Qual und Pein,
La frei von ew'gen Strafen
Bei dir, o Jesu, sein!
La gndig sie empfinden,

Herr, deines Leidens Kraft,
Befreiung von den Snden,
Was dein Genu verschafft!
b. Als aus gypten

Als aus gypten Israel,
1'30"
Vom Volke der Barbaren,

Gezogen aus dem Heidentum
Die Kinder Jakobs waren,
Da ward Juda Gott geweiht
und Israel gebenedeit
zu seinem Reich und Erbe.
Da nun nicht mehr mit Frevlerspott

Das Volk der Heiden fraget:
Wo ist ihr allgewalt'ger Gott,
Der ihrer Sorge traget?
Im Himmel thront Gott, unser Herr,
und was er will, das schaffet er
Allmchtig, gtig, weise.
Salzburgo
marzo
1780
336 / 336 d
4'47"
para rgano
Salzburgo
Salzburgo
Salzburgo
marzo
agosto
agosto
1780
1780
1780
337
338
339
Misa en do mayor
Kyrie
2'30"
Gloria
2'55"
Credo
4'41"
Santus
2'16"
Benedictus
2'57"
Agnus Dei
6'09"
1. Allegro vivace
7'23"
2. Andantino di molto
8'43"
3. Finale (Allegro vivace)
5'38"
Vesperae solennes de confessore

Vispera en do mayor
para
1. Dixit Dominus domino meo
3'50"
2. Confitebor tibi, Domine
5'13"
3. Beatus vir qui timet Dominum
4'20"
4. Laudate pueri Dominum
4'43"
Salzburgo
1780
392 / 340 a
5. Laudate Dominum omnes gentes
5'11"
6. Magnificat anima mea
5'22"
Verdankt sei es dem Glanz

Verdankt sei es dem Glanz der Groen,
2'09"
Da er mein Nichts mir deutlich zeigt.

Mich hat er nie zurckgestoen,
Denn mich hat er niemals erreicht.
Ich sah viel Kleine nher geh'n
Und blieb in meinem Zirkel steh'n.
Sie sind mir wert, die engen Grenzen,

Wo ich so unbetrchtlich bin.
Hier seh' ich Stern und Orden glnzen,
Und Band und Stern reit mich nicht hin.
Und auch das gndigste Gesicht,
Aus meinem Zirkel bringt's mich nicht.
Soll mir des Grern Unmut zeigen,

Ich sei nur eine Kleinigkeit:
O Unschuld! Dann lehr' du mich schweigen
Und gib mir Unerschrockenheit,
Und prge mir sanfttrstend ein,
Es sei nicht Schande, klein zu sein.
Doch liee sich zu meinem Kreise

Ein Groer ohne Falsch herab:
Erfahrung! Dann mach' du mich weise
Und zeichne meine Grenzen ab,
Und lehre mich, niemals zu klein,
Doch auch nicht khn und eitel sein.
Salzburgo
1780
391 / 340 b
An die Einsamkeit
Sei du mein Trost, verschwiegene Traurigkeit!
3'01"
Ich flieh' zu dir mit so viel Wunden,

Nie klag' ich Glcklichen mein Leid:
So schweigt ein Kranker bei Gesunden.
O Einsamkeit! Wie sanft erquickst du mich,

Wenn meine Krfte frh ermatten!
Mit heier Sehnsucht such' ich dich:
So sucht ein Wandrer, matt, den Schatten.
Hier weine ich. Wie schmhend is der Blick,

Mit dem ich oft bedauert werde!
Jetzt, Trnen, hlt euch nichts zurck:
So senkt die Nachttau auf die Erde.
O da dein Reiz, geliebte Einsamkeit!

Mir oft das Bild des Grabes brchte:
So lockt des Abends Dunkelheit
Zur tiefen Ruhe schner Nchte.
Salzburgo
1780
390 / 340 c
Ich wrd' auf meinem Pfad

Lied en re menor para soprano y piano
Ich wrd' auf meinem Pfad' mit Trnen
2'02"
Oft hin zum fernen Ende seh'n,

Sh' ich nicht Kenner meiner Leiden
So mitleidsvoll am Wege steh'n.
Den Sonnenbrand, der mich entkftet,

Den Blitz, der meinem Scheitel droht,
Den sieht mein Freund und tritt mir nher
Und ruft: Ich kenne deine Not.
Zwar schmerzt es mich, da er den Jammer

Mit ansieht und, zur Hlfte schwach,
Nichts weiter kann, als mit mir trauern.
Doch ruft mein Herz: Er weint dir nach.
Dann brech' ich mutig durch die Dornen:

Er sieht mich bluten, sprech' ich dann.
Und wenn ich einst, verblutet, falle,
Dann sag' er: Der stieg felsenan.
Salzburgo
1780
Salzburgo
1780
363
Ap. / 365 a
3 Minuetos
1. Re mayor
0'58"
2. Si bemol mayor
1'04"
3. Re mayor
0'55"
Warum, o Liebe
Recitativo y Aria
Munich
29 enero
1781
366
Idomeneo, re di Creta
Idomeneo, rey de Creta
Opera Seria en 3 actos
Libreto
Munich
29 enero
1781
Munich
marzo
1781
367
349 / 367 a
Ballet para Idomeneo
Die Zufriedenheit
Was frag'ich viel nach Geld und Gut
Lied en sol mayor para soprano y piano
Texto de Johann Martin Miller
Was frag' ich viel nach Geld und Gut,
Wenn ich zufrieden bin!
Gibt Gott mir nur gesundes Blut.
So hab' ich frohen Sinn
Und sing' aus dankbarem Gemt
mein Morgen und mein Abendlied.
Und uns zuliebe schmcken ja

Sich Wiese, Berg und Wald,
Und Vgel singen fern und nah,
Da alleswiderhallt;
Bei Arbeit singt die Lerch' uns zu,
Die Nachtigall bei ser Ruh.
Und wenn die gold'ne Sonn' aufgeht,

Und golden wird die Welt.
Und alles in der Blte steht,
Und hren trgt das Feld,
Dann denk'ich: Alle diese Pracht
Hat Gott zu meiner Lust gemacht.
Dann preis' ich laut und lobe Gott
2'38"
Und schweb' in hohem Mut

Und denk': Es ist ein lieber Gott
Und meint's mit Menschen gut!
Drum will ich immer dankbar sein
Und mich der Gte Gottes freu'n.
Munich
marzo
1781
351 / 367 b
Komm, liebe Zither, komm

Lied en do mayor para soprano y mandolina
Komm, liebe Zither, komm,
1'47"
Du Freundin stiller Liebe,

Du sollst auch meine Freundin sein.
Komm, dir vertrau' ich
Die geheimsten meiner Triebe,
Nur dir vertrau' ich meine Pein.
Sag' ihr an meiner Statt,

Ich darf's ihr noch nicht sagen
Wie ihr so ganz mein Herz gehrt;
Sag' ihr an meiner Statt,
Ich darf's ihr noch nicht klagen,
Wie sich fr sie mein Herz verzehrt.
Munich
marzo
1781
368
Ma che vi fece, o stelle

Sperai vicino il lido
Recitativo y Aria para soprano. Pietro Metastasio: "Demofoonte" I, 4.
[Recitativo]
TIMANTE:
Ma che vi fece, o stelle,
8'33"
La povera Dircea, che tante unite

Sventure contro lei? Voi, che inspiraste
I casti affetti alle nostr'alme; voi,
Che al pudico imeneo fosti presenti,
Defendetelo, o numi; io mi confondo.
M'oppresse il colpo a segno,
Che il cor mancommi, e si smarr l'ingegno.
[Aria]
Sperai vicino il lido
Credei calmato il vento;
Ma trasportar mi sento
Fra le tempeste ancor.
E da uno scoglio infido

Mentre salvar mi voglio,
Urto in un altro scoglio
Del primo assai peggior.
Munich
marzo
1781
341 / 368 a
Kyrie en do menor
8'24"
Kyrie, eleison.
Christe eleison.
Kyrie, eleison.
Munich
marzo
1781
370 / 368 b
Cuarteto en fa mayor
para oboe
1. Allegro
Munich
8 marzo
1781
369
4'54"
2. Adagio
4'11"
2'41"
Misera! Dove son? L'aure del Tebro

Ah! Non son io che parlo
Escena para soprano. Pietro Metastasio: "Ezio" III, 12.
[Recitativo]
FULVIA:
Misera! dove son? L'aure del Tebro
6'38"
Son queste ch'io spiro?

Per le strade m'aggiro
Di Tebe e d'Argo; o dalle greche sponde
Di tragedie feconde,
Le domestiche Furie
Vennero a questi lidi,
Della prole di Cadmo e degli Atridi?
L d'un monarca ingiusto
L'ingrata crudelt m'empie d'orrore;
D'un padre traditore
Qua la colpa m'agghiaccia;
E lo sposo innocente ho sempre in faccia.
Oh immagini funeste!
Oh memorie! oh martiro!
Ed io parlo, infelice, ed io respiro?
[Aria]
Ah non son io che parlo,
il barbaro dolore,
Che mi divide il core,
Che delirar mi fa.
Non cura il ciel tiranno

L'affanno in cui mi vedo:
Un fulmine gli chiedo,
E un fulmine non ha.
Munich
marzo
1781
361 / 370 a
Serenata en si bemol mayor Gran Partita

para 2 oboes, 2 clarinetes, 2 cornos di bassetto, 4 cornos, 2 fagotes y contrabajo
1. Largo
Allegro molto
Munich
marzo
1781
370 b
21 marzo
1781
371
1'47"
7'04"
2. Menuetto - Trio I-II
8'36"
3. Adagio
5'40"
4. Menuetto (Allegretto) - Trio I-II
5'02"
5. Romanze (Adagio - Allegretto - Adagio)
7'28"
6. Thema mit Variationen (Andante)
9'47"
7. Finale (Molto allegro)
3'20"
Allegro en mi bemol mayor

para corno (fragmento)
Viena
Rondo en mi bemol mayor
5'45"
para corno y orquesta (fragmento)

Viena
24 marzo
1781
372
7'34"
para violn y piano

Viena
marzo
1781
372 a
1781
373

Viena
2 abril
Rondo en do mayor
Viena
abril
1781
379 / 373 a
Sonata en sol mayor

para violn y piano
5'18"
1. Adagio Allegro
5'01"
4'12"

Tema
1'09"
Variazione I
1'19"
Variazione II
Viena
8 abril
1781
374
1'11"
Variazione III
1'11"
Variazione IV
1'19"
Variazione V
2'32"
Tema
1'37"
A questo seno deh vieni

8'06"
Recitativo y Rondeau para soprano. Giovanni de Gamerra: "Sismano nel Mogol" III, 7.
[Recitativo]
ZEIRA
A questo seno
Deh vieni, idolo mio. Quanti timori,
Quante lagrime, oh Dio!
Costi alla sposa tua! Dunque tu vivi!
Oh contento! O certezza!
Oh premio! Oh speme! Oh amor! Numi clementi!
Nell'offrirmi, pietosi, un s bel dono,
Tutto il vostro rigore io vi perdonno.
[Aria]
Cara parte del mio cor,
La mia gioia, ah, non comprende
Chi non sa che cosa amor.
Sono all'alma un grato oggetto

Le sue barbare vicende,
Ed in sen dolce discende
La memoria del dolor.
Viena
junio
1781
359 / 374 a
Doce Variaciones en sol mayor La berger Climne
13'16"
para violn y piano

Viena
junio
1781
360 / 374 b
Seis Variaciones en sol menor Hlas, j'ai perdu mon amant

para violn y piano
Tema
1'00"
Variazione I
0'56"
Variazione II
1'00"
Variazione III
1'00"
Variazione IV
0'59"
Variazione V
1'00"
Variazione VI
Viena
junio
1781
352 / 374 c
Ocho Variaciones en fa mayor Dieu d'Amour!
1'01"
12'52"
para piano
sobre: Dieu d'Amour! (A.E. Grtry)
Viena
septiembre
1781
376 / 374 d
Sonata en fa mayor
para violn y piano
Viena
septiembre
1781
377 / 374 e
1. Allegro
4'40"
2. Andante
5'00"
3. Rondo. Allegretto grazioso
5'48"
Sonata en fa mayor
para violn y piano
1. Allegro
4'12"

Tema
1'21"
Variazione I
1'08"
Variazione II
1'10"
Variazione III
1'08"
Variazione IV
1'07"
Variazione V
1'11"
Variazione VI
1'48"
Viena
septiembre
1781
380 / 374 f
5'19"

para violn y piano
Viena
1781
Ap. 46 / 374 g
1. Allegro
6'51"
2. Andante con moto
6'54"
3. Rondeau. [Allegro]
4'32"
Andantino en si bemol mayor
para piano y cello (fragmento)

Viena
15 octubre
1781
375
Serenata en mi bemol mayor

Viena
noviembre
1781
448 / 375 a
1. Allegro maestoso
8'23"
2. Menuetto
4'16"
3. Adagio
6'03"
4. Menuetto
2'55"
5. Finale (Allegro)
3'52"
Sonata en re mayor
para dos pianos
Viena
1782
Ap. 42 / 375 b
8'23"
2. Andante
9'23"
3. Allegro molto
6'19"
Grave y Presto en si bemol mayor

Viena
1782
Ap. 43 / 375 c
Movimiento en si bemol mayor

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

Viena
1782
401 / 375 e
Fuga en sol menor
3'21"
para piano
Viena
1782
153 / 375 f

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

Viena
1782
375 h
Fuga en fa mayor
Viena
marzo
1782
382
Rondo en re mayor
para piano
229 / 382 a
Allegro grazioso
5'45"
Adagio
2'17"
Allegro
1'55"
[Sie ist dahin]
2'24"

[Sie ist dahin, die Sngerin,
die Maienlieder tnt!
Sie, die durch ihr Lied
Den ganzen Hain, ach! Verschnte,
Sie ist dahin, ach! Sie ist dahin!
Ach! Wenn ihr Ton mir in die Seele hallte!
Wenn ich am Bach dort im Abendgolde,
Wenn ich dort wallte!
Wenn ich dort auf Blumen lag,
Wenn ich auf Blumen wallte,
Sie, die Maienlieder tnte,
Deren Lied ertnte,
Die den ganzen Hain
Durch ihr Lied verschnte.
Sie ist dahin, die Sngerin,
Sie ist dahin!]
230 / 382 b
Selig, selig, alle
1'26"

[Selig, alle selig sie,
Die im Herrn entschliefen!
Auch selig, selig, Freund bist du!
Engel brachten dir den Kranz, riefen;
Und du gingst zu Gottes Ruh.]
231 / 382 c
Leck mich im Arch
2'15"
[Lat uns froh sein]

Leck mich im Arch,
[Lat froh uns sein!
Murren ist vergebens!
Knurren, Brummen ist vergebens,
Ist das wahre Kreuz des Lebens.
Das Brummen ist vergebens.
Drum lat uns froh und frhlich sein.]
233 / 382 d
[Nichts labt mich mehr als wein]
2'34"
Leck mir den Arch fein recht schn sauber

[Nichts labt mich mehr als Wein,
Es schleicht so sacht hinein!
Er netzt, wenn alles gleich lechzet,
Die trocknen Kehlen allein;
Lt, wenn Murrkopf auch chzet,
Stets frhlich mich sein.
Drum schwingt mit mir die Glser!
Stot an! Lat alle Sorgen sein!
Wir ersufen sie im Wein!]
234 / 382 e
[Essen, Trinken, das erhlt]
3'06"

[Essen, Trinken, das erhlt den Leib;
s ist doch mein liebster Zeitvertreib,
das Essen und Trinken!
Labt mich Speis und Trank nicht mehr,
dann ade, dann Welt, gute Nacht!
So ein Brtchn, ein Pastetchen!

Ach! Wenn die meinem Gaumen winken,
Dann ist mein Tag vollbracht!
Ach! Und wenn im lieben Glschen

Sorg und Gram darniedersinken,
Dann aller aller Welt dann gute Nacht!
347 / 382 f
Wo der perlende Wein im Glase blinkt
0'49"
Canon en re mayor para 6 voces

[Wo der perlende Wein im Glase blinkt,
Da lat uns weilen.]
348 / 382 g
V'amo di core teneramente

V'amo di core teneramente,
Io non vi posso altro amare,
Uh che dolore, uh che tormento.
Viena
abril
1782
119 / 382 h
Der Liebe Himmlisches Gefhl

Der Liebe himmlisches Gefhl
Ist nicht an unsre Macht gebunden.
Ein einz'ger Blick entscheidet viel,
Noch hat mein Herz ihn nicht gefunden;
Ich wart', ich wart' mit Zuversicht.
Wenn die Natur mich lieben heisst,
Wird dieses Herz schon selbst empfinden.
Umsonst beschftig sich mein Geist,
Nur sie kann Herzen wohl verbinden,
Nur sie, die Klugheit kann es nicht.
Viena
abril
1782
383
Nehmt meinem dank, ihr holden gnner!

Nehmt meinen Dank, ihr holden Gnner!
So feurig, als mein Herz ihn spricht,
euch laut zu sagen, knnen Mnner,
Ich, nur ein Weib, vermag es nicht.
Doch glaubt, ich werd' in meinem Leben
Niemals vergessen eure Huld:
Blieb' ich, so wre mein Bestreben,
Sie zu verdienen, doch Geduld!
Von Anbeginn war stetes Wandern
Der Musen und der Knstler Los:
Mir geht es so, wie allen andern,
Fort aus des Vaterlanden Schoss
Seh' ich mich von dem Schicksal leiten.
Doch glaubt es mir, in jedem Reich,
Wohin ich geh' zu allen Zeiten
Bleibt immerdar mein Herz bei euch.
Viena
abril
1782
394 / 383 a
Preludio y Fuga en do mayor

para piano
0'54"
Viena
abril
1782
33 - 40 / 383 b
1. Prludium
4'30"
2. Fuge
4'20"
Fuga en fa mayor

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

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

Viena
abril
1782
Ap. 39 / 383 d

Viena
abril
1782
408 N 1 / 383 e
Marcha en do mayor
para
408 N 3 / 383 F
Marcha en do mayor
para
Viena
mayo
1782
409 / 383 f
Minueto en do mayor
6'15"
para una Sinfona

Viena
1782
Ap. 100 / 383 g
Sinfona
(perdida)
Viena
1782
440 / 383 h
In te spero, o sposo amato

Aria para soprano. Pietro Metastasio: "Demofoonte" I, 2.
DIRCEA
In te spero, o sposo amato,
Fido a te la sorte mia.
E per te, qualunque sia,
Sempre cara a me sar.
Pur che a me nel morir mio

Il piacer non sia negato
Di vantar che tua son io,
Il morir mi piacer.
Viena
1782
383 i
1782
384
Apuntes
para una Sinfona u obertura
Viena
16 junio
Die Entfuhrung aus dem Serail

El rapto del Serrallo
Opera
Libreto:
Viena
agosto
1782
388 / 384 a
Serenata en do menor Nacht Musique

Viena
agosto
1782
384B
Viena
agosto
1782
384 b
Viena
agosto
1782
Ap. 96 / 384 c
Viena
agosto
1782
1. Allegro
8'23"
2. Andante
4'21"
3. Menuetto in canon
4'29"
4. Allegro
6'48"
Andante en mi bemol mayor

(fragmento)
Marcha en si bemol mayor

(fragmento)

(fragmento)
385
Viena
agosto
1782
408 N 2 / 385 a
Viena
agosto
1782
393 / 385 b
Viena
septiembre
1782
403 / 385 c
Sinfona N. 35 en re mayor Hafner

5'31"
2. (Andante)
8'54"
3. Menuetto
3'29"
4. Finale (Presto)
3'57"
Marcha en do mayor
para
Solfeo
para soprano
Sonata en do mayor
Viena
septiembre
1782
404 / 385 d
1. Allegro moderato
4'40"
2. Andante
2'56"
3. Allegretto
4'36"
Andante y Allegreto en do mayor

Viena
septiembre
1782
Ap. 48 / 385 E
Viena
septiembre
1782
402 / 385 e
1. Andante
1'49"
2. Allegretto
1'21"
Sonata en la mayor
Andante y Fuga en la mayor

Viena
septiembre
1782
396 / 385 f
1. Andante, ma un poco adagio
3'55"
2. Fuga. Allegro moderato
2'51"
Adagio en do menor
3'42"

Viena
1782
397 / 385 g
Viena
1782
Ap. 34 / 385 h
Fantasa en re menor
Adagio en re menor
Viena
octubre
1782
399 / 385 i
Suite en do mayor
Viena
1782
154 / 385 k
Viena
1782
385 n
Viena
1782
385 o
1. Obertura - Allegro
3'51"
2. Allemande
3'50"
3. Courante
2'20"
Fuga en sol menor

Fuga en la menor
Apuntes
para un concierto para piano
Viena
1782
414 / 385 p
para piano
1. Allegro
Viena
1782
386
10'31"
2. Andante
8'46"
3. Allegretto
6'24"
Rondo en la mayor
8'32"
para piano
Viena
diciembre
1782
412 & 514 / 386 b
para corno
Viena
diciembre
1782
407 / 386 c
1. (Allegro) KV 412
4'53"
2. Allegro KV 514
4'15"

para corno
Viena
diciembre
1782
Ap. 25 / 386 d
1. Allegro
6'19"
2. Andante
7'27"
3. Allegro
3'58"
O Calpe
Aria para tenor (fragmento)
O Calpe, il tuono ai tuoi piedi rimbomba,
ma la tua millenaria vetta
i mondi introno a s contempla immota.
Guarda! L in alto s'addensan le nubi
sulle onde a occidente,
e nubi presaghe s'espandono salendo.
Essa sventola, o Calpe! Ammantata di vele!
Ali soccorrevoli!
Come ondeggia magnifica la bandiera de Britannia,
della tua fede profetessa.
Calpe! Essa sventola ma la notte scende!
E con le sue nere,
ostili ali di corvo montagne,
pianure, mari, insenature e scogliere essa copre,
dove la pallida morte del navigante,
spezzando la chiglia rist.
Ors!
Da mille gole urla la tempesta!
I flutti raggiungono lu nubi,
s'infrangono impetuosi sugli scogli.
Le onde gi trascinano i resti
delle navi squarciate dei nemici.
Ors!
Viena
diciembre
1782
387

Viena
diciembre
1782
413 / 387 a
1. Allegro vivace assai
7'28"
2. Menuetto. Allegro
8'16"
7'15"
4. Molto allegro
6'03"
para piano
Viena
diciembre
1782
415 / 387 b
1. Allegro
9'05"
2. Larghetto
7'55"
3. Tempo di Menuetto
5'40"
para piano
1. Allegro
Viena
diciembre
1782
404 a
10'23"
2. Andante
8'39"
3. Allegro
9'01"
Seis Preludios y fugas

para violn, viola y violonchelo
N. 1 en re menor
1. Adagio
4'01"
2. Fuga
3'50"
J. S. Bach: Das wohltemperierte Klavier I, Fuga 8, BWV 853

N. 2 en sol menor
1. Adagio
3'18"
2. Fuga
2'55"
J. S. Bach: Das wohltemperierte Klavier II, Fuga 14, BWV 883

N. 3 en fa mayor
1. Adagio
3'15"
2. Fuga
3'04"
J. S. Bach: Das wohltemperierte Klavier II, Fuga 13, BWV 882

N. 4 en fa mayor
1. Adagio
3'26"
J. S. Bach: Adagio e Dolce de la Sonata para rgano N.3 en do menor, BWV 527
2. Fuga
6'27"
J. S. Bach: Die Kunst der Fuge, BWV 1080, Contrapunctus 8

N. 5 en mi bemol mayor
1. Largo
3'47"
J. S. Bach: Largo de la Sonta para rgano N.2 en do menor, BWV 526

2. Fuga
4'48"
J. S. Bach: tercer movimiento de la Sonata para rgano N. 2 en do menor, BWV 526

N. 6 en fa menor
1. Adagio
4'53"
2. Fuga
3'35"
W.F. Bach: Fuga 8
443 / 404 b
Viena
diciembre
1782
Viena
diciembre
1782
405
Viena
diciembre
1782
405 a
1783
416
Fuga en sol mayor

Arreglos de cinco Fugas

de J. S. Bach
Fuga en do mayor
Viena
8 enero

Recitativo y Rondo para soprano sobre un texto de la opera "Zemira" (II, 5)
de Pasquale Anfossi con libreto de l'abate G. Sertor.
[Recitativo]
GANDARTE:

Ah, troppo a noi l'ira del ciel funesta!
8'33"
L'ultima volta questa,

Ch'io ti stringo al mio seno! Anima mia,
Io pi non ti vedr.
(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]

Il doverti, oh Dio, lasciar,
Ma quel pianto, anima mia,
Fa pi grave il mio penar.
(a Akbar)
Deh, mi lascia... oh fier momento!
(a Zemira)
Cara sposa!... Ah, ch'io mi sento
Per l'affanno il cor mancar.
A quai barbare vicende
Mi serbaste avversi Dei!
Dite voi se i casi miei
Non son degni di piet.
Viena
enero
1783
435 / 416 b
Mutich auch durch tausend Drachen

Aria para Tenor
Mt ich auch durch tausend Drachen
Die mit aufgesperrtem Rachen
Lieschen Tag und Nacht bewachen,
Eine blut'ge Bahn mir machen.
Drohte mir mit Schwert und Speer
Auch ein ganzes Ritterheer,
Stritt ich ihnen Lieschen ab,
Oder snk ins frhe Grab.
Will man Gter, Blut und Leben,
Fr mein Lieschen, ich will's geben.
Lstet's euch nach meinem Gut,
Oder fordert ihr mein Blut,
Hier ist Gut, ist Leben,
Doch mein Lieschen lasset mir.
Viena
enero
1783
433 / 416 c
Warnung
Mnner suchen stets zu naschen
Aria en fa mayor para Bajo
Mnner suchen stets zu naschen,
1'53"
Lt man sie allein,

Leicht sind Mdchen zu erhaschen,
Wei man sie zu berraschen;
Soll das zu verwundern sein?
Mdchen haben frisches Blut,
Und das Naschen schmeckt so gut.
Doch das Naschen vor dem Essen

Nimmt den Appetit.
Manche kam, die das vergessen,
Um den Schatz, den sie besessen,
Und um ihren Liebsten mit.
Vter, lt's euch Warnung sein:
Sperrt die Zuckerpltzchen ein!
Sperrt die jungen Mdchen ein!
Viena
marzo
1783
446 / 416 d
Pantaleon und Colombina

Pantomima (fragmento)
Viena
marzo
1783
398 / 416 e
Ouverture (Allegro)
3'30"
Allegro - Maestoso - Allegro
4'00"
Poco adagio - Andante molto
2'01"
Adagio - Allegro - Allegro assai
4'53"
Allegro maestoso - Larghetto
3'15"
Allegro - Maestoso
4'17"
Allegro - Marcia (Maestoso, quasi marcia funebre)
4'37"
Finale (Presto)
1'22"
Seis variaciones Salve tu Domine

para piano en fa mayor
sobre un G. Sarti
Viena
1783
293 / 416 f
Concierto
para oboe (fragmento)
Viena
27 mayo
1783
417

para corno
Viena
mayo
1783
427 / 417 a
1. Allegro maestoso
6'21"
2. Andante
3'18"
3. Rondo
3'42"
Misa en do menor Grosse Messe

Kyrie
7'21"
Gloria: Gloria
4'35"
Gratias
1'21"
Domine
2'37"
Qui tollis
6'14"
Quoniam
3'48"
Jesu Christe
0'43"
Cum Sancto Spiritu
3'47"
Credo: Credo
Et incarnatus est
Viena
17 junio
1783
421 / 417 b
2'25"
Laudamus te
3'27"
8'03"
Santus
3'43"
Benedictus
5'22"
1. Allegro moderato
7'18"
Viena
junio
1783
Ap. 76 / 417 c
Viena
junio
1783
417 d
Viena
junio
1783
178 / 417 e
2. Andante
6'04"
3. Menuetto. Allegretto
4'07"
4. Allegretto ma non troppo - Pi allegro
9'37"
Cuarteto
Cuarteto
Ah, spiegarti, oh Dio

Aria para soprano.
Versin alternativa de "Vorrei spiegarvi, oh Dio!" K.418, Aria para la opera "Il curioso indiscreto" (I, 6)
de Pasquale Anfossi, con texto de autor desconocido.
CLORINDA]:
Ah! spiegarti, oh Dio, vorrei

Quel desio, che il cor m'affana;
Ma la sorte mi condanna
A tacer e sospirar.
Nol consente il crudo amore,

Ch'io mi strugga ad altra face;
Del suo barbaro rigore,
Conte mio, non ti lagnar.
Viena
20 junio
1783
418
Vorrei spiegarvi, oh Dio
7'05"
Aria para Soprano

CLORINDA:
Vorrei spiegarvi, oh Dio!
Qual l'affanno mio;
Ma mi condanna il fato
A piangere e tacer.
Arder non pu 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,
degna d'amor.
Ah stelle spietate!
Nemiche mi siete.
(Mi perdo s'ei resta, oh Dio!)
Partite, correte,
D'amor non parlate,
vostro il suo cor.
Viena
junio
1783
419
4'23"
Aria para Soprano

CLORINDA:
Di cortesia, d'onore
E vanti a torto un core
Ch'arde d'amor per me.
Vanne! T'aborro ingrato,
E pi me stessa aborro,
Che t'ho un istante amato,
Che sospirai per te.
Viena
21 junio
1783
420
7'03"
Aria para Tenor

IL CONTE:

La cagion del mio tormento,
Si crudele in me lo sento,
Che neppur lo so spiegar.
Vo pensando... Ma poi come?

Per uscir... ma che mi giova
Di far questa o quella prova,
Se non trovo in che sperar!
Ah, tra l'ire e tra gli sdegni

Della mia funesta sorte,
Chiamo solo, oh Dio, la morte
Che mi venga a consolar.
Viena
junio
1783
432 / 421 a
Cos dunque tradisci

Aspri rimorsi atroci
3'52"
Recitativo y Aria para Bajo

[Recitativo]
SEBASTE:
Cos dunque tradisci,

Disleal principessa... Ah, folle! ed io
Son d'accursarla ardito!
Si lagna un traditor d'esser tradito!
Il meritai. Fuggi, Sebaste... Ah! dove
Fuggir da me stesso? Ah! porto in seno
Il carnefice mio. Dovunque io vada,
Il terror, lo spavento
Seguiran la mia traccia;
La colpa mia mi star sempre in faccia.
[Aria]
Aspri rimorsi atroci,

Figli del fallo mio,
Perch si tardi, oh Dio!
Mi lacerate il cor?
Perch, funeste voci
Ch'or mi sgridate appresso,
Perch v'ascolto adesso,
N v'ascoltai fin or?
Viena
junio
1783
428 / 421 b

Salzburgo
julio
1783
422
1. Allegro ma non troppo
7'21"
2. Andante con moto
9'05"
3. Allegretto
6'21"
4. Allegro vivace
5'26"
L'Oca del Cairo

La Oca del Cairo
Libreto
Salzburgo
1783
Ap. 14 / 422 a
Kyrie
(fragmento)
Salzburgo
octubre
1783
423
Duo en sol mayor

para violn y viola
Salzburgo
octubre
1783
424
1. Allegro
6'06"
2. Adagio
3'31"
5'01"
Duo en si bemol mayor

para violn y viola
Salzburgo
1783
430 / 424 a
1. Adagio -Allegro
7'58"
3'04"
3. Tema con variazioni (Andante grazioso - Allegretto - Allegro)
8'36"
Lo sposo deluso
El esposo engaado
Libreto
Linz
4 noviembre
1783
425
Sinfona N. 36 en do mayor Linz

1. Adagio - Allegro spiritoso
Linz
noviembre
1783
444 / 425 a
10'38"
2. Poco adagio
7'04"
3. Menuetto
3'34"
4. Finale (Presto)
7'59"
Adagio maestoso en sol mayor [ex N. 37]
1'43"
Introduccin a una sinfona de Michael Haydn

Viena
diciembre
1783
431 / 425 b
Misero! O sogno!
Recitativo y Aria para tenor
[Recitativo]
Misero! O sogno, o son desto?

Chiuso il varco all'uscita.
Io dunque, o stelle!
Solo in questo rinchiuso
Abiato dall'ombre,
Luogo tacito, e mesto,
Ove non s'ode
Nell'orror della notte
Che de' notturni augelli
La lamentabil voce,
I giorni miei
Dovr qui terminar?
Aprite, indegne,
Questa porta infernale,
Spietate, aprite, aprite!
Alcun non m'ode, e solo,
Ne' cavi sassi ascoso,
Risponde a' mesti accenti eco pietoso.
E dovr qui morir?
Ah! negli estremi amari sospiri almen
Potessi, oh Dio!
Dar al caro ben l'ultimo addio!
[Aria]
Aura, che intorno spiri,

Sull'ale a lei che adoro,
Deh, porta i miei sospiri,
Di che per essa moro,
Che pi non mi vedr.
Ho mille larve intorno,
Di varie voci il suono;
Che orribile soggiorno,
Che nova crudelt.
Che barbara sorte,
Che stato dolente,
Mi lagno, sospiro,
Nessuno mi sente,
Nel grave periglio
Nessuno non miro,
Non spero consiglio,
Non trovo piet.
Viena
29 diciembre
1783
426
Fuga en do menor
para dos pianos
3. Allegro moderato
Viena
diciembre
1783
Viena
diciembre
1783
Ap. 44 / 426a
4'00"
Allegro en do menor
para dos pianos (fragmento)
436
Ecco quel fiero istante

Nocturno en fa mayor para dos sopranos y bajo
Ecco quel fiero istante:
1'45"
Nice, mia Nice, addio!

Come vivr ben mio,
Cos lontan da te?
Sempre in pene
Io non avr pi bene
E tu, chi sa se mai
Ti sovverrai di me!
Viena
diciembre
1783
437
Mi lagner tacendo
Escena y rondo en sol mayor para Soprano
Mi lagner tacendo
3'08"
Della mia sorte avara;

Ma ch'io non t'ami, o cara,
Non lo sperar da me.
Crudele! In che t'offendo

Se resta a questo petto
Il misero diletto
Di sospirar per te?
Viena
diciembre
1783
438
Se lontan, ben mio, tu sei

Nocturno en mi bemol mayor para dos sopranos y bajo
Se lontan, ben mio, tu sei,
Son eterni i d per me:
Son momenti i giorni miei
Idol mio, vicino a te.
1'28"
Viena
diciembre
1783
439
Due pupile amabili

Nocturno en fa mayor para dos sopranos y bajo
Due pupile amabili
1'01"
M'han piegato il core

E se piet non chiedo
A quelle luci belle
Per quelle, s per quelle
Io morir d'amore.
Viena
diciembre
1783
346 / 439 a
Luci care, care belle

Nocturno en fa mayor para dos sopranos y dos bajo
Texto de Pietro Metastasio?
Luci care, luci belle,
1'20"
Cari lumi, amate stelle,

Date calma a questo core!
Se per voi sospirio e moro,

Idol mio, mio bel tesoro,
Forza sol del Dio d'amore.
Viena
diciembre
1783
Ap. 229 / 439 b

1. Allegro
3'34"
2. Menuetto
2'56"
3. Adagio
2'45"
4. Menuetto
2'49"
5. Rondo (Allegro)
2'23"

1. Allegro
2'07"
2. Menuetto
3'59"
3. Larghetto
4'23"
4. Menuetto
4'08"
5. Rondo
3'57"

1. Allegro
3'29"
2. Menuetto
5'45"
3. Adagio
4'02"
4. Menuetto
4'56"
5. Rondo (Allegro assai)
4'03"

1. Allegro
3'18"
2. Larghetto
2'13"
3. Menuetto
3'14"
4. Adagio
2'19"
2'18"

Viena
diciembre
1783
441
1. Adagio
2'54"
2. Menuetto
2'59"
3. Adagio
2'01"
4. Polonaise
1'25"
5. Romanze (Andante)
2'15"
Liebes Mandel, wo is's Bandel?

