Wolfgang Amadeus Mozart (1756-1791); AUT

We might say that the Lieder informs most of Schubert and that every Tchaikovsky symphony is ripe with ballet. With Wolfgang Amadeus Mozart, almost all is a sublime opera. The piano of his concertos is the protagonist be it in either an opera buffa or seria, the slow movements of his string quartets are love arias and duets, and the last movements of his piano sonatas are the denouements of high comedies. Drama is the essence of Mozart and his characters express a universality of emotion akin to the gods of classic mythology. His music moves with an unparalleled grace and unveils its truths with a suppleness and subtlety only exceeded by Nature herself. One of the greatest prodigies in music history, Mozart had the good fortune to be born in 1756 at a time when tonality and harmony in western music had evolved to a level of purity and sophistication that makes the 18th century the envy of more than one great composer born later. No less a figure than Franz Joseph Haydn had paved the way by showing the endless possibilities of the mature classical style. The less fortunate aspect of Mozart's fate was to be born to an overbearing and ambitious father anxious to exploit his son's gifts.

Leopold Mozart, a moderately successful vice-kapellmeister at Salzburg was a good enough musician to know how extraordinary his son was. By three, Wolfgang was picking out tunes by ear at the piano and by six he was composing. And from that age he was almost constantly on the road being exhibited as a piano virtuoso to the courts of Europe and denied any kind of normal childhood. Mozart grew to have a love-hate relationship with his overbearing father and never developed a normal adult balance in conducting the affairs of everyday life. As his first biographer noted in 1793 - "For just as this rare being early became a man so far as his art was concerned, he always remained-as the impartial observer must say of him-in almost all other matters a child."

Throughout his childhood, Wolfgang was always in the news and extravagantly praised. He was well aware of how special he was and was unable to keep his opinions to himself about any mediocrity he encountered. His letters are filled with detailed and humorous critiques of the many court musicians he met in his travels and he developed a lifelong capacity for making enemies of those with less talent, and that meant almost everyone. He spent his life looking for a well paying high court job that was certainly his due, but his naive arrogance and impulsive behavior undid him at every turn. Leopold's letters to Wolfgang are like those of Polonius to Hamlet. They are filled with the righteous and rigid homilies of a conventional mind trying to reason with and control a genius. And they are often about money. Apart from music, Mozart grew up to be undisciplined, unworldly and a soft touch. Money went through his hands like water.

In 1777, Wolfgang went on a long tour for the first time with his mother instead of his father. In Mannheim, he met the Webers, a family with four daughters who lived the Bohemian life of musicians. Mozart fell in love with the eighteen year old Aloysia. Even Mozart's mother, a gentle soul, complained "When Wolfgang makes new acquaintances, he immediately wants to give his life and property to them." Mozart continued to Paris where his mother became ill and died in 1778. On his way back he stopped in Mannheim where Aloysia had now become a prima dona of the opera and had no time for Wolfgang. He returned defeated to Salzburg declaring that "I will no longer be a fiddler. I want to conduct at the clavier and accompany arias." Instead Mozart became a disgruntled court organist at Salzburg. However, these are also the years of his early maturity as a composer with works including the "Coronation" Mass and the wonderful "Sinfonia Concertante" for violin, viola and orchestra. His first major opera commission "Idomeneo," an opera seria in the Gluck tradition, was premiered in Munich in 1781. Meanwhile Mozart, betrayed by the secretary to the Archbishop, was dismissed from his position. He wrote with a flair worthy of the stage that "he (the secretary) may confidently expect from me a kick on his arse and a few boxes on the ear in addition. For when I am insulted I must have my revenge." This never came to pass of course, and Mozart settled in Vienna where he moved in with the Webers who now resided there.

In December, 1781, Mozart wrote to his father that he was in love with another Weber-the middle daughter, Constanze. His father's worst fears had come to pass-Wolfgang was married in August into a impecunious family of questionable reputation. Constanze was no better than Mozart in the ways of the world, but by all accounts it was a good marriage and the beginning of a distinct chill in Mozart's relations with his outraged father.

This was a fertile period musically with Mozart getting commissions and students and at this point producing masterpieces in every conceivable genre. In 1776 he met Lorenzo da Ponte, a poet who could supply him with worthy librettos and three great operas resulted: "Le Nozze di Figaro" (1786) (Overture), "Don Giovanni" (1787), and "Cosi fan tutte" (1790). Mozart as a successful opera composer and piano virtuoso must have made a good bit of money at this time, yet he and Costanze could hold on to none of it and changed residencies eleven times in nine years. He also became a Mason.

By the end of his life, the Mozart's were desperate for loans and commissions. "The Magic Flute," to a Masonically inspired libretto, is for many the quintessence of Mozart, and was a great hit in the suburbs of Vienna. The money it should have brought in was too late and Mozart died of overwork and scarlet fever on the 5th of December, 1791 while still ironically at work on the "Requiem Mass" (Confutatis) for an unknown patron (Count Franz von Walsegg, who planned to claim it as his own). He received the cheapest funeral possible and was buried in an unmarked grave. The body has never been found.