Ensamble para Soprano, Tenor y Bajo
Viena
diciembre
1783
441 a
Viena
diciembre
1783
442
Viena
diciembre
1783
447
Ja! Gruss dich Gott

Lied (fragmento)
Trio en re menor
para piano, violn y cello (fragmento)

para corno
Viena
enero
1784
448
1. Allegro
7'25"
2. Romanze (Larghetto)
4'49"
3. Allegro
3'44"
Sonata en re mayor
para dos pianos
Viena
Viena
Viena
Viena
enero
enero
enero
9 febrero
1784
1784
1784
1784
461 / 448 a
462 / 448 b
463 / 448 c
449
8'23"
2. Andante
9'23"
3. Allegro molto
6'19"
5 Minuetos
1. Do mayor
2'06"
2. Mi bemol mayor
2'00"
3. Sol mayor
2'03"
4. Si bemol mayor
1'49"
5. Fa mayor
1'52"
6 Contradanzas
1. Do mayor
2'05"
2. Mi bemol mayor
1'37"
3. Si bemol mayor
1'01"
4. Re mayor
1'37"
5. Si bemol mayor
1'08"
6. Fa mayor
1'44"
2 Minuetos con contradanzas

1. Fa mayor
2'28"
2. Si bemol mayor
2'25"

para piano
1. Allegro vivace
8'36"
Viena
15 marzo
1784
450
2. Andantino
7'19"
6'16"

para piano
1. Allegro
Viena
22 marzo
1784
451
11'00"
2. (Andante)
6'16"
3. Allegro
7'54"
para piano
1. Allegro assai
Viena
30 marzo
1784
452
10'09"
2. Andante
6'23"
3. Allegro di molto
6'09"

para piano, oboe, clarinete, corno y fagot
1. Largo - Allegro moderato
1784
Ap. 54 / 452 a
Viena
1784
Ap. 55 / 452 b
Viena
1784
Ap. 65 / 452 c
Viena
marzo
10'00"
2. Larghetto
9'35"
3. Allegretto
5'08"
Larghetto
para piano y vientos (fragmento)
Msica de cmara
(fragmento)
Movimiento
para un concierto para piano (fragmento)
Viena
12 abril
1784
453

para piano
Viena
abril
1784
453 a
1. Allegro
11'28"
2. Andante
10'25"
3. Allegretto
7'33"
Kleiner Trauermarsch en do menor
1'52"
Marcha fnebre para piano

Viena
abril
1784
453 b
Cuaderno de ejercicios de Barbara Ployer
Viena
21 abril
1784
454
Sonata en si bemol mayor "Strinasacchi"

para violn y piano
Viena
junio
1784
460 / 454 a
1. Largo - Allegro
7'03"
2. Andante
7'12"
3. Allegretto
6'42"
Tema y Doce Variaciones en la mayor
3'31"
para piano
sobre: Come un agnello de G. Sarti
Viena
25 agosto
1784
455
Diez Variaciones en sol mayor
13'41"
para piano
sobre: Unser dummer Pbel meint (C.W. Gluck)
Viena
30 septiembre
1784
456

para piano
1. Allegro vivace
Viena
14 octubre
1784
457
12'01"
2. Andante un poco sostenuto
9'35"
3. Allegro vivace
7'01"
Sonata en do menor
para piano
Viena
9 noviembre
1784
458
1. Molto allegro
5'18"
2. Adagio
8'09"
3. Allegro assai
4'12"
Cuarteto N. 17 en si bemol mayor La Caza

para cuerdas
Viena
1784
Ap. 75 / 458 a
Viena
1784
Ap. 71 / 458 b
8'47"
2. Menuetto. Moderato
4'23"
3. Adagio
7'43"
4. Allegro assai
6'31"
Minuetto
(fragmento)
Cuarteto
(fragmento)
Viena
11 diciembre
1784
459
para piano
1. Allegro vivace
Viena
diciembre
1784
Ap. 59 / 459 b
12'13"
2. Allegretto
8'18"
3. Allegro assai
7'18"
Concierto
Viena
10 enero
1785
464
1. Allegro
2. Menuetto
3. Andante
Viena
enero
1785
Viena
14 enero
1785
Ap. 72 / 464 a
6'48"
6'12"
13'28"
7'11"
Movimiento en la mayor
7'39"
465
Cuarteto N. 19 en do mayor Disonante

1. Adagio - allegro
Viena
10 febrero
1785
466
11'16"
7'18"
3. Allegretto
5'29"
4. Allegro molto
7'42"
Concierto N. 20 en re menor
para piano
1. Allegro
Viena
9 marzo
1785
467
13'26"
2. Romance
9'12"
3. Rondo (Allegro assai)
7'11"
para piano
1. (Allegro)
13'24"
2. Andante
6'32"
6'11"
Gesellenreise
Viena
26 marzo
1785
468
2'02"

Texto: D. Jger
Wir nun gigen so allein,
Keine Seele um und neben;
Freunde, wre das wohl fein?
Ich -das mu ich frei gesteh'n-,
Lieber wollt'ich gar nicht geh'n!
Ach! Der ganze Weg durchs Leben

Wrde rauh und traurig geh'n!
Sehet, was ihn macht so eben,
Freunde, was ihn mach so schn!
Seht und fhlt es jeden Schritt:
Menschen, Menschen gehen mit!
Viena
marzo
1785
429 / 468 a
Die, Seele des Wetalls

Cantata masnica
Texto: L.L. Haschka
Dir, Seele des Weltalls
3'27"
Dir danken wir die freude
4'00"
Chor
Dir, Seele des Wltalls, o Sonne,
sei heut' das erste
der festlichen Lieder geweiht!
O Mchtige!
O Seele des Wetalls, etc.
Arie (Tenor)
Dir danken wir die Freude,
da wir im Frhlingskleide
die Erde wieder seh'n;
da laue Zephiretten
aus sen Blumenketten
uns Duft entgegenweh'n.
Dir danken wir,

da alle Schtze spendet
und jeden Reiz verschwendet
die gtige Natur,
da alle Lust erwachet
und alles hpft und lachet
auf segenvoller Flur.
Viena
marzo
1785
469
Davide penitente
David penitente
Cantata
Libreto: Lorenzo Da Ponte ?
Viena
1 abril
1785
470
Viena
abril
1785
470 a
Viena
20 abril
1785
471
Andante
para un concierto de violn para Viotti (perdido)
Instrumentacin
para un concierto de violn para Viotti
Die Maurerfreude
Cantata
Texto: L.L. Haschka
Sehen, wie dem starren Forscherauge
5'10"
Drum singet und jauchzet, ihr Brder
1'43"
Arie
Sehen, wie dem starren Forscherauge
die Natur ihr Antlitz nach und nach enthllet;
wie sie ihm mit hoher Weisheit
voll den Sinnund voll das Hert mit Tugend fllet:
das ist Maureraugenweide,
wahre, heie Maurerfreude.
Rezitativ
Sehen, wie die Weisheit und die Tugend
an den Maurer, ihren Jnger,
hold sich wenden, sprechen:
Nimm, Geliebter, diese Kron'
aus Josephs Hnden.
Das ist das Jubelfest der Maurer,
das der triumph der Maurer.
Arie mit Chor

Drum singet und jauchzet, ihr Brder!
Lat bis in die innersten Halle
des Tempels den Jubel der Lieder,
lat bis an die Wolken ihn schallen!
Singt, Lorbeer hat Joseph,
der Weise, zusammengebunden,
mit Lorbeer die Schlfe
dem Weisen der Maurer umwunden.
Lorbeer hat Joseph,

der Weise, zusammengebunden,
mit Lorbeer der Schlfe
dem Weise der Maurer umwunden.
Viena
7 mayo
1785
472
Der Zauberer
Texto de C. F. Weie
Als ich zum erstenmal ihn sah,
Da fhlt' ich, so was fhlt' ich nie,
Mir ward, mir ward, ich wei nicht wie,
Ich seufze, zitterte, und schien mich doch zu freu'n;
Glaubt mir, er mu ein Zaub'rer sein.
Sah ich ihn an, so ward mir hei,

Bald ward ich rot, bald ward ich wei,
Zuletzt nahm er mich bei der Hand;
Wer sagt mir, was ich da empfand?
Ich sah, ich hrte nichts,
Sprach nichts als ja und nein;
Er fhrte mich in dies Gestruch,

Ich wollt' ihm flieh'n und folgt' ihm gleich;
Er setzte sich, ich setzte mich;
Er sprach, nur Sylben stammelt' ich;
1'57"
Die Augen starrten ihm, die meinen wurden klein;

Entbrannt drckt' er mich an sein Herz,

Was fhlt' ich Welch ein ser Schmerz!
Ich schluchzt', ich atmete sehr schwer,
Da kam zum Glck die Mutter her;
Was wrd', o Gtter, sonst nach so viel Zauberei'n,
Aus mir zuletzt geworden sein!
Viena
7 mayo
1785
473
Die Zufriedenheit
Texto de C. F. Weie
2'58"
Des Lebens Freuden ohne Sorgen!

Und sonder Ahnung leuchtet mir
Willkommen jeder Morgen.
Mein frohes, mein zufried'nes Herz

Tanzt nach der Melodie der Haine,
Und angenehm ist selbst mein Schmerz,
Wenn ich vor Liebe weine.
Wie sehr lach' ich die Groen aus,

Die Blutvergieer, Helden, Prinzen!
Denn mich beglckt ein kleines Haus,
Sie nicht einmal Provinzen.
Wie wten sie nicht wider sich,

Die gttergleichen Herr'n der Erden!
Doch brauchen sie mehr Raum als ich,
Wenn sie begraben werden?
Viena
7 mayo
1785
474
Die betrogene Welt

Der reiche Tor, mit Gold geschmcket
Texto de C. F. Weie
Der reiche Tor, mit Gold geschmcket,
2'54"
Zieht Selimenens Auge an;

Der wackere Mann wird fortgeschiket,
Den Stutzer whlt sie sich zum Mann.
Es wird ein prchtig Fest vollzogen,
Bald hinkt die Reue hinterdrein,
Die Welt will ja betrogen sein,
Drum werde sie betrogen.
Beate, die vor wenig Tagen

Der Buhlerinnen Krone war,
Fngt an, sich violett zu tragen
Und kleidet Kanzel und Altar.
Dem usserlichen Schein gewogen,
Hlt mancher sie fr engelrein.
Die Welt will ja betrogen sein,
Drum werde sie betrogen.
Wenn ich mein Karolinchen ksse,

Schwr' ich zrtlich ew'ge Treu';
Sie stellt sich , als ob sie nicht wisse,
Da auer mir ein Jngling sei.
Als einst mich Chlo weggezogen
Nahm meine Stelle Damis ein.
Soll alle Welt betrogen sein,
So werd' auch ich betrogen.
Viena
20 mayo
1785
475
Fantasa en do menor
para piano
Adagio - Allegro - Andantino -Pi allegro - Tempo I
Viena
Viena
1785
8 junio
1785
475 a
Ap. 26 / 476
13'06"
Lied
Das Veilchen
Ein Veilchen auf der Wiese stand
Texto de Johann Wolfgang Goethe
Ein Veilchen auf der Wiese stand,
2'34"
Gebckt in sich und unbekannt;

Es war ein herzigs Veilchen.
[Da] kam [eine] junge Schferin
Mit leichtem [Schritt] und muntrem Sinn
Daher, daher,
Die Wiese her, und sang.
Ach! denkt das Veilchen, wr ich nur

Die schnste Blume der Natur,
Ach, nur ein kleines Weilchen,
Bis mich das Liebchen abgepflckt
Und an dem Busen matt gedrckt!
Ach nur, ach nur
Ein Viertelstndchen lang!
Ach! aber ach! das Mdchen kam

Und nicht in Acht das Veilchen nahm,
Ertrat das arme Veilchen.
Es sank und starb und freut' sich noch:
Und sterb ich denn, so sterb' ich doch
Durch sie, durch sie,
Zu ihren Fen doch.
[ Das arme Veilchen!

Es war ein herzigs Veilchen. ]
Viena
Viena
1785
16 octubre
1785
Ap. 11 / 477 a
478
Cantata
Cuarteto en sol menor
para piano
1. Allegro
Viena
5 noviembre
1785
Viena
noviembre
1785
479
477 / 479 a
6'55"
3. Rondo (Allegro moderato)
7'41"
Ensamble
Maurerische Trauermusik
Msica fnebre masnica
Viena
21 noviembre
1785
Viena
noviembre
1785
Viena
12 diciembre
1785
480
Mandina amabile
Ensamble para Tenor y Bajos
434 / 480 a
Il gran regno delle Amazoni

Ensamble para Tenor y dos Bajos
481
14'24"
2. Andante
4'42"
para piano y violn

1. Molto allegro
7'16"
2. Adagio
7'05"
3. Allegretto [con seis variaciones]:

[Tema]
Viena
16 diciembre
1785
482
1'05"
Variazione I
1'02"
Variazione II
1'03"
Variazione III
1'02"
Variazione IV
1'12"
Variazione V
1'16"
Variazione VI
1'19"

para piano
1. Allegro
2. Andante
3. Allegro (Rondo)
Viena
diciembre
1785
483
Zur Erfnung der Freimaurerloge:

Zerflieet heut', geliebte Brder
13'20"
9'33"
11'54"
2'06"
Canto masnico
(Tenor)
Zerflieet heut' geliebte Brder,
in Wonn' und Jubellieder,
Josephs Wohlttigkeit
hat uns, in deren Brust
ein dreifech Feuer brennt,
hat unsre Hoffnung neu gekrnt.
(Chor)
Vereineter Herzen und Zungen
sei Joseph dies Loblied gesungen,
dem Vater, der enger uns band.
Wohltun ist die schnste der Pflichten;
er sah sie uns feurig verrichten
und krnt' 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, ttigste Streben,
zu ihnen empor sich zu heben,
ist allen der herzlichste Dank.
Drum lat uns, verdreifacht die Krfte,
beginnen den frohen Gesang.
Viena
diciembre
1785
484
Zum Schlu der freimaurerloge:

Ihr unsre neuen Leiter
3'20"
Canto masnico
(Tenor)
Ihr, unsre neuen Leiter,
nun danken wir auch eure Treue;
fhrt stets am Tugendpfad uns weiter,
da jeder sich der Kette freue,
die ihn an bess're Menschen schliet
und ihm des Lebens Kelch verst.
(Chor)
Beim heiligen Eide geloben auch wir,
am groen Gebude zu bauen wie ihr.
(Tenor)
Hebt auf der Wahrheit Schwingen
uns hher zu der Weisheit Throne,
da wir ihr Heiligtum erringen
und wrdig werden ihrer Krone,
wenn ihr wohlttig fr den Neid
Profaner selbst durch uns verscheut.
(Chor)
Beim heiligen Eide geloben auch wir,
am groen Gebude zu bauen wie ihr.
Viena
diciembre
1785
411 / 484 a
6'00"

Viena
diciembre
1785
Ap. 95 / 484 b
Viena
diciembre
1785
Ap. 95 / 484 c
Viena
diciembre
1785
410 / 484 d
Allegro assai en si bemol mayor

para 2 clarinetes y 3 cornos de bassetto (fragmento)

Adagio en fa mayor
1'26"
para 2 cornos de bassetto y fagot

Viena
diciembre
1785
484 e
Allegro en fa mayor
1786
485
Rondo en re mayor
1786
486
Der Schauspieldirektor
para 2 cornos de bassetto (fragmento)

Viena
Viena
10 enero
3 febrero
5'10"
El empresario teatral
Opera
Libreto
Viena
2 marzo
1786
488
para piano
Viena
marzo
1786
Ap. 58 / 488 a
Viena
marzo
1786
Ap. 63 / 488 b
Viena
marzo
1786
Ap. 64 / 488 c
Viena
marzo
1786
488 d
Viena
13 marzo
1786
489
1. Allegro
11'05"
2. Adagio
6'48"
3. Allegro assai
8'00"
Concierto
Concierto
Concierto
Concierto
Spiegarti no poss'io

Viena
13 marzo
1786
490
Venga la morte
Escena con Rondo para Soprano y Tenor
IDAMANTE
Venga la morte, intrepida l'attendo,
Ma, ch'io possa struggermi ad altra face,
Ad altr'oggetto donar gl'affetti miei?
Come tentarlo? Ah! Di dolor morrei.
Non temer, amato bene,
Per te sempre il cor sar.
Pi non reggo a tante pene,
L'alma mia mancando va.
Tu sospiri? O duol funesto!
Pensa almen, che istante questo!
Non posso, o Dio, spiegar.
Stelle barbare, stelle spietate
Perc mai tanto rigor!
Alma belle che vedete
Le mie pene in tal momento,
Dite voi, s'egual tormento
Pu soffrir un fido.
Viena
24 marzo
1786
491
Concierto N. 24 en do menor
para piano
1. Allegro
Viena
marzo
1786
Ap. 62 / 491 a
13'14"
2. Larghetto
7'12"
3. (Allegretto)
9'00"
Concierto
Viena
1 mayo
1786
492
Le Nozze di Figaro
Las Bodas de Figaro
Opera 4 actos
Libreto
Viena
3 junio
1786
493
Cuarteto en mi bemol mayor

para piano
1. Allegro
Viena
junio
1786
Viena
10 junio
1786
Ap. 53 / 493 a
14'09"
2. Larghetto
9'13"
3. Allegretto
8'24"
Cuarteto
para piano y cuerdas
494
Rondo en fa mayor
para piano
Viena
26 junio
1786
495
6'06"

para corno
Viena
8 julio
1786
496
1. Allegro moderato
7'25"
2. Romanza (Andante)
4'49"
3. Rondo (Allegro vivace)
3'44"
Trio en sol mayor

para piano
1. Allegro
2. Andante
3. Allegretto (Thema mit Variationen)
Viena
27 julio
1786
487 / 496 a
8'29"
7'54"
10'39"
Doce Duos
para 2 cornos
Viena
1 agosto
1786
497
N. 1 Allegro
0'58"
N. 2 Menuetto
2'25"
N. 3 Andante
1'20"
N. 4 Polonaise
1'15"
N. 5 Larghetto
1'09"
N. 6 Menuetto
3'40"
N. 7 Adagio
2'10"
N. 8 Allegro
1'23"
N. 9 Menuetto
2'09"
N. 10 Andante
1'12"
N. 11 Menuetto
1'55"
N. 12 Allegro
0'50"
Sonata en fa mayor
Viena
agosto
1786
357 / 497 a
1. Adagio - Allegro di molto
9'38"
2. Andante
8'47"
3. Allegro
8'07"
Sonata en sol mayor

1. Allegro. KV 357 / 497a
Viena
5 agosto
1786
498
6'19"

para piano, clarinete y viola
Viena
19 agosto
1786
499
1. Andante
6'19"
2. Menuetto
5'51"
3. Rondeaux. (Allegretto)
8'24"
Cuarteto N. 20 en re mayor Hofmeister

para cuerdas
1. Allegretto
Viena
12 septiembre
1786
500
10'05"
2'59"
3. Adagio
9'06"
4. Allegro
7'05"
[Allegretto y] Doce Variaciones en si bemol mayor
9'22"
para piano
Viena
noviembre
1786
500a
Sonata en sol mayor

2. Andante. KV 500a
Viena
4 noviembre
1786
501
Viena
18 noviembre
1786
502
Andante con 5 Variaciones en sol mayor

Trio en si bemol mayor

6'20"
1. Allegro
Viena
4 diciembre
1786
503
8'08"
2. Larghetto
9'11"
3. Allegretto
6'00"
para piano
1. Allegro maestoso
Viena
6 diciembre
1786
504
8'21"
3. (Allegretto)
9'18"
Sinfona N. 38 en re mayor Praga

1. Adagio - Allegro
Viena
27 diciembre
1786
505
14'51"
2. Andante
14'12"
2. Andante
9'05"
3. Finale (Presto)
5'58"

[Recitativo]
IDAMANTE:

Che a lui mi doni
Puoi consigliarmi?
E puoi voler che in vita...
Ah no.
Sarebbe il viver mio
Di morte assai peggior.
Venga la morte,
Intrepida l'attendo.
Ma, ch'io possa struggermi ad altra face,
Ad altr'oggetto
Donar gl'affetti miei,
Come tentarlo?
Ah! di dolor morrei.
[Aria]

Pi non reggo a tante pene,
L'alma mia mancando va.
Tu sospiri? o duol funesto!

Pensa almen, che istante questo!
Non mi posso, oh Dio!, spiegar.
Stelle barbare, stelle spietate!

Perch mai tanto rigor?
Alme belle, che vedete

Le mie pene in tal momento,
Dite voi, s'egual tormento
Pu soffrir un fido cor?
Viena
diciembre
1786
506
Wer unter eines Madchens Hand

Lied en --- para soprano
Texto de J. A. Blumauer
2'04"
Sich als ein Sclave schmiegt

Und, von der Liebe festgebannt,
In schnden Fesseln liegt:
Weh dem! Der ist ein armer Wicht,
Er kennt die gold'ne Freiheit nicht.
Wer sich um Frstengunst und Rang

Mit saurem Schweiss bemht,
Und, eingespannt sein Leben lang,
Am Pflug des Staates zieht:
Wer um ein schimmerndes Metall

Dem bsen Mammon dient,
Und seiner vollen Scke Zahl
Nur zu vermehren sinnt:
Doch wer dies alles leicht entbehrt,

Wonach der Thornur strebt,
Und froh bei seinem eignen Herd
Nur sich, nicht Andern lebt,
Der ist's allein, der sagen kann:
Wohl mir, ich bin ein freier Mann!
Viena
diciembre
1786
507
Heiterkeit und leichtes Blut

Canon en fa mayor
para 3 voces
[Heiterkeit und leichtes Blut
Macht ein frohes Herz und guten Mut.
Flieht, ihr Sorgen, weit von mir,
Trbt nicht meines Herzens Seligkeit!]
Viena
diciembre
1786
508
Aus das Wohl aller Freunde

Canon en fa mayor
para 3 voces
[Auf das Wohl aller Freunde!
Jeder lebe hoch!]
Praga
febrero
1787
509
6 Danzas Alemanas
1. Do mayor
2. Sol mayor
3. Si bemol mayor
4. Re mayor
5. Fa mayor
6. Fa mayor
Viena
febrero
1787
232 / 509 a
Lieber Freistdtler, lieber Gaulimauli

Canon en fa mayor
para 4 voces
Lieber Freistdtler,
Lieber Gaulimauli,
Lieber Stachelschwein,
Wo gehn Sie hin?
Etwa zum Finta,
13'23"
Oder zum Scultetti?

Ha, wohin, wohin?
Ei, zu kein'm von beiden,
nein, sondern zum Kitscha
Geht der Herr von Lilienfeld,
Und nicht der Freistdtler,
Nein, auch nicht der Gaulimauli,
Weder der Stachelschwein,
Sondern der Herr von Lilienfeld.
Viena
11 marzo
511
1787
Rondo en la menor
10'49"
para piano
Viena
18 marzo
512
1787
para bajo
[Recitativo]
CLISTENE:
Alcandro, lo confesso,
Stupisco di me stesso. Il volto, il ciglio,
La voce di costui nel cor mi desta
Un palpito improvviso,
Che lo risente in ogni fibra il sangue.
Fra tutti i miei pensieri
La cagion ne ricerco, e non la trovo.
Che sar, giusti Dei! questo ch'io provo?
[Aria]
Non so d'onde viene

Quel tenero affetto,
Quel moto che ignoto
Mi nasce nel petto,
Quel gel che le vene
Scorrendo mi va.
Nel seno a destarmi

S fieri contrasti
Non parmi che basti
La sola piet.
Viena
23 marzo
513
1787
Mentre ti lascio
para bajo
DARIO:
Mentre ti lascio, oh figlia,

In sen mi trema il core,
Ahi, che partenza amara!
Provo nel mio dolore
Le smanie, ed il terror.
Parto... Tu piangi? Oh Dio!

Ti chiedo un sol momento.
Oh Dio, che fier tormento!
Ah mi si spezza il cor.
Viena
abril
1787
Ap. 80
514 a
[Allegro] en si bemol mayor
6'12"

Viena
19 abril
1787
515
Quinteto N. 2 en do mayor
para cuerdas
1. Allegro
Viena
24 abril
1787
228 / 515 b
14'26"
2. Andante
8'25"
5'58"
4. Allegro
7'35"
Ach, zu kurz ist unsers Lebens Lauf

Canon en mi bemol mayor
para 4 voces
[Ach! Zu kurz ist unsres Lebens Lauf!
Kaum entstanden hren wir auf,
Bald hr'n wir wieder auf.]
Viena
16 mayo
1787
516
Quinteto N. 3 en sol menor

para cuerdas
1. Allegro
Viena
mayo
1787
406 / 516 b
10'44"
5'09"
2. Adagio ma non troppo
7'20"
4. Adagio - Allegro
9'44"
Quinteto N. 4 en do menor
para cuerdas
1. Allegro
Viena
mayo
1787
Ap. 91 / 516 c
8'05"
2. Andante
4'11"
3. Menuetto in canone
4'39"
4. Allegro
6'23"
4'17"
para un Quinteto con clarinete

Viena
18 mayo
1787
517
Die Alte
Zu meiner Zeit
Texto en F. von Hagedorn
Zu meiner Zeit, zu meiner Zeit
Bestand noch Recht und Billigkeit.
Da wurden auch aus Kindern Leute,
Aus tugendhaften Mdchen Brute;
Doch alles mit Bescheidenheit.
O gute Zeit, o gute Zeit!
Es ward kein Jngling zum Verrter,
Und unsre Jungfern freiten spter,
Sie reizten nicht der Mtter Neid.
O gute, Zeit, o gute Zeit!

Befli man sich der Heimlichkeit.
Geno der Jngling ein Vergngen,
So war er dankbar und verschwiegen;
Doch jetzt entdeckt er's ungescheut.
O schlimme Zeit, o schlimme Zeit!
Die Regung mtterlicher Triebe,
Der Vorwitz und der Geist der Liebe
Fhrt jetzt oft schon in's Flgelkleid.
2'32"
ward Pflicht und Ordnung nicht entweiht.

Der Mann ward, wie es sich geblhret,
Von einer lieben Frau regieret,
Trotz seiner stolzen Mnnlichkeit.
Die Fromme herrschte nur gelinder,
Uns blieb der Hut und ihm die Kinder;
Das war die Mode weit und breit.

war noch in Ehen Einigkeit.
Jetzt darf der Mann uns fast gebieten,
Uns widersprechen und uns hten,
Wo man mit Freunden sich erfreut.
Mit dieser Neuerung im Lande,
Mit diesem Fluch im Ehestande
Hat ein Komet uns lngst bedrut.
Viena
20 mayo
1787
518
Die Verschweigung
Sobald Damtas Chlon sieht
Texto de C. F. Weie
Sobald Damtas Chlon sieht,
2'52"
So sucht er mit beredten Blicken

Ihr seine Klagen auszudrcken
und ihre Wange glht.
Sie scheinet seine stillen Klagen

Mehr als zur Hlfte zu versteh'n,
Und er ist jung, und sie ist schn:
Ich will nicht weiter sagen.
Vermit er Chlon auf der Flur,

Betrbt wird er von dannen scheiden;
Dann aber hfpt er voller Freuden,
Entdeckt er Chlon nur.
Er kt ihr unter tausend Fragen

Die Hand, und Chlo lt's gescheh'n,
Ich will nichts weiter sagen.
Sie hat an Blumen ihre Lust,

Er stillet tglich ihr Verlangen;
Sie klopfet schmeichelnd ihm die Wangen,
Und steckt sie an die Brust.
Der Busen blht sich sie zu tragen.

Er triumphiert sie hier zuseh'n,
Wenn sie ein khler, heitrer Bach,

Beschtzt von Bschen, eingeladen,
In seinen Wellen sich zu baden,
So schleicht er listig nach.
In diesen schwlen Sommertagen

Hat er ihr oftmals zu geseh'n,
Viena
23 mayo
1787
519
Das Lied der Trennung

Die Engel Gottes weinen
Texto de K. E. K. Schmidt
Die Engel Gottes weinen,
wo Liebende sich trennen,
wie werd ich leben knnen,
o Mdchen, ohne dich?
Ein Fremdling allen Freuden,
leb ich fortan dem Leiden!
Und du? und du?
Vielleicht auf ewig vergit Luisa mich!
Vielleicht auf ewig vergit sie mich!
Im Wachen und im Traume,

werd ich Luisa nennen;
den Namen zu bekennen,
sei Gottesdienst fr mich;
ihn nennen und ihn loben
werd ich vor Gott noch droben.
Und du? und du?
Ich kann sie nicht vergessen,

an allen, allen Enden
verfolgt von ihren Hnden
ein Druck der Liebe mich.
Ich zittre, sie zu fassen,
und finde mich verlassen!
Und du? und du?
Ich kann sie nicht vergessen;

dies Herz, von ihr geschnitten,
scheint seufzend mich zu bitten:
,,O Freund, gedenk an mich!``
Ach dein will ich gedenken,
bis sie ins Grab mich senken.
Und du? und du?
Vergessen raubt in Stunden,

was Liebe jahrlang spendet.
Wie eine Hand sich wendet,
so wenden Herzen sich.
Wenn neue Huldigungen
mein Bild bei ihr verdrungen,
O Gott! vielleicht auf ewig vergit Luisa mich.
Ach denk an unser Scheiden!

Dies trnenlose Schweigen,
dies Auf- und Niedersteigen,
des Herzens drcke dich
wie schweres Geist-Erscheinen,
wirst du wen anders meinen,
wirst du mich einst vergessen,
vergessen Gott und dich.
4'29"
Ach denk an unser Scheiden!

Dies Denkmal, unter Kssen
auf meinen Mund gebissen,
das richte mich und dich!
Dies Denkmal auf dem Munde,
komm ich zur Geisterstunde,
mich warnend anzuzeigen,
vergit Luisa, Luisa mich,
komm ich mich warnend anzuzeigen,
vergit Luisa, Luisa mich,
vergit sie mich!
Viena
26 mayo
1787
520
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte

Erzeugt von heier Phantasie
Texto de G. von Baumberg)
Erzeugt von heier Phantasie,
1'28"
In einer schwrmerischen Stunde

Zur Welt gebrachte, geht zu Grunde,
Ihr Kinder der Melancholie!
Ihr danket Flammen euer Sein,
Ich geb' euch nun den Flammen wieder,
Und all' die schwrmerischen Lieder,
Denn ach! er sang nicht mir allein.
Ihr brennet nun, und bald, ihr Lieben,
Ist keine Spur von euch mehr hier.
Doch ach! der Mann, der euch geschrieben,
Brennt lange noch vielleicht in mir.
Viena
29 mayo
1787
521
Sonata en do mayor
Viena
Viena
14 junio
24 junio
1787
1787
522
523
1. Allegro
9'11"
2. Andante
7'31"
3. Allegretto
8'01"
Eine musikalischer Spa

1. Allegro
4'46"
2. Menuetto (Maestoso) - Trio
6'09"
3. Adagio cantabile
6'11"
4. Presto
4'08"
Abendempfindung
Abend ist's, die
Texto de J. H. Campe
Abend ist's, die Sonne ist verschwunden,
4'54"
Und der Mond strahlt Silberglanz;

So entfliehn des Lebens schnste Stunden,
Fliehn vorber wie im Tanz.
Bald entflieht des Lebens bunte Szene,

Und der Vorhang rollt herab;
Aus ist unser Spiel, des Freundes Trne
Flieet schon auf unser Grab.
Bald vielleicht (mir weht, wie Westwind leise,

Eine stille Ahnung zu),
Schlie ich dieses Lebens Pilgerreise,
Fliege in das Land der Ruh.
Werdet ihr dann an meinem Grabe weinen,

Trauernd meine Asche sehn,
Dann, o Freunde, will ich euch erscheinen
Und will himmelauf euch wehn.
Schenk auch du ein Trnchen mir

Und pflcke mir ein Veilchen auf mein Grab,
Und mit deinem seelenvollen Blicke
Sieh dann sanft auf mich herab.
Weih mir eine Trne, und ach! schme

dich nur nicht, sie mir zu weihn;
Oh, sie wird in meinem Diademe
Dann die schnste Perle sein!
Viena
26 junio
1787
524
An Chlo
Wenn die Lieb' aus deinen blauen
Texto de J. G. Jacobi
Wenn die Lieb' aus deinen blauen,
2'16"
hellen, offnen Augen sieht,

und vor Lust hinein zu schauen
mir's im Herzen klopft und glht;
und ich halte dich und ke

deine Rosenwangen warm,
liebes Mdchen, und ich schliee
zitternd dich in meinem Arm,
Mdchen, Mdchen, und ich drcke

dich an meinen Busen fest,
der im letzten Augenblicke
sterbend nur dich von sich lt;
den berauschten Blick umschattet

eine dstre Wolke mir,
und ich sitze dann ermattet,
aber selig neben dir.
Viena
10 agosto
1787
525
Eine kleine Nachmusik

Serenata en sol mayor
Viena
Praga
24 agosto
29 octubre
1787
1787
526
527
1. Allegro
5'45"
2. Romance (Andante)
6'06"
2'03"
4. Rondo (Allegro)
3'02"
Sonata en la mayor
1. Molto allegro
6'24"
2. Andante
6'59"
3. Presto
7'06"
Don Giovanni
Don Juan
Opera en 2 actos
Libreto
Praga
3 noviembre
1787
528
Bella mia fiamma, addio

Resta oh cara
Recitativo y Aria para soprano con texto de "Cerere placata" (II, 5),
festa teatrale' de N. Jommelli con libreto de D.M. Sarcone.

[Recitativo]
TITANO:
Bella mia fiamma, addio; non piacque al cielo

Di renderci felici. Ecco reciso,
Prima d'esser compito,
Quel purissimo nodo,
Che strinsero fra lor gli animi nostri
Con il solo voler.
Vivi; cedi al destin, cedi al dovere.
Dalla giurata fede
La mia morte t'assolve;
A pi degno consorte... oh pene! unita
Vivi pi lieta e pi felice vita.
Ricordati di me; ma non mai turbi
D'un infelice sposo
La rara rimembranza il tuo riposo.
Regina, io vado ad ubbidirti; ah tutto
Finisca il mio (*) furor col morir mio.
Cerere, Alfeo, diletta sposa, addio!
[Aria]
(a Proserpina)
Resta, oh cara; acerba morte
Mi separa, oh Dio! da te.
(a Cerere)
Prendi cura di sua sorte,
Consolarla almen procura.
(ad Alfeo)
Vado... ahi lasso! addio per sempre...
Quest'affanno, questo passo
terribile per me.
Ah! Dov' il tempio, dov' l'ara?
(a Cerere)
Vieni, affretta la vendetta!
Questa vita cos amara
Pi soffribile non .
(a Proserpina)
Oh cara, addio per sempre!
Praga
6 noviembre
1787
529
Des kleinen Friedrichs Geburtstag

Es war einmal, ihr Leute
Texto de J. E: F. Schall / J. H. Campe)
Es war einmal, ihr Leutchen,
2'00"
Ein Knblein jung und zart,

Hie Friedrich, war daneben
Recht gut von Sinnesart.
War freundlich und bescheiden,
Nicht zrtlich und nicht wild,
War sanft wie kleine Schfchen,
Und wie ein Tubchen mild.
Drum gab auch Gott Gedeihen,

Das Knblein wuchs heran,
Und seine Eltern hatten
Recht ihre Freude dran.
Zu Schul' und Gotteshause
Sah man es fleiig geh'n,
Und Jedem, der es grte,
gar freundlich Rede steh'n.
Auch war ihm in der Schule

Ein Jeder herzlich gut,
Denn Allen macht es Freude,
Und Allen war es gut.
Einst hie es:
Brder, morgen fllt
Sein Geburtstag ein!
Gleich riefen All' und Jede:
Der mu gefeiert sein.
Da war des Wohl behagens

Und jeder Freude viel,
Und wo man sah und hrte,
War Sang und Tanz und Spiel.
Denn Alle, Alle freuten
Des frohen Tages sich,
Und Alle, Alle sangen:
Heil unserm Freiderich!
Und Gott im Himmel oben
Erhrte ihr Gebet.
Sein Segen folgt dem Knaben,
Da wo er geht und steht.
Praga
6 noviembre
1787
530
Das Traumbild
Wo bist du, Bild
Texto de L. H. C. Hlty
Es war einmal, ihr Leutchen,
Ein Knblein jung und zart,
Hie Friedrich, war daneben
Recht gut von Sinnesart.
War freundlich und bescheiden,
Nicht zrtlich und nicht wild,
War sanft wie kleine Schfchen,
Und wie ein Tubchen mild.
Drum gab auch Gott Gedeihen,

Das Knblein wuchs heran,
Und seine Eltern hatten
Recht ihre Freude dran.
Zu Schul' und Gotteshause
Sah man es fleiig geh'n,
Und Jedem, der es grte,
gar freundlich Rede steh'n.
Auch war ihm in der Schule

Ein Jeder herzlich gut,
Denn Allen macht es Freude,
Und Allen war es gut.
Einst hie es:
Brder, morgen fllt
Sein Geburtstag ein!
Gleich riefen All' und Jede:
Der mu gefeiert sein.
Da war des Wohl behagens

Und jeder Freude viel,
Und wo man sah und hrte,
War Sang und Tanz und Spiel.
2'54"
Denn Alle, Alle freuten

Des frohen Tages sich,
Und Alle, Alle sangen:
Heil unserm Freiderich!
Und Gott im Himmel oben
Erhrte ihr Gebet.
Sein Segen folgt dem Knaben,
Da wo er geht und steht.
Viena
11 diciembre
1787
531
Die kleine Spinnerin

Was spinnst du?"
Texto de Anon / D. Jger
"Was spinnst du?" fragte Nachbars Fritz,
1'38"
Als er uns jngst besuchte.

"Dein Rdchen luft ja wie der Blitz,
Sag an, wozu dies fruchte;
Komm lieber her in unser Spiel!"
"Herr Fritz, das la ich bleiben,
Ich kann mir, wenn er's wissen will,
So auch die Zeit vertreiben.
Was htt' ich auch von euch, ihr Herrn?

Man kennt ja eure Weise,
Ihr neckt und scherzt und dreht euch gern
Mit Mdchen um im Kreise,
Erhitzt ihr Blut, macht ihr Gefhl
In allen Adern rege,
Und treibt, so bunt ihr knnt, das Spiel,
Dann geht ihr eurer Wege!
Schier ist's, als wren in der Welt

Zum Spae nur die Mdchen.
Drum geht und spat, wo's euch gefllt,
Ich lobe mir mein Rdchen.
Geht, eure Weise ist kein ntz!
Wenn ich soll Seide spinnen,
So will ich, merk's er sich!, Herr Fritz,
Nicht Werg dabei gewinnen.
Viena
diciembre
1787
532
La libert a Nice
Grazie agl'inganni tuoi
Canzonetta (P. Metastasio)
para soprano, tenor y bajo
sobre una composicin de M Kelly
Grazie agl'inganni tuoi,
Al fin respiro, o Nice,
Al fin d'un infelice
Ebber gli Dei piet.
E non t'offenda il vero,
Nel tuo leggiadro aspetto,
Scopro alcun difetto,
Che mi parea belt.
Viena
3 enero
1788
533
Sonata para piano en fa mayor

para piano
Viena
14 enero
1788
534
1. Allegro KV 533
7'32"
2. Andante KV 533
9'28"
Das Donnerwetter
2'06"
Contradanza en re mayor
Viena
23 enero
1788
535
Viena
enero
1788
535 a
La Bataille
3 Contradanzas
2'29"
1. Do mayor
2. Sol mayor
3. Sol mayor
Viena
Viena
27 enero
24 febrero
1788
1788
536
537
6 Danzas Alemanas
1. Do mayor
1'47"
2. Sol mayor
1'53"
3. Si bemol mayor
1'47"
4. Re mayor
1'43"
5. Fa mayor
1'38"
6. Fa mayor
1'44"
Concierto N. 26 en re mayor Coronacin

para piano
1. Allegro
Viena
4 marzo
1788
538
6'07"
3. (Allegretto)
10'07"
Ah se in ciel, benigne stelle

Aria en
para soprano
LISINGA:
Ah se in ciel, benigne stelle,

La piet non smarrita,
O toglietemi la vita,
O lasciatemi il mio ben!
Voi, che ardete ognor s belle

Del mio ben nel dolce aspetto,
Proteggete il puro affetto
Che inspirate a questo sen.
Viena
5 marzo
1788
539
14'21"
2. (Larghetto)
Ich mochte wohl der Kaiser sein

Aria en
para tenor
Ich mchte wohl der Kaiser sein!
Den Orient wollt ich erschttern;
Die Muselmnner m&szlit;ten zittern,
Konstantinopel wre mein!

Athen und Sparta sollten werden
Wie Rom die Knigin der Erden,
das Alte sollte sich erneu'n!

Die besten Dichter wollt ich dingen,
Der Helden Taten zu besingen,
Die goldnen Zeiten fhrt ich ein!

Weil aber Joseph meinen Willen
Bei seinem Leben will erfllen,
Und sich darauf die Weisen freu'n,
so mag er immer Kaiser sein!
Viena
19 marzo
1788
540
Adagio en si menor
para piano
Viena
24 marzo
1788
540 a
Dalla sua pace

Aria en
para tenor
DON OTTAVIO:
Dalla sua pace la mia dipende,
quel che a lei piace vita mi rende,
quel che le incresce morte mi d.
S'ella sospira, sospiro anch'io,
mia quell'ira, quel pianto mio;
e non ho bene, s'ella non l'ha.
Viena
28 abril
1788
540 b

Duo en
para soprano y bajo
LEPORELLO:

candide e tenerelle,
per questa fresca pelle,
abbi piet di me!
ZERLINA:
Non v' piet, briccone;

son una tigre irata,
un aspide, un leone;
no, no, non v' piet.
LEPORELLO:
Ah! di fuggir si provi...
ZERLINA:
Sei morto se ti movi.
LEPORELLO:
Barbari, ingiusti Dei!

In mano di costei
chi capitar mi fe'?
ZERLINA:
Barbaro traditore!
Del tuo padrone il core
avessi qui con te.
LEPORELLO:
Deh! non mi stringer tanto,

l'anima mia sen va.
ZERLINA:
Sen vada, sen vada o resti,

intanto non partirai di qua!
LEPORELLO:
Che strette, o Dei, che botte!

E giorno, ovver notte?
Che scosse di tremuoto!
Viena
30 abril
1788
540 c
In quali eccessi
para soprano
[Recitativo]
DONNA ELVIRA:
In quali eccessi, o Numi!

in quai misfatti orribili, tremendi,
avvolto il sciagurato!
Ah no, non puote tardar l'ira del cielo,
la giustizia tardar.
Sentir gi parmi la fatale saetta,
che gli piomba sul capo!
Aperto veggio il baratro mortal!
Misera Elvira!
Che contrasto d'affetti, in sen ti nasce!
Perch questi sospiri e queste ambascie?
[Aria]
Mi trad quell'alma ingrata,

Infelice, oddio! mi fa.
Ma tradita, abbandonata,
provo ancor per lui piet.
Quando sento il mio tormento
di vendetta il cor favella;
ma, se guardo il suo cimento,
palpitando il cor mi va.
Viena
mayo
1788
541
Un baccio di mano
Aria en
para bajo
Un bacio di mano
Vi fa maraviglia,
E poi bella figlia
Volete sposar.
Voi siete un po' tondo,
Mio caro Pompeo,
L'usanze del mondo
Andate a studiar.
Un uom, che si sposa
Con giovin vezzosa,
A certi capricci,
Dee pria rinunciar.
Viena
22 junio
1788
542
Trio para piano en mi mayor

para piano
10'43"
Viena
26 junio
1788
543
1. Allegro
7'24"
2. Andante grazioso
4'55"
3. Allegro
6'47"

1. Adagio - Allegro
Viena
16 junio
1788
544
Viena
26 junio
1788
545
10'53"
2. Andante con moto
8'12"
3'59"
4. Finale (Allegro)
5'36"
Marcha en re mayor
(perdida)
Sonata para piano en do mayor Facil

para piano
Viena
28 junio
1788
546
1. Allegro
4'33"
2. Andante
7'00"
3. Rondo (Allegro)
2'00"
Adagio y Fuga en do menor

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

para piano y violn
Viena
14 julio
1788
548
3'58"
2. Allegro
6'06"
3. Andante con variazioni
6'53"
Trio en do mayor
Viena
16 julio
1788
549
1. Allegro
7'27"
9'38"
3. Allegro
4'14"
Piu non si trovano

Notturno en
para 2 sopranos y bajo
Viena
Viena
25 julio
10 agosto
1788
1788
550
551
Sinfona N. 40 en sol menor Grande

1. Molto allegro
7'43"
2. Andante
7'50"
4'25"
6'42"
Sinfona N. 41 en do mayor Jupiter

1. Allegro vivace
Viena
11 agosto
1788
552
11'17"
8'13"
4'30"
4. Molto allegro
6'28"
Beim Auszug in das Feld

Lied en --- para
Texto de autor desconocido
Dem hohen Kaiser treu,
Rief Joseph seinen Heeren:
Sie eilen flgelschnell herbei,
Voll Durst nach Sieg und Ehren.
Gern zieht man ja dem Vater nach,

Der seine Kinder liebet
Und sorgt, da sie kein Ungemach,
Selbst nicht Gefahr betrbet.
Wo sie erschienen, fanden sie

Von Speis und Trank die Flle;
Und lohnt nicht schon des Helden Mh
Oft Dank und guter Wille?
Doch mehr als alles dieses sthlt

Der Mnner Brust zum Streite
Der Trostgedanke, da ins Feld
Gott selber sie geleite.
Bei uns wird jeder Bruder steh'n,

Der Recht und Menschheit schtzet,
Denn ihre Wohlfahrt zu erhh'n,
Ist unser Schwert gewetzet!
Drum, tapfre Streiter, kmpft mit Mut

Um eure Ehrenkronen!
Gott selbst wird euer Heldenblut
An seinem Thron belohnen.
553
Alleluia
1'27"
Canon en
para 4 voces
Alleluia. Amen.
554
Ave Maria
2'30"
Canon en
para 4 voces
Ave Maria.
555
Lacrimoso son io
1'59"
Canon (de A. Caldara) en

para 4 voces
Lacrimoso son io.
Perduto ho l'idol mio.
Lacrimoso son io.
556
Grechtelt's enk
Canon en
para 4 voces
Grechtelt's enk,
Wir gehn im Pater.
Im Pater?
Itz la nach,
I la mi net stimma.
Ei beileib. Ei jawohl,
Mi bringst nt aussi:
Was blauscht der?
Itz halt's Maul!
1'42"
I gib' d'ra Tetschen!
557
Nascoso il mio sol
3'02"

para 4 voces
Nascoso il mio sol,
E sol qui resto,
Piangete voi il mio duol,
Ch'io moro presto.
558
Gehn wir im Pater
1'58"
Canon en
para 4 voces
Gehn wir im Pater,
Gehn wir in d'Hetz,
Geh'n wir zum Kasperl.
Der Kasperl ist krank,
Der Br ist verreckt,
Was tt' ma in der Hetz drau?
Im Pater gibt's Gelsen
Und Haufen voll Dreck.
559
Difficile lectu mihi mars
1'45"
Canon en
para 3 voces
Difficile lectu mihi mars
et jonicu difficile.
559 a
O du eselhafter Peierl
2'36"
Canon en
para 3 voces
O du eselhafter Peierl!
O du Peirlischer Esel!
Du bist so faul
Als wie ein Gaul,
Der weder Kopf noch Haxen hat.
Mir dir ist gar nichts anzufangen,
Ich seh dich noch am Galgen hangen.
Du dummer Peierl
Bist so faul
Als wie ein Gaul.
O lieber Freund, ich bitte dich,
O leck mich doch geschwind im Arsch!
Ach, lieber Freund, verzeihe mir,
Den Arsch petschier ich dir.
Peierl! Nepomul! Peierl! Verzeihe mi!
560
O du eselhafter Martin
561
Bona nox, bist a rechta Ox
1'39"
Canon en
para 4 voces
Bona nox! Bist a rechta Ox;
Bona notte, liebe Lotte;
Bonne nuit, pfui, pfui;
Good night, good night,
Heut m ma noch weit;
Gute Nacht, gute Nacht,
Schei ins Bett, da' kracht;
Gute Nacht, schlaf fein g'sund
Und reck den Arsch zum Mund.
562
Caro bell'idol mio
2'13"

para 3 voces
Caro bell'idol mio,
Non ti scordar di me!
Tengo sempre desio
D'esser vicino a te.
562 a
Canon en si bemol mayor
0'54"
para 3 clarinetes y corno de basseto
562 b
Canon en fa mayor
estudio
Ap. 191 / 562 c
Canon en do mayor
1'51"
para 4 voces
Ap. 66 / 562 e
3'56"
para un trio de cuerdas (fragmento)

Viena
27 septiembre
1788
563

(Trio para cuerdas)
Viena
27 octubre
1788
564
1. Allegro
8'28"
2. Adagio
8'14"
3. Menuetto (Allegretto) - Trio
5'49"
4. Andante
7'30"
5. Menuetto (Allegretto) - Trio I-II
5'13"
6. Allegro
5'56"
Trio en sol mayor

Viena
30 octubre
1. Allegro
5'14"
2. Andante (Thema mit Variationen)
7'10"
3. Allegretto
4'47"
1788
565
2 Contradanzas
Viena
noviembre
1788
566
Acis und Galatea
Viena
6 diciembre
1788
567
6 Danzas Alemanas
Viena
24 diciembre
1788
568
1. Si bemol mayor
1'25"
2. Mi bemol mayor
1'29"
3. Sol mayor
1'38"
4. Re mayor
1'33"
5. La mayor
2'01"
6. Do mayor
1'52"
12 Minuetos
1. Do mayor
1'59"
2. Fa mayor
2'03"
3. Si bemol mayor
1'59"
4. Mi bemol mayor
1'59"
5. Sol mayor
1'53"
6. Re mayor
1'50"
7. La mayor
2'08"
569
8. Fa mayor
2'12"
9. Si bemol mayor
2'16"
10. Re mayor
2'04"
11. Sol mayor
2'02"
12. Do mayor
2'05"
Ohne Zwwang, aus eignem Triebe

Aria para soprano (perdida)
570

para piano
571
1. Allegro
5'43"
2. Adagio
9'04"
3. Allegretto
3'29"
6 Danzas Alemanas
1. Re mayor
1'28"
2. La mayor
1'30"
3. Do mayor
1'22"
4. Sol mayor
1'37"
5. Si bemol mayor
1'31"
6. Re mayor
1'58"
572
Messiah
573
Nueve Variaciones en re mayor Duport
13'42"
para piano
sobre un minuetto de Jean-Pierre Duport
574
Eine Kleine Gigue en sol mayor
1'40"
para piano
575
para cuerdas (Prusiano N. 1)
576
1. Allegretto
7'25"
2. Andante
4'50"
6'07"
4. Allegretto
6'16"
Sonata en re mayor ltima

para piano
577
1. Allegro
5'05"
2. Adagio
5'17"
3. Allegretto
4'16"
Giunse alfin il momento

Al desio di chi t'adora
Recitativo original con texto de Lorenzo da Ponte, y aria substitutiva para soprano
(reemplazante de "Deh vieni non tardar") escrita para el re-estreno de
"Le Nozze di Figaro" (Viena, 29 d'agost de 1789)
Texto posiblemente de Lorenzo da Ponte.
[Recitativo]
SUSANNA:
Giunse alfin il momento

Che godr senz'affanno
In braccio all'idol mio.
Timide cure, uscite dal mio petto,
A turbar non venite il mio diletto!
Oh, come par che all'amoroso foco
L'amenit del loco,
La terra e il ciel risponda,
Come la notte i furti miei seconda!
[Aria]
Al desio di chi t'adora,

Vieni, vola, oh mia speranza!
Morir se indarno ancora
Tu mi lasci sospirar.
Le promesse, i giuramenti,
Deh! rammenta, oh mio tesoro!
E i momenti di ristoro,
Che mi fece Amor sperar!
Ah! ch'omai pi non resisto

All'ardor che il sen m'accende.
Chi d'amor gli affetti intende,
Compatisca il mio penar.
578
Alma grande e nobil core

Aria para soprano, para el intermezzo de
Domenico Cimarosa "I due baroni di Rocca Azzurra"
(I, 8) con texto de G. Palomba.
Alma grande, e nobil core
Le tue pari ognor disprezza.
Sono dama al fasto avvezza
E so farmi rispetar.
Va, favella a quell'ingrato,
Gli dirai che fida io sono.
Ma non merita perdono,
S, mi voglio vendicar.
579
Un moto di gioia mi sento

Arieta substitutiva para soprano (reemplazante de "Venite, inginocchiatevi")
escrita para el reestreno de "Le Nozze di Figaro" (Viena, 29 d'agost de 1789).
Texto posiblemente de Lorenzo da Ponte
SUSANNA:
Un moto di gioia
Mi sento nel petto
Che annunzia diletto
In mezzo il timor.
Speriam che in contento

Finisca l'affanno
Non sempre tiranno
Il fato ed amor.
Di pianti, di pene
Ognor non si pasce,
Talvolta poi nasce
Il ben dal dolor.
E quando si crede
Pi grave il periglio,
Brillare si vede
La calma maggior.
580
Schon lacht der holde frhling

Aria para soprano, para ser inserta en la versin alemana de
"Il Barbiere di Siviglia" de Giovanni Paisiello
ROSINE:
Schon lacht der holde Frhling
Auf blumenreichen Matten,
Wo sich Zephyre gatten
Unter geselligen Scherze.
Wenn auch auf allen Zweigen

Sich junge Blten zeigen,
kehrt doch kein leiser Trost
In dieses arme Herz.
Da sitze ich und weine

Einsam auf der Flur,
Nicht um mein verlones Schfchen,
Nein, um den Schfer Lindor nur.
Ap. 94 / 580 a
Adagio en do mayor
9'30"
para clarinete y 3 cornos de bassetto
Ap. 90 / 580 b
Allegro en fa mayor
7'04"
para clarinete, corno de bassetto, violn, viola y violonchelo
581
Quinteto en la mayor
para clarinete
582
1. Allegro
9'55"
2. Larghetto
7'29"
3. Menuetto
7'40"
4. Allegretto con variazioni
9'50"
Chi sa, chi sa qual sia

Aria para soprano, para ser inserta en la opera "Il burbero di buon core" (I, 14)
de Vicent Martn i Soler con libreto de Lorenzo da Ponte.
MADAMA LUCILLA:
Chi sa, chi sa, qual sia

L'affanno del mio bene,
Se sdegno, gelosia,
Timor, sospetto, amor.
Voi che sapete, oh Dei,

I puri affetti miei,
Voi questo dubbio amaro
Togliatemi dal cor.
583
Vado, ma dova? - Oh Dei!

Aria para soprano, para ser inserta en la opera "Il burbero di buon core" (II, 5)
de Vicent Martn i Soler con libreto de Lorenzo da Ponte.
MADAMA LUCILLA:
Vado, ma dove? oh Dei!

Se de' tormenti suoi,
Se de' sospiri miei,
Non sente il ciel piet.
Tu che mi parli al core,

Guida i miei passi, amore;
Tu quel ritegno or togli
Che dubitar mi far.
584
Rivolgete a lui lo sguardo

Aria para bajo con texto de Lorenzo da Ponte, compuesta originalmente para el "Cos fan tutte"
y despus substituida por "Non siate ritrosi" (I, 15).
GUGLIELMO:
(a Fiordiligi)
Rivolgete a lui lo sguardo
E vedrete come sta;
Tutto dice: io gelo, io ardo,
Idol mio, piet, piet!
(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 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 certo,
Che gli uguali non si trovano
Da Vienna al Canada.
Siam due Cresi per ricchezza,

Due Narcisi per bellezza;
In amor i Marcantoni
Verso noi sarian buffoni;
Siam pi forti d'un ciclope,
Letterati al par di Esopo;
S balliamo un Pich ne cede,
Si gentil e snello il piede;
Se cantiam, col trillo solo
Facciam torto all'usignuolo,
E qualch'altro capitale
Abbiam poi, che alcun non sia.
(Le ragazze partono con collera).
Bella, bella, tengon sodo,

Se ne vanno ed io ne godo.
Eroine di costanza,
Specchi son di fedelt.
585
12 Minuetos
1. Re mayor
2'03"
2. Fa mayor
2'02"
3. Si bemol mayor
2'03"
4. Mi bemol mayor
2'00"
5. Sol mayor
2'14"
6. Do mayor
2'11"
7. La mayor
2'18"
8. Fa mayor
2'06"
9. Si bemol mayor
2'11"
586
10. Mi bemol mayor
2'13"
11. Sol Mayor
2'25"
12. Re mayor
2'13"
12 Danzas Alemanas
1. Do mayor
2'03"
2. Sol mayor
2'02"
3. Si bemol mayor
2'03"
4. Fa mayor
2'00"
5. La mayor
2'14"
6. Re mayor
2'11"
7. Sol mayor
2'18"
8. Mi bemol mayor
2'06"
9. Si bemol mayor
587
2'11"
10. Fa mayor
2'13"
11. La mayor
2'25"
12. Do mayor
2'13"
Der Sieg vom Helden Koburg

588
Cosi fan tutte

As hacen todas
Opera
Libreto
106 / 588 a
236 / 588 b
Obertura y 3 contradanzas
1. Obertura en re mayor
1'02"
2. Contradanza I en re mayor
1'37"
3. Contradanza II en la mayor
1'39"
4. Contradanza III en si bemol mayor
1'37"
Andantino en mi bemol mayor

para piano
589

Ap. 68 / 589 a
1. Allegro
6'14"
2. Larghetto
6'34"
3. Menuetto. Moderato
6'54"
4. Allegro assai
3'38"
Minu en si bemol mayor
4'20"
590
312 / 590 d
1. Allegro moderato
8'46"
2. Allegretto
7'29"
4'03"
4. Allegro
7'04"
Allegro en sol menor
5'19"
para piano
591
Alexander's Feast
592
Oda a Sta Cecilia
625 / 592 a
Nun, liebes Weibchen, zeehstmit mir

Ensamble
593
Quinteto N. 5 en re mayor
para cuerdas
1. Larghetto - Allegro
594
10'15"
2. Adagio
7'21"
5'20"
4. Allegro
5'15"
Adagio y Allegro en fa menor

para rgano mecnico
595
Adagio
2'12"
Allegro
7'16"
Adagio
2'17"

para piano
1. Allegro
596
13'45"
2. Larghetto
6'57"
3. Allegro
8'28"
Sehnsucht nach dem Frhling

Komm, lieber Mai, und mache
Lied en
para soprano y piano
Komm, lieber Mai, und mache
Die Bume wieder grn,
Und la mir an dem Bache
Die kleinen Veilchen blhn!
Wie mcht ich doch so gerne
Ein Veilchen wieder sehn,
Ach, lieber Mai, wie gerne
Einmal spazieren gehn!
Zwar Winterage haben

Wohl auch der Freuden viel;
Man kann im Schnee eins traben
Und treibt manch Abendspiel,
Baut Huschen von Karten,
Spielt Blindekuh und Pfand;
Auch gibt's wohl Schlittenfahrten
Auf's liebe freie Land.
Doch wenn die Vglein singen

Und wir dann froh und flink
Auf grnen Rasen springen,
Das ist ein ander Ding!
Jetzt mu mein Steckenpferdchen
Dort in dem Winkel stehn;
Denn drauen in dem Grtchen
Kann man vor Kot nicht gehn.
Am meisten aber dauert

Mich Lottchens Herzeleid;
Das arme Mdchen lauert
Recht auf die Blumenzeit;
Umsonst hol ich ihr Spielchen
Zum Zeitvertreib herbei,
Sie sitzt in ihrem Sthlchen
Wie Hhnchen auf dem Ei.
Ach, wenn's doch erst gelinder

Und grner drauen wr!
Komm, lieber Mai, wir Kinder,
Wir bitten dich gar sehr!
O komm und bring vor allen
Uns viele Veilchen mit,
Bring auch viel Nachtigallen
Und schne Kuckucks mit!
597
Der Frhling
Erwacht zum neuen Leben
Lied en
Erwacht zum neuen Leben
Steht vor mir die Natur,
Und sanfte Lfte wehen
Durch die verjngte Flur.
Empor aus seiner Hlle
Drngt sich der junge Halm,
Der Wlder de Stille
Belebt der Vgel Psalm.
Die Flur im Blumenkleide

Ist, Schpfer, dein Altar,
Und Opfer reiner Freude
Weiht dir das junge Jahr;
Es bringt die ersten Dfte
Der blauen Veilchen dir,
Und schwebend durch die Lfte
Lobsingt die Lerche dir.
Ich schau' ihr nach und schwinge

Voll Dank mich auf zu dir,
Dem Schpfer aller Dinge,
Gesegnet seist du mir!
Weit ber sie erhoben,
Kann ich der Fluren Pracht
Empfinden, kann dich loben,
Der du den Lenz gemacht.
O Vater, deine Milde

Fhlt Berg und Tal und Au,
Es grnen die Gefilde,
Beperlt vom Morgentau;
Der Blumenweid' entgegen
Blkt schon die Herd' im Tal,
Und in dem Staube regen
Sich Wrmer ohne Zahl.
Glnzt von der blauen Feste

Die Sonn' auf unsre Flur,
So weiht zum Schpfungsfeste
Sich jede Kreatur,
Und alle Bltter dringen
Aus ihrem Keim hervor,
Und alle Vgel schwingen
Sich aus dem Schlaf empor.
Lobsing' ihm, meine Seele,

Dem Gott, der Freuden schafft!
Lobsing' ihm und erzhle
Die Werke seiner Kraft!
Hier von dem Bltenhgel
Bis zu der Sterne Bahn
Steig' auf der Andacht Flgel
Dein Loblied himmelan!
598
Das Kinderspiel
Wir Kinder, wir schmecken
Lied en
Wir Kinder, wir schmecken
Der Freuden recht viel,
Wir schkern und necken,
Versteht sich im Spiel;
Wir lrmen und singen
Und rennen rundum,
Und hpfen und springen
Im Grase herum.
Ei, seht doch, ihr Brder,

Den Schmetterling da!
Wer wirft ihn uns nieder?
Doch schonet ihn ja!
Dort flattert noch einer,
Der ist wohl sein Freund,
O schlag' ihn ja keiner,
Weil jener sonst weint.
Wird dort nicht gesungen?

Wie herrlich das klingt!
Vortrefflich, ihr Jungen,
die Nachtigall singt.
Dort sitzt sie, dort oben
Im Apfelbaum, dort;
Wir wollen sie loben,
So fhrt sie wohl fort.
Lat Krnzchen uns winden,

Viel Blumen sind hier.
Wer Veilchen wird finden,
Empfngt was dafr.
Ein Mulchen zur Gabe
Gibt Mutter, wohl zwei.
Juchheisa! Ich habe,
Ich hab' eins, juchhei!
Ach, geht sie schon unter,

Die Sonne, so frh?
Wir sind ja noch munter,
Ach, Sonne verzieh'!
Nun morgen, ihr Brder,
Schlaft wohl, gute Nacht!
Ja, morgen wird wieder
Gespielt und gelacht.
599
6 Minuetos
1. Do mayor
2'12"
2. Sol mayor
2'16"
3. Mi bemol mayor
2'12"
4. Si bemol mayor
2'22"
5. Fa mayor
1'54"
6. Re mayor
600
601
602
603
604
605
607 / 605 a
1'55"
6 Danzas Alemanas
1. Do mayor
1'56"
2. Fa mayor
1'57"
3. Si bemol mayor
1'57"
4. Mi bemol mayor
1'45"
5. Sol mayor (Trio: Der Kanarienvogel)
1'40"
6. Re mayor
2'08"
4 Minuetos
1. La mayor
2'14"
2. Do mayor
2'35"
3. Sol mayor
1'58"
4. Re mayor
1'59"
6 Danzas Alemanas
1. Si bemol mayor
1'51"
2. Fa mayor
1'56"
3. Do mayor (KV 611 Die Leyerer)
1'52"
4. La mayor
1'45"
2 Contradanzas
1. Re mayor
0'51"
2. Si bemol mayor
1'16"
2 Minuetos
1. Si bemol mayor
2'20"
2. Mi bemol mayor
2'16"
3 Danzas Alemanas
1. Re mayor
1'52"
2. Sol mayor
1'54"
3. Do mayor (Trio: Die Schlittenfahrt)
2'50"
Il trionfo delle donne
1'23"
Contradanza en mi bemol mayor
606
6 Lndler en si bemol mayor
608
Fantasa en fa menor
5'17"
Orgelstck fr eine Uhr
609
610
Allegro
3'40"
Andante
5'09"
Allegro
2'49"
5 Contradanzas
1. Do mayor (Non pi andrai)
0'56"
2. Mi bemol mayor
0'47"
3. Re mayor
1'08"
4. Do mayor
2'00"
5. Sol mayor
1'25"
Les Filles malicieuses
1'28"
Contradanza en sol mayor
612
Per questa bella mano

Aria en --- para bajo
613
8 Variaciones en fa mayor Ein Weib ist das herrlichste Ding
15'17"
para piano
sobre: Ein Weib ist das herrlichste Ding (B. Schack/F. Gerl)
614
Quinteto N. 6 en mi bemol mayor

para cuerdas
615
1. Allegro di molto
7'13"
2. Andante
7'10"
4'20"
4. Allegro
5'30"
Vivamo felici
Cuarteto para soprano, tenor, bajo y alto
Coro final para la opera "Le gelosie villane" de Sarti (perdido)
616
Andante en fa mayor
8'24"
Andante fr eine Walze in eine kleine Orgel
617
Adagio en do menor y Rondo en do mayor

para armonica de vidrio, flauta, oboe, viola y violonchelo
356 / 617 a
1. Adagio
6'38"
2. Rondo
9'35"
Adagio en do mayor
para armonica de vidrio
618
Ave verum corpus

Motete en re mayor
619
Die ihr des unermesslichen Weltalls

Canto masonico
Rezitativ
Die ihr des unermelichen Weltalls
Schpfer ehrt,
Jehova nennt ihn, oder Gott,
nennt Fu ihn, oder Brama,
Hrt! hrt Worte aus der Posaune
des Allherrschers!
Laut tnt durch Erden, Monden, Sonnen
ihr ewiger Schall.
Hrt, Menschen, ihn auch ihr.
Andante
Liebt mich in meinen Werken!
Liebt Ordnung, Ebenma und Einklang!
Liebt euch selbst und eure Brder!
Krperkraft und Schnheit 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!
Zerreiet dieses Vorurteiles Schleier!
Enthllt euch vom Gewand,
3'53"
das Menschheit in Sektiererei verkleidet!

In Kolter schmiedet um das Eisen,
das Menschen, das Bruderblut bisher vergo!
Zersprenget Felsen mit dem schwarzen Staube,
der mordend Blei in Bruderherz oft schnellte!
Andante
Whnt nicht, da wahres Unglck
sei auf meiner Erde,
Belehrung ist es nurm, die wohltut,
wenn sie euch zu bessern Taten spornt;
Die, Menschen, ihr in Unglck wandelt,
wenn tricht blind ihr rckwrts
in den Stachel schlagt,
der vorwrts euch antreiben sollte.
Seid weise nur, seid kraftvoll und seid Brder!
Dann ruht auf euch mein ganzes Wohlgefallen;
dann netzen Freudenzhren nur die Wangen;
dann werden eure Klagen Jubeltne;
dann schaffet ihr zu Edenstlern Wsten;
dann lachet alles euch in der Natur;
Allegro
dann ist's erreicht, des Lebens wahres Glck.
620
Die Zauberflte
Opera
Libreto
621
La Clemenza di Tito
Opera
Libreto
Ap. 245 / 621 a
Io ti lascio, oh cara, addio

Aria para bajo. Parte vocal posiblemente de Gottfried von Jacquin.
Io ti lascio, oh cara, addio,
Vivi pi felice
E scordati di me.
Strappa pur dal tuo bel core
Quell'affetto, quell'amore,
Pensa che a te non lice
Il ricordarsi di me.
622
Concierto en la mayor
para clarinete
623
1. Allegro
11'59"
2. Adagio
7'43"
3. Rondo (Allegro)
8'40"
Laut verkunde unsre Freude

Canto masonico
623 a
Lat uns mit geschlungnen Handen

Canto masonico
Lat uns mit geschlung'nen Hnden
Brder, diese Arbeit enden
unter frohem Jubelschall.
Es umschlingen diese Kette,
so wie diese heil'ge Sttte,
auch den ganzen Erdenball.
Lat uns unter frohem Singen
vollen Dank dem Schpfer bringen,
dessen Allmacht uns erfreut.
Seht, dir Weihe ist vollendet;
wr'doch auch das Werk geendet,
welches uns're Herzen weiht!
Tugend tut die Menschheit ehren;
sich und andern Liebe lehren
sei nun stets die erste Pflicht.
Dann strmt Licht allein in Osten,
dann strmt Licht allein in Westen,
auch in Sd und Norden Licht.
626
Requiem en do menor
Introitus:
Requiem
Kyrie
Sequentia:
1'52"
Tuba mirum
3'24"
Rex tremendae
2'03"
Recordare
5'30"
Confutatis
2'47"
Lacrimosa
3'03"
Offertorium: Domine Jesu

Hostias
Santus
3'54"
4'38"
1'39"
Benedictus
5'18"
Agnus Dei
Comunio:
5'15"
2'39"
Dies irae
3'10"
Lux aeterna
5'48"
WORK
TITLE OR
NICKNAME KEY
KV6 KV1
ENTRY
TITLE
528
528
Scene f/S
Bella mia
C
fiamma/Rest
a, o cara
-- Dated Nov 3, 1787 in Prague;

written for Josefa Duschek.
529
529
Song f/1
Singer
w/Kybd
Des kleinen F
Friedrichs
Geburtstag
-- Entered in work catalogue Nov 6,

1787 in Prague; title "Am
Geburtstag des Fritzes" refers to
Prince Friedrich of AnhaltDressau.
530
530
Song f/1
Singer
w/Kybd
Das
Traumbild
Eb
-- Entered in work catalogue on Nov

6, 1787 on Prague; in Nov 9,
1787 Mozart gave Gottfried von
Jacquin a song in friendship;
published around 1803 under
Jacquin's name.
531
531
Song f/1
Singer
w/Kybd
Die kleine
Spinnerin
-- Entered in work catalogue Dec

11, 1787 in Vienna; published in
children's magazine in same year.
532
532
Trio f/STB
Grazie
agl'inganni
tuoi
Bb
-- Composed supposedly 1787 in

Vienna; date taken to have
connection with statement of
Michael Kelly that he [Kelly] wrote
a little melody on "Grazie
agl'inganni tuoi", on which Mozart
wrote variations in 1787.
533
533
Allegro &
Andante
f/Kybd
--
F/Bb
-- Entered in work catalogue Jan 3,

1788 in Vienna; published with
Rondo KV 494 as Sonata by
Hoffmeister in 1788.
534
534
Country
Dance
Das
D
Donnerwette
r
-- Entered in work catalogue Jan

14, 1788; exists in orchestral and
Kybd versions.
535
535
Country
Dance
La Bataille

23, 1788.
535a (K2) 535a 3 Country

Dances
--
C,G,G -- Composed probably beginning

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

1788 in Vienna.
536
6 German
Dances
--
var

27, 1788.
536
SHORT DESCRIPTION FROM

KV6
537
537
Concerto
f/Kybd
Coronation
Concerto
26 Entered in work catalogue Feb

24, 1788 in Vienna; nickname
from performance at coronation
ceremonies in Frankfurt on Oct
15, 1790.
537a A057
Concerto
-Mvmt f/Kybd
-- Begun probably Feb 1788 in

Vienna; in connection with KV
537.
537b A061
Concerto
-Mvmt f/Kybd
-- Begun probably Feb 1788 in

Vienna; probably connected with
KV 537, or perhaps KV 488.
537d --
Arrangemen Ich folge dir, D

t of an Aria verklrter
by CPE
Held
Bach
-- Arranged by Mozart supposedly

before Feb 26, 1788 in Vienna;
CPE Bach's "Auferstehung und
Himmelfahrt Jesu", performed at
Count Esterhazy's; Mozart
modified solo Trmpt part for Cl, Fl
and Ob; Valentine Adamberger
was singer of part.
538
538
Aria f/S
Ah se in ciel, F
benigne
stelle
-- Dated Mar 4, 1788 in Vienna;

written for Aloysia Lange;
autograph particella, which differs
in voice part, also preserved.
539
539
A German
War Song
Ich mchte
wohl der
Kaiser sein
-- Dated Mar 5, 1788 in Vienna;

written for actor in Leopolstadt,
Friederick Baumann; First
performaned Mar 7.
540
540
Adagio
f/Kybd
Aria to the
Opera Don
Giovanni
--
-- Dated Mar 19, 1788 in Vienna.
Dalla sua
pace
-- Entered in work catalogue Apr 24,

1788 in Vienna; replacement Aria
(for "Il mio tesoro") for Vienna
performance of Don Giovanni on
May 7, 1788 at Burg Theater;
singer was Franceso Morella.

1788, in Vienna; insert duet for
Zerlina and Leoporello for Vienna
performance of "Don Giovanni"
on May 7, 1788 at Burg Theater.
Singers were Francesco Benucci
and Luisa Mombelli (ne Laschi).
540a --
540b --
Duet for the Per queste

Opera Don tue manine
Giovanni
540c --
Scena for
the Opera
Don
Giovanni
In quali
eccesi/Mi
trad
quell'alma
Eb

1788 in Vienna; replacement Rec
& Aria (for "In qual eccessi/Mi
tradi") for Vienna performance of
Don Giovanni on May 7, 1788 at
Burg Theater; singer was
Caterina Cavalieri.
541
541
Arietta f/B
Un bacio di
mano
-- Entered in Work Catalogue in

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

22, 1788 in Vienna; possibly
Puchberg trio.
543
543
Symphony
--
Eb
544
544
Little March --
545
545
Sonata
f/Kybd
--
39 Entered in work catalogue Jun

26, 1788 in Vienna.
26, 1788 in Vienna.
26, 1788 in Vienna as "A little
Klavier Sonata for Beginners".
546
546
Adagio &
Fugue f/St
--

26, 1788 in Vienna; String
arrangement of 2-Kybd Fugue KV
426; possibly intended for small
string orchestra.
546a A047
Sonata
-Mvmt f/Kybd
& Vn
Bb
-- Composed probably in Jun 1788

in Vienna; possibly a draft for KV
547.
547
Sonata
-f/Kybd & Vn
-- Entered in work catalogue Jul 10,

1788, (see KV 547a and KV
547b).
Sonata
f/Kybd
-- Composed probably after Jun 26,

1788 in Vienna; 1st mvmt is Kybd
transcription of Allegro to Kybd &
Vn Sonata KV 547; 2nd mvmt is
last mvmt of Sonata KV 545.
547
547a A135
--
547b 54
5 (6?)
Variations
f/Kybd
--
-- Composed probably in Jul 1788

in Vienna; solo version of 3rd
mvmt of KV 547.
548
548
--
549
549
550
551
551
Symphony
552
552
Song f/1
Singer
w/Kybd
Pi non si
trovano
The Great g
Minor
Jupiter
Symphony
Beim
Auszug in
das Feld
Bb
550
Trio f/Kybd
& St
Canzonetta
f/2S & B
Symphony

1788.
1788.
40 Dated Jul 25, 1788 in Vienna; Cls
added in later revision.
41 Entered into work catalogue Aug
10, 1788 in Vienna.
-- Entered in work catalogue Aug
11, 1788 in Vienna.
553
553
4-Voice
Canon
Alleluja
-- Entered in work catalogue Sep 2,

1788 in Vienna; on same
manuscript page with KV 554,
555, and 557.
554
554
4-Voice
Canon
Ave Maria

555, and 557.
555
555
4-Voice
Canon
Lacrimoso
son'io

554,and 557; new text added
later by B&H.
556
556
4-Voice
Canon
G'rectel's
enk

manuscript page with KV 561;
new text added later by B&H.
557
557
4-Voice
Canon
Nascoso il f
mio sol

554, and 555.
558
558
4-Voice
Canon
Gehn wir im Bb
Prater

manuscript page with KV 554 and
555.
559
559
3-Voice
Canon
Difficile lectu F
mihi Mars

manuscript page as KV 560;
supposedly jotted down by
Mozart as joke, directed at
Johann Nepomuk Peierl.
g
C
A
559a --
4-Voice
Canon
O du
eselhafter
Peierl
-- Composed most likely 1785 in

Vienna; another autograph with
same music as KV 560, but with a
name other than Martin;
supposedly jotted down by
Mozart as joke directed at Johann
Nepomuk Peierl.
560
560
4-Voice
Canon
O du
eselhafter
Martin

manuscript sheet as KV 559; (see
KV 559a).
561
561
4-Voice
Canon
Bona nox,
A
bist a rechta
Ox

manuscript page with KV 556.
562
562
3-Voice
Canon
Caro
A
bell'idol mio

1788 in Vienna; new text later
added by B&H.
562a --
4-Voice
-Canon w/out
Text
Bb
-- Composed [?] in Vienna.
562b --
Canon
Study
--
-- Composed [?] in Vienna.
562c A191
4-Voice
Canon
--
-- Composed [?] in Vienna [?];

headed by Mozart with "13
Canone a due Violini, Viola, e
Basso"; on same manuscript
page as KV 384B.
562e A066
Trio f/St
--
-- Composed supposedly in Sep

1788 n Vienna; no doubt earlier
attempt at Trio f/St KV 563.
563
563
Divertimento -f/St Trio
Eb
-- Entered in work catalogue Sep

27, 1788; written for Michael
Puchburg.
564
564
--
565
565
Trio f/Kybd
& St
2 Country
Dances
Country
Dance
--
Eb/D
--
-- Entered in work catalogue Oct 27,

1785 in Vienna.
-- Entered in work catalogue Oct 30,
1788.
-- [No dating in KV6.] Fragment
consists of only 2nd Vn part.
565a --
566
566
Arrangemen Acis and

t of a Handel Galathea
Pastorale
var
-- Entered in work catalogue in Nov

1788 in Vienna; commissioned by
Baron van Swieten for
Association of Cavaliers;
reorchestration of Hndel's
oratorio.
567
567
--
var
568
568
6 German
Dances
12 Minuets
--
var
-- Entered in work catalogue Dec 6,

1788.
24, 1788; intended for balls in
Redoutensaal.
569
569
Aria f/S (?)
Ohne
F
Zwang, aus
eignem
Triebe
-- Entered Work Cataologue in Jan

1789 in Vienna; nothing known of
occasion.
569a A031
Sonata
-Mvmt f/Kybd
Bb
-- Composed most likely beginning

1789 in Vienna; probably a draft
for Sonata KV 570, but possibly
for KV 454.
570
570
Sonata
f/Kybd
--
Bb
-- Entered in work catalogue Feb

1789 in Vienna; first published
edition by Artaria in 1796
contained Vn part that did not
originate from Mozart.
571
571
6 German
Dances
Minuet
--
var
--

21, 1789.
-- Originated probably in Feb 1789
in Vienna; in his biography Nissen
listed Minuet in A with only 11
measures completed.
Humerous
Qrt
Caro mio
Druck und
Schluck
Eb
571A A106
571a A005
-- Composed supposedly beginning

1789 in Vienna; dating based on
Mozart's use of phrase "Schluck
und Druck" in letter of Apr 13,
1789.
572
572
Arrangemen Messiah
t of a Handel
Oratorio
-- Entered in work catalogue in Mar

1789; commissioned by Baron
van Swieten for Association of
Cavaliers; reorchestration of
Hndel's oratorio, performed on
Mar 6 and Apr 7 at residence of
Count Johann Esterhzy.
572a A004
6-Voice
Double
Canon
unk
-- Composed supposedly on Apr 22,

1789 in Leipzig; according to
anedcote of Rochlitz, composed
as farewell for the retiring
Thomaskirche cantor, Friedrich
Doles.
573
573
9 Variations Duport
f/Kybd
Variationen

1789 in Potsdam; entered in work
catalogue as "6 Variations",
though possibly Mozart added 3
later, as it was printed by Artaria
in 1792 with 9; copy by Lausch
from Aug 1791 has 6 variations;
no doubt composed duriing his
stay in Berlin where Duport was
director of Friedrich Wilhelm's
chamber music.
574
574
Little Gigue
f/Kybd
--
-- Dated May 1, 1789 in Vienna;

written in diary of court organist to
Elector of Saxony, Karl Immanuel
Engel.
575
575
Quartet f/St
--

1789 in Vienna as being for His
Majesty the King of Prussia; in
letter of Jul 12, 1789 Mozart
wrote that he planned to
compose 6 quartets f/St for King
Friedrich Wilhelm.
576
576
Sonata
f/Kybd
--
-- Entered in work catalogue Jul

1789 in Vienna; one of the 6
Sonatas in projected series of
works for Princess Friederike of
Prussia.
Minuet
f/Kybd
--
-- [Not dated by KV6, but placed

immediately after Sonata KV 576,
which was dated Jul 1789 in
Vienna.] On same manuscript
page with KV 385h.
576a A034/2
Lebet
wohl/Heult
noch gar
576b 355
Minuet
f/Kybd
--
-- Composed probably 1789 in

Vienna; Einstein thought was i3rd
movement Menuet to K576;
although K6 doubts this, it is still
placed in connection to this
Sonata; M. Stadler added a Trio.
577
577
Rondo f/S
Al desio, di
chi t'adora
-- Entered in Work Catalogue in Jul

1789 in Vienna; known only in
Kybd reduction; replacement aria
for Adriana Ferraresi del Bene for
Susanna's "Deh vieni" in "Le
nozze di Figaro".
578
578
Aria f/S
Alma grande Bb
e nobil core
-- Entered in Work Catolgue in Aug

1789 in Vienna; written for Louise
Villeneuve as replacement in
Cimarosa's opera buffa "I due
baroni di Rocca Azzurra",
performed in Vienna on Sep 6
and 13.
579
579
Aria f/S
Un moto di
gioia mi
sento
-- Composed probably in Aug 1789

in Vienna; written as replacement
aria for Adriana Ferraresi del
Bene for Susanna's "Venite
inginocchiatevi" in "Le nozze di
Figaro"; Kybd reduction by Mozart
also exists.
580
580
Aria f/S
Schon lacht Bb
der holde
Frhling

17, 1789 in Vienna; written for
Joespha Hoffer as insert into
German version of Paisiello's
"Balbier von Seviglien". No record
of opera being performed, which
may explain why the Aria was not
finished.
580a A094
Adagio
f/Winds
--

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

in Vienna.
581
581
Quintet f/Cl
& St
--

29, 1789; first performed Dec 22,
1789 at Burg Theater in Vienna in
concert by Tonknstler Society
with Anton Stadler the clarinetist.
581a A088
QuintetConcerto
Mvmt f/Cl
--
-- Composed probably in Sep 1787,

or later, in Vienna; has a
resemblance to theme of one of
Ferrado's arias in "Cos fan tutte",
but unable to determine if written
down before or after opera;
perhaps has some connection to
Rondo with Bthn played in
concert on Apr 26, 1791 in
Prague.
582
582
Aria f/S
Chi s, chi
s, qual sia
-- Dated in Oct 1789 in Vienna;

written for Louise Villeneuve as
insert in Martin & Soler's "Il
burbero di buon core", performed
at Burg Theater on Nov 9, 1789.
583
583
Aria f/S
Vado, ma
dove? - oh
Dei!
Eb
-- Dated in Oct 1789 in Vienna;

written for Louise Villeneuve as
insert in Martin & Soler's "Il
burbero di buon core", performed
at Burg Theater on Nov 9, 1789.
584
584
Aria f/B
Rivolgete a
lui lo
sguardo

1789 in Vienna; aria originally to
have been in "Cos fan tutte", and
sung by Benucci; replaced by Aria
"Non siate ritrosi".
585
585
12 Minuets
--
var
586
586
--
var
587
587
12 German
Dances
Country
Dance

1789.
1789.
1789; Mozart cited a marching
song about General ColburgSaalfeld, who achieved a victory
over the Turks on Sep 22, 1789
at Martinestie.
Quartet
Mvmt f/St
--
587a A074
Der Sieg
C
vom Helden
Coburg
-- Composed probably end of 1789

in Vienna; on same manuscript
page with sketches to Canon in
2nd Act finale of "Cos fan tutte".
588
588
Opera buffa Cos fan

in 2 Acts
Tutte
-- Completed in Jan 1790 in Vienna;

first performed Jan 26, 1790 at
Burg Theater in Vienna.
588a 106
Overture & 3 -Country

Dances
var
-- Composed supposedly in Jan

1790.
588b 236
Andantino
f/Kybd
--
Eb
-- [Not dated by KV6, but placed

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

1790 in Vienna; second of the
planned 6 quartets f/St for King of
Prussia.
589a A068
Quartet
Mvmt f/St
--
Bb
-- Composed probably in May or

Jun 1790 in Vienna; piece is a
Polonaise intended either for KV
589 or slow mvmt of KV 590.
589b A073
Quartet
Mvmt f/St
--

in Vienna; no doubt in connection
with KV 590.
590
Quartet f/St
--

1790 in Vienna; third of the 6
planned Quartets for King of
Prussia.
590a A029
Sonata
-Mvmt f/Kybd

in Vienna; drafts for Kybd sonatas
Mozart writes of in letter to
Puchburg of Jun 12, 1790.
590b A030
Sonata
-Mvmt f/Kybd

589
590
590c A037
Rondo
f/Kybd
--

590d 312
Sonata
-Mvmt f/Kybd
-- Composed probably in summer

1790 in Vienna, probably for
projected cycle of sontas for
Princess Friederika of Prussa.
591
591
Arrangemen Alexander's var

t of a Handel Feast
Oratorio
-- Entered in work catalogue Jul

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

1790 in Vienna; Bernardt spoke
of a performance in 1791
592a 625
Comic Duet Nun, liebes

f/SB
Weibchen
-- Originated probably end of Aug

1790 in Vienna; composed for
insert in Schikaneder's "Stein der
Weisen", first performed in
Theater auf der Wieden on Sep
11, 1790; probably a written by
another composer, (Benedikt
Schack); Mozart completed
orchestration.
592b A083
Quintet
Mvmt f/St
-- Composed most likely end of

1790 in Vienna; draft for KV 593.
--
593
593
Quintet f/St
--

1790 in Vienna; unknown person
altered shape of theme of finale
in Mozart's autograph; this used
in first edition by Artaria; first
edition by Artaria states it was
composed for "Amatore
Ongarese".
593a A035
Adagio f/Org -Wrks

(Clock)
-- Composed most llikely end of

1789 in Vienna; no doubt a draft
for KV 594.
594
594
Adagio &
-Allegro f/Org
Wrks
(Clock)
-- Entered in work catalogue at the

end of 1790; begun in Oct during
trip to Frankfurt, and completed in
Dec in Vienna; commissioned by
Count Josef Deym von Stritetz for
his wax museum in Vienna.
595
595
Concerto
f/Kybd
--
Bb
27 Entered in work catolgue Jan 5,

1791 in Vienna; played by Mozart
on Mar 4, 1791 in concert of
Joseph Beer.
596
596
Song f/1
Singer
w/Kybd
Sehnsucht
nach dem
Frhling

14, 1791 in Vienna;
commissioned by Ignaz Alberti for
collection of songs for children.
597
597
Song f/1
Singer
w/Kybd
Im
Eb
Frhlingsanf
ang

14, 1791 in Vienna;
598
598
Song f/1
Singer
w/Kybd
Das
Kinderspiel

14, 1791 in Vienna;
599
599
6 Minuets
--
var

23, 1791 in Vienna.
600
600
6 German
Dances
--
var

29, 1791 in Vienna.
601
601
4 Minuets
--
var
602
602
--
var
603
603
604
604
4 German
Dances
2 Country
Dances
2 Minuets
605
605
2 (3)
German
Dances
--
605a 607
Country
Dance
[ll trionfo
Eb
delle donne]

28, 1791 in Vienna; theme used
is from Antossi's opera buffa "Il
trionfo delle donne".
606
606
6 Country
Dances
--
var

28, 1791 in Vienna.
608
608
Organ Piece -for a Clock
-- Entered in work catalogue Mar 3,

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

Vienna; not entered in work
catalogue, but #5 entered alone
under date Mar 6, (see KV 610).
610
Country
Dance
Les filles
G
malicieuses

1791 in Vienna; heading on
autograph "Les filles malicieuses"
not clear; instrumentation in this
autograph different from that of
KV 609/5
611
German
Dance
Die Leyerer C

1791 in Vienna; music identical to
KV 602/3 but instrumentation
different; " Leyerer" in work
catalogue refers to organ-grinders
611
---
-- Entered in work catalogue Feb 5,

1791 in Vienna.
-- Entered in work catalogue Feb 5,

1791 in Vienna.
D,Bb -- Entered in work catalogue Feb 5,
1791 in Vienna.
Bb,Eb -- Entered in work catalogue Feb
12, 1791 in Vienna.
var

12, 1791 in Vienna.
612
612
Aria f/B
613
613
8 Variations Ein Weib ist F

f/Kybd
das
herrlichste
Ding
-- Entered in work catalogue in Mar

1791 in Vienna; based on song
from singspiel "Der dumme
Grtner"; song perhaps originated
from Benedikt Schack or Franz
Gerl.
613a A081
Quintet
Mvmt f/St
--
Eb
-- Composed most likely Apr 1791

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

in Vienna; no doubt in vicinity of
KV 614.
614
614
Quintet f/St
--
Eb

1791; first edition by Aratria, who
stated it was composed for
"Amatore Ongarese', who was
thought by Schmid to be the
violinsit Johann Tost, but not
confirmed.
615
615
Final Chorus Viviamo

to an Opera felici in
dolce
contento

1791 in Vienna; intended for
Sarti's "Geloise villane"; no
performance listed at Burg, most
likely performed by an amateur
group in Vienna.
615a --
Andante(?) -to Waltz in a

Small Org
-- Begun probably in Apr or May

17921 in Vienna.
616
Andante to
Waltz in a
Small Org
--

Count Josef Deym von Stritetz
[Mller] for wax his museum in
Vienna.
Fantasie
-f/Glass
Harmonica,fl
,ob,vl,vc
-- Composed most likely about May

23, 1791 in Vienna; probably first
draft for KV 617
616
616a A092
Per questa
bella mano

1791; written for Franz Gerl with
Friedrich Pischlberge,
Contrabass.
617
617
Adagio &
-Rondo
f/Glass
Harmonica,fl
,ob,vl,vc
-- Entered in work catalogue May

23, 1791 in Vienna; written for
Marianne Kirchgner; first
played in concert at Burg Theater
on Aug 19, 1791
617a 356
Adagio
f/Glass
Harmonica
--
-- Composed probably in first half of

1791 in Vienna; no doubt
composed for Marianne
Kirchgessner, for whom also KV
617 was written.
618
618
Motet
Ave verum
corpus
-- Dated Jun 17, 1791 in Baden;

written for Anton Stoll, organist
and choir director of church in
Baden.
619
619
Little
German
Cantata
Die ihr des C

unermelich
en Weltalls
-- Entered in work catalogue in Jul

FH Ziegenhagen, a Mason from
Regensburg.
620
620
German
Opera in 2
Acts
Die
Zauberflte
Eb
-- Overture and March of Priests

dated Sep 28, 1791 in Vienna;
first performed Sep 30, 1791 at
Theater auf der Wieden in
Vienna.
620a A102
Overture
--
Eb
-- Composed probably in Sep 1791

in Vienna; no doubt it is a draft of
Overture to Zauberflte.
620b A078
Contrapunta -l Study
-- Originated most likely in Sep

1791 in Vienna; sketch for scene
of Armoured Men in Zauberflte;
completed by S. Sechter.
621
Opera seria La
C
in 2 atti
Clemenza di
Tito

1791; first performed Sep 6,
1791at National Theater in
Prague; for festivities for
coronation of Leopold II as King
of Bohemia.
621
621a A245
Aria f/B
621b --
Concerto
-Mvmt f/Bthn
-- Composed most likely 1791 in

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

Oct 1791 in Vienna; entered in
work catalogue between entries
for Sep 28 and Nov 15, 1791;
written for Anton Stadler; Mozart
states in letter of Oct 7, 1791 he
completed Rondo for Stadler.
Only known in later version, (by
unknown arranger), for A-Clarinet.
623
623
Freemason
Cantata
Laut
verknde
unsre
Freude
-- Dated Nov 15, 1791 in Vienna;

presumed to be written for
opening of the temple of New
Crowned Hope Lodge, as it was
performed there Nov 18.
623a --
Masonic
Song
Lat uns mit F

geschlungen
Hnden
-- Composed supposedly in Nov

1791 in Vienna; intended as final
chorus for KV 623.
626
Requiem
--
-- Composed 1791 in Vienna;

completed by Eybler(?) and Franz
Xavier Smayr.
626
Io ti lascio, o Eb
cara, addio

1791 in Prague; for farewell
occasion for Countess Hatzfeld;
Constanze Mozart wrote it was
music by Gottfried von Jacquin
with only Vn part by Mozart, but
the autograph shows the
composition is Mozart's.
ADDITIONAL INFORMATION SINCE

K6
Possibly Kelly played and sang his

song and Mozart orchestrated it
(Zalsaw-Festschrift Gertraut
Kaberkamp 2002); paper only used by
Mozart in 1784 and 1785 (TysonMozart Studies 1991).
Set of parts for orchestral version

discovered in Hungary titled "La
tempesta" (Flothuis-NMA 1988).
Previously unknown sketch found in
1989 (Plath-Studies in Honor of Alan
Tyson 1998).
As only preserved copy is Kybd
reduction, Flothuis counts as doubtful
(MISM 1980).
Paper studies place time of

composition in last 12 months of
Mozart's life (Tyson-Auto Scores
1987).
Much of concerto written in early 1787

(Tyson-Auto Scores 1987).
Paper shows possibly originated in

summer 1786 (Tyson-Auto Scores
1987).
Key and different instrumentation
speak against connection with KV 537
(Rehm-NMA 1960); paper dates from
Dec 1786, possibly Mozart was
planning Concetrto f/Kybd in C around
this time (Tyson-Auto Scores).
Although not in Mozart's hand,
changes in parts are also in 2
Choruses and Bass Aria
(Holschneider-MJB 1968/70 and
Flothuis-Mozart's Arrarngements of his
own Works-1969).
Particella most likely written during

Mozart's Munich stay in 1778 (TysonAuto Scores 1987).
Open to question if Trio for Puchburg

mentioned in letter of April 16, 1789 is
this or Trio f/St KV 563 (Berke-NMA
1974 and Berke-Acta Mozartiana
1982).
On paper Mozart first used near end of

1789 and mainly in 1790-91 (TysonMozart Studies 1991).
No doubt arranged by unknown

arranger after Mozart's death
(Marguerre-MJB 1960); Himes (W.A.
Mozart's Sonatas for solo Clavier
1988) believes these are authentic
Mozart drafts of mvmts for which he
later changed instrumentation.
No doubt arranged by unknown

arranger after Mozart's death
(Marguerre-MJB 1960); Himes (W.A.
Mozart's Sonatas for solo Clavier
1988) believes these are authentic
Mozart drafts of mvmts for which he
later changed instrumentation.
Dunning (NMA 1973) believes

probably written years earler, because
story about Peierl must have taken
place earlier in Vienna in early in 1786;
however paper appears to be that
used in 1788 (Tyson-NMA 1992).
Dunning (NMA 1973) believes

probably written years earler, because
story about Peierl must have taken
place earlier in Vienna in early in 1786;
autograph KV6 states is in Winkler
collection actually has name Martin
and is in G; however, paper appears to
be that used in 1788 (Tyson-NMA
1992); copy found at Harvard
University uses name "Esel" (OchsMJB 1991).
Possibly name Martin refers to
composer Martin y Soler; KV6 lists
autograph in collection of Stefan
Zweig, but autograph there has text of
K559a (Tyson-Mozart Studies 1991);
paper appears to be from 1783 (Tyson
NMA 1992 and Tyson-Mozart Studies
1991).
Paper used by Mozart mainly in 1785

and perhaps occasionally in 1786 and
1787 (Tyson-Mozart Studies 1991).
Actually a work of Michael Haydn,
"Adam hat sieben Shn" [MH 699,
composed according to Sherman ca.
1795-1799 Salzburg]; Dunning (NMA1973) believed this is Mozar'ts copy of
Michael Haydn's canon.
Paper studies show paper used by
Mozart only in 1782 (Tyson-NMA
1992); in addition to KV 384B are 3part counterpoint studies (KonradSchaffensweise 1992).
Work could just as well originate after
KV 563 as before, for a planned series
of Trios (Berke-NMA 1974); paper
used by Mozart first near end of 1789
and in 1790-91 (Tyson-Mozart Studies
1991).
Open to question if Trio for Puchburg

mentioned in letter of April 16, 1789 is
this or Trio f/Kybd & St KV 542 (BerkeNMA 1974 and Berke-Acta Mozartiana
1982).
Original setting would have been 2

Obs, 2 Bns, 2 Hns, 2 Vns, and Bs
(Flothuis-NMA Crit.Rep 1988).
Mozat not only added wind parts, but
changed or added some string parts
and dynamics; Musette from Hndel's
Op 6/6 with additional wind parts also
in score, but in copyist hand
(Holschneider-NMA 1972).
Text matches first lines of Aria in

Johann Heinrich Faber's translation of
opera comique, "Le roi et le fermier"
(Der Knig und er Pchter) (EdgeEssays on Life 1996).
From paper studies appears to date
between 1787 and 1789 in Vienna.
(Plath-NMA 1986).
Numerous changes, cuts and

additions of winds (Schildkret-Essays
in honor of George J Buelow 1995).
Dunning (NMA-1973) doubts

authenticity of Rochlitz anedcote.
Work too demanding for one of "easy"

Sonatas for Princess Friederike.
Occasion not known (Plath-NMA
1986).
Tyson (Auto Scores) cannot precisely
date, but seems to have been
available to Mozart from Nov 1786 to
the end of his life; Plath (NMA 1982)
dates not earlier than 1785/86; Plath
also believes this could be set for a
string setting, possibly a Trio f/St.
Possibly a transcription of a Minuet for

quartet f/St either by Mozart or M
Stadler (Plath-MJB 1982); Oster
(Journal of Music Theory 1966)
believes originated around 1782, and
the Minuet that was left as fragment by
Mozart was completed by M Stadler.
Previously unknown sketch to work
found (Page/Edge MT 1991).
Autograph found in 1989

(Angermller-Edition 1993).
Designation English Hn is not

authentic; technical grounds show
most likely for Cl and 3 Bthn (FlothuisMISM 1967); NMA (Leeson/Zaslaw
1978) brings forth time end of 1783 to
end of 1785.
Paper used by Mozart mainly in 1787
(Tyson-Mozart Studies 1991).
Paper not found in any dated

autographs prior to "Cos fan tute"; not
a serious piece of music, was no
doubt intended for domestic
amusement, perhaps for discomfort of
Anton Stadler (Tyson-Auto Scores
1987).
Unknown Accompanied Recitative "Ah

cosa veggio" found in manuscipt copy,
attributed to Mozart by Link (COJ
2000), but doubted by Zeiss (COJ
2000) and Eisen (COJ 2001).
On front of sheet with "Cos fan tutte"

sketches and possibly written down in
1786 in connection with Hoffmesiter
Quartet, then Mozart thought of using
it again for minor key quartet in
Prussian series (Tyson-Auto Scores
1987).
Libretto first offered to Antonio Salieri

who set portions to music
(Brown/Rice-Cambridge Opera
Journal 1996).
Conisdered not authentic due to
primative handling of Overture, and
poor key structure (Flothuis-MISM
1980).
Autograph discovered and, after
removal of pasted-on backing of
sketches to opera "l'Oca del Cairo",
found; compostion now dated 1783
(Konrad-NMA 1998).
No doubt originally planned as finale

Rondo to KV 589 (Finscher-NMA
1960); paper shows used by Mozart
only in 1782 and 1783, no doubt draft
for finale of Quartet KV 458 (TysonAuto Scores 1987).
Possibly connected with projected

cycle of sonatas for Princess
Friederika of Prussia, but Plath thinks
musical content too demanding; Tyson
places before trip to Potsdam in 1789.
(Plath-NMA 1986 and Tyson-Auto
Scores 1987).
Scores 1987).

Scores 1987).
Only first 105 (out of 178) measures
completed by Mozart, remainder by
unknown hand (Plath-NMA 1982);
paper studies places piece in time
period 1790-91 (Tyson-NMA 1992)
As both St. Caecilien-Day and
Alexanderfest celebrate same theme,
and Alexanderfest is very short; both
likely performed together; no doubt not
in summer but either on Nov 22, the
name day of the saints of the music,
or around Christmas (HolschneiderNMA 1961 and 1969).
As both Alexanderfest and St.
Caecilien-Day celebrate same theme,
and Alexanderfest is very short, both
likely performed together; no doubt not
in summer but either on Nov 22, the
name day of the saints of the music,
or around Christmas (HolschneiderNMA 1961 and 1969).
Full set of parts to "Stein der Weisen"
found, and Duet (and portions of 2nd
Act finale) attributed to Mozart (BuchCambridge Opera Journal 1997);
autograph of Deut in Paris shows
handwriting of 3 different people,
unknown hand wrote 2 voices and first
16 measures of string parts; Mozart's
hand shows corrections and additions
for winds from measure 17 and strings
after measure 52 (Buch-Journal of
Royal Musical Assoc 1999).
On paper used by Mozart from Dec

1787 to Feb 1789, so probably written
earlier than KV6 dating (Tyson-Auto
Scores 1987).
"Amatore Ongarese" probably refers

to Violinist Johann Tost (Hess-NMA
1967).
That work begun in Oct in Frankfurt

deduced from Mozart letter is probably
incorrect, as pitch of instrument there
is not consistent with this piece.
(Plath-NMA 1982 and ZaslawRosaleen Moldenhauer Memorial
2000).
Perhaps first performed in concerts in
Jan and Feb 1791 during Vienna viist
of King and Queen of Naples (EdgeHaydn Yearbook 1992); Tyson (Auto
Scores 1987) believes 1st, 2nd and
start of 3rd mvmts written down as
fragment in 1788, then finished in
1791.
These Minuets and those of KV 601

and KV 604 probably were later
combined in one 12-part cycle
(Flothuis-NMA 1988).


Autograph unknown, and incipit in

work catalogue differs from Artaria's
first edition (for Kybd); printed
versioins use differing scores, so
unable to tell original instrumentation;
possibly what we know are
arrangments of Mozart's original
Paper used by Mozart almost entirely

in 1787 (Tyson-Mozart Studies 1991).
Handwriting and paper studies show

probably written down as early as
1783 in Salzburg; see KV 609 for
possible 1787 version; perhaps 1791
third version. (Tyson-Mozart Studies
1991).
From text, no doubt intended as insert

into an opera buffa (Kunze-NMA
1972); text from comic opera "Le
vicende d'amore", libretto by
Giambattista Neri, performed in
Vienna numerous times between June
1784 and 1786 (Lipton-Opera buffe of
Guglielmi 1995).
On paper type mainly used by Mozart

at end of 1784 and in 1785 (TysonMozart Studies 1991).
On paper used by Mozart in 1786 and
1787 and once in 1790 (Tyson-Mozart
Studies 1991).
"Amatore Ongarese" probably does
refer to Tost (Hess-NMA 1967).
Most likely the piece Mozart wrote of

having trouble with in Oct 1790 from
Frankfurt (Zaslaw-Rosaleen
Moldenhauer Memorial 2000).
Another autograph leaf in Berlin of last

8 measures contains sketches of
Overture to Zauberflte and Requiem
to help confirm draft to Zauberflte
(Gruber-NMA 1969).
Musical sketch page appears to date
from 1782 in Vienna; possibly in some
type of connection to Mass in c KV
427 (Konrad-Mozarts Schaffensweise
1992).
Commission first offered to Antonio
Salieri who turned it down (LandonMozart's Last Year 1988); "Non pi di
fiori" possibly performed on April 26,
1791 by Josepha Duschek in concert
in Prague (Volek-MJB 1959 and
Giegling NMA-1970), but disputed by
Flothuis (MISM 1989) and Arthur
(Wolfgang Amad Mozart Essays1996).
Tyson (Auto Scores 1987) places Aria

in Vienna between end of 1787 and
spring 1789.
Konrad (Acta Mozartiana 1992) shows

started between 1787 and 1789 and
stopped after measure 179; then
taken up again in 1791 in A with
Bassett Clarinet substituted for Bthn;
paper also appears to be earlier
(Tyson-Mozart Studies 1991).
Authenticity of piece called doubtful on

style and manuscript grounds by most;
Strebel (MJB-1989/90) believes piece
is authentic Mozart, put it as
originating shortly after Mozart's
acceptance into lodge "Zur
Wohltatigkeit" on Dec 14, 1784.
Part Six of Eight (Diversa,KV 626a,626b,Anh.A)

WORK
TITLE OR
NICKNAME KEY
KV6
KV1
ENTRY TITLE
626a
624
Cadenzas & Eingange

-("Lead-Ins") to Keyboard
Concerti
--
--
626aI
--
Part I - Mozart's Own

Concerti
--
--
--
626aI/1
624/1
Cadenza to KV 175 1st

Mvmt (version a)
--
--
626aI/2
--

Mvmt (version b)
--
--
626aI/3
624/2
--
--
626aI/4
--
Cadenza to KV 175 2nd

Mvmt (version a)
Mvmt (version b)
--
--
626aI/5
--
--
Bb
--
626aI/6
--
--
--
626aI/7
--
--
Bb
--
626aI/8
--

Mvmt
Mvmt
Cadenza to KV 238 3rd
Mvmt
Mvmt (version a)
--
--
626aI/9
--

Mvmt (version b)
--
--
626aI/10
--

Mvmt (version c)
--
--
626aI/11
--
--
--
626aI/12
--
--
--
626aI/13
--

Mvmt (version a)
Mvmt (version b)
Mvmt (version c)
--
--
626aI/14
--
--
--
626aI/15
624/3

Mvmt (version d)
Mvmt (version a)
--
Eb
--
626aI/16
--

Mvmt (version b)
--
Eb
--
626aI/17
624/4

Mvmt (version a)
--
--
626aI/18
--

Mvmt (version b)
--
--
626aI/19
624/5
1st Eingang to KV 271 3rd -Mvmt (version a)
Eb
--
626aI/20
624/5
Eb
--
626aI/21
--
2nd Eingang to KV 271

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

3rd Mvmt (version b)
Eb
--
--
626aI/23
--
Cadenza to KV 365/316a
1st Mvmt
--
Eb
--
626aI/24
--
3rd Mvmt
--
Eb
--
626aI/25
624/6
--
--
626aI/26
--

Mvmt (version a)
Mvmt (version b)
--
--
626aI/27
624/7
--
--
626aI/28
624/8
Cadenza to KV 414/385p
1st Mvmt (version a)
1st Mvmt (version b)
--
--
626aI/29
624/11
Eingang to KV 414/385p
2nd Mvmt (version a)
--
--
626aI/30
--
2nd Mvmt (version b)
--
--
626aI/31
624/9
2nd Mvmt (version a)
--
--
626aI/32
--
2nd Mvmt (version b)
--
--
626aI/33
624/10
2nd Mvmt (Sketch of
626aI/32)
--
--
626aI/34
624/12
3rd Mvmt (version a)
--
--
626aI/35
624/13
3rd Mvmt (version b)
--
--
626aI/36
624/14
3rd Mvmt
--
--
626aI/37
--
1st Mvmt
--
--
626aI/38
--
--
Bb
--
626aI/39
624/15
2nd Mvmt
Cadenza to KV 415/387b
1st Mvmt
--
--
626aI/40
624/16
2nd Mvmt
--
Bb
--
626aI/41
624/17
3rd Mvmt
--
--
626aI/42
624/18
--
Eb
--
626aI/43
624/19
--
Bb
--
626aI/44
624/21
--
Bb
--
626aI/45
624/20
--
Bb
--
626aI/46
624/32

Mvmt
Mvmt
Eingang to KV 450 3rd
Mvmt
Mvmt
Mvmt
--
Eb
--
626aI/47
624/33

Mvmt
--
Eb
--
626aI/48
624/22
--
--
626aI/49
624/23

Mvmt (version a)
Mvmt (version b)
--
--
626aI/50
624/24

Mvmt (version b)
Mvmt (version a)
--
--
626aI/51
624/25
--
--
626aI/52
--

Mvmt (version a)
--
Bb
--
626aI/53
624/26
--
Bb
--
626aI/54
624/27
--
Bb
--
626aI/55
--

Mvmt (version b)
Mvmt (version c)
Mvmt
--
Bb
--
626aI/56
--
--
Bb
--
626aI/57
624/28

Mvmt (version b)
Mvmt (version a)
--
Bb
--
626aI/58
624/29

Mvmt
--
--
626aI/59
--
--
--
626aI/60
624/30

Mvmt
Mvmt
--
--
626aI/61
624/31
--
--
626aI/62
624/34

Mvmt
Mvmt
--
Bb
--
626aI/63
624/35

Mvmt
--
Bb
--
626aI/64
624/36

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

Cadenza to K040 1st
-Mvmt by L Honauer
--
--
--
Cadenza to Op 3/4 1st

Mvmt by JS Schroeter
--
--
626aII/E
--
Cadenzas to Concerto of
Unknown Composer
--
--
626aII/F
--

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

"Ubergang" [?]
--
--
626aII/K
--
Cadenzas to 2nd mvmt by -I von Beecke
--
626aII/L
--
Two Cadenzas [to

Unknown Concerto]
--
--
626aII/M
--
Ornamentation to KV 451, -2nd Mvmt
--
626aII/N
--
Cadenza to Unknown
Concerto 2nd Mvmt
--
--
626aII/O
--
Cadenza to unknown
Concerto 1st Mvmt
--
--
626b
--
Sketches and Fragments --
--
--
626b/1
--
4 Sketch Pages
--
unkn
--
626b/2
--
Sketch Page
--
var
--
626b/3
--
Sketch Page
--
unkn
--
626b/4
--
"Alleluja"
--
unkn
--
626b/5
--
"Musique"
--
unkn
--
"Musique"
--
unkn
--
626b/6
626b/7
--
Pezzo di musica"
--
C(?)
--
626b/8
--
"Voice Cadenzas with

Text"
--
unkn
--
626b/9
--
"Cadenza"
--
unkn
--
626b/10
--
{Manuscript]
--
unkn
--
626b/11
--
"Chanson avec musique"
--
unkn
--
626b/12
--
"Largo", "Chorus"
--
unkn
--
626b/13
--
""Music" & "Beginning of a -Fugue"
unkn
--
626b/14
--
"Sketches to a 3-part
Fugue & counterpoint
sketches"
--
unkn
--
626b/15
--
"28 measures from large

music piece"
--
unkn
--
626b/16
--
"Probable sketch to an
Orchestral or Chamber
Music Piece
--
--
626b/17
--
"22 measures with latin

text & 32 with German
text"
--
unkn
--
626b/18
--
"One of the first

compositions of Mozart"
--
unkn
--
626b/19
--
--
unkn
--
626b/20
--
Parts to an Aria of CPE

Bach
2nd Horn part to a Mass
--
unkn
--
626b/21
--
"Piece de musique
autographe"
--
unkn
--
626b/22
--
"Fragment to a Duet in
Itlaian, to a Pslam of
David with Bass"
--
unkn
--
626b/23
--
"Motivi di Tarantell"
--
unkn
--
626b/24
--
"Fragment of Orchestral
full score"
--
unkn
--
626b/25
--
Credo f/4 Voices & strings --
unkn, Bb, -Eb
626b/26
A024
Duet f/2 Sopranos
--
unkn
--
626b/27
--
Fugue f/Keyboard
--
--
626b/28
--
Ballo Gavotte of CW
Gluck
--
--
626b/29
A070
Adagio f/Quartet f/Strings
--
--
626b/30
A084
Quartet f/Strings
--
--
626b/31
--
Canonic Studies & Fugue -Beginnings
G and d
--
626b/32
--
Sketch
--
--
626b/33
--
Sketch
--
Bb
--
626b/34
--
Sketch
--
--
626b/35
--
Sketch
--
--
626b/36
--
Sketch
--
--
626b/37
--
4-part Piece
--
--
626b/38
--
Counterpoint Exercise
--
unkn
--
626b/39
--
Counterpoint Exercise
--
unkn
--
626b/40
--
Exercises in Counterpoint --
unkn
--
626b/41
--
Fragment of full score

f/Voice & Orchestra
--
unkn
--
626b/42
--
Bass study
--
unkn
--
626b/43
--
{Manuscript}
--
var
--
626b/44
--
Sketch to a Contredance
"le mottet"
--
Bb
--
626b/45
--
Missa solemnis
--
--
626b/46
--
Quartet f/Strings
--
--
626b/47
--
Recitative & Aria

f/Soprano
--
Eb
--
626b/48
--
Keyboard Exercises
--
--
Anh A
--
Copies of Other
Composers Works in
Mozart's Handwriting
--
--
--
Anh A1
221
Kyrie of E Eberlin f/2

-Voices & Basson continuo
--
Abh A2
A021
Lacrimosa of E Eberlin f/4 -Voices, Bass & Organ
--
Anh A3
(K3 = 93c)
Requiem(?) von E Eberlin -f/4 Voices & Basso

continuo
--
Anh A4
326
Hymnus of E Eberlin f/4

Voices & Organ
Justum
C
deduxit and
"O sancte"
--
Anh A5
K3 =
mentioned
under
A109vi
Osanna of E Eberlin
f/Voices
--
--
Anh A10
327
Hymn of Q Gasparini f/4

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

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

M Haydn f/4 Voices &
Orchestra
--
--
Anh A13
K3 =
mentioned
under
Anh109vi
Tres sunt of M Haydn f/4

Voices, strings & Organ
--
--
Anh A14
K3 =
mentioned
under
Anh109vi,
Nr.14
Ave Maria of M Haydn f/4

Voices & strings
--
--
Anh A15
K3 =
mentioned
under
Anh109vi
Lauda Sion of M Haydn
--
--
--
Anh A17
A238
Stabat mater of Marchese -E Ligniville f/3 Voices
--
Anh A18
(K3) Anh
109ix
Et in terra of L Mozart
--
--
Anh A19
(K3)
mentioned
under Anh
109ix
Cum sancto spiritu of L

Mozart
--
--
Anh A22
93
Psalm of Carl Georg

Reutter
"De
profundis
clamavi ad
te Domine"
--
Anh A23
A022
Psalm of Carl Georg

Reutter
"Memento
Domine
David"
--
Anh A30
(K3) Anh
109x
Canon of Johann Phillip

Kirnberger
--
--
Anh A31
227
3-part Canon of William

Byrd
["O wunder
schn ist
Gottes
Erde"]
--
Anh A32
K3a = Anh
109iia
4-part Canon of Padre GB ["Psallite

Martini
Domino
Psallite
Domino in
cithera']
--
Anh A33
K3a = Anh
109iia
4-part Canon of Padre GB ["Cantemus F

Martini
Domino:
gloriose
enim
magnificatus
est"]
--
Anh A50
K3 = Anh
223c
Instrumental movement
f/2 solo Violins &
Orchestra
--
--
Anh A51
18
Symphony of KF Abel
--
Eb
--
Anh A52
291
Finale of a Symphony
(Fugue) of M Haydn
--
--
Anh A53
444
Symphony of M Haydn
--
37
Anh A59
K3 = 387d
4 Incipits of Symphony
Movements
--
var
--
Anh A60
A292
4-part Fugue of JJ
Froberger
--
--
Anh A61/62 K2 = 154a
2 Small Fugues
(Versetten) f/Piano (or
Organ)
--
G & Eb
--
Anh A65
K3 = A206a Adagio f/Klavier(?)
--
--
Anh A71
K3 = Anh
109vi
Church Work of M Haydn
"In te
Domine
speravi"
--
Anh A72
K3 = Anh
109vi
Church Work of E Eberlin "Missa"
--
Anh A73
K3 = Anh
109vi
--
Anh A74
K3 = Anh
109vi
--
Anh A75
K3 = Anh
109vi
K3 = Anh
109vi
K3 = Anh
109vi
Church Work of E Eberlin "Recessit

pastor"
Church Work of E Eberlin "Tenebrae"
--
--
Church Work of E Eberlin Graduale

C
pro
Dominica in
Palmis
"Tenuisti
manum"
--
Anh A78
K3 = Anh
109vi
Church Work of E Eberlin Offertorium Eb

"Improperiu
m
expectavit"
--
Anh A79
K3 = Anh
109vi
Church Work of E Eberlin Communio

"Pater,
Pater"
--
Anh A76
Anh A77
Anh A80
K3 = Anh
109vi
Church Work of M Haydn
Anh A81
K3 = Anh
109vi
Anh A82
Anh A83
Eb
--
Church Work of E Eberlin Motett "In

nomine
Jesu"
--
K3 = Anh
109vi
Church Work of E Eberlin "Christus

factus est
pro nobis"
--
K3 = Anh
109vi
K3 = Anh
109vi
K3 = Anh
109vi
K3 = Anh
109vi
Church Work of E Eberlin "Dominus

Jesus"
Church Work of E Eberlin "Benedixisti
Domine"
Church Work of E Eberlin "Dextera
Domine"
Church Work of E Eberlin "Cum
Sancto
Spiritu"
--
--
Bb
--
--
Anh A87
K3 = Anh
109vi
Church Work of E Eberlin "Kyrie"
--
Anh A88
K3 = Anh
109vi
Church Work of E Eberlin "Cum

Sancto
Spiritu"
--
Anh A84
Anh A85
Anh A86
"Tenebrae"
SHORT DESCRIPTION FROM K6
ADDITIONAL INFORMATION SINCE KV 6
--
--
64 Cadenzas of Mozart's to his own Kybd

Concertos; incipits, In K6 remarks and
locations given under KV number of
Concerto each belongs to
--
Printed by Artaria in 1801 as Nr.I and Andr in Wolff (MJb 1978/79) sees this as a direct
1804 as Nr.12.
revision of Cadenza #1 and dates after below
version b), perhaps March 1783 in Vienna;
Levin (18th Century Piano Music 1994) states
Cadenza goes up to f3, showing it was
undoubtedly written not at the time of Concerto,
but for later use on five-octive instrument.
--
This Cadenza with #4 and #25 below are three

Cadenzas for KV 175 Mozart sent to his sister
in letter of February 15, 1783--and written
shortly before this (Wolff-MJb 1978/79).
Printed by Artaria in 1801 as Nr.II and Andre in Wolff (MJb 1978/79) dates this after below
1804 as Nr.13.
version b), perhaps March 1783 in Vienna.
This Cadenza with #2 and #25 below are three -Cadenzas for KV 175 Mozart sent to his sister
in letter of February 15, 1783--and written
Copy in Leopold Mozart's hand in St. Peters
Salzburg.
Salzburg.
Salzburg.
Autograph on same page as #11 below; also
contains through bass notations of tutti to
Concerto.
Probably composed around 1777/78 for a

student (Wolff-MJb 1978/79).
(See remarks #5 above.)
Written for a student (Therese Pierron?) or
dilettant musician and used by Mozart for
teaching purposes during his Mannheim-Paris
trip of 1777/78 (Wolff-Perspectives on Mozart
Performance 1991 and MJb 1978/79); however
paper studies put paper used by Mozart in time
of end of 1771 to 1774 (Tyson-NMA 1992)-(also see #11 below).
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 (WolffMJb 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).
Mozart asked for Concerto KV 246 from his

father on April 2, 1782, and Cadenzas date
from after this date (Wolff-MJb 1978/79);
however paper studies show Mozart used
paper in Salzburg rom 1779 to beginning 1781
(Tyson-NMA 1992)--(also see #14 below).
Autograph on same page as #8 above.
(See #8 above.)
--
(See #9 above.)
On autograph page with 3 incipits of Haydn

Symphonies (Anh A59).
Written in 1784 as lead-in for 2nd movement of

KV 415/387b as seen by connections in music
and 3 Haydn incipits on page (Wolff-NMA 1975;
Wolff-MJb 1978/79).
(See remarks to #10 above).
Autograph on same page as #17 below;

issued by Andr in 1804 as Nr.23.
Composed in spring (March?) 1783 for

performance at Tonknstler Society in April
(Wolff-MJb 1978/79).
Autograph on same page as #18 below, the

two Cadenzas to KV 107 (see below KV
626aII/A and B), and fragment Anh C15.11.
Copy in hand of Leopold and Nannerl Mozart

dates from origin time of Concerto in 1777
Autograph on same page as #15 above;

Composed in spring (March?) 1783 for

performance at Tonknstler Society in April
(See #16 above.)
Copy in hand of Leopold and Nannerl Mozart

dates from origin time of Concerto in 1777
Stylistically seen to be later than #21 and #22,

thus possibly March 1783 (Wolff-MJb 1978/79).
(See remarks #19.)
Autograph on same page as #22 below; on

February 15, 1783, Mozart sent these two
(also #22) lead-ins to his sister in Salzburg.
These two lead-ins and #2,#4,#25 f/KV

175/382 Mozart sent to his sister in letter of
February 15, 1783--and written shortly before
this (Wolff-MJb 1978/79).
(See remarks to #21 above.)
Autograph in St. Peters Salzburg has only

Mozart's 1st piano part; another autograph in
St. Peters has 1st piano part in Leopold's
hand and 2nd Piano part in Wolfgang's.
Wolff (MJb 1978/79 and Perspectives on

Mozart Performance 1991) dates Cadenza
November 1781 from Mozart letter passage;
written for Mozart and Josephine von
Auernhammer to play (Wolff-NMA 1975).
(See #23 above); a copy in Kremsier

Monastery of entire Concerto has this
movement's Cadenza in a slightly shortened
version written by Mozart.
Wolff (MJb 1978/79 and Perspectives on

Mozart Performance 1991) dates Cadenza in
St Peters November 1781 from Mozart letter
passage; Cadenza in Kremsier dates from
before St. Peters version.
Printed by Artaria in 1801 as Nr.III and Andr

in 1804 as Nr.14.
Autograph in St. Peters in Salzburg.
Wolff (MJb 1978/79) dates this after below

version b), perhaps March 1783 in Vienna.
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

Stylistically after #28, and probably from

1785/86--see #32 below (Wolff-MJb 1978/79).
Probably dates from time of composition of
Concerto at end of 1782 (Wolff-NMA 1975;
Wolff-MJb 1978/79).
Autograph on same page as ##32 #34 below

and several sketches to 1st movement of KV
488; issued by Andr in 1804 as Nr.5.

1785/86--see #32 below (Wolff-MJb 1978/79).
--
Autograph on same page as #28 and #31 to

this Concerto (Tyson-NMA 1992); probably date
from time of composition of Concerto at end of
1782 (Wolff-NMA 1975; Wolff-MJb 1978/79).
Autograph on same page as #28 above;

Probably dates from time of composition of

Wolff-MJb 1978/79).
Autograph on same page as #29 above and

#34 below and several sketches to 1st
movement of KV 488; issued by Andr in 1804
as Nr.4.
Sketches to KV 488 and paper studies point to

origin of wind 1785/86 for performance in one
of December Concerts put on by Mozart;
possibly in some type of connection with Artaria
issue of Concerto in 1785 (Wolff-NMA 1975;
Wolff-MJb 1978/79; Tyson-NMA 1992).
5 measure sketch for #32 above; on same

page as #27 above.
Surely written down before #32 above (WolffMJb 1978/79).
Autograph on same page as #29 and #32

above and several sketches to 1st movement
of KV 488; issued by Andr in1804 as Nr.6.

1785/86--see #32 above (Wolff-MJb 1978/79).
On autograph page with #36 below; issued by Probably dates from time of composition of
Andr in 1804 as Nr.7.
Wolff-MJb 1978/79).
On autograph page with #35 above; issued by Probably dates from time of composition of
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
Salzburg.
Copy in unknown copyist hand--with tempo
indications by Leopold Mozart-- in St. Peters
Salzburg; issued by Artaria in 1801 as Nr.IV
and Andr in 1804 as Nr.9.

The Salzburg copies made it appear its origin is
in connection with a performance of the
Concerto during Mozart's Salzburg trip of late
summer 1783, if not prior in Vienna (Wolff-MJb
1978/79).
(See remarks to #39 above); issued by Artaria (See remarks #39 above.)
in 1801 as Nr.V and Andr in 1804 as Nr.10.
(See remarks to #39 above); issued by Artaria (See remarks #39 above.)
in 1801 as Nr.VI and Andr in 1804 as Nr.11.
Issued by Andr in 1804 as Nr.22.
K1 originally placed as Cadenza to 1st
movement of KV 537; issued by Artaria in
1801 as Nr.XIV and Andr in 1804 as #27;
copy of Cadenza is in Leopold Mozart's hand.
Probably belong to origin time of Concerto-February 9, 1784 (Wolff-MJb 1978/79)

Probably belong to origin time of Concerto-March 15, 1784 (Wolff-MJb 1978/79)
Handwriting of copy is actually Nannerl's
(Flothius-NMA 1975)
Issued by Artaria in 1801 as Nr.XV and Andr

in 1804 as Nr.28; also on this copy of Leopold
Mozart is the ornamentation of measures 5663 of the 2nd movement (K3=626a/II M) of
this Concerto that Wolfgang sent to Nannerl
on June 9, 1784.
Handwriting of copy is actually Nannerl's

(Flothius-NMA 1975); ornamentation on copy
demonstrates Cadenza belongs to origin time
of Concerto--March 22, 1784, or even at time of
June 9, 1784 letter (Wolff-MJb 1978/79; WolffPerspectives on Mozart Performance 1991)
Probably belongs to origin time of Concerto-April 12, 1784 (Wolff-MJb 1978/79)

Badura-Skoda (NMA 1965) doubts authenticity
on faulty style, perhaps written down by pupil
from memory, or most likely not authentic; Wolff
does not doubt authenticity but can not
determine if before or after #48 (Wolff-MJb
1978/79).
Issued by Artaria in 1801 as Nr.IX and Andr

in 1804 as Nr.16.
Probably belongs to origin time of Concerto-April 12, 1784 (Wolff-MJb 1978/79)

Issued by Artaria in 1801 as Nr.X and Andr in Badura-Skoda (NMA 1965) doubts authenticity
1804 as Nr.18.
on faulty style, perhaps written down by pupil
from memory, or most likely not authentic (Wolff
does not doubt authenticity but can not
determine if before or after #51 above (WolffMJb 1978/79)
Copy found in Moscow with #55 and #56
below in unknown copyist's hand; is an
expanded and altered version of #53 below.
Cadenza is at end of copy of Concerto KV 456

with Mozart's own signature and dating "Vienna
784", both Concerto and Cadenzas in hand of
same unknown copyist (Badura-Skoda-NMA
1965); composed after #53 below, perhaps for
one of ascertainable performances of Concerto
in February 1785 in Vienna or May 1789 in
Leipzig (Wolff-MJb 1978/79)
Issued by Artaria in 1801 as Nr.XI and Andr

in 1804 as Nr.19.
Issued by Artaria in 1801 as Nr.XVIII and
Copy found in Moscow with #52 above and
#56 below in unknown hand.
Stylistically composed sometime after #54

below (Wolff-MJb 1978/79)
Probably belong to origin time of Concerto-Sept 30, 1784 (Wolff-MJb 1978/79)
(See remarks to #52 above); Hess and BaduraSkoda doubt authenticity of this Fermata on
stylistic grounds (Badura-Skoda 1965)
Copy found in Moscow with #52 and #55

above in unknown hand.
Autograph on page with #58 and #59 below;
issued by Artaria in 1801 as Nr.VII and Andr
in 1804 as Nr.21.
(See remarks to #52 above)

Probably belong to origin time of Concerto-Sept 30, 1784 (Wolff-MJb 1978/79)
Issued by Artaria in 1801 as Nr.XIII and Andr 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
below.
Autograph on page with #57 and #58 above;
issued by Artaria in 1801 as Nr.XII and Andr
in 1804 as Nr.26.
(See remarks #58 above)

(See remarks #58 above)
Written directly into autograph of Concerto;

-issued by Andr in 1804 as Nr.35.
Issued by Artaria in 1801 as Nr.XVI and Andr 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 Andr 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)
--
--
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

Pastigio[sic] Concerto in D"; copy by Leopold
Mozart also exists.
Handwriting shows origin time of 1775 in

Salzburg (Plath-MJb 1976/77), and paper used
by Mozart from end of 1774 until 1776 (TysonNMA 1992).
Cadenza written on back of sketch to #6 of

"Zade".
Reeser (NMA 1964) believes Mozart acquired

Schroeter Concerto in Paris in 1778, and
Cadenzas date from his return to Salzburg in
1779/80.
Headed by Constanze "By W.A. Mozart", but,

as manuscript is neither in Wolfgang or
Leopold Mozart's hand, was moved to Anh
C15.11 in KV6.
Manuscript also contains 2 further Cadenzas in

F and Eb, all of unknown hand; not known what
concerto intended for, but has motif
reminiscences to J Schobert's Op 4/2 (BerkeNMA 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).
See KV 626aII/F.
See KV 626aII/F.
Placed by K6 in Anhang C section as C15.11.
Autograph found in Jagiellonska Library in

Krakow shows this is actually a modulating
Prludium in e, and is an autograph of
Mozart's, dating from probably Salzburg 1777
(Plath-NMA 1982).
Autograph headed "zum Andante von

Probably written during Munich stay of
Beecke"; on page containing KV 168a and KV 1774/beginning 1775 (Plath-MJb 1976/77).
626bII/C; a copy also exists in Leopold
Mozart's hand on other side of copy of
Cadenza to KV 40, (see KV 626aII/C);
unknown what concerto of Beecke it was
intended for.
2 unidentified Cadenzas sold at auction in
1916, nothing else known; possibly identical to
page with Cadenzas KV626aII/C and
KV626aII/K.
This supposed autograph actually Leopold

Mozart's copy of Cadenza KV 626aII/C and
626aII/K, (see remarks to those entries) (PlathFestschrift Otto Erich Deustch 1963).
Discussed in K6 under Concerto KV 451.
--
Autograph discovered in Milan on same

manuscript page as KV 626aII/O; headed
"Cadenza Ima".
No doubt Cadenza to 1st mvmt of JS

Schroeter's Op 3/3 (Reeser-NMA 1964).
See KV 626aII/N; headed "Cadenza Iida";

perhaps connected with 2nd mvmt of KV
107/2.
No doubt Cadenza to 2nd mvmt of JS

Schroeter's Op 3/3 (Reeser-NMA 1964).
--
--
On 2 sides completely written on, probably

-preserved and cited in main part of catalogue,
but not established; autograph location not
known.
Contains 4 drafts, including one to an
Overture, one for Hn parts; draft to beginning
of a Fugue points to 1782 dating; has
authenticity remark of Aloys Fuchs; autograph
in private possession in Paris.
Konrad (Schaffensweise 1992) dates sketch

page 1788 or earlier, with 4 different drafts: a)
Hn parts are to Overture, which remains
unknown; no Overture in B is known by Mozart,
perhaps to be part of arrangement of Overture
of another composer; b) 28 measures of
exposition of 4-part Fugue in a; c) full score
sketch to Canon KV 561 "Bona nox" of 4
measures; d) full score sketch to Canon KV
559 "Difficile lectu mihi Mars" of 7 measures.
Fuchs wrote this is a composition study for

female student; Mozart wrote 1st Vn part and
student added 2 accompanying parts plus
bass; autograph location unknown.
2 autograph sections discovered and when

placed together found to no doubt be this page.
Handwriting that of Leopold Mozart and
Nannerl Mozart (Plath-Festschrift Arno Forchert
1986).
Full 4-part voice score; the piece can not be

identified with any known Alleluja, (autograph
lost).
Possibly choral full score from about 1800 in

Stockholm of unidentified composer (KonradSchaffensweise 1992).
Contents unknown, but probably identical to

autograph of Music to Pantomime KV 416d in
Paris Bibl Conserv de Musique; autograph
location not known.
This affiliation is pure speculation; the size of

the manuscript (4 pages) points more to a
fragment than a sketch (KonradSchaffensweise 1992).
Contents unknown; autograph location

unknown.
Not a Mozart autograph, but a copy of Adagio

and Allegro for Clock Works KV 594, originating
from beginning of 19th Century (PlathFestschrift 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 (Konradunknown.
Schaffensweise 1992).
For a Soprano Aria; surely identical with KV
293e; autograph location unknown.
On page addressed to Leopold Mozart;
possibly one of Prludien for Nannerl?;
autograph location unknown.
-Probably identical with Andante f/Kybd KV 5b

(Konrad-Schaffensweise 1992).
Autograph location unknown.
Plath supposed it is the autograph of song, "Als

Luise die Briefe ihres" KV 520 (Ballin-NMA Crit.
Rep 1963).
Autograph in American private possession,

handwriting shows dating between 1777-79,
although paper studies show paper used by
Mozart used in second 1782 and then later
(Tyson-NMA 1992); first entry is a 4-part choral
full score of 3 measures with tempo indication
Largo; second entry a 2-part continuity draft
with designation "Coro" of 6 measures in Kybd
score; unable to determine what choral work
either belongs to (Konrad-Schaffensweise
1992, Skb 1777a).
Beginning to a Fugue identical to KV 417B/1;

designation of other music may be a mix-up
(Plath-Festschrift Otto Erich Deutsch 1963).
Probably identical with KV 375h and KV

417B/6; autograph location unknown.
Autograph found to be in private possession;

paper apparently purchased by Mozart in
Salzburg during his visit there in 1783 and used
there or Vienna after return (Tyson-NMA 1992);
note by Nissen "Intended for his wife"; 10
entries including KV 375h, instrumental piece in
d/F of 2 mm., Fugue in c of 2 mm., Fugue KV
417B/6 and other short notations (KonradSchaffensweise 1992).
Given by Mozart's sister to Clarinetist HJ

Brmann; autograph location unknown.
Description indicates one of the sections given

away as "Reliques" from unknown Mozart
fragment (Konrad-Schaffensweise 1992).
Described as being a 3/4 Allegro; autograph

location unknown.
Probably a first or final mvmt from Vienna years

Plath states supposedly this is autograph of two

Canons KV 559 and KV 559a (KonradSchaffensweise 1992).
"[Cad?]enzen" written in upper corner;

Photocopy of autograph in possession of

Federhofer, and a copy of M Stadler in
Mozarteum from 1780's exists; contains 7
measures of textless 4-voice parts; affiliation
unknown but perhaps to a spiritual work, a
mass? (Konrad-Schaffensweise 1992).
Listed in main section of K6 under KV 537d.
--
Autograph found in Stockholm; belongs to Hn

parts added by Mozart to Mass KV 186f
Fragment for S, Vn, Fl, Ob, & Vc; autograph

location unknown.
Autograph in American private possession, also

on 2 pages are sketches to Quartet f/St KV
464; date of fragment is no doubt around 1785;
Cadenza is 35 measures in full score (in D) to
an unknown Aria on the words "con un la?"
(Konrad-MJb 1995).
Probably a copy; autograph location unknown. --
Listed in Anhang C section of K6 as Anh

C29.40.
Had been listed in K3 after remarks to Anh
109g/23; listed in Anhang C section of K6 as
Anh C11.16.
--
15 measures; beginning with words "in

remissionem peccatorum"; on reverse side, 2
short Kybd pieces in Bb & Eb, in hand of
Leopold Mozart; from Salzburg time; copy in
Berlin State Library.
Autograph in private possession; is later

version of Credo section, altered version of
mm.182-195, of Mass KV 47d (Senn-NMA
1967); 2 short Kybd pieces on back side are in
Wolfgang's hand; handwriting shows dating of
1768 to 1772 (Konrad-Schaffensweise 1992).
27 measures on text "Ich nenne dich, ohn' es

zu wissen"; listed by Nissen in his Mozart
biography; autograph location unknown.
Autograph strip of 7 1/2 measures in private

possession for a voice line and Kybd
accompaniment; this portion, probably cut by
Constanze or one of her sons and given away,
is of measures 20-27 with words "O welche
Freude! Naide! Sprich, was fehlet mir?" which
are in poem "Alexis und Naide", which begins
"Alexis. Ich nenne dich, ohn' es zu wissen" by
CH Weisse; Fragment appears to break off
exactly where second voice would enter; paper
of autograph strip dated 1785/87 (Konrad-MJb
1989/90).
Autograph in Spokane, Washington USA; 27

measures.
Autograph now in Library of Congress,

Washington, DC is 23 measures fully executed,
then 4 incomplete measures; handwriting
shows dating of end of 1780's (KonradSchaffensweise 1992); paper used by Mozart
first in summer 1781 and until 1784 (TysonNMA 1992); Plath believes perhaps as
instruction for student (Plath-NMA 1982).
Autograph in private possession in NY; 16

measures with Winds and Timpani added by
Mozart; surely belonged to arrangement, in
Leopold Mozart's hand, of dances and Arias
from Gluck's "Paris und Helena"; Anh C17.12;
carried the number 8, and no doubt originated
from 1773.
Unknown if handwriting belongs to Leopold,

Wolfgang, or a third person; manuscript is 17
measures (Konrad-Schaffensweise 1992);
paper research shows paper used by Mozart
from 1773-75 (Tyson-NMA 1992).
--
Listed by Nissen in his Mozart biography; 8

measures; Otto Jahn listed key as A;
--
Listed by Nissen in his Mozart biography as

having 74 measures, and only the first part is
complete; probably identical with KV 515c,
which has approximately the same number of
measures, (72), but in a.
--
Mentioned in K2 and K3 in remarks to Anh

Paper studies show Mozart used paper in 1787
109; autograph in Mozarteum; contains17and most likely not later than 1788 (Tyson-NMA
measure 4-part canonic study in G, and a 10 1992).
measures beginning a fugue in d; are on
reverse side of page with fragment of planned
finale to Musical Joke KV 522a.
Autograph in Mozarteum, contains sketches to Page contains: a) 1-part continuity draft in F of
Kybd works; Hess presumed it was a sketch to 8 measures more likely to a Vn or similar; b)
Quartet f/Ob & St KV 368b.
multi-voiced sketch in F of 7 measures; c) 2part continuity draft in Eb of 6 measures; paper
used by Mozart in Vienna 1784-86, but
probably dates from second half of 1786
(Konrad-Schaffensweise 1992, Skb 1785b).
Autograph in Mozarteum; is continuation of KV On same page as KV 626b/33 so dating is
626b/32; sketch to Terzett KV 480b
same; sketch of 91 measures (KonradSchaffensweise 1992, Skb 1785b).
Autograph in Paris Bibl Conserv Musique;
contains beginning of overture to an opera
buffa.
Page actually contains 8 entries: a) draft of 30

measures to Gloria from Mass KV 257, b) draft
of 64 measures to Overture of opera buffa, c )
melody sketch KV 626b/35, d) draft of 13
measures to "Et incarnatus est" of Mass KV
257, e) draft of 8 measures to "Crucifixus" from
Mass KV 257, f) sketch of 4 measures of an
unknown theme, g) sketch of 11 measures of
"Sub Pontio Pilato" from Mass KV 257, h)
sketch of 4 measures to "cujus regni" from
Mass KV 257; planned Overture to serve as
new Overture to Piccini's "L'astratto ovvero Il
giocatore fortunate" (Plath-Festschrift Walter
Gerstenberg 1964); page dates from 1776;
Konrad believes Overture likely was completed
and lost (Konrad-Schaffensweise 1992, Skb
1776a).
Autograph in Paris Bibl Conserv Musique; on

same manuscript page as overture to same
opera buffa as KV 626b/34; at beginning of
sketch "Buffo aria. Ritornell" is written.
72 measures without text; Plath showed is

sketch to Aria KV 256, an insert in Piccini's
opera buffa "L'astratto ovvero Il giocatore
fortunate" (Plath-Festschrift Walter Gerstenberg
1964).
Sketch for SATB is from 1773; stood in

connection with copies of works by Michael
Haydn & Eberlin, Anh A71-88; autograph
location unknown.
Autograph at Cornell University actually

contains 7 entries: a) 4-part full score for voices
of 15 measures , b) 4-part double canon from
Martini's "Storia II" of 5 measures, c) KV
626b/44, d) 4-part double canon of 2
measures, e) 3-part counterpoint exercise of 3
measures, f) 4-part double canon of 6
measures, g) 8-part circle canon of 8
measures; dated variously from 1770/71 to
1774 (Zaslaw-MJb 1971/72; Plath-MJb
1976/77; Tyson-NMA 1992; KonradSchaffensweise 1992, Skb 1773b).
Autograph in Newberry Library, Chicago;

handwriting of Leopold Mozart.
Autograph in Prague University Library.
Has nothing to do with Wolfgang, possibly for

one of his students (Plath-MJb 1960/61).
Autograph contains a)14 measures in D for
principal part and String Quartet, b) 2 figured
bass studies in C and d, c) exercises in
counterpoint, d) textless choral piece with
Obbligato Vn in C, e) sketch in G for S with text
"Des theorien ganze Kunst", f) sketch in C for
Soprano without text of 4 measures; all in
Leopold Mozart's hand with exercises g) also
showing minor entries by an unidentified hand
(Plath-MJb 1960/61;Konrad-Schaffensweise
1992).
Autograph in British Museum, in Leopold

Mozart's hand.
Manuscript contains figured bass study in d of

12 measures. Constanze Nissen gave it to
Vincent Novello in 1829, however, page in
Leopold Mozart's hand; it is the same sketch in
d written down in KV 626b/37 b); this entry is no
doubt identical to that of KV 626b/42 (KingMozart in Retrospect 1955; KonradSchaffensweise 1992).
Konrad believes possibly same as manuscript

in Stockholm Anh C9.07, an textless Terzett
"Venerabilis barba capucinorum" found to be in
Mozart's hand (Plath-MJb 1971/72; KonradSchaffensweise 1992)
Einstein believed it belonged to planned

German opera KV 416a; instrumentation
indicated to be for Vn, Fl, Ob, Vc; autograph
location unknown.
Same as KV 626b/41.
Autograph in British Museum; presented by

Constanze to Novello.
Contains 2 Minuets and 3 Trios for 2 Vns and
Bass; autograph location unknown.
Same as KV 626b/39.
Manuscript in Swiss Royal Library; all 3-part
instrumental full scores in which the middle part
has not been entered; all in Nannerl Mozart's
hand (Konrad-Schaffensweise 1992).
On reverse side of KV 626b/36; NMA believes Autograph at Cornell University, NY; 1-part draft
originated in Bologna autumn 1773, writing
to a Contredance of 16 measures; fact that
appears to be later.
Contredance had title suggests it was a tune
Mozart heard somewhere and jotted down; title
can be read "mottet", "mollet", "moblet";
possibly dates from 1773-75 (Zaslaw-MJb
1971/72; Konrad-Schaffensweise 1992, Skb
1773b; Lindmayr-Brandl-MJb 1995).
Consists of Kyrie, Gloria and Credo for 4
Senn (NMA 1967) believed this was Mass
Voices and Orchestra; incipit is from Gleissner performed in Salzburg on Feb 5, 1769; An
catalogue.
Andr catalogue discovered in Frankfurt
remarked "Contained only Kyrie and Gloria and
appeared to be by Mozart's father" (Plath-MJb
1971/72); Carlson (Vocal Music of Leopold
Mozart PhD 1976) lists in doubtful works; from
description in Glister Catalogue, does not
appear to be fragment, but rather of a doubtful
work (Konrad-Schaffensweise 1992).
Incipit of Allegro from Gleissner Catalogue,

where it is given year of 1783.
Incipit is from Gleissner Catalogue, with year
1782.
Andr catalogue found in Frankfurt remarks

"Not of Mozart's hand" (Plath-MJb 1971/72).
Copy found in Hessischen Lib. Fulda is a
fragmentary preserved set of parts for Aria
"Dove, ahai dove son io/Mentre ti lascio, oh
figlia" from Paisiello's opera 'La disfatto di
Dario'; Mozart used this text in his Aria for Bass
KV 513 (Plath-MJb 1971/72).
Autograph in Leningrad; on front page 6

bracketed staves with 5 measures, and on
back 2 bracketed staves with 5 measures.
Handwriting studies date piece in second half

of 1780's, possibly written for student J.H.
Hummel (Plath-NMA 1982).
--
--
Long thought to be work of Mozart,

Pfannhauser found to be work of Eberlin that
Mozart had copied; Plath presumed
manuscript (not available to him) by Leopold
Mozart.
Manuscript found in Poland and handwriting is

Leopold's (Tyson-NMA 1992); is portion of
Eberlin's Requiem in C-major (PfannhauserActa Mozartiana 1954)
Manuscript page originally together with that

which contains Anh A 1 and later detached;
Mozart had copied; Plath found manuscript to
be in Leopold Mozart's hand.
From same Requiem in C which KV Anh A 1

derived from, where it was 25 measures long--9
measure orchestral prelude which Mozart did
not copy (Pfannhauser-Acta Mozartiana 1954)
On same page as KV Anh A 2; see KV Anh A

2.
From same Requiem in C which KV Anh A1

and A2 derived;

Mozart had copied; Plath assumed manuscript
(not available to him) to be in Leopold
Mozart's hand, on same page as Church
Sonata KV 124A.
In Eberlin's original Offertory is a Soprano Aria

"Exultate Filii Adae" that Mozart did not copy in
his continuo reduction (Pfannhauser-Acta
Mozartiana 1954); manuscript found in Poland
and handwriting is Leopold's (Tyson-NMA 1992)
Manuscript unavailable, but from Jahn's

remarks in Leopold Mozart's hand; also on lost
manuscript are text from "Die Schuldigkeit des
Ersten Gebots" KV 35 and violin part to Missa
brevis KV 61a in Leopold's hand.
Autograph now in Augsburg State Archives

shows Osanna and violin parts to KV 61a from
Leopold's hand, but other entries in Wolfgang's;
Osanna from an unidentified Mass of Eberlin
(Konrad-Schaffensweise 1992 Skb 1769a)
Plath stated this copy (not available to him) of 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
Litaniae KV 125 before March 1772 in
Salzburg; from M Haydn's Litaniae K. IV/14
[Sherman MH 66].
On a paper that appears to have been used by

Mozart in Salzburg during his visit in 1783
(Tyson-Auto Scores 1987) Haydn's work dated
April 8, 1764 in Salzburg (Sherman-M Haydn
Thematic Catalogue 1993)
Mozart copied this portion of Litaniae de

venerabili sacramento K.IV/13 [Sherman MH
228] from Haydn's manuscript or a copy.
Paper studies show copied by Mozart most

likely while returning to Vienna after his 1783
visit to Salzburg, perhaps on Oct 29 at
Lambach monastery (Tyson-Auto Scores
1987); Haydn's Litananie dated March 26, 1776
in Salzburg (Sherman-M Haydn Thematic
Catalogue 1993)
Mozart asked for the tres sunt written in his

own hand in a letter from Vienna on March 12,
1783 and received it days later; portion of M
Haydn's Offertorium pro Festo SS Trinitatis
K.IIa/40 [Sherman MH 183].
Paper used by Mozart for the first time at the

end of 1771 and then 1774 (Tyson-NMA 1992);
Offertory dated by Haydn on June 7, 1772 in
Salzburg (Sherman-M Haydn Thematic
Catalogue 1993)
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
Florence or Rome; Mozart copied music to
Nr.1, Nr.2, Nr.4, Nr.8, Nr.11, Nr.14, Nr.24,
Nr.26, Nr.30 of the Stabat mater; text only to
Nr.2 and beginning of Nr.2.
Mozart's copy sold at auction in 1996;

handwriting appears to date from ca.1772-73
and paper first used by Mozart in 1773 after his
return from Italy and then through middle of
1775 (Sotheby London Auction Catalogue of
Dec 6, 1996)
Plath showed in Leopold Mozart's hand.
Is portion of Missa brevis in F KV 90a, now

believed to be work of Leopold Mozart (PlathMJb 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 (PlathMJb 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 (Tysonof work of Reutter.
NMA 1992); Reutter's work dates from 1757
(Pfannhauser-Acta Mozartiana 1954)
Pfannhauser established a copy (sketch
study) of Reutter's work.
Mozart only sketched out 32 measures of

Reutter's 137 measures, which dated from
1757 (Pfannhauser-Acta Mozartiana 1954);
paper used by Mozart from Dec 1787 to Feb
1789 also contains sketch for the finale of the
"Jupiter" Symphony (Tyson-Auto Scores 1987);
Konrad does not believe sketch is for "Jupiter",
but unknown identification, does not dispute
dating (Konrad-Schafensweise Sk 1787l)
Mozart's solution of Kirnberger canon, which

originally had text "Wir irren alle samt", page
also contains exercises and two further
notations of Canon in F-major.
Mozart's copy dates from 1782 (KonradSchaffesnsweise 1992)
Textless canon printed by B&H with text "O

Original composition perhaps not by Byrd, true
wunder schn 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

after 1770, if the handwriting is that of Mozart;
it is not out of the question Mozart had begun
to copy out a composition of an older
composer.
Manuscript is in Mozart's hand; it could be the

beginning of a Divertimento or perhaps of a
Sinfonia Concertante (for 2Violins?) (FsslNMA 1964); perhaps a study to the very similar
in setting Concertone KV 186E from May 1774
(Mahling-NMA 1974); Mahling also believes
work's simplicity speaks against being a copy of
another composer's work (MISM 1975); paper
first used by Mozart after his return to Salzburg
from Italy in 1773 until middle of 1775;
Mozart's copy of Abel Symphony Op.7/6 made -in London in 1764; Mozart substituted two
Clarinets for 2 Oboes; early thought to be
authentic Mozart and numbered Symphony #3
in AMA Series 8.
Copy of beginning of finale of Haydn's
Symphony P.43 [Sherman 287]; without
knowing manuscript of Mozart's unable to
state if from earlier Salzburg time or during
1783 visit; S. Sechter provided with
introduction and added 253 measures to
Mozart's (45 measure) beginning in a 4-hand
arrangement of work.
Mozart's copy in British Museum on paper only

used by him toward the end of 1783 in Steyr
and Linz after his Salzburg visit and perhaps
performed in Linz (Zaslaw-Mozart's
Symphonies 1989); M Haydn symphony
composed ca. 1778-80 (Sherman-M Haydn
Mozart composed new introduction 'Adagio

maestoso' KV 425a and copied out remainder
of first movement of M Haydn Symphony in G
P.16 [Sherman 334] for same concert in Linz
that Symphony KV 425 was performed in early
Nov 1783. Entire symphony, with Adagio
maestoso, published in AMA as Symphony
#37.
Only Allegro and half of Andante in Mozart's

hand, remainder in another hand; paper used
by Mozart only after his return to Vienna from
Salzburg in Linz, and mainly in months of Feb
to April 1784 (Zaslaw-Mozart's Symphonies
1989); Haydn's symphony dated May 23, 1783
in Salzburg [Sherman-M Haydn Thematic
Catalogue 1993]
Mozart jotted down opening measures to 3

Franz Haydn symphonies (Nr.75 in D, Nr.47 in
G, Nr.62 in D) and another to an unknown
symphony in C, on back of page with cadenza
to Andante of a Piano Concerto; associated
with letter of May 15, 1784 in which Mozart
writes he owned Haydn's last three
symphonies.
Reference to 3 Haydn symphonies probably

refers to Michael Haydn symphonies; fourth
symphony notation seems more like middle of
first movement exposition or a middle
movement; could be a memorandum of a work
by another composer (Zaslaw-Mozart's
Symphonies 1989); paper used by Mozart
throughout 1784 (Tyson-NMA 1992)
Mozart made two copies of Fugue, one for

piano (32 mm.) another for string quartet (49
mm.); Froberger's composition originally
printed in 1650 as "Phantasia".
Piano version stops after 32 measures, quartet

version arrives at premature but logical
conclusion; some notations in score possibly by
M. Stadler; handwriting dates from not before
1785/86 (Biba-Preface to Facsimile of String
Quartet version 1990); Plath believed this was
6th Fugue of Mozart's arrangements for String
Quartet KV 405 (Plath-Festschrift Gerhard Croll
1992)
Pieces very (No Suggestions), perhaps copies 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
church works of M Haydn and Eberlin all in
Leopold Mozart's hand (with exception of
Nr.14--see KV Anh A14).G48
Leopold Mozart put together as study book in

1773 (Schmid-Mozart and Salzburg Tradition
1976 1976); finale movement of Te Deum"
K.V/2, MH 72, composed in Salzburg Dec 9,
1770 (Sherman-M Haydn Thematic Catalogue
1993)
(See Anh A71.)
Listed in Herbort catalogue of Eberlin'sMasses

(1961) as "Herbort II" (Schmid-Mozart und
Salzburg Tradition 1976)
(See Anh A71.)

(1961) as "Herbort I" (Schmid-Mozart und
Salzburg Tradition 1976 1976)
(See Anh A71.)

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

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

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

Sunday, dated 1740 (Pauly-Journal American
Music Society 1962)
(See Anh A71.)
Written by M Haydn in Salzburg ca.1770-72

(Sherman-M Haydn Thematic Catalogue 1993)
(See Anh A71.)
--
(See Anh A71.)
--
(See Anh A71.)
--
(See Anh A71.)
--
(See Anh A71.)
--
(See Anh A71.)
From Mass Nr.24 in the Herbort catalogue of

Eberlin Masses (Schmid-Mozart und Salzburg
Tradition 1976)
(See Anh A71.)

Tradition 1976)
(See Anh A71.)

Tradition 1976)
Part Seven of Eight
Anhang C Vocal works
K6
K1
K3
Composition
K6 Remarks
Anh C 1.01
Anh 185
Anh 185
Anh C 1.02
--
Anh 235f
Mass for 4 Voices and Novello in London published 17

Organ in C
Masses in voice/organ form under
Mozart's name, of which 10 were
authentic, 5 misattributed and 2
very doubtful. This Mass (as Nr.17)
Mass for 4 Voices and Published by Novello in 1831 in
Orchestra in g-minor London as "Mass of Benedikt
Schack [1758-1826] with Additions
by Mozart". Novello believed Kyrie,
Crucifivus, Sanctus, and first part
of Agnus Dei by Mozart; article in
1831 "Harmonicon" already placed
Mozart's participation highly in
doubt.
Anh C 1.03
Anh 186
Anh 186
Mass for 4 Voices and Published by Novello as Nr.13 and

Organ in Eb
16 (See Remarks to Anh C1.01);
Novello cited his source as a score
in possession of C.J. Latroube.
Violin part of Mass in library in
Paris (listed in K3 as Anh 235a)
identical to this.
Anh C 1.04
Anh 232
Anh 232
Mass for 4 Voices and Numerous issues in early 19th

Orchestra in G
century attribute Mass to Mozart;
Jahn showed handling of
instruments not in Mozart style;
famous as "Mozart's 12th Mass"
from Novello's printing (See Anh
C1.01)
Anh C 1.05
--
Anh 232a
Missa solemnis for 4

Voices, Chorus,
Orchestra in C
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 Jhndl it was work
of Smayr; entry in Gttweig
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)
First reported on in 1932,

questionably attributed to Mozart
and dated probably around 1776;
copy in Vienna already had
question mark by Mozart's name
Anh C 1.08
Anh 234
Anh 234
Missa brevis for 4

Voices and Orchestra
in C
Attributed to Mozart first in issue

by M. Falter in Munich in beginning
of 19th Century and then others;
but no doubt a Mass of Franz
Gleissner (1761-1818), however
not published as one of his 6
Masses Op.2 in 1798.
Anh C 1.09
Anh 235
Anh 235
Missa brevis for 4

in G
Attributed to Mozart first in issue

by M. Falter in Munich in beginning
of 19th Century and then others;
parts in Kremsmnster 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

Voices and small
ensemble in G
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 Zauberflte; music not
known.
Andr received copy of Mass from

Constanze Mozart and listed under
authentic works; Kchel listed as
authentic, but in note listed it to be
eliminated from future editions.
Taken out of K2.
Anh C 1.15
Anh 236
Anh 236
Missa der
Schulmesiter for 3
Voices and 2 Violins in
G
Copy in Berlin library attributed to

Mozart; however in several
Austrian Monastaries attributed to
Franz Joseph Aumann, chorus
director at St. Florian; other
copies--including one in
Mozarteum--attribute to Michael
Haydn, but in 1803 he stated it
was not his and doubted very
much if "the well known comic
schoolmaster Mass" was by
Mozart; still other sources attribute
Mass to Joseph Haydn, Franz
Xavier Brixi and Florian
Gassmann.
Anh C 1.16
--
--
Messa Solemnis for 4 Copy found in Prague Nat.Mus.

Voices and Orchestra attributed to Mozart
in Eb
Anh C 1.17
--
--

in C
Copy in archive of Gesellschaft der

Musikfreunde first attributed to
Mozart, but corrected to Josef
Preindl (1756-1823)
Anh C 1.18
--
--
Missa solemnis
pastoritia for Voices
and Orchestra in G
Copy attributed to Mozart formerly

in possession of H.J. Laufer,
London
Anh C 1.19
--
--
Mass for 4 Voices and Copy found in Prague Nat.Mus.

small ensemble in A
attributed to Mozart
Anh C 1.20
--
--
Mass for 4 Voices and Numerous copies from late 18th

Orchestra in C
and 19th Century attribute to
Mozart, including one in Bergamo
made by Simon Mayr; parts in
Salzburg Cathedral attribute to
Leopold Mozart; erroneous cover
in Prague Nat.Mus. attributes to
F.X. Brixi; Benedictus of Mass
identical to Salzve Regina KAnh
C3.01
Anh C 1.21
--
--

in C
Copy in Dornbach attributed to

Mozart; another in Prague Nat.Mus
attributed to Giusephe Hayden"
Anh C 1.22
--
--
Missa solemnis for

Soloists, Chorus and
Orchestra in C
Copy in Wallfahrt church Maria

Limbach am Main from about 1803
attributed to Mozart.
Anh C 1.23
--
--
Mass for 4 Voices and Copy in Wallfahrt church Maria

Orchestra in Bb
Limbach am Main from about 1800
attributed to Mozart; probably work
of Georg Joseph Vogler (17491814)
Anh C 1.24
--
--
Mass for 4 Voices and Parts in Kremsmnster Monastary

Orchestra in Bb
originally had Mozart's name, but
crossed out and replaced by
Smayr.
Anh C 1.25
--
--
Mass for 4 Voices and Full score copy in Zittau attributed

Orchestra Bb
to Mozart; partially consists of
motifs from Zauberflte
Anh C 1.26
--
--
Mass for 4 Voices and Copy in archive of Orphanage

Orchestra in C
Church in Vienna attributed to
Mozart; actually a work of Johann
Georg Lickl (1769-1843)
Anh C 1.27
--
--

in C
Copy in Prague Nat.Mus.

Anh C 1.28
--
--

in C

Anh C 1.29
--
--
Anh C 1.30
--
--
Anh C 1.31
--
--
Mass for 4 Voices and

Orchestra in Eb
Orchestra in Eb
in F

Anh C 1.32
--
--
Anh C 1.33
--
--
Anh C 1.34
--
--

Orchestra in c
Orchestra in c
in C

Note on full score copy in Krems
"Die St. Pltnerische Mess von
Herrn Mozart"
Anh C 1.51
--
--
Kyrie for unknown

voices and
accompaniment
Manuscript full score originally in

Andr music archive collection
Anh C 1.90
Anh 237
Anh 237
Requiem for 4 Voices

and Orchestra in dminor
Numerous copies and issues from

19th Century attribute to Mozart,
including Novello who believed it to
a "a very early production".
Certainly Mozart did not write
another Requiem either earlier or
later.
Anh C 1.91
--
--
Requiem for 4 Voices

and Orchestra in Bb
Requiem brevis for 4
in Eb

Anh C 1.92
--
--
Anh C 1.93
--
--
Requiem for solo

voices, chorus and
orchestra in c
Set of parts in Parma from

beginning of 19th Century
Anh C 3.01
92
Anh 186c
Salve Regina for 4

in F
Work listed in Fuchs Mozart

manuscript catalogue and several
copies found around Europe.
Listed in K1 with 1770
compositions, from Jahn's dating
of "177?" By 1867 Jahn had
doubts and work not in AMA in
1875. Later thought to have been
possibly composed for Church of
Maria Plain outside Salzburg in
May 1768, but dismissed.
Pfannhauser then discovered the
music of this Salve Regina
identical to Benedictus of Mass
K.Anh C1.20.
Anh C 3.02
324
Anh 186a
Hymn "Salus
Only known from incipit in early
infirmorum" for 4
Andr catalogue; text is 3rd
Voices and Organ in c movement of Litanei B.M.V.;
Kchel 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
Andr catalogue; text is 2nd
Voices and Organ in C movement of Litanei B.M.V.;
Kchel placed with 1779
compositions. (See remarks to Anh
C3.02)
Anh C 3.04
142
Anh 186d
Tantum ergo for 4

in Bb
Work attested as Mozart's by Aloys

Fuchs and placed among 1772
works by Kchel. 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

in D
Work attested to by Fuchs and

placed among 1774 works; later
scholars differed on opinions on
authenticity; K3 placed in Anh.
Anh C 3.06
340
Anh 186f
Kyrie for 4 Voices

without
instrumentation in C
Known only from early Andr

catalogue; possibly beginning of a
lost Litanei B.M.V. from 1780;
Einstein moved it to Anh believing
it an a-cappella composition of the
17th Century or an archaisms of
18th Century
Anh C 3.07
--
Anh 186g
Offertorium "Exaudi
Domine" for 4 Voices
and Orchestra in G
Copy in Florence Bibl. Luigi

Cherubini attributes to Mozart;
according to style could be from
Milan time of 1773; it would fit well
into Leopold Mozart's application
to Archduke Leopold of Tuscany to
place Wolfgang in his service. K3
and K6 felt the work surely did not
belong to Mozart.
Anh C 3.08
198
158b
Offertorium "Sub tuum

praesidium" for
Soprano,Tenor and
Orchestra in F
Kchel, from copy for Soprano and

Tenor in Gttweig, placed in 1774
works; Rosenthal found Offertory
by M.Haydn with striking musical
resemblance, which was a
reworking of Deut from M.Haydn's
1767 pantomine "Der Traum"; on
stylistic grounds Einstein moved
work to Milan in beginning 1773,
believing for 2 Milan Castratos; K6,
citing M.Haydn music, believed not
by Mozart and stated Massin
attributed work to Myslivecek; copy
also exists in version for 2
sopranos.
Anh C 3.09
177
Anh 240a
Offertorium sub
exposito venerabili for
Soprano,Tenor and
Orchestra
Kchel only knew copy in Munich

Court Libr. and placed in 1773
"according to the manner in which
it was handled". Nottebohm in
AMA showed chorus "Benedicite"
K.Anh C3.09 (K1=342) was final
chorus to this Offertorium in Falter
& Sohn issue. Einstein cited full
score in Pfarr church in
Ottobeuren and parts in St.Peter
that carried name of Leopold
Mozart.
Anh C 3.09
342
Anh 240a
Chorus "Benedicite"
Only known to Kchel 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

and Orchestra in cminor
Copy in Berlin St.Libr. from Otto

Jahn's collection, without any
authentication; has nothing to do
with Holzbauer Miserere in Paris in
1778.
Anh C 3.11
--
Anh 241a
Oratorio "Abramo e
Isacco"
Copy in Florence Bibl. Luigi

Cherubini attributes to Mozart;
however work is composition of
Joseph Myslivecek written for Lent
season of 1776 in Florence;
probable autograph in Munich
where performed in 1777.
Anh C 3.12
--
Anh 241b
Te Deum for 5 Voices

and small Orchestra
Copy in Gesellschaft der

Musikfreunde headed
"Quartetto.Del Sigre Mozart".
This pastorale piece by its setting
and character has nothing to do
with Mozart.
Anh C 3.13
--
--
Psalm " O taste and

see that the Lord is
good" for 4 Voices and
Organ
Attributed in a Collection of
Anthems and Services in London
1847 to Mozart; also St. Gregory
Hymnal as "Jubilate Deo"
Anh C 3.14
(K2) Within Within

Anh 112
Anh112
"Ah sponse, mi dilecte

veni" for Festo cordis
Jesu for
Soprano,Tenor, Strings
Parts exist in Vienna National

Library, Prussian State Library
Berlin, and Cathedral Archive in
Salzburg (this copy with Clarinets
and Horns); issued by Lotter in
Augsburg in 1798 as Nr.2 of "28
Ariae Selectissimae Praeclarorum
Virorum" Op.3--Mozart is attributed
in all individual parts except the
Tenor part and index where
Wranitzky (Paul or Anton?) is
indicated as composer. Einstein
stated this "feeble" piece not by
Mozart.
Anh C 3.15
--
--
Sancta Maria for for

Attributed to Mozart in 'Motets de
Soprano or Tenor and Grands Maitres, 1re Series'
Organ in G
Nr.11; however this issue is from
around 1900
Anh C 3.16
--
--
Offertorium "Ad astra, Parts in Vienna National Library

o Mortales" for Bass
and Orchestra
Anh C 3.17
--
--
Offertorium "Quos hic

vides" for
Soprano,Tenor and
Orchestra
Copy of voice parts in Moravske

museum in Brnn attributed to
Mozart
Anh C 3.18
--
--
Anh C 3.19
--
--
Anh C 3.20
--
--
Pange lingua for 4

Pange lingua for 4
Tantum ergo for Bass
and Organ
Copy in Moravske museum Brnn

arranged by Seidl for Bass and
Organ; a note by Seidl states the
original was composed for
Soprano, Alto, Contrabass and
Organ and first heard at the Court
in Versailles performed by the
young Mozart.
Anh C 3.21
--
--
Offertorium "Hoc, huc, Copy attributed to Mozart in

gentes venite" for 4
Prague National Museum; copy in
Voices and Orchestra Gerlach-Museum with the text "Ejo
chori resonate" has the name
"Trazom" on Bass part.
Anh C 3.22
--
--
Motett "Ecce sacerdos Set of parts attributed to Mozart in

magnus" for voice and Prague National Museum
Orchestra
Anh C 3.23
--
--
Credo solemne for 4

Anh C 3.24
--
--
Offertorium "Laudate Set of parts attributed to Mozart in

Dominum" for 4 Voices Prague National Museum
and Orchestra
Anh C 3.25
--
--
Offertorium "Piae
mentes properate" for
Soprano,Tenor,
chorus, Orchestra
Anh C 3.26
--
--
Offertorium "Ad festum Set of parts attributed to Mozart in

huc venite" for 4
Prague National Museum
Anh C 3.27
--
--
Offertorium "Gaudete
omnes gentes" for 4
Set of parts attributed to Mozart in

Anh C 3.28
--
--
Grand Offertorium
"Inveni David servum
meum" for 4 Voices
and Orchestra

Anh C 3.29
--
--
Offertorium "Salve
Jesu, Dux Sanctorum" Prague National Museum
for Soprano, chorus,
Orchestra
Anh C 3.30
--
--
Aria "Ave, ave,

caelorum Regina" for
Soprano and
Orchestra
Anh C 3.31
--
--
Aria pro omni festo

"Mens sancta" for
Tenor or Soprano and
Orchestra
Anh C 3.32
--
--
Aria "Dei pietosi" for

Soprano and
Orchestra


Prague National Museum; a
second copy in Prague Nat.Mus
with different instrumentation with
text "Caelestis advolate"


Anh C 3.33
--
--
Aria (unknown words) Set of parts attributed to Mozart in

for Soprano or tenor
and Orchestra
Anh C 3.34
--
--
Aria " Exsultet orbis

gaudiis" for Bass and
Orchestra
Anh C 3.35
--
--
Aria a Duetto "Ejus

festa, ejus gesta" for Prague National Museum
Soprano or Tenor and
Orchestra
Anh C 3.36
--
--
Aria "Per singulas

dies" for Bass and
Orchestra
Anh C 3.37
--
--
Aria " Huc, huc,

amantes festinate" for Prague National Museum
Bass and Orchestra
Anh C 3.38
--
--
Aria "Ad arma

properate" for Tenor
and Orchestra
-Anh C 4.01
-Anh 242
-Anh 242
--Cantata for Frst Alois Jahn originally believed a copy in

Liechtenstein
the Berlin Prussian State Library
was authentic Mozart from his
early Vienna period, but later
changed his opinion based on the
handling of the material. It no
doubt originated after 1800, and
perhaps is a work of Franz Xavier
Mozart.
Anh C 5.01
--
Anh 292a
Concert ending for

Overture to Gluck's
"Iphigenie en Aulide"
First in Heinse's "Hildegard von

Hahenthal" stated Mozart wrote
conclusion; issued by Andre in
1804 or 1805 under Mozart's
name, with incorrect title "Iphigenie
en Tauride"; also published in parts
by Zulehner in Mainz before 1810;
Marx (1863) attributed to J.P.
Schmidt, however as he was born
in 1779, so probably not
composer.
Anh C 7.01
Anh 187
Anh 187
Recitative and Aria for

Soprano and
Orchestra "Perche
t'arresti?Per te nel
carcer nero"
Copies in Munich State Library,

Berlin Prussian State Libr.and
Gesellschaft der Musikfreunde;
style of Recitative as also
weakness of invention and
instrumentation of piece make it
more than doubtful. Any outside
verification lacking.



Anh C 7.02
Anh 243
Anh 243
2 Choruses to play
'Thamos'--"Schon
weichet dir Sonne" &
"Gottheit ber alle
mchtig"
Issued by Simrock in Bonn about

1829 as two choruses from
Thamos by Mozart; nothing to do
with Mozart's Thamos music,
possibly choruses of Johann
Tobias Sattler from 1773.
Anh C 7.03
--
Anh 243a
Terzetto "Tremer mi
sento" for Soprano,
Tenor, Bass and
Orchestra
Copy in Berlin Prussian State

Library from Otto Jahn headed
"Terzetto-Mozart"; from names in
text probably from a setting of 'La
Circe', but not those known from
Cimarosa or Gazzaniga
Anh C 7.04
Anh 244
Anh 244
Canto "O come lieto"

for 2 Sopranos, 2
Tenors, Bass and
Orchestra
Copy attributed to Mozart in

Gesellschaft der Musikfreunde;
parts issued by Artaria in 1856 with
forward remarks stating Mozart
wrote this "little vocal pleasantry"
during his stay in Warsaw and left
the manuscript with his friend
Dibowski, and then in 1820
Mozart's son obtained the
manuscript and it passed on to
Baroni Cavalcabo. Work had been
published by Artaria in 1805 in
piano reduction under name of
actual composer, Antonio
Cartellieri (1772-1807); it is from
Cartellieri's opera "Il Segreto' first
performed in Vienna in 1804.
Anh C 7.05
--
584a
Soprano Aria and

Orchestra "Donne
vaghe"
Copy found in Prague University

Library in 1891; Wyzewa/St.Foix
believed it authentic and
composed in Prague around time
of Don Giovanni and Einstein
placed in main part of K3; actually
work of Giovanni Paisiello from his
operetta 'La serva pardrona'.
Anh C 7.06
--
Mentioned
within K588
Aria for Soprano and

Orchestra "Angst,
Qual und herber
Gram"

Library with remark of Aloys Fuchs
it was composed in Munich for as
an insert in Act I, Nr.8 for a
German version of 'Cosi fan tutte';
no known performances of Cosi in
German in Mozart's lifetime,
although there was one in Vienna
in 1794 which perhaps Fuchs
confused with Munich; Aria listed in
Rellstab of Berlin catalogue in
1792 "for piano". (See Remarks to
Anh C7.07)
Anh C 7.07
--
Mentioned
with K588
Duet for 2 Sopranos

and Orchestra "Treu
schwr ich dich stets
zu lieben"

Library with remark by Aloys Fuchs
it was composed for 2 women in
Munich for German version of
'Cosi fan tutte'. Duet listed in
Rellstab of Berlin catalogue in
1793 "for piano". (See remarks to
Anh C7.06)
Anh C 7.08
--
--
Scene "Non tradirmi"

for Tenor and chorus
Full score found in Kremsier

Monastary with no author
indication; in solo part the name
"Antinoo" crossed out and
replaced by "Tito"; however has
nothing to do with Mozart's opera.
Anh C 7.09
--
Mentioned
with Anh
243a
Terzett for a comic

scene
Copy in Paris private possession;

Einstein remarked surely not
Mozart.
-Anh C 8.01
-(K2)
Anh187a
-Anh 260a
-Song with Piano

Accompaniment "Die
Nase" Text: "Schlaf,
ser Knabe, s und
mild"
-Published in 1840 in 'Caecilia'

attributed to Mozart; in Dec 1845
Frankfurt Konversations-Blattes
announced a manuscript of this
Wiegenlied that Mozart composed
for his wife after the birth of their
son Karl, was given to them by
Countess Clemens von Eiz; the
original was supposed to be in
possession of Music Director
Geissler in Zschopau. Friedlaender
(1902) called it a "crude forgery". It
actually is a composition of Joseph
Martin Kraus, and had been
published in Stockkholm.
Anh C 8.02
(K2)
Anh187b
Anh 260b
Song with Piano

Accompaniment "Die
Nase" Text: "Schlaf,
ser Knabe, s und
mild"
Issued in the Beethoven-Album in

1845, and then printed as
"Reliquie von Mozart" for his 100th
birthday. According to Halberger's
album of 1849 performed and sent
from Music Director Geissler in
Zaschopau; as Anh C8.01 no
doubt not authentic.
Anh C 8.03
(K2)
Anh187c
Anh 260c
Song with piano

accompaniment "Das
Angedenke" Text:
"Nimm dies kleine
Angedenken"
Copy in Paris Conserv. De

Musique with title page attributing
to Mozart; a different hand wrote
"By Leopold Mozart"; other copies
attribute to Mozart and well as F.J.
Haydn; a copy in Austrian National
Library in Vienna under name of
Gyrowetz. Issued in 1798 by Mollo
in Vienna as part of Adalbert
Gyrowetz's IX Deutsche Lieder for
Piano or Harp.
Anh C 8.04
--
Anh 245a
Song with ChoralIssued by Cappi in Vienna in 1801

refrain Text: "Schn 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

accompaniment
"Vergi mein nicht"
Issued by Schott in Mainz in 1794,

Artaria in 1795 and numerous
others; in the 'Caecilia' of 1829
Capellmesiter Lorenz Schneider of
Coburg explained the composition
was his, written in 1792 and first
published by Gtz in Mannheim
under his name in 1793.
Anh C 8.07
Anh 247
Anh 247
Song with piano

accompaniment
"Phyllis an das
Klavier" Text: "Bestes
kleines Clavier!"
Copy in Michaelbeuren
Benedictine Monastary, and
published numerous times under
Mozart's name, first by Simrock in
Bonn in 1798. Allgemeine
musikalische Zeitung of 1798
reported this song originated from
Lorenz Schneider.
Anh C 8.08
Anh 248
Anh 248
Song with piano

accompaniment "Das
Mdchen und er
Vogel" Text:"Ein Vogel
kam geflogen"
Issued by Gnther & Bhme in

Hamburg in 1795 and then Artaria
in 1799 (with Anh C8.09) as "Zwey
Deutsche Arien 3ter Teil", and
numerous further; Allgemeine
musikalische Zeitung of 1798
named A.E. Mller as composer
Anh C 8.09
Anh 249
Anh 249
Song with piano

accompaniment
"Minnas Augen" Text:
"Zwei Augeb sind's
aus deren Blikern"
See Anh C8.08; AMZ of 1798

named A.E. Mller as composer.
Anh C 8.10
Anh 250
Anh 250
Song with piano

First issued by Gnther & Bhme
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

accompaniment
"Ehelicher guter
Morgen"
(See remarks to C8.10)
Anh C 8.12
Anh 252
Anh 252
Song with piano

accompaniment
"Selma" Text: "Khlt, o
schmeichelnde Lfte"
First issued by Andre in 1793, and

then numerous others after;
reviewer in 1798 AMz believed
authentic.
Anh C 8.13
Anh 253
Anh 253
Song with piano

accompaniment
"Heida lustig, ich bin
Hanns"
First issued by Andre in 1795, then

Rellstab in 1798 (see remarks
C8.10); reviewer in 1798 AMz
believed authentic.
Anh C 8.14
Anh 254
Anh 254
Song with piano

accompaniment "Der
este Kuss" Text:
"Leiser namt ich
deinen Namen"
First issued Josef Eder am Graben

in Vienna in 1794, numerous
others including Rellstab in 1798
(see remarks C8.10 and C8.12)
Anh C 8.15
Anh 255
Anh 255
Song with piano

accompaniment "Die
zu spte Ankunft der
Mutter" Text:
"Beschattet von
khlenden Aesten"
First issued by Andre in 1795,

Rellstab in 1798 (see remarks to
C8.10 and C8.12)
Anh C 8.16
Anh 255a
Song with piano

accompaniment
"Meine weise Mutter
spricht: Kssen,
kssen, Kind, ist
Snde"
In a letter of July 1799 Constanze

wrote of this song saying it was
very lovely, and that it must have
been composed before 1784 as
she knew nothing of it.
Anh C 8.17
Anh 256
Anh 256
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
Hgeln"
Anh C 8.18
Anh 257
Anh 257
Song with piano

accompaniment
"Minna" Text: "Schon
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: "Se 1795
heilige Natur"
Anh C 8.20
Anh 259
Anh 259
Song with piano

accompaniment "Lied catalogue; published by Bhme in
der Freundschaft"
Hamburg
Text: "Wenn ich der
Kaiser wre"
Anh C 8.21
Anh 260
Anh 260
Song with piano

accompaniment
"Gegenliebe" Text:
"Wt ich, wt ich,
da du mich"

catalogue; published Andre, Gtz
and Rellstab in 1798 (See remarks
C8.10 and C8.12)
Anh C 8.22
Anh 261
Anh 261
Song with piano

accompaniment
"Mailied" Text:
"Willkommen, schner,
lieber Mai"
Published by Rellstab in Berlin in

1798; reviewer of 1798 AMZ of
Rellstab's issue of 33 Mozart
Lieder believed authentic. Listed in
B & H Manuscript catalogue
Anh C 8.23
Anh 262
Anh 262
Song with piano

accompaniment
"Frhlingslied" Text:
"Unsre wiesen grnen
wieder"
Anh C 8.24
Anh 263
Anh 263
Song with piano

accompaniment
"Mailied" "Wie herrlich
leuchtet mir die Natur"
First issued by Andre in 1793, then

others in Rellstab in 1798 (see
remarks to C8.10 and C8.12)
Anh C 8.25
Anh 264
Anh 264
Song with piano

accompaniment
"Freude jubelt, Liebe
waltet"
Anh C 8.26
Anh 265
Anh 265
Song with piano

accompaniment
"Der Frhling 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

accompaniment
"Trinklied im Mai" Text:
"Heute will ich frhlich"
(See remarks to C8.22)--published

in Reichardt's Liedern geselliger
Freude with heading "Der
Frhling--Am ersten Maimorgen",
composed by Reichardt.
Anh C 8.29
Anh 268
Anh 268
Song with piano

accompaniment
"Mailied" Text: "O der
schner Maiemond"
Anh C 8.30
Anh 269
Anh 269
Song with piano

accompaniment
"Frhlinglied" Text:
"Blickt auf, wie sehr
das lichte Blau"
Anh C 8.31
--
Anh 269a
Song with piano

accompaniment "Elis
und Elide" Text: "Wie
sign ichs, Holder?"
Issued in Halle and Frankurt in

1807
Anh C 8.32
--
--
Song with piano

accompaniment
"Danklied" Text: "Du
bist's, dem Ruhm und
Ehre gebhrest"
Issued by Lschenkohl in Vienna

in 1800 in Vol 1 of 6 Sacred Odes
and Lieder (lost); Lschenkohl's
notice read Mozart's set the music
to Odes and Lieder of [Chr. F.]
Gellert and was one of the early
works of Mozart, "in which already
the great talent of this youth
shined through". Published with
Anh C8.34, 8.38, 8.33, 8.41 and
8.42; listed in B & H Manuscript
Catalogue .
Anh C 8.33
--
Anh 270a
Song with piano

accompaniment "Trost in 1800. (See remarks to Anh
der Erlsung" Text:
C8.32)
"Gedanke, der uns
Leben gieht"
Anh C 8.34
Anh 271
Anh 271
Song with piano

accompaniment "Das
Glck eines guten
Gewissens" Text "Besit
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

accompaniment, Text: Catalogue.
"Gott, deine Gte
reicht so weit"
Anh C 8.37
Anh 274
Anh 274
Song with Piano

accompaniment
"Abendlied" Text:
"Herr, der du mir das
Leben"

Catalogue.
Anh C 8.38
Anh 275
Anh 275
Song with piano

accompaniment
"Versicherung der
Gnade Gottes" Text:
"So hoff ich denn mit
festem Mut"

in 1800; listed in B & H Manuscript
Catalogue.

in 1800; listed in B & H Manuscript
Catalogue.(See remarks to Anh
C8.32)
Anh C 8.39
Anh 277
Anh 277
Song with piano

accompaniment "Die
Ehre Gottes in der
Natur" Text: "Die
Himmel rhmen des
Ewigen"

Catalogue.
Anh C 8.40
Anh 278
Anh 278
Song with piano

accompaniment
"Morgengesang" Text:
"Mein erst Gefhl sey
Preis und Dank"

in 1801 as Vol 2 of Odes and
Lieder for the Young (see Anh C
8.32) along with C8.41, 8.43, 8.44,
8.45, 8.46; reprinted in 1805 with
notice works dedicated to Count
Thun.
Anh C 8.41
Anh 279
Anh 279
Song with piano

accompaniment
"Gelassenheit" Text:
"Was ist's, da ich
mich qule"

in 1800 and 1801
Anh C 8.42
--
Anh 279a
Song with piano

accompaniment
"Zufriedenheit mit
seinem Zustande"
Text: "Du dlagst und
fhlest die
Beschwerden"

in 1800
Anh C 8.43
Anh 280
Anh 280
Song with Piano

accompaniment
"Geduld" Text: "Ein
Herz, o Gott, in Leid
und Kreuz"

in 1801
Anh C 8.44
Anh 281
Anh 281
Song with piano

accompaniment "Vom in 1801
Worte Gottes" Text:
"Gott ist mein Hort"
Anh C 8.45
Anh 282
Anh 282
Song with piano

accompaniment
"Prfung am Abend"
Text: "Der Tag ist
wieder hier"
Anh C 8.46
Anh 283
Anh 283
Song with piano

accompaniment "Preis in 1801
des Schpfers" Text:
"wenn ich, o Schpfer,
deine Macht"

in 1801
Anh C 8.47
--
Anh 283a
Canzonetta "Baci
amorosi e cari"
Manuscript in Library of Congress,

Washington D.C. USA is dated
Sept 7, 1770 is a forgery.
Canzonetta is a poor bowdlerizing
of the "Veilchen" KV 476.
Anh C 8.48
350
Anh 284f
Song with piano

accompaniment
"Wiegenlied" Text:
"Schlafe, mein
Prinzchen"
Originally placed as supplement in

Nissen's biography of Mozart, but
later Constanze asked it to be
removed; both Constanze and
Nannerl reported not knowing of
piece; published numerous times
under name of Bernard Flies.
Anh C 8.49
--
--
Freundschafts-Lied for
voice, 2 Violins and
Bass, Text: "Es kann
schon nicht alles so
bleiben"
Copy in Prague National Museum

attributed to "Del Sigre Mozart";
the song originated from F.H.
Himmel.
Anh C 8.50
--
--
Song with piano

Copy in Prague National Museum
accompaniment "Das
Grab" Text: "So
schwarz wie die Nacht
ist diese Hlle"
-Anh C 9.01
-Anh 188
-Anh 188
-4-Part song for 2

Sopranos, Tenor and
Bass, "D'Burin hat
d'Katz verlorn"
-Copy in National Libr. Vienna from

estate of Michael Hortenschlag
from 1855; theme used in last
movement of Divertimento
K287/271H.
Anh C 9.02
--
Anh 244a
Burleske Motett for 2

voices and piano
"Nocte dieque
bibamus"
Issued in Paris by Lavine in 1871;

music unMozartian, false use of
Latin words, and wording that
points to an original French
language, are foreign to Mozart.
Anh C 9.03
Anh 6
441b
2-voiced song "Beym

Arsch ists finster"

Catalogue; copy in Berlin State
Libr. for 3-voices attributed to
Mozart; another version in Vienna
National Libr. with different text;
published by Anton Bhm with text
"Die Nachet ist finster" for
Soprano, Alto, Bass; K1 placed as
lost work in of 1775; Constanze
mentioned canon by similar name
must have been written before
1784 and K3 placed in main part
with works of 1783. Collection in
Munich State Libr. mixed with
works of Anton Pacher, chorus
director at St. Michael Church.
Anh C 9.04
--
441c
2-voiced Serenade
(Stndchen) "Liebes
Mdchen, hr mir zu"
Published numerous times, first by

Bhme in Hamburg around 1795;
also listed in B & H Manuscript
catalogue as song for one voice
with piano accompaniment;
Einstein carried it in main section
of K3, but changed his opinion to
misattributed in K3a.
Anh C 9.05
--
Mentioned
within K506
Male Quartet "Wer

Copy in Donaueschingen which
unter eines Mdchens contained other canons of Mozart;
Hand"
uses same text as Mozart song
K506
Anh C 9.06
--
562d
Duet for 2 Sopranos

Manuscript in New York Public
and instrumental bass Library on reverse side of K315g,
"Darum so trinkt"
handwriting verified to be Mozart's
by Julius Andr, so K3 included in
main part of Kchel; Einstein
deleted from K3a, writing this side
of page has nothing to do with
Mozart, it appears a Salzburg or
Vienna copyist used the Mozart
autograph for a portion of a
Singspiel.
Anh C 9.07
--
Mentioned
within
Anh236
Humorous Male
Terzett "Venerabiis
barba capucinorum"
Versions in Pilsen, and Vienna

National Libr. (for 2 Soprano and
Bass). Friedlaender named
Matthias Fischer as composer.
Anh C 9.08
--
--
Song for 3 voices and Issued by Schott in Mainz in about

guitar "Mdchen ich
1810
komm mit der Zitter"
Anh C 9.09
--
--
Song for 3 voices and Issued by Schott in Mainz in about

guitar "Die Nacht ist
1813
still und heiter"
Anh C 9.10
--
--
Song for 4 voices

without
accompaniment "Wie
herrlich sind die
Abendstunden"
Copy from 19th Century in

Benedikt Monastary at
Michaelbeuren
Anh C 9.11
--
Mentioned
within 556
Canon "O wie schn

ist es hier"
In Einstein's estate with several

authentic Mozart Canons and
others of Salieri, M. Haydn and
anonymous. Einstein held it for not
authentic.
Anh C 9.12
--
--
Choral work
Copy in Prague National Library in
"Nachtgesang auf der collection of various Lieder and
Flur" Text: "Komm
Opera Arias etc.
stiler Abend nieder
Te Deum adoramus"
Anh C 9.13
--
--
Ariette for Chorus

"Nimm durch dieser
Tne Spiel"
Copy in Prague National Library in

collection of various Lieder and
Opera Arias etc.
Anh C 9.14
--
Mentioned
within
Anh236
"Die Juden-Leich"
Copy in Berlin State Library

attributed to "Sigre Mozart"; is
actually from the "Augsburger
Tafelkonfekt"
--Anh C 10.01 Anh 7
--(K2 and K3) 3-part Canon "Die

Anh 284c
verdammten
Heuraten"
-Jahn mentioned the piece as an

authentic piece and K1 listed it
under lost works; identified as
Terzett for Sorano and 2 Basses
from Wenzel Mller's comic opera
"Die neue Alceste" which
premiered in Vienna in 1806
Anh C 10.02 226
(K2 and K3) 3-part Canon "O

Published in B & H Oeuvres vol.16
Anh 284d
Schwestern, traut dem in 1804; first published in
Amor nicht"
Athanasius Kircher's "Musurgia" in
1650 without the text added by
Hrtel
Anh C 10.03 Anh 189
Anh 189
4-part Canon "Amen"
Anh C 10.04 --
Mentioned
within K556
Canon "Stefel
Fadinger"

Catalogue
In Einstein's estate with several
authentic Mozart Canons and
others of Salieri, M. Haydn and
anonymous. Einstein held it for not
authentic; copy in Prague with
composer name Fuch.
Anh C 10.05 Anh 192
Anh 283b
8 part Canon with 2

Violins, Alto and Bass
without text

Catalogue; found to be canon of
Johann Friedrich Fasch in
Kirchberger's "Kunst des reinen
Satzes" 1774.
Anh C 10.06 Anh 193
Anh 283c
Canon without text

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
Counterpoint without
text

Catalogue
Anh C 10.08 Anh 195
Anh 195
4-part Canon
"Katzengesang" Text:
"Miau au au au au
miau"

Catalogue; is composition of Brixi-unknown if Viktorin or Franz
Xavier.
Anh C 10.09 Anh 196
Anh 196
Canon for 2 Children's Listed in B & H Manuscript

voices "Kinder Kinder, Catalogue
lat uns heute lachen"
Anh C 10.10 Anh 197
Anh 197
Anh C 10.11 Anh 198
Anh 198
4-part Canon "Vieni

cara mia vita mia"
5-part Canon "Amen"
Anh C 10.12 --
Anh 198a
8-part Canon "Htt's

nit 'dacht, da
Fischkraten"
Anh C 10.13 Anh 284
Anh 284
4-part Canon "Schlei Copy in National Library Vienna;

nieder, armer Snder" 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 Glck" work originated from Michael
Haydn.

Catalogue
Catalogue
Aloys Fuchs copy (with K560)
headed "2 Scherzhafte Canons a
4 e 8 voci compos. Von W.A.
Mozart"; Jahn held it for authentic
from a C.F. Zelter's 1814 letter to
Goethe stating Mozart wrote a
Canon on these words; Einstein in
K3 attributed to Wenzel Mller
(1767-1835).
Anh C 10.15 --
--
3-part Canon "Was

bleibet!"
Contained in 1866 edition of

Canons by D. H. Beck that also
contained 6 transposed and
arranged authentic Canons of
Mozart.
Anh C 10.16 --
Anh 284dd
4 Mirror Canons for 2

Violins
Published by Kallmeyer, edited by

Fritz Jde 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

(and instruments?)
"Nun beginnt das Fest
der Maien"
Issued by Friedrich Hofmeister

Leipzig around 1823 as 2 JokeCanons composed by Mozart and
Haydn. Both are very nave pieces
and originate no doubt from the
same composer.
Anh C 10.19 --
Mentioned
within
Anh284ee
Joke-Canon "Schau
nur das Weiberl an"
Copy in Prussian State Library;

primitive piece not by Mozart.
Anh C 10.20 --
--
Canon sketch "L'anno A Duet between Nice and Tirsi;

novel"
copy by Franz Sales Kandler send
to Vincent Novello and printed in
Mozart Pilgrimage 1955; the
canon-study is supposed to have
been composed by Mozart in
Florence.
Anh C 10.21 --
Mentioned
within K559
Canon "Difficile"
Copy in Prussian State Library; it

contains the text of K559 with the
melody of K556.(See remarks to
C10.22)
Anh C 10.22 --
Mentioned
within K559
Canon "Leck mich im

Angesicht"
Copy in Prussian State Library in

bundle with Anh C10.21 and
C9.04; all three numbers
misattributed.
Addition Information After K6

Set of parts found in Feldkirch attributes
Mass in slightly altered form to Joseph Aloys
Holzmann 1761-1815 (Reijen-MJB
2001)
--
Set of parts found in Ottobeuren Monastary

attribute Mass in slightly altered form to J.B.
Vanhal. (Reijen-MJB 2001)
Actual composer Wenzesla Mller. Two

composers by same name known--one lived
1767 - 1835, other 1736 -1794; first most
likely author (Plath-Opera Incerta 1988)
Entry in Gttweig Monastery catalogue

contains note "Probably not by [Mozart],
however good". (Landon-MJB 1957)
Music catalogue of Litomyol gives composer

name of Walter--dates unknown (PlathOpera Incerta 1988)
--
--
--
--
It is also listed in 1771 catalogue in Gttweig

Monastary under Novotny's name titled
"Missa Solemnis Lotarie Filia Siona";
another copy in Count Esterhazy's palace
archives was titled "Missa in C. Scti Joannis
de DeoBy Sigre Novotni" (Landon-MJB
1957)
Copy found in Holy Cross Monastary in
Augsburg with entries and a deletion in Dona
nobis by Mozart; another set of parts found
in Trostberg shows hand of copyist within
Mozart circle (Schulze-Foreward to CarasVerlag edition 1980, Mnster-Acta
Mozartiana 1986, Reutter-Forward to Caras
edition 1990)
--
--
--
--
--
--
Carlson (Vocal Music of Leopold Mozart

1976) discovered copy in Florence attributed
to Leopold Mozart; Plath (Opera Incerta
1988) reports in several catalogues author
given as Cajetan Vogel ca.1750-1794.
Catalogue in Monastary Raigern lists author

as Heimerich, and found to have been
printed in 1795 as Op.2 of Martin Heimerichdied 1813 (Plath Opera Incerta 1988).
--
--
Attributed in Salzburg Cathedral catalogue to

"anonima=Bohemia" i.e. anonymous
Bohemian (Plath-Opera Incerta 1988)
--
--
--
--
----
--Pfannhauer (MJB 1970/71) reported a set of

parts in Vienna Maria Treu church of this
Mass attributed to "Giov: Neubauer";
probably Franz Christoph Neubauer
(ca.1760-1795).
--
--
-Attributed in St. Veit and numerous other

sources to Nerzarth, or Nerzad or Nerzath
(Biba-MISM 1974)
Holschneider (Musikforschung 1962)
believes a "style study la Mozart" of a
composer, stimulated by Mozart's Requeim.
--
--
--
Mnster (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
Mnster believed copy of authentic work
from 1772; then Mnster (Acta Mozartiana
1965) found a manuscript of this Tantum
ergo attributed to [Johann] Zach (16991773) with slightly larger orchestration and
no concluding Amen. Appears Mozart slightly
revised Zach's work and added an Amen.
Manuscript of K.Anh C3.04 discovered at

Abby St. Veit (see above K.Anh C3.04) and
Mnster believes this Tantum also authentic
and probably composed in Salzburg in 1772.
(Mnster-Acta Mozartiana 1963)
--
--
Federhofer (MJB-1959) believed Mozart's

work before M.Haydn's and believed
authentic Mozart from 1772 for perhaps
1777; NMA (Federhofer-1962) placed KV
198 in authentic works volume; Mnster
found copy in St.Peter form end of 18th
Century for 2 Sopranos and NMA-Critical
Rep (Federhofer-1963) changed opinion and
stated original version for 2 young boys;
Water/Wade (Quarterly Journal of Music
Library Association-1963) reported there is
no attribution to Myslivecek in Massin book.
Eisen (Mozart Studies 1991) assigned

Leopold Mozart composition to 1750's or
possibly even earlier.
Eisen (Mozart Studies 1991) assigned

Leopold Mozart composition to 1750's or
possibly even earlier.
Manuscript in Berlin headed "Miserere/Del

Sig. W.Amadei Mozard"; manuscript in
Uppsala shows actually a work of Joseph
Martin Kraus from 1773 (Boer-MISM 1981)
Manuscript in Munich not autograph, but a
copy (Mnster-Festschrift Walter Senn1975)
--
--
--
--
--
Parody of last scene of Don Giovanni,

Donna Anna/Don Ottavio duet "Or che tutti,
o mio tesoro" (Plath-Opera Incerta 1988)
A shortened parody of Kyrie from Mass

K275 (Plath-Opera Incerta 1988)
--
--
--
Actually the shortened and slightly revised

version of Credo to Mass K257 used by B &
H in 1803 printing of Oeurves complettes;
this version obtained from Nannerl Mozart
from inventories of Salzburg Cathedral
(Senn-MJB 1978/79 and NMA 1978)
--
--
Parody of last scene of Don Giovanni

"Questo e il fin di chi fa mal"" (Plath-Opera
Incerta 1988)
--
--
--
--
--
--
--
--
--
--
--
--
---
---
---
--
--
--
--
--
--
Aria is from Simon Mayr's opera 'I Misteri

Elsusine'--aria of Antinoo--and has been
inserted into Mozart's "La Clemenza ti Tito"
in copy in Lokowitz archive in Prague, and
also a German version of opera in Melk
(Giegling-NMA Critical Report 1994)
--
-Kraus Thematic Catalogue (1998) shows

autograph of Kraus preserved; it was
published in 1796 by Breitkopf und Hrtel as
Nr.2 in "Airs et Chansons pour le Clavecin,
composes par Joseph Kraus, Maitre de
Chapelle de S.M. le Roi de Suede".
--
--
--
--
--
--
Angermller (MISM 1986) states the AMZ

does not make it clear if they are referring to
a manuscript or a printing. If it is an
autograph of Mozart's referred to, then the
song would be authentic.
--
In letter to B & H in 1799 Constanze stated

Dalberg had also composed these words
"but to another melody", as did Bornbard
[J.H.C. Bornhardt]. Dalberg composed music
to text, but it is a Duet--published in 1790 by
Gtz and Schott--is different music; in 1796
advertisement Friedrich Franz Hurka from
Berlin also published song to this text,
possibly song attributed to Mozart is by
Hurka (Weinmann-Die Musikforschung
1967).
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
Mozart's sister Nannerl sent incipit to B & H

with a postscript to it "Harmoniale"--Plath
stated unclear what this meant, but not used
in sense of K483 or K484. Plath thought
possibly work of Leopold Mozart which
Nannerl erroneously took copy to be by
Wolfgang (Plath-MJB 1970/71); Berke (NMA
2000) shows two volumes--one recently
found-- of Gellert Lieder are not actually
designated Vol.1 and 2; the volume with
C8.32, 8.33, 8.34, 8.38 8.42 and K.deest of
Gelassenheit actually second volume
issued, and works in this volume are
possibly by Wolfgang; possibly "Harmoniale"
refers to Glassharmonica.
Mozart's sister Nannerl sent incipit to B & H;

Plath thought possibly work of Leopold
Mozart which Nannerl erroneously took copy
to be by Wolfgang (Plath-MJB 1970/71)
(See remarks C8.34) Nannerl's incipit had

postscript "Harmoniale". (See remarks
C8.32)
Burke (NMA 2000) shows two volumes of

Gellert Lieder are not actually designated
Vol. 1 and 2; the volume with C8.40, 8.41,
8.43, 8.44, 8.45, 8.46 was issued first and
works possibly by Leopold Mozart; (also see
remarks to C8.34); printed in Acta
Mozartiana-2003 v.3/4
(See remarks to C8.40); the two setting of
Gelassenheit in the two volumes are
different compositions, this one in 1800
volume probably by Leopold; other setting is
K.deest and possibly by Wolfgang; both
settings published in NMA (Burke-NMA
2000); printed in Acta Mozartiana-2003 v./3/4
(See remarks to C8.40); printed in Acta




--
Early manuscript of song attributed to Flies

found at Stanford University, verifing
authorship of Flies (Ballin-NMA Critical
Report 1964). Goretzki (MISM-1988)
believes Wiegenlied was in music Andre
purchased from Constanze in 1799, but not
used as Andre had recently published a
different setting of poem by Johann
Fleischmann with guitar accompaniment.
--
--
---
--
--
Work is actually a multi-voiced Lieder of

Michael Haydn (Schmid Oesterreichischer
Musikzeitung and Sherman-M.Haydn
Thematic Catalogue MH749, composed
ca.1795-1799).
Work is actually a composition of Michael

Haydn (Schmid Oesterreichischer
Musikzeitung and Sherman-M.Haydn
Thematic Catalogue MH608, dated
November 6, 1795).
Transcribed in NMA-Critical Report
(Lindmayr-Brandl 1996). is concluding 19
measures of a not identified Lieder, or piano
reduction of an Aria or Duet
A copy in Mozart's hand of composition

(untexted) is preserved in Stockholm and is
headed by Maximilian Stadler "Uebungen im
Contrapunct", possibly same as K626b/40
(Konrad-Mozarts Schaffensweise 1992)
--
--
--
Work of Ignaz Imlauf (Dunn-MJB 1971/72)
--
--
--
---
--
-Composer Johann Joseph Fux 1660-1741

(Dunn-MJB 1971/72)
--
--
--
--
Composer Michael Haydn under title "Cato,

Polato, Cierco" (Dunn-MJB 1971/72,
Sherman-M.Haydn Thematic Catalogue
MH714, composed ca.1795-1799?)
--Work of Michael Haydn from ca.1795-1799
with text "Htt I glabt da d'Fsichgrt"
(Sherman-M.Haydn Thematic Catalogue MH
707).
Is work of Michael Haydn on text "A questa

amara sorte" (Dunn-MJB 1971/72) however
authentic copy in abbey in Michaelbeuern
uses same text as that attributed to Mozart
(Sherman-M.Haydn Thematic Catalogue
MH700 composed ca.1795-1799).
Autograph of Michael Haydn in
Geesellschaft der Musikfreunde Vienna has
14 measure introductory Adagio. Composed
ca.1795 (Sherman-M.Haydn Thematic
Catalogue MH 577)
--
--
Freeman (Musicologia Humana; Studies in

Honor of Warren and Ursula Kirkendale,
1994) writes C.P.E. Bach Canon in
Kirnberger's book unresolved, that attributed
to Mozart is in resolved form.
--
--
--
--
Part Eight of Eight Anhang C Instrumental Works

K6
Anh C
11.01
K1
--
K3
16b
Composition
Symphony in C
K6 Remarks
Only copy of 1st violin part
preserved in Munich State Library;
is contained in a manuscript bundle
which contains 53 different
numbers; Allegro and Andante on
one page, and a further Allegro on
next page; K3 saw stamp of
Mozart's first symphony in this and
placed in London 1765; first Allegro
identified as composition of Leopold
Mozart from 1766 Breitkopf
catalogue, and other two
movements should be assigned to
Leopold.
Anh C
11.02
17
Anh 223a
Symphony in Bb (4 Copy purchased from Constanze

movement
Mozart by Andr who remarked no
fragment)
doubt written during Mozart's trip in
1760's; Kchel expressed doubts
but placed it in main portion of K1
with works of 1765 in London; K3
removed to Anh on "inner grounds"
and St.Foix believed possibly by
Leopold Mozart; K3 removed to Anh
on "inner grounds"
Anh C
11.03
Anh 216
74g
Symphony in Bb
Originally only known from incipit in

B & H Manuscript catalogue;
manuscript discovered and
published by B & H in 1910;
Einstein believed composed in
Salzburg in early summer 1773
between Italian trips; K6 placed in
Anh on "inner grounds"
Anh C
11.04
98
Anh 223b
Symphony in F
Kchel only knew in 2-piano

arrangement and placed with ; copy
originated from Aloys Fuch at
Steiermrk; anonymous catalogue
dated the symphony "Milan Nov
1771"; Abert doubted authenticity,
although Wyzewa/St.Foix thought
piece genuine, but K3 moved to
Anh section
Anh C
11.05
--
Anh C
11.06 Anh
219
311a
Overture in Bb
Orchestral full score publication

from between 1802 and 1806 found
in Paris in 1901, believed to be 2nd
Paris symphony Mozart wrote about
in letters; first Hess, then others
doubted authenticity on stylistic
grounds.
Anh 291b
Symphony in D

catalogue; published as work of
Leopold Mozart in 1908
Anh C
11.07
--
Mentioned Symphony in D
in Anh223

catalogue (Lost)
Anh C
11.08
--
Mentioned Symphony in F
in Anh223

catalogue (Lost)
Anh C
11.09
Anh 293
Anh 293
Symphony in G

catalogue; supplement B & H of
1775 had listed as work of Leopold
Mozart; Wyszewa/St.Foix believed
Minuet is possibly composition of
Wolfgang's inserted into father's
work.
Anh C
11.10
--
Anh 293c
Grande Symphony
in F
Copy in Stams Monastary headed

"Auth A.M. Mozart"; actually a work
of Ignaz Pleyel first issued by Andr
in 1787 or 1788.
Anh C
11.11
--
Mentioned Symphony in C
within
Anh293c
Anh C
11.12
--
Mentioned Symphony in F
within
Anh293c
Copy in Stams Monastary attributed

to Mozart; Einstein and K6 stated
actual composer is Joseph Aloys
Holzmann from information from
W.Senn
Copy in Stams Monastary attributed
to Mozart; Einstein and K6 named
Gyrowetz as author from
information from Senn; LaRue cited
Dittersdorf (Krebs Catalogue listing
35).
Anh C
11.13
Anh 294
Anh 294
Divertimento
Copies in Vienna Gesellschaft der
(Sinfonia Pastorale) Musikfreunde and Prussian State
in G
Library attributed to Mozart (later in
Jahn's hand); from Leopold Mozart
letters of Dec 1755 of Sinfonia
pastorale with similar setting; listed
as work of Leopold by Seiffert
Anh C
11.14
--
--
Symphony in C
Anh C
11.15
--
--
Symphony in C
Anh C
11.16
--
--
Fragment of an
Orchestral full
score (Symphony)
in G
-Anh C
13.01
-(K2) 25a
-Anh 293a
Anh C
13.02
510
Anh 293c
Copy in Cremona attributed to

Mozart; K6 stated actual author
Franz Christoph Neubauer from
numerous copies in Europe.
Copy in Prague National Musuem
Attributed to Mozart in 1929

auction catalogue; is portion of
development to Symphony in G;
originates from 19th Century and
has nothing to do with Mozart.
--Minuet with Trio for Alleged autograph first discovered
Orchestra in C
in private possession in
Constantinople, thought to be from
Mozart's earliest compositions;
presented to British Museum;
manuscript not autograph, piece
attributed to Beethoven dating to
Vienna 1795 by St.Foix. Other
compositions in this manuscript
bundle (see Anh C24.01) found to
be from Leopold Kozeluch, thus this
also attributed to him.
9 Contredances or
Quadrillen for
Orchestra
Manuscript--once thought
autograph--in Prague University
Library; Jahn reported at beginning
of 1787 Mozart promised Count
Pachta to write contredances and
Count gave him writing material at
table, Mozart wrote them on the
spot; authenticity doubted in AMA
and Nettl showed these are military
marches and old Czech folk songs.
Anh C
13.03
--
Mentioned 4 Minuets for 2

within 61b Violins and Bass
Manuscript discovered in 1911 with

the numbers designated as 2,3,4,6;
had been in the estate of Mozart's
son; K3 remarked only the violin
parts could have originated from
Mozart but not the bass part;
authenticity of whole composition
doubtful.
-Anh C
14.01
---
-297b
-Sinfonia
Concertante for
Oboe,Clarinet,
Horn, Bassoon and
Orchestra in Eb
-Parts found in Jahn estate in 1870,

thought to be Sinfonia Concertante
Mozart wrote in Paris; authenticity
question debated throughout 20th
Century on differing
instrumentation, etc. Einstein
believed it authentic and placed in
main section of K3; K6 doubted
authenticity and placed it in Anh C,
with lost work listed as K297B in
main section.
Anh C
14.02
Anh 99
Anh 294c
Concerto for Cello

(Clarinet?) and
Orchestra in
F(Fragment)
Manuscript in Vienna National

Library headed probably to a
Clarinet Concerto and is so listed in
K1 and K2. Einstein stated
handwriting of solo part and
orchestral parts originate from two
different hands, neither having
anything to do with Mozart.
Anh C
14.03
--
Anh 230a
Concerto for
Bassoon and
Orchestra in Bb
Discovered in set of parts in the

Haag attributed to Mozart; Seiffert
held the work authentic from the
years 1780-85 and published it
under Mozart's name in 1934; most
everyone doubted authenticity from
start. Hess (MJB 1957) attributed to
Francois Devienne 1759-1803)
Anh C
14.04
268
365b
Concerto for Violin

and Orchestra in
Eb
First published by Andr in 1799;

contemporary writer stated work
had been written around 1784 and
played to the young Violinist Johann
Friedrich Eck in Munich by Mozart,
although Constanze stated if
authentic it dated prior to this; K1
placed in works of 1776; in later
19th Century believed first and last
movements might contain some
Mozart material later reworked by
unskilled hand; Oldman believed
stylistically similar to Sinfonia
Concertante K365 and work was
completed by Eck; K3 placed in
1780; K6 removed from authentic
works.
Anh C
14.05
--
Anh 294a
Concerto for Violin Discovered by Casedesus and

and Orchestra in D published in piano reduction in
"Adelaide"
1933; autograph alleged to have
dedication to Madame Adelaide,
eldest daughter of Louis XV, and
dated May 26, 1766 in Versailles;
Einstein doubted authenticity
showing Mozarts not in Versailles
on May 26, not in Mozart
correspondence, or Leopold's etc in
addition to stylistic problems.
Anh C
14.06
--
Anh 294b
Concerto for Oboe

in Eb (unknown
accompaniment)
-Anh C
15.01
---
---
Issue by C.F. Schmidt in 1899

attributed to Mozart with no further
information; poor quality work is
that of an unknown 19th Century
musician.
--Concerto for Piano Copy in Kremsier Monastary
and Orchestra in G attributed to "Signore Amadeo
Mozart"; the Concert appears to
have originated about 1770, and
the copy has entries by Leopold
Mozart. Over the 2nd movement
"Adagio variato. Del concerto de
Masi"; a Masi is mentioned in
Mozart letter of Jan 26, 1770.
Anh C
15.02
--
43c
Concerto for Piano Parts of scattered manuscript had

and Orchestra in G been in Mozart's son estate,
(Sketches)
thought to be autograph, sketches
to Allegro and Adagio; Einstein
(following Haas) thought it to be
Mozart's first independent Piano
Concerto and dated it 1768 in
Vienna; Allegro in Fuchs catalogue
as "in Leopold's handwriting"; Plath
(MJB 1960/61) saw no reason two
pieces belong to same Concerto
and discovered manuscripts not
Wolfgang's, but Leopold's and
concludes from technical grounds
music could not be from Wolfgang.
Anh C
15.03
Anh C
15.10
--
--
--
626aII/E
Concerto for Piano

in F
Cadenza to Piano
Concerto
Solo part only discovered in Venice

in 1962.
Manuscript with heading Cadenza
and "By W.A. Mozart" first thought
to be partially in Leopold, partially
in Wolfgang's hand discovered
1919; Plath found from neither.
Anh C
15.11
--
626aII/I
Ubergang in C to
Piano Concerto
Manuscript on same page as

Cadenzas to K107 version b to
K271
Anh C
15.12
--
--
3 Cadenzas in A for Manuscript located in Hamburg

2 Violins
University with note in Constanze's
hands they are by Mozart; however
Plath showed handwriting is
Leopold's and has nothing to do
with Wolfgang.
-Anh C
16.01
--
-124c
--Church Sonata in C Manuscript discovered in Bologna in

1888 thought to be autograph last
8 measures of a completed sonata;
K3 listed in beginning 1772 because
of similarity to K145/124b; Plath
(MJB 1960/61) showed handwriting
and corrections make work by
Leopold.
--
--
--
--
--
Anh C
17.01
Anh 226
196e
Divertimento for
Wind Octet in Eb
Parts printed by B & H in 1801

attributed to Mozart; K1 listed in
Anhang for doubtful works because
of position with many other
doubtful works; St.Foix and others
claimed authenticity for work in
early 20th Century and K3 placed
them in main catalogue dating
them to carnival season 1775 in
Munich; K6 put back in doubtful
Anhang because of poor source
handing down.
Anh C
17.02
Anh 227
196f
Divertimento for
Wind Octet in Bb
(See remarks to Anh C 17.01
Anh 228
Divertimento for
Wind Octet in Bb
Parts printed by B & H in 1801

attributed to Mozart; K1 listed in
Anhang for doubtful works because
of position with many other
doubtful works; Einstein kept in
Anhang in K3 believing an imitation
of Mozart.
Anh C
17.03 Anh
228
Anh C
17.04
Anh 224
Anh 224
Divertimento for
Wind Octet in Eb
Only known to K1 from Fuch

catalogue; Einstein knew copy in
Prussian State Library in Berlin and
called work Mozartian, but surely
not by Mozart.
Anh C
17.05
Anh 225
Anh 225
Divertimento for
Wind Octet in F
Only known to K1 from Fuch

catalogue; Einstein knew copy in
Prussian State Library in Berlin and
called work an imitation of Mozart
Anh C
17.06
--
--
Variations of Wind
Sextet
Parts in Kremsier headed "Serenade

de Sig. Kromer-Variaziioni del Sig.
Mozart"; only 2nd Clarinet part
designated as by Mozart; theme is
actually from Ignaz Umlauf.
Anh C
17.07
Adagio and Allegro Copy in Prague University Library

for 8 Winds in Eb
as last movement of Partita Nr.1
(first two movement movements of
C17.05.
Anh C
17.08
Anh C
17.09
--
--
Parthia for 5 Winds Copy in Moravsk Museum

in F
Wind Sextet in Bb Copy in Moravsk Museum
--
--
Anh C
17.10
--
--
Anh C
17.11
--
--
Anh C
17.12
187
159c
-Anh C
20.01
-Anh 210
-Anh 210
-String Quartet in
Bb
Anh C
20.02
Anh C
20.03
Anh C
20.04
Anh 211
Anh 211
String Quartet in C (See remarks to C 20.01)
Anh 212
Anh 212
String Quartet in A (See remarks to C 20.01)
Anh 213
Anh 213
String Quartet in
Eb
Partita Nr. 2 for 6

Winds in Eb
Copy in Vienna National Library

headed "4 Parthien in Eb, the
second probably by Mozart".
Cassation for 4
Discovered in 1910, with no further
Winds in Eb
source information printed in 1936
by Andraud.
Ten Pieces for 2
Based an alleged autograph in
Flutes, 5 Trumpets, Prussian State Library K1 placed
4 Drums
"Divertimento" in 1773--pieces
number 1-10 with Nr.8 missing; K3
moved to anniversary of the
installation of the Archbishop on
March 14, 1773; later established
pieces are arrangements of ballet
music of Joseph Starzer and Gluck;
Plath showed handwriting of these
9 is Leopold Mozart's. (See
K626b/28 in main section for
missing Nr.8)
-Full score copy (along with C20.0220.04) in collection of Fuchs with
copies of K155 and K159 received
from Salzburg; St.Foix and others
believed authentic and from time of
K155-160 or K168-173; Einstein
believed possibly authentic but not
enough proof to place in main
portion of K3; in 1957 C20.02
found to be quartet of Joseph
Schuster (1748-1832) and
attributed all four to Schuster.
(See remarks to C 20.01)
Anh C
20.05
--
Anh 291a
6 String Quartets
Set of parts in Berlin State Library
in C, G, Eb, f, D, Bb attributed to W.A. Mozart; Kinsky
attributed Quartets to Beethoven
(Anh 2) and these Quartets are also
attributed to F.J. Haydn in a Spanish
manuscript; Quartets work of a not
unskilled imitator of Mozart.
Anh C
20.06
--
Mentioned 6 Quartetti
within
Capricciosi
Anh291a
Anh C
20.07
--
--
String Quartet in C Copy in Prague National Museum
-Anh C
22.01
-(K2)
Anh52a
-Anh 284h
-Piano Trio in D
-Alleged autograph first discovered

Constantinople, presented to British
Museum; placed by K2 in Anhang
for fragments; found to be not
autograph and attributed to
Beethoven by St.Foix; one of piano
pieces in bundle (see C24.01)
found to be transcription of ballet of
Kozeluch and all pieces attributed
to Kozeluch, although never
proven; Kinsky listed in Beethoven
Thematic Catalogue as Anhang 3
Anh C
22.02
Anh 291
Anh 291
--
--
--
Piano Trio in C
with c minor
introduction
--
Published by Artaria as Op.41 in

1797 and others in the next year;
work is by Anton Eberl as he stated
--
Copy in possession of Heinemann in

Berlin attributed to W.A. Mozart
allegedly going back to Andre;
Pfannhauser identified composer as
Johann (Gallus) Mederitsch (17521835)
Anh C
23.01
55
Anh 209c
Sonata for Piano

and Violin in F
Sonatas C23.01- 23.06 issued in B

& H "Oeuvres Complettes" 1801
from copies received from
Constanze; K1 placed in 1768;
Wyzewa/St.Foix saw the sonatas as
being in Mozart's "great romantic
crisis" and moved them to Milan
Nov 1772-March 1773; Einstein
removed from K3, believing Joseph
Schuster composer, but this proven
incorrect, and Einstein then
believed a Mozart pupil their
author; K6 kept Sonatas in Anh C.
Anh C
23.02
Anh C
23.03
56
Anh 209d
57
Anh 209e
Sonata for Piano

and Violin in C
Sonata for Piano
and Violin in F
Anh C
23.04
Anh C
23.05
Anh C
23.06
Anh C
23.07
58
Anh 209f
59
Anh 209g
60
Anh 209h
61
Anh 290a
Sonata for Piano

and Violin in Eb
Sonata for Piano
and Violin in c
Sonata for Piano
and Violin in e
Sonata for Piano
and Violin in A
Anh C
23.08
--
Anh 290b
Anh C
23.09
--
Anh 290c
Sonata for
Manuscript in private possession in
Cembalo and Violin Vienna; Pfannhauser reported
in C
probably by Joseph Hoffmann
(1765-1843), Violin player in Court
Capelle.
Sonata for Violin
Set of parts from middle of 18th
and Bass in A
Century in Gesellschaft der
Musikfreunde had later added
heading "Del Sig. W. Amad:
Mozart". The shallow virtuoso
pieces has nothing to do with
Mozart.
--
--
--
--

Issued in B & H "Oeuvres
Complettes" in 1804;
Wyzewa/St.Foix discovered true
author Hermann Fr. Raupach and
believed most likely copied by
young Mozart.
--
Anh C
24.01
(K2)
Anh41a
Anh 284g
Gavotte in F,
Allegro in Bb and
Marcia lugubre in c
for Piano 4-hands
Alleged autograph first discovered

Constantinople, presented to British
Museum; placed by K2 in Anhang
for fragments; found to be not
Beethoven by St.Foix; Deutsch
discovered these are 4-hand
reductions of sections from ballet
"La Ritrovata Figlia de Ottone II" of
Leopold Anton Kozeluch from 1794
in Vienna. (Also see C13.01,
C22.01, C25.02)
Anh C
24.02
Anh 146
Anh 146
Large Fugue for

Issued by Haslinger in Vienna in
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 Kchel
section) finished by Simon Sechter
and provided with introduction by
him.
-Anh C
25.01
-Anh 204
-(K2 and
K3) Anh
284a
-Piano Sonata in cminor
-Issued by Artaria as Mozart's Op.31

in 1794 and by Andre as Op.47 in
1795; Pleyel added Violin and Cello
for Paris issue of 1797; Artaria
published Sonata in 1798 as Anton
Eberl's Op.1 dedicated to Madame
Madelaine de Jacobi; On July 15,
1798 Eberl gave notice in Hamburg
paper he was author of 3 works
printed as Mozart's (also see
C26.04 and C 26.05)
Anh C
25.02
(K2) 511a Anh 284i
Rondo for Piano in

Bb
Alleged autograph first discovered

Constantinople and presented to
British Museum; only knowing 3
measure incipit K2 placed in vicinity
of Rondo K511; found to be not
Beethoven by St.Foix; one of piano
pieces in bundle (see C24.01)
found to be transcription of ballet of
Kozeluch and all pieces attributed
to Kozeluch, although never proven
(see C13.01, C22.01, C24.01)
Anh C
25.03
--
Anh 284k
Anh C
25.04
Anh 136
498a
Sonata for Piano in Copy in Donaueschingen headed

F
"Trio(!)del Sigr. Mr. Mozzart";
work consists of 6 movements; this
work of an amateur has nothing to
do with Mozart.
Sonata Movement 4-movement Sonata published by
(Allegro) for Piano Thonus in Leipzig in 1798 and then
in Bb
others as Mozart; 1806 issued by
Khnel attributed Sonata to August
Eberhard Mller--Sonata's 2nd
movement set of variations form
K450, 4th movement used themes
of K450,K456,K595, other
movements original; K1 listed in
Anhang for
transcriptions;Nottebohm and K2
believe Sonata to be work of
Mller; K3 moved Sonata into main
section with speculative dating Aug
1786; K6 placed 1st movement and
3rd movement into Anhang C
section as a doubtful work.
Anh C
25.05
Anh 137
498a
-Anh C
26.01
-(K2)
Anh209b
-Anh 284n
Minuet for Piano in (See remarks to C25.04) Einstein

Bb
expressed possibility this could be
transcription of lost Minuet from
K525
--Pastorale variee for First issued Durand & Schoenewerk
piano in Bb
in Paris about 1870 and later in
London and New York; has no
connection to Mozart
Anh C
26.02
Anh 285
Anh 285
7 Variations for
Piano in C on "Une
fievre brulante"
from Grtry's
opera 'Richard
Lwenherz'
First issued by Rellstab in Berlin in

1792 and again in B & H's Oeuvres
Complette in 1798; Constanze
Mozart expressed doubts on
authenticity; Grtry's opera
premiered in Paris in 1784 and
these variations not listed in Mozart
own Work Catalogue.
Anh C
26.03
Anh 286
Anh 286
9 Variations for
Piano in F on
Andante from
Mozart's
Divertimento K287
First issued by Thonus in Leipzig in

1798 and later others; a B & H
catalogue attributed work to A.E.
Mller; Mozart never used a theme
from one of his works for
variations.
Anh C
26.04
Anh 287
Anh 287
12 Variations for
Piano in D on
Andantino
"Freundin saufter
Herzenstriebe"
from Dittersdorf
opera 'Der
Gutsherr'
First issued in Musikal Magazin in

Vienna in 1794, then Artaria, Andr
and others including B & H Oeuvres
complettes in 1799; work is Anton
Eberl's Op.6; on July 15, 1798 Eberl
gave notice in Hamburg paper he
was author of 3 works printed as
Mozart's (also see C25.01 and C
26.05)
Anh C
26.05
Anh 288
Anh 288
12 Variations for
Piano in Eb for
Piano on Aria "Zu
Steffen sprach im
Traume" from
Umlauf's opera
'Das Irrlicht oder
Irrwisch'
First issued by Gnther & Bhme

around 1788 and then numerous
others; work is Anton Eberl's Op.5;
on July 15, 1798 Eberl gave notice
in Hamburg paper he was author of
3 works printed as Mozart's (also
see C25.01 and C26.04); In his
encyclopedia Gerber reported
Mozart used these variations as a
favorite teaching piece.
Anh C
26.06
Anh 289
Anh 289
10 Variations for
Piano in A on
Allegretto from
Sarti's opera 'I finti
eredi'
First issued by Andr in 1798 as

Mozart's Op.66, B & H's Oeuvres
complettes in 1799 and numerous
others; is work of Emanuel Aloys
Frster (1748-1823) who protested
to B & H in 1800 he composed the
variations in 1788; Constanze and
Nannerl Mozart agreed with Frster.
Anh C
26.07
--
Anh 289a
Variations for Piano

in F on "Freut euch
des Lebens"
(composer
unknown)
First issued by Monzani in London

around 1805; variations probably
originate from Johann Michael Lanz
in Hannover in 1796; in addition
A.E. Mller (op.9, 1796), Friedrich
Gottlob Hayn (1797), and Carl
Christian Meinhold (1797)
composed variations on this theme,
but not able to determine if had
anything to do with C26.07
Anh C
26.08
--
Anh 289b
12 Variations for
Piano in G on "Das
klinnget so herlich"
(Glockenspiel
theme) from
Zauberflte
Copies in Library della Casa di

Ricovero and Graz and other
locations attributed to Mozart;
composer unknown but surely not
Mozart.
Anh C
26.09
Anh 290
Anh 290
10 Variations for
Piano in A on
"Malbrough s'en
va-t-en guerre"
First issued by Schott in Mainz "par

Mozard" around 1800, then Artaria
1804; both K3 and K6 cite Eberl as
composer without source.
Anh C
26.10
--
Anh 207a
Theme for Harp in

F
First issued as Theme for Pianoforte by W.A. Mozart with variations

on theme of Joseph Husler in 1848
in Prague; letter to F.W. Pixis stated
Mozart played a 12-measure
variation theme for the harpist
Haussler while in Prague sometime
between Jan 11 and middle of Feb
1787; also printed in slightly
different form in Freissauf's
'Mozart's Don Juan' in 1887.
Anh C
26.11
--
--
Theme for Harp in

F
According to report of 1892 Mozart

added this theme as beginning to
variations the Prague harpist
Joseph Husler composed on theme
from Figaro during his trip to
Prague in early 1787
Anh C
26.12
--
--
9 Variations for
Piano in D
Copy found in Kremsier Monastary
Anh C
26.13
--
--
10 Variations for
Piano in G on
"Unser dummer
Pbel meint" by
Gluck
Copies found in Graz and Kremsier

Monastary; Lausch offered 10
variations in G by Sardj on April 2,
1785, probably this work. Sardj is
Giuseppe Sarti.
Anh C
26.14
--
--
12 Variations for
Piano in G on "Nel
cor pu non mi
sento" by Paisiello
Copy in Conservatoire G. Verdi in

Milan attributed to Mozart; work no
doubt originated from early 19th
Century, Fischer in NMA thought
perhaps Hummel comes into
question.
Anh C
26.15
--
--
5 Variations for
Piano in D on a
melody from
Joseph Weigl's
opera 'L'amor
marinaro'
Copy in Conservatory Pietro a

Majella headed "Del Sig. Giorgio
Mozart". Weigl's opera did not
premiere until 1797; Eybler, J.
Gelinek, Hummel and J. Wlfl
composed variations on this theme
and work most likely is from one of
them.
Anh C
26.16
--
--
6 Variations for
Piano in G on on
Glockenspiel theme
fro Zauberflte
Copy Conservatory Library Paris

attributed to Sigr. Mozart, collected
with works of numerous other
composers titled "Diverse Suanate
per il Piano Forte di Diversi Autoir,
1826"; another copy in Lucca,
Anh C
26.17
--
--
5 Variations for
Piano in C on the
Figaro Minuet
Issued in monthly journal "Apollo"

with title "Minuett mid 5 Variations
of W.A. Mozart"; variations are on
"Se vuol ballare, signor contino",
certainly not by Mozart
Anh C
26.18
--
--

in G on "Der
Vogelfnger bin ich
ja" from
Zauberflte
Known only from from listing in

Whistling's 'Handbuch der
musikalischen Literatur' of 1828;
listed as issued by Andr, possibly
by Auernhammer according to
Weinmann.
Anh C
26.19
--
--

in Eb on "Bei
Mnneren, welche
Liebe" from
'Zauberflte'

listed as issued by Andr, possibly
by Anton Eberl according to
Weinmann
Anh C
26.20
--
--

on "Alles fhlt der
Liebe Freuden"
from 'Zauberflte'

listed as issued by Berra in Prague
Anh C
26.21
--
--

in C on "Ich bin der
Schnider Wetz"
from Wenzel's
Mller's Singspiel
'Das neue
Sonntagsking'
Known from listing in Whistling's

'Handbuch der musikalischen
Literatur' of 1828; variations
appeared in Kozeluch's Musikal
Magazin in 1795; Mller's opera
first performed in 1793.
Anh C
26.22
--
--
-Anh C
27.01
---
Anh C
27.02
--
Anh C
27.03
--
528a
Fantasy for Organ

in Bb
Anh C
27.04
Anh 205
Anh 205
Romanze for Piano First issued by Mollo & Co in 1802

in Ab
with dedication to Madame
Lefebrve, and again many times
later; the charming piece shows too
clearly knowledge of Beethoven
Variations for Piano Known from listing in Whistling's

on "L'Homme est
'Handbuch der musikalischen
honnete"
Literatur' of 1828; listed as issued
by LeDuc in Paris.
---Mentioned Andante favori for Issue by Cranz in Hamburg a crude
within
Piano
forgery.
Anh284n
Mentioned Fantasia
Printing by Williams in London as "A
within
Impromptu for
Relicby Mozart' a nave forgery.
Anh284n Piano
In letter from the chorus director of

Stravhav Monastery in Prague from
1818 is stated Mozart come to
Monastery in June 1787 and played
this piece and described it. However
Mozart not in Prague until June of
that year and there are misgivings
because of differences from the
description and handed down
music.
Anh C
27.05
--
Mentioned Rondo Allegro for

within
Piano in G
Anh207
Copy in Berlin State Library in

collection of "Little Pieces for the
Pianoforte, 3rd Collection" with
works of other composers which in
form and style the same as Anh
C26.06; music to this Rondo is
same as K496a Nr.8 however
enlarged by cadenza and rests to
33 measures from 31.
Anh C
27.06
Anh 207
Anh 207
9 Pieces for Piano
Probably composed for a musical

almanac around 1780 or 1790, but
most likely composed by Hiller or
Naumann than Mozart; Nr.3 is
found under Mozart's name in B &
H catalogue used in variations
found in Graz that are not very
Mozartian.
Anh C
27.07
--
Polonaise favorite
for Piano in C
Anh C
27.08
--
Mentioned
within
Anh284n
Mentioned
within
Anh284n
Anh C
27.09
--
Anh C
27.10
--
Mentioned Fugue a due for

within
Piano
Anh109viii
Anh C
27.11
--
--
Floh-Minuet for
Piano in C
Anh C
27.12
--
--
--
--
--
Adagio for Piano in Manuscript from F.S. Silverstolpe in

Eb
Stockholm
---
Issue by Bhme in Hamburg

attributed to Mozart. Possibly by
Franz Xavier Mozart.
"Adieu/Dernire
Issue by Mackar in Paris; is a free
pense de W.A.
arrangement of Aria K621a
provided with a introductory
Mozart" for Piano
Andante.
Mentioned Children's Piece "La Issued by Litolff in Braunschweig;
within
Tartine de Beurre" the "tempo di Valse" can be played
Anh284n for Piano
with only one finger on the right
hand; also called the Butterfly"
Copy in Berlin State Library from
possession of Fuchs, who reported
by Mozart and completed by Al.
Klengl.
Issue by Steiner in Vienna in 1824
attributed to Mozart with two solo
Trios for the "Phys-Harmonika or
Pianoforte" by Joseph Wilde.
Anh C
29.02
--
Mentioned 5 Lndler for Piano Manuscript whereabouts unknown

under 176
to K6 but had been on exhibition in
1956; not a Mozart autograph and
musically a typical amateur product
of 19th Century; Engl in 1891
provided statement dances
originated around 1772 and were
for Josepha Gall, who could have
been Mozart's pupil or sweetheart.
Certainly Mozart was not giving
lessons in 1772 in Salzburg.
Anh C
29.03
--
--
Waltzes for Piano
Issued by Simrock in Bonn in 1801

as 12 Waltzes for Piano with Flute
or Violin by W.A. Mozart--also
contained C27.08, K536/1-3,
K567/1-5, K536/6, K567/6 and
Coda of K567.
Anh C
29.04
--
--
Waltz for Piano
Issued by Penson, Dublin in a set of

4 Waltzes composed by Mozart and
performed by the Band of Theatre
royal Edinburgh, set also contained
K567/1and 2, K536/5.
Anh C
29.05
--
--
12 Minuets
Anh C
29.06
--
Anh 284l
Anh C
29.07
--
Mentioned 7 German Dances

within
for Piano
Anh284l
Issued by Cappi in Vienna in 1808;

probably are compositions of
Mozart's son.
12 German Dances Copy in Donaueschingen attributed
for Piano
to "Herrn Mozart"; 5 of set contain
trios and 12th ends with coda; from
stylistic grounds if authentic it could
only originate from Mozart's later
period but for this there lacks any
verification, and he certainly would
have listed it in his work catalogue.
Copy in Donaueschingen attributed
to "Herrn Mozart"; of similar
character and same copyist as
C29.06; Nr.3 has melody similar to
"Champagne-Aria" from Don
Giovanni.
Anh C
29.08
--
Mentioned "Balli Tedesch"i for Issued by Junghanss in Prague

within
Clavicembalo
around 1820 as 15 German Dances
Anh284l
and 3 Walzer mixed together;
Waltzes Nrs.1 and 2 had been
issued alone by Schott in Mainz in
1810 or 1811; these types of
dances completely foreign to
Mozart.
Anh C
29.09
--
Mentioned Lndler-German
Issued by Artaria in 1787 without
within
Dances for a Violin designation of composer, someone
Anh284l
later added "von Mozart"; dances
originated from Vanhal.
Anh C
29.10
--
Mentioned Lndler-German
within
Dances for 2
Anh284l
Violins
Issued by Artaria in 1787 without

designation of composer, someone
later added "von Mozart"; dances
originated from Vanhal.
Anh C
29.11
--
Mentioned German Dance for

within
2 Violins and Bass
Anh284l
in D
Anh C
29.12
--
Anh C
29.13
--
Anh C
29.14
--
Mentioned
within
Anh284l
Mentioned
within
Anh284l
Mentioned
within
Anh284l

Musikfreunde, title page in another
hand read "von Mozart"; surely
misattributed.
Set of parts in Gesellschaft der
Musikfreunde; misattributed.
Anh C
29.15
--
Anh C
29.16
Anh C
29.17
(K2)
Anh209a
--
6 German Dances
for 2 Violins and
Bass
"Menuetto" for
Piano in C

Musikfreunde attributed to "Sig:
Mozart"; surely misattributed.
Minuet in G
Copy from estate of Max
Friedlaender with heading his his
hand "Menuetto, most likely not
printed. Manuscript by Mozart".
Mentioned Minuet for Piano 4- Issued by Concha in Berlin
within
hands in G
attributed to Mozart; misattributed
Anh284l
Anh 284m Valse lente for
Issued by Hilard in Paris; with
Piano in Eb
doubt misattributed.
Mentioned 3 Waltzes for Piano Issued as "Beauties of Mozart partly
within
taken from Manuscripts in his own
Anh284m
handwriting, arranged for Piano by
Wm Grosse. London"; a forgery
according to Einstein.
Anh C
29.18
--
Mentioned Waltz for Piano

within
Anh284m
In music album sent from Capel

Lofft(?) to Miss Hanna Bloomfield in
1815; Nr.2 of 15 Waltzes; issued by
Walker in London about 1810 as
Nr.2 of 3 Waltzes for piano
attributed to Mozart (also see Anh
C29.19); also issued in Boston USA
with accompaniment of German
Flte
Anh C
29.19
--
Mentioned Waltz for Piano in a Issued as Nr.3 of 3 Waltzes by

within
Walker in London--other 2 C29.18
K606
and K606/1; also issued by Steup
in Amsterdam with Flute ad lib;
Certainly had nothing to do with
Mozart according to Einstein
Anh C
29.20
--
--
12 Waltzes for
Piano
Issued by Jouvre in Paris as by the

"Clbre Mozart"; also advertised
for 2 Pianos and for 2 Flutes,
Anh C
29.21
--
--
German Waltzes
for Piano 4-hands
Issued by Preston in London as

"Duettinos for two Performers on
the Pianoforte arranged by Mozart".
Anh C
29.22
Anh C
29.40
--
--
Waltzes
--
Anh
109g/23
"Motivi di
Tarantella"
Copy in Casanatense Library in

Rome attributed to "Mozard"
According to Balser Bcherfreund of
October 1926 manuscript headed
"Motivi di Tarantella, Italian Dance,
belonged to Mozart on May 10.
1770 in Naples; the Mozart's did
not arrive in Naples until May 14,
1770.
Anh C
29.50
--
--
March for Piano in

C
Anh C
29.51
--
Mentioned March for Piano in

within 72a F
Issued by O.O. and Publishing as

March from the opera "Der
Kapellmeister" by Mozart; Music,
Art and Book dealer Hoffmesiter in
1805 named Ellmenriecih as
composer of opera which was
performed on March 25, 1805 in
Vienna.
Music sheet on keyboard of portrait
by Thaddus Helbling once thought
to be Mozart so music thought to
be his as is music K72a; later
discovered young at keyboard is
actually Count Firmian.
Anh C
29.52
--
--
Funeral March for

Piano (Lost)
Advertisement of issue of
Hoftheater-Musik publishing in
Vienna as "Die Katakomben" in May
1812 Vienna Zeitung; Carl Wolfart's
Funeral play "Die Katakobem" first
performed in Burg Theater in
Vienna on February 17, 1812;
probably notice in Vienna Zeitung
for Funeral marche K453a.
-Anh C
30.01
---
-Anh 294d
--Musical Dice Game Numerous editions appeared under

Mozart's name, the first by J.J.
Hummel in Berlin and Amsterdam
in 1793; this popular form of
musical entertainment was
published under many famous
composer's names in 18th and 19th
Centuries.
Anh C
30.02
--
Anh C
30.03
--
Mentioned Alphabet/A Musical Issued by Lischke in Berlin as

within
Joke
Mozart's Alphabet a Musical Joke for
Anh294d
3 children's voice, arranged by C.F.
Par; certainly has nothing to do
with Mozart.
-Piano School
Issued by Enders in Prague in 1819
as W.A. Mozart's Piano School, it
contained lessons and exercises
from the best masters, arranged by
A. M. Cramer, whose name it
appeared under in Paris in 1819
according to Keller's Mozart
Bibliography.
Anh C
30.04
--
Mentioned Concise Thorough

within
Bass School
Anh109d
Anh C
30.05
--
--
Joseph Haydenreich offered a copy

in the Vienna Zeitung on April 13,
1796 as a still unknown teaching of
the Thorough Bass by Mozart; issue
known from Steiner in Vienna from
1817, and then numerous later
Through Bass Parts Manuscript in Vienna State Library

with verification from Fuchs of
Mozart's authenticity; page actually
contains two studies of Leopold
Mozart.
Anh C
30.06
--
--
Arrangement of
Hndel's Judas
Maccabus
Copy in Austrian National Library

under Mozart's name; performed in
Vienna by Tonknstler Society in
1806 as work of Mozart; Bernhardt
in 1836 reported the copy in
Austrian National Library contained
entries in Mozart's hand proving he
was arranger, but Sonnleithner had
already shown this attribution false;
arrangement is most likely by
Joseph Starzer.
Addition Information After K6

Attribution to Leopold Mozart in Breitkopf
catalogue uncertain, having no demonstrable
connection to him; also little reason to place
three movements together (EisenSymphonies of Leopold Mozart PhD Diss.
1986--listed there as?C3).
Symphony is attributed to Leopold Mozart in

Lambach catalogue and is probably genuine
Leopold work; in addition theme of slow
movement transposed from Eb to F appears
in L.Mozart's "Violinschule" (EisenSymphonies of Leopold Mozart PhD Diss.
1986--listed there as Bb6 and article in
Journal American Musical Society 1986).
Zaslaw (Mozart's Symphonies 1989) sees no

reason why this symphony should be
considered unauthentic when others of
similar source situation are considered
authentic.
Copy found in Weyarn headed "Symphonia

del Signore Haydn" (Hoboken I;F:16);
probably refers to Michael Haydn, but
Sherman states not authentic M. Haydn;
composer of this symphony unidentified
(Zaslaw-Mozart's Symphonies 1989); another
copy in Graz attributed to "Sigre Mozart"
(Eisen-Symphonies of Leopold Mozart PhD
Diss. 1986)
--
Work dates from 1751; work sold by

Christoph Westphal to B & H between 1785
and 1787; lost copy cited in Signaringen
catalogue of 1767 (Eisen-Symphonies of
Leopold Mozart PhD Diss. 1986, listed there
as *D11, and MJB 1987/88).
Possibly overture to Gaetano Martinelli's "Gli
accidenti inaspetatti" (Eisen-New Mozart
Documents 1991)
Work obtained by B & H from Westphal, a
later added note remarks "according to
assurance of Herrn M.D. Schwenke [music
director in Hamburg] very faulty and not by
Mozart" (Plath-Die Sinfonie KV 16a "del Sigr.
Mozart" 1987); possible work could be by
Leopold Mozart (Eisen-Symphonies of
Leopold Mozart PhD Diss. 1986)
Listed by Eisen as ?G8 (Symphonies of
Leopold Mozart PhD Diss. 1986)
Composed by Pleyel in 1786? (Senn-MJB

1968/70) first published by Imbault in Paris
in 1787 as "10th Sinfonie Periodique", also
published by Andr in 1788 as Op.14/1
(Benton-1977 Pleyel Thematic Catalogue
Nr.136)
True composer is Adalbert Gyrowetz (SennMJB 1968/70) composed before 1796, first
published by Andr as Gyrowetz Op.23 in
1796 (Rice-The Symphony Garland Press
1983)
Listed as authentic Dittersdorf, composed not
later than 1772 (Eva Badura-Skoda--The
Symphonies Garland Press 1985)
Authentic copy from 1751 preserved in

Augsburg University Library (EisenSymphonies of Leopold Mozart PhD Diss
1996, listed there as G3).
Symphony is work of Anton Eberl, autograph

dated June 25, 1785 (Fischer-MISM 1983)
Wrapper of set of parts not original and

attribution of later hand (Eisen-Symphonies
of Leopold Mozart PhD Diss 1996)
Possibly has something to do with anecdote
of Mozart concert on May 12, 1789 in Leipzig
(Zaslaw-Mozart's Symphonies 1989)
-Actually work of Beethoven's younger

brother, Kasper Anton Karl 1774-1815
(Kojima-Report of the International
Beethoven Congress 1977)
--
--
-Levin (Who Wrote The Mozart Four-Wind

Concertante-1988) gives details of all
theories and arguments for and against
before and after K6. Levin theory is someone
found solo parts, transcribed them for
different instruments and added
orchestration. Plath (NMA-1980) saw nothing
of Mozart in the work and placed in volume
Works of Doubtful Authenticity.
--
--
Comparing Concerto with known Violin

Concertos by Eck, Lebermann
(Musikforschung-1978) concludes works is
probably by Eck and written sometime before
1790.
Casadeus admitted work a pastiche of his

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

reminiscences to J.Schobert's Piano Concerto
Op.4.2 (Berke-NMA 2000)
Autograph located in Poland, is from

Wolfgang and part of a modulating Prludium
from a larger piece that probably dates from
Salzburg 1777 (Plath-MJB 1982)
--
---
--
Leeson/Whitwell (Music & Letters-1972)

believed authentic and traced back to
Constanze Mozart; Hellyer (Haydn Yearbook1975) doubted authenticity and believed both
this Divertimento and C17.02 written by two
different composers; set of parts to C17.01
found in Kremsmnster Monastary attributed
to Giuseppe Puschmann; Giegling (NMA1993) placed in Works of Doubtful
Authenticity, also believing this and C17.02
by different composers originating essentially
later than the 1770's.
(See remarks to C17.01) Giegling (NMA1993) questions if composer could be Josef
Fiala.
Leeson/Whitwell believed authentic (Music &
Letters 1972); set of parts at
Donaueschingen attributed Ignaz Pleyel as
composer (Hellyer-Haydn Yearbook 1975)
Set of parts in Prague and advertisement of

Traeg in 1792 show this Divertimento
("Parthia") part of Mozart material sold for
Constanze Mozart's behalf as Parthie III with
Rondo in Eb K.deest as its Finale, and
believed authentic (Leeson/Whitwell-Music &
Letters 1972)
Set of parts in Prague and advertisement of
Traeg in 1792 show this Divertimento
("Parthia") part of Mozart material sold for
Constanze Mozart's behalf as Parthie I,along
with Minuet and Rondo K.deest and believed
authentic (Leeson/Whitwell-Music & Letters
1972)
--
This movement may not be part of material

advertised by Traeg in 1792 (see above
C17.04) and could be work unidentified
which Constanze referred to as "unfinished
Harmoniestk" (Leeson/Whitwell-Music &
Letters 1972)
-Also found under Mozart's name in Raigern

Monastary, but under Joseph Haydn's name
in many other locations (Hellyer-Haydn
Yearbook 1975)
Copy in Vienna actually states only for 5
winds; 6 other copies are attributed to Pleyel
(Hellyer-Haydn Yearbook 1975)
Composer is actually Georg Lickl (BirsakJahresschrift Salzburger Museums Carolino
Augusteum 1977/78)
--
-All four Quartets discovered in Narodni

Museum in Prague attributed to Schuster.
Nr.1 (C20.01) is dated 1780. (FinscherMusikforschung 1966) These same 4
Quartets found in archives of St.Anthony in
Padua with 2 additional--in g-minor and dminor--with Schuster's name. Also a
document dated June 16, 1780 shows
Schuster paid for these 6 Quartets and they
originated in 1780 (CD notes by Paola
Catelan to Symphonia recording of 6
Quartets by Schuster).
--
The statement in K6 that 3 of the quartets in

C 20.05 are attributed to F.J. Haydn should
belong to three of these Quartets (Hoboken
III:G5, III:C8, III:B4)
Work of Ignaz Pleyel from Op.9 of 1803

dedicated to "Louis Bocherini" (Benton-Pleyel
---
--
--
Lost manuscripts of sonatas found in

Frankfurt State University Library and are not
in hand of copyist known to have worked for
Mozart; the sonatas are numbered
Nr.1,5,6,10,11,12--thus appearing to have
been part of a series of 12 and showed
corrections that make it appear writer and
composer are the same (Plath-MJB 1968/70)

(See remarks to C23.01) Another manuscript
in Frankfurt has parts for 2 Horns and Bass
ad lib. to this Sonata (Plath-MJB 1968/70)
Sonata listed under Mozart's name in old B&
H manuscript catalogue with remark obtained
from Baron von Drnitz. No doubt Drnitz
became acquainted with sonata through
Mozart in a copy, and this copy was later
assumed to be a Mozart composition (PlathActa Mozartiana 1974)
--
--
--
--
--
-Eberl's autograph dated July 18, 1792

(A.White-PhD dissertation Piano music of
Eberl, 1971)
--
--
An analysis of Sonata with works of Mller

(including 4 movement structure) shows
more likely work by Mller than Mozart
(Marguerre-MISM 1978)
---
--
--
A.White (PhD dissertatiion Piano Works of

Eberl, 1971) gives no Op.Nr. for this work,
Eberl's Op.6 is another work; states written
1798
All published versions of these variations

contain only 10 variations, leaving out the
Adagio variation; cadenza and coda no doubt
served as 12th variation. Set never published
under Eberl's name (A.White-PhD
dissertation Piano Works of Eberl, 1971)
--
--
--
Eberl's set has no Op. Nr.; written 1797

(A.White-PhD dissertation Piano Works of
Eberl, 1971)
--
--
Variations are actually fine movement of

K284/205b, shortened by 4 variations (PlathOpera Incerta 1988)
The copies in Graz and Kremsier are first

attributed to Mozart, then that crossed out
and Sarti named--in Graz then changed back
to Mozart again. The actually composer is not
Giuseppe Sarti, but the Vienna composer
Joseph Sardi (Armbruster-MJB 1997)
--
--
--
--
--
Eberl's variations on this theme date from

perhaps 1791, and have no Op.Nr. (A.WhitePhD dissertation Piano Works of Eberl, 1971)
--
--
--
---
Story on title page states after a visit to a

friends and a pleasant trip on a lake, amidst
great beauty, Mozart opened the lady's spinet
and played his impressions of nature's
magnificence (title page of George Willig &
Co. Publishers, Baltimore)
Included in NMA main volume, although
admitted doubtful because of dreadful
musical contents (Plath-MJB 1982)
Plath believed Romanze a piano reduction of

the lost Mozart fragment of a Piano/Wind
Quintet K.Anh/54/452a. When this fragment
discovered in 1990 and found to be different,
Plath reported he still thought it could be a
transcription of another lost Mozart
piano/wind piece. (Plath-MJB 1965/66 and
Mozart Schriften 1990)
--
Nrs.4 and 5 of these 9 Piano pieces are

identical with Nrs. 2 and 3 of the 8 numbers
of ballet to Ascanio in Alba known only from
Basso part in copyist's hand; Plath believed
Mozart was requested to re-write Ballet
music and this is Mozart's music for the
second version in which the two above pieces
were retained. Some unknown musician
made piano reduction of ballet music, which
is this; variations on Nr.3 mentioned in K6
would be a tribute to this musical event
(Plath-MJB 1964); Nr.6 of these 9 pieces has
been found to be a piece from ballet by
Florian Deller "Orphee et Euridice; appears 9
pieces a pasticco ballet (Sibylle Dahms-MJB
1993)
--
--
--
--
--
---
--
--
--
--
--
--
--
--
--
--
--
--
--
--
---
--
--
--
--
---
--
--
--
---
--
--
--
--
Church Music
Masses,
Litanies, Vespers
K1K6WorkNickname
4947dMissabrevisinG
6561aMissabrevisind
6666MassinCDominicus
10974aLitaniaeinBb
125125LitaniaeinBb
13947aMissasolemnisinc
140AnhC1.12MissabrevisinG
167167MassinCTrinity
192186fMissabrevisinF
193186gDixitetMagnificatinC
194186hMissabrevisinD
195186dLitaniaeinD
220196bMassinCSpatzen
243243LitaniaeEb
257257MassinCCredo
258258MassinCSpaur
259259MassinCOrganSolo
262246aMissalongainC
275272aMassinBb
317317MassinCCoronation
321321VesperaeinC
337337MassinC
339339VesperaeinC
427417aMassinc(Frag)"TheGreat"
626626Requiemind
Small Works and Single Movements

K1K6Work
2020GodisourRefugeing
3333KyrieinF
3434OffertoriuminC
4473uCibaviteos
4747VeniSancteSpiritusinC
7274fInternatosmulieruminG
8573tMiserereina
8673uQuaeriteprimumind
8973kKyrieinG
9090Kyrieind
91186iKyrieinD
10874dReginacoeliinC
11766aBenedictussitDeusinC
127127ReginacoeliinBb
14166bTeDeuminC
14373aErgointerestinG
146317bKommether,ihrfrechenSnder
165158aExsulateJubilateinF
197AnhC3.05Tantumergo
198AnhC3.08Subtuumpraesidium
222205aMisericordiasDominiind
260248aVenitepopuliinD
273273SanctusMariainF
276321bReginacoeliinC
277277AlmaDeicreatorisinF
322296aKyrieinEb
323323KyrieinC
341368aKyrieind
343336c2Germanspiritualsongs
618618AveVerumcorpusinD
Church Sonatas
K1K6Work
6748hinEb
6841iinBb
6941kinD
144124ainD
145125binF
212212inBb
224241ainF
225241binA
241241inG
244244inF
245245inD
263263inC
274271dinG
278271einC
328317cinC
329317ainC
336336dinC
Stage Works
Oratorios and Cantatas
K1K6Work
3535DieSchuldigkeitdeserstenGebots
4235aGrabmusik
11874cLaBetulialiberata
429468aDir,SeeledesWeltalls(Frag)
469469Daviddepenitente
471471DieMaurerfreude
619619ALittleGermanCantata
623623FreeMasonCantata
Arrangements of Hndel Oratorios

K1K6Work
566566AcisandGalatea
572572Messiah
591591AlexandersFeast
592592OdeforSt.CeciliasDay
Operas
K1K6Work
5046bBastienetBastienne
5146aLafintasemplice
8774aMitridate
111111AscanioinAlba
126126IlsognodiScipione
135135LucioSilla
196196Lafintagiardiniera
208208IlRpastore
344336bZaide(Frag)
366366Idomeneo
384384EntfhrungausdemSerail
422422LocadelCairo(Frag)
430424aLoSposodeluso(Frag)
486486DerSchauspieldirektor
492492LeNozzediFigaro
527527DonGiovanni
588588Cosifantutte
620620DieZauberflte
621621LaClemenzadiTito
Ballet and Incidental Theatre Music

K1K6Work
A10299bLespetitsriens
A103299dLaChasse(Frag)
300300Gavotte
345336aThamosKingofEgypt
367367BalletmusictoIdomeneo
446416dMusictoPantomime(Frag)
Vocal Works
Arias, Multi-Voice with Orchestra
(S=Soprano;A=Alto;T=tenor;B=Bass)
K1K6Work
2119cAriaT:Va,dalfuror
2323AriaS:Conservati
3633iRec&AriaT:Orche
7061cRec&AriaS:ABerenice
-74bAriaS:Noncuro
7773eRec&AriaS:Miserome
7873bAriaS:Perpieta
7973dRec&SzeneS:Otenerario
8273oAriaS:Seardire
8373pAriaS:Setutti
8873cAriaS:Fracentro
119382hAriaS:DerLiebe
178417eAriaS:Ah,spiegarti
209209AriaT:Simostra
210210AriaT:Conossequio
217217AriaS:Voiavente
255255Rec&AriaA:Ombrafelice
256256AriaT:Claricecara
272272Rec&AriaS:Ah,lopervidi
294294RecAriaS:Alcandro
295295Rec&AriaT:Seallabbro
-295aRec&AriaS:Basta
316300bRec&AriaS:Popoli
368368RecAriaS:Ma,chevi
369369Szene&AriaS:Misera
374374Rec&AriaS:Aquestoseno
383383AriaS:Nehmtmeinen
389384ADuetT,T,Welch(Frag)
416416Scena&RondoS:Miasperanza
418418AriaS:Vorreispiegarvi
419419AriaS:No,noche
420420AriaT:Perpieta
431425bRec&AriaT:Misero!
432421aRec&AriaB:Cosidunque
433416cAriaB:Mnner(Frag)
434480bTerzettIlregno(Frag)
435416bAriaT:Msstichauch(Frag)
440383hAriaS:Intespero(Frag)
479479QuartetDitealmeno
480480TerzetMandinaamabile
489489DuetS,T:Spiegartinon
490490Szena&RondoT:Nonpiututto
505505Szene&RondoS:Chio(withpiano)
512512AriaB:Alcandro
513513AriaB:Mentretilascio
528528SzeneS:Bellamia
538538AriaS:Ahseinciel
539539AriaB:IchmchteWohl
-540aAriaT:Dallasuapace
-540bDuetS,B:Perqueste
-540cRec&AriaS:Inquail
541541AriaB:Unbacio
577577RondoS:Aldesio
578578AriaS:Almagrande
579579AriaS:Unmotodigioia
580580AriaS:Schonlacht(Frag)
582582AriaS:Chisa
583583AriaS:Vado,madove?
584584AriaB:Rivolgete
612612AriaB:Perquesta
625592aDuetS,B:NunliebesWeibchen
A245621aAriaB:Iotilascio
Vocal Ensemble with Instrument(s)

K1K6Work
346439aNotturno3Voices,Winds
436436Notturno3Voices,Winds
441441DasBandelTrio
483483Lied3-partchorus,Organ
484484Lied3-partchorus,Organ
532532Trio3VoicesandWinds
549549Canzonetta3Voices,Winds
Songs
K1K6Work
5347eAndieFreude
147125gWieunglcklich
148125hOheiligesBand
152210aRidentelacalma(Mozartarr?)
307284dOiseaux,sitouslesants
308295bDansunbois
349367aDieZufriedenheit
351367bKomm,liebeZitter
390340aAndieHoffnung
391340bAndieEinsamkeit
392340aVerdnktseies
468468Gesellenreise
472472DerZauberer
473473DieZufriedenheit
474474DiebetrogeneWelt
476476DasVeilchen
506506LiedderFreiheit
517517DieAlte
518518DieVerschwiegung
519519DieTrennung
520520AlsLouisedieBriefe
524524AnChloe
529529KleinenFriedrichsGeburstag
530530DasTrambild
531531DiekleineSpinnerin
552552BeimAuszugindasFeld
596596SehnsuchnachdemFrhling
597597ImFrhlingsanfang
598598DasKinderspield
Canons
K1K6Work
228515b2Canons(untext,Ach,sokurz)
229382aSieistdahin
230382bSelig,selig
231382cLeckmichimArsch
232509aLieberFreistdtler
233382dLeckmirdenArsch
234382eBeiderHitz
347382fLatunsziehn
348382gVamodicore
507507Heiterkeit
508508AufdasWohl
553553Alleluja
554554AveMaria
555555Lacrimososonio
556556Grechteltsenk
557557Nascocoeilmiosol
558558SehnwirimPrater
559559Difficilelectu
-559aOdueselhafterPeierl
560560OdueselhafterMartin
561561Bonanox
562562Carobellidol
OrchestralMusic
Symphonies
K1K6WorkNickname
1616inEb(#1)
1919inD(#4)
A22319ainF
2222inBb(#5)
4343inF(#6)
4545inD(#7)
A22145ainGLambach
A21446binBb
4848inD(#8)
7373inC(#9)
7474inG(#10)
7575inF(#42)
7642ainF
8173linD(#44)
8473qinD(#43)
9573ninD(#45)
96111binC(#46)
9773minD(#47)
102213cFinaleforIlRepastore
11075binG(#12)
112112inF(#13)
114114inA(#14)
120111aFinaleforAscanioOverture
121207aFinaletoFintagiardiniera
124124inG(#15)
128128inC(#16)
129129inG(#17)
130130inF(#18)
132132inEb(#19)
133133inD(#20)
134134inA(#21)
162162inC(#22)
163141aFinaleforScipione(#50)
181162binD(#23)
182173dAinBb(#24)
183173dBing(#25)Littlegminor
184161ainEb(#26)
199161binG(#27)
200189kinC(#28)
201186ainA(#29)
202186binD(#30)
297300ainD(#31)Paris
318318inG(#32)
319319inBb(#33)
338338inC(#34)
385385inD(#35)Haffner
425425inC(#36)Linz
444425aIntrotoM.HaydnSyminG(#37)
504504inD(#38)Prague
543543inEb(#39)
550550ing(#40)Biggminor
551551inC(#41)Jupiter
Divertimenti, Serenades, Etc.

3232Galimathiasmusicum
6363CassationinG
9963aCassationinBb
10062aSerenadeinD
113113DivertimentoinEb
131131DivertimentoinD
136125aDivertimentoinDSalzburgSymphony
137125bDivertimentoinBbSalzburgSymphony
138125cDivertimentoinFSalzburgSymphony
185167aSerenadeinD
203189bSerenadeinDColloredo
204213aSerenadeinD
205167ADivertimentoinD
239239SerenadeinDSerenatenotturno
247247DivertimentoinF1stLodronMusik
250248bSerenadeinDHaffner
251251DivertimentoinDNannerlSeptet
286269aNotturnofor4-OrchestrasinD
287271HDivertimentoinBb2ndLodronMusik
320320SerenadeinDPosthorn
334320bDivertimentoinD
477479aMasonicFuneralMusic
522522AMusicalJokeinF
525525EinekleineNachtmusikinG
Marches
K1K6Work
6262MarchinD
189167bMarchinD
214214MarchinC
215213bMarchinD
237189cMarchinD
248248MarchinF
249249MarchinD
290167ABMarchinD
335320aMarchinD
408383e,F2MarchesinC
408385aMarchinC
445320cMarchinD
Dance Music
K1K6WorkNickname
-61b7Minuets
-61g2Minuets
-61h6Minuets
101250a4Contredances
106588aOvertureand3Contredances
12273tMinuet
12373gContredance
164130a6Minuets
17617616Minuets
267271c4Contredances
-269bContredance
3633633Minuets
461448a5Minuets
462448b6Contredances
463448c2Minuets,2Contredances
5095096GermanDances
534534ContredanceDonnerweiter
535535ContredanceLaBataille
5365366GermanDances
5655652Contredances
5675676GermanDances
56856812Minuets
5715716GermanDances
58558512Minuets
58658612GermanDances
587587ContredanceDerSiegvonHeldenCoburg
5995996Minuets
6006006GermanDances
6016014Minuets
6026024GermanDances
6036032Contredances
6046042Minuets
6056052GermanDances
6066066Lndler
607605aContredanceIlTronfodelleDonne
6096095Contredances
610610ContredanceLesfillesmalecieuses
611611GermanDance
Concertos
String Concertos
K1K6WorkNickname
190186EConcertonefor2ViolinsinC
207207ViolinConcerto#1inBb
211211ViolinConcerto#2inD
216216ViolinConcerto#3inGStrassburger
218218ViolinConcerto#4inD
219219ViolinConcerto#5inATurkish
261261AdagioforViolin/OrchestrainE
269261aRondoforViolin/OrchestrainBb
-271iViolinConcerto#7inD
364320bSinfoniaConcertanteViolin/ViolainEb
A104320eSinfoniaConcertanteViolin,Viola,Cello
373373RondoforViolin/OrchestrainC
Wind Concertos
K1K6WorkNickname
191186eBassoonConcertoinBb
293416fOboeConcertoinF(Frag)
297bAnhC14.01SinfoniaConcertanteFl,Ob,Bs,HninEb
299297cFluteandHarpConcertoinC
313385cFluteConcertoinG
314285dFluteConcertoinD
314271kOboeConcertoinCFerlendis
315285eAndanteforFlute/OrchestrainC
-370bAllegrotoHornConcertoEb(Frag)
371371RondotoHornConcertoinEb(Frag)
412386bHornconcertoinD
417417HornConcertoinEb
622622ClarinetConcertoinA
Piano Concertos
K1K6WorkNickname
3737PianoConcerto#1inF
3939PianoConcerto#2inBb
4040PianoConcerto#3inD
4141PianoConcerto#4inG
107107PianoConcertosinD,G,Eb
2422423-PianoConcerto#7inFLodron
246246PianoConcerto#8inCLtzow
271271PianoConcerto#9inEb JenamyalsoJeunehomme
A56315fPiano/ViolinConcertoinD(Frag)
365316a2-PianoConcerto#10inEb
382382RondoforPiano/OrchestrainD
386386RondoforPiano/OrchestrainA
413387aPianoConcerto#11inF
414385pPianoConcerto#12inA
415387bPianoConcerto#13inC
449449PianoConcerto#14inEb1stPloyer
453453PianoConcerto#17inG2ndPloyer
456456PianoConcerto#18inBbParadies
459459PianoConcerto#19inF
466466PianoConcerto#20ind
467467PianoConcerto#21inCElviraMadigan
482482PianoConcerto#22inEb
488488PianoConcerto#23inA
491491PianoConcerto#24inc
503503PianoConcerto#25inC
537537PianoConcerto#26inDCoronation
Chamber Music
Wind Music
K1K6WorkNickname
166159dDivertimentoforwindsinEb
186159bDivertimentoforwindsinBb
188240bDivertimentoforwinds/tympaniinC
213213DivertimentoforwindsinF
240240DivertimentoforwindsinBb
252240aDivertimentoforwindsinEb
253253DivertimentoforwindsinF
270270DivertimentoforwindsinBb
289271gDivertimentoforwindsinEb
361370aDivertimentoforwindsinEbGranPartitta
375375SerenadeforwindsinEb
388384aSerenadeforwindsincNachtmusik
410484dAdagioforwindsinF
411484aAdagioforwindsinBb
487496a12Duosfor2Horns
A94580aAdagioforwindsinC(Frag)
A95484bAllegroassaiforwindsinBb(Frag)
A226AnhC17.01DivertimentoforwindsinEb
A227AnhC17.02DivertimentoforwindsinBb
A229439b5Divertimentifor3Winds
Chamber Music String and Winds

K1K6Work
285285FluteQuartetinD
-285aFluteQuartetinG
292196cDuoforBassoon/CelloinBb
298298FluteQuartetinA
370368bOboeQuartetinF
407386cHornQuintetinEb
581581ClarinetQuintetinA
A90580bClarinet,BassethornAllegroinF(Frag)
A91516cClarinetQuintetAllegroinBb(Frag)
A171285bFluteQuartetinC
Chamber with Piano

K1K6Work
66Piano,ViolinSonatainC
77Piano,ViolinSonatainD
88Piano,ViolinSonatainBb
99Piano,ViolinSonatainG
1010Piano.ViolinSonatainBb
1212Piano,ViolinSonatainA
1313Piano,ViolinSonatainF
2626Piano,ViolinSonatainEb
2929Piano,ViolinSonatainD
301293aPiano,ViolinSonatainG
302293bPiano,ViolinSonatainEb
303393cPiano,ViolinSonatainC
304300cPiano,ViolinSonataine
305293dPiano,ViolinSonatainA
306300lPiano,ViolinSonatainD
359374aPiano,ViolinVariationsinG
360374bPiano,ViolinVariationsing
372372Piano,ViolinAllegroinBb(Frag)
376374dPiano,ViolinSonatainF
377374ePiano,ViolinSonatainF
378317dPiano,ViolinSonatainBb
379373aPiano,ViolinSonatainG
380374fPiano,ViolinSonatainEb
396385fPiano,ViolinAdagioinc(Frag)
402385ePiano,ViolinAndanteinA(Frag)
403385cPiano,ViolinAllegroinC(Frag)
404385dPiano,ViolinAndanteinC(Frag)
481481Piano,ViolinSonatainEb
526526Piano,ViolinSonatainA
Piano Trios, Quartets, Quintets

K1K6WorkNickname
254254DivertimentoinBb
442442PianoTrioind(Frag)
452452Piano,WindsQuintetinEb
478478PianoQuarteting
493493PianoQuartetinEb
496496PianoTrioinG
498498Piano,Clarinet,ViolaTrioinEbKegelstatt
502502PianoTrioinBb
542542PianoTrioinBb
548548PianoTrioinC
564564PianoTrioinG
617617Adagio&RondoforArmonica,winds,strings
String Duos and Trios

K1K6Work
-46dSonataforViolin,BassinC
-46eSonataforViolin,BassinF
266271fSonatafor2Violins,BassinBb
-404a4PreludesandFuguearr.forStringTrio
423423DuoforViolin,ViolainG
424424DuoforViolin,ViolainBb
443404b3-PartFugueinG(Frag)
563563DivertimentoforStringTrioinEb
String Quartets
K1K6WorkNickname
8073fStringQuartetinG
155134aStringQuartetinD
156134bStringQuartetinG
157157StringQuartetinC
158158StringQuartetinF
159159StringQuartetinBb
160159aStringQuartetinEb
168168StringQuartetinF
169169StringQuartetinA
170170StringQuartetinC
171171StringQuartetinEb
172172StringQuartetinBb
173173StringQuartetind
387387StringQuartetinGHaydnI
4054055Fuguesarr.fromBach
421417bStringQuartetindHaydnII
428421bStringQuartetinEbHaydnIII
458458StringQuartetinEbHaydnIVHunt
464464StringQuartetinAHaydnV
465465StringQuartetinCHaydnVIDissonance
499499StringQuartetinDHoffmeister
546546AdagioandFugueinc
575575StringQuartetinDPrussianI
589589StringQuartetinBbPrussianII
590590StringQuartetinFPrussianIII
String Quintets
K1K6Work
174174StringQuintetinBb
406516bStringQuintetinc
515515StringQuintetinC
516516StringQuinteting
593593StringQuintetinD
614614StringQuartetinEb
Piano Music
Piano Sonatas
K1K6WorkNickname
279189dPianoSonatainC
280189ePianoSonatainF
281189gPianoSonatainBb
282189gPianoSonatainEb
283189hPianoSonatainG
284205bPianoSonatainDDrnitz
309284bPianoSonatainC
310300dPianoSonataina
311284cPianoSonatainD
330300hPianoSonatainC
331300iPianoSonatainATurkish
332300kPianoSonatainF
333315cPianoSonatainBb
457457PianoSonatainc
533533PianoSonatainF
545545PianoSonatainC
570570PianoSonatainBb
576576PianoSonatainD

K1K6WorkNickname
24248VariationsonDutchsong
25257VariationsonWillemvonNassau
179189a12VariationsonMinuetofFischer
180173c6VariationsonSalieritheme
264315d9VariationsonLisondormait
265300e12VariationsonAh,vousdirai-jeTwinkle,twinkle,littlestar
352374c8VariationsonGretrytheme
353300f12VariationsonLabelleFrancoise
354299a12VariationsonJesuisLindor
398416e9VariationsonPaisiellotheme
45545510VariationsonUnserdummerPbel
460454a2VariationsonSartitheme(Frag)
50050012Variations
5735739VariationsonMinuetofDuport
6136138VariationsonEinWeibist
Individual Movements for Piano

K1K6WorkNickname
-1aAndanteinC
-1bAllegroinC
-1cAllegroinF
-1dMinuetinF
11cMinuetinG
-1fMinuetinC
22MinuetinF
33AllegroinBb
44MinuetinF
55MinuetinF
-5aAllegroinC
-5bAndanteinBb(Frag)
-15a-ssLondonSketchbook
-33BPianopieceinF
-72aAllegroinG(Frag)
9473hMinuetinD
153375fFugueinEb(Frag)
154385kFugueing(Frag)
236588bAndantinoinEb
312590dAllegroing
-315g8Minuets
355576bMinuetinD
394383aPreludeandFugueinC
395300g4PreludesinCCapriccio
396385fFantasiainc(Frag)
397385gFantasiaind
399385iSuiteinC(Frag)
400372aPianoAllegroinBb(Frag)
401375eFugueing(Frag)
-453aMarchefunebreSigrMaestroContrapunto
475475Fantasiainc
485485RondoinD
494494RondoinF
511511Rondoina
540540Adagioinb
574574GigueinG
Works for 2 Pianos and Piano 4 hands

K1K6Work
-19dSonata4-handsinD
357497aAllegro2-pianosinG
357500aAndante2-pianosinG
358186cSonata4-handsinBb
381123aSonata4-handsinD
426426Fugue2-pianosinc
448375aSonata2-pianosinD
497497Sonata4-handsinF
501501Variations4-hands
521521Sonata4-handsinC
-deestLarghettoandAllegro2-pianosinEb
Works for Organ, Mechanical Clock, Glass Armonica

K1K6Work
356617aAdagioforArmonicainC
594594AdagioandAllegroforOrganinf
608608FantasiaforOrganinf
616616AndanteforOrganinF
3838ApolloetHyacinthus
HeldenCoburg
delleDonne
malecieuses
Jeunehomme
Dissonance
le,littlestar

Kochel KV6

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Salzburgo

Minueto en sol mayor

Allegro en si bemol mayor

Andante en si bemol mayor

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Sonata en sol mayor

Sonata en si bemol mayor

Sonata en sol mayor

Sonata en si bemol mayor

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Va, dal furor portata

God Is Our Refuge

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