There is of course not enough room in a short essay to even list most of Mozart's important works. Among the instrumental music, the 27 piano concertos (especially after no.9) which were written as personal vehicles for the composer, consistently contain Mozart's most sublime orchestral writing with particularly beautiful wind music in the mature concertos (No.21: Allegro, Andante; No.23: Allegro con spirito). The symphony at this time was not the highest pursuit that it would become in the 19th century, yet Mozart's last six works in this genre (no.37-41) are supreme personal statements (No.38: Andante; No.39: Finale; No.41: Molto Allegro). The "Six String Quartets" dedicated to Haydn integrate Mozart's discovery of Bach's counterpoint into classical forms and were followed by four more quartets that continue this highest level. Perhaps the greatest single group of chamber works are the Six String Quintets (including the string arrangement of the Cmi Octet for winds). This is not to mention the Clarinet Quintet (Allegro; 3.Menuetto), the Eb String Trio, the Serenade for Thirteen Winds and numerous other works that contain the perfect Mozartian balance of taste, formal clarity and emotional intensity. Mozart wrote with a luxuriant abundance of ideas. Unlike Haydn and Beethoven, who economically develop pithy germ cells into entire movements, a Mozart first theme in a sonata form may really be a profusion of themes. In the opening of the Sonata in F, K.332, we have a song like melody which is followed by a minuet that leads to a "sturm and drang" transitional passage that finally takes us to the dominant where a new minuet and an "empfindsamkeit" passage are just the beginning of the so called second theme. Here we have a panoramic view of eighteenth century characters from high to low consorting on the stage of a sonata form in music that sounds so effortless and natural that our only problem is in taking it for granted like we do the world itself.

Biography by Allen Krantz. Copyright © Classical Archives, LLC. All rights reserved.

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Mozart, Wolfgang Amadeus [baptized Johannes Chrysostomus Wolfgangus Theophilus] (b Salzburg, 1756; d Vienna, 1791). Austrian composer, keyboard-player, violinist, violist, and conductor. Son of Leopold Mozart, Vice-Kapellmeister to Prince-Archbishop of Salzburg, Mozart showed exceptional musical precocity, playing the klavier at 3 and composing at 5. His elder sister Maria Anna (1751-1829) was also a brilliant kbd. player and in 1762 Leopold decided to present his children's talents at various European courts. They first visited Munich and Vienna in 1762. Wolfgang was now able to play the vn. without having had formal teaching. In 1763 a longer journey began, from Munich, Augsburg, Frankfurt, and other cities to Cologne, Brussels, and Paris. They spent a fortnight at Louis XV's court at Versailles. In Apr. 1764 they arrived in London and were received by George III. While in London, Wolfgang studied with Abel, comp. with J. C. Bach, and singing with the castrato Manzuoli. He wrote his first 3 syms. in London. After visits to Holland and Switzerland, the Mozart family returned to Salzburg in Nov. 1766. Further visits to Vienna were made in 1767 and 1768 and Mozart comp. 2 operas, La finta semplice and Bastien und Bastienne. In Dec. 1769, Leopold took Mozart to It. where the boy's genius was everywhere acclaimed. He was taught by Martini and met Nardini, Jommelli, and Burney. In Rome he heard Allegri's Miserere and wrote it out from memory. His opera Mitridate, Rè di Ponto was successfully prod. in Milan in Dec. 1770. Two further visits to It. speedily followed, but the new prince-archbishop of Salzburg was less well-disposed towards the Mozarts and in 1777 Mozart left on a tour with his mother, Leopold not being well enough to go. They visited Munich, Augsburg, Mannheim (where he heard the famous orch.) and arrived in Paris in 1778. Mozart's mother died there in July of that year. No longer a Wunderkind, Mozart had less appeal for the Parisians, who were engrossed in the Gluck-Piccinni controversy. Unable to obtain a court post, Mozart returned to Salzburg where he spent the next 2 years as court and cath. org. amid growing hostility to the archbishop. In 1780 the Elector of Bavaria commissioned an opera from Mozart (Idomeneo), prod. in Munich, Jan. 1781. On Mozart's return to Salzburg he had a final confrontation with the archbishop and resigned. He went to Vienna, where he married Constanze Weber in Aug. 1782, a few days after the first perf. of his opera Die Entführung aus dem Serail. The last 9 years of his life were a juxtaposition of financial troubles with an astonishing outpouring of masterpieces in almost every genre. In 1785 he frequently played the va. in str. qts. with Dittersdorf and Haydn. To the latter, who regarded Mozart as the greatest composer he knew, Mozart dedicated 6 str. qts. in the autumn of 1785, when he also began work on Le nozze di Figaro. He frequently appeared as soloist in his own kbd. concs. Although Figaro was rapturously received in Vienna in 1786, it was taken off after 9 perfs., but was the rage of Prague when prod. there in 1787. During his visit to the Bohemian capital, Mozart's Sym. in D (K504, No.38) received its f.p., thereafter being known as the ‘Prague Sym’. He was subsequently commissioned to write an opera for Prague for the following autumn. The result was Don Giovanni, written in a few months while the 2 str. quintets in C major and G minor and Eine kleine Nachtmusik were also composed. In the same year Leopold Mozart died at Salzburg. The new opera was a success in Prague, but initially failed in Vienna, where it was prod. with some extra numbers in May 1788. A month later Mozart began to compose the first of his 3 last syms., completing them between 26 June and 10 Aug. In 1789, under severe financial pressure, he played a conc. in Dresden on the way to Berlin. He visited Leipzig, playing Bach's org. at St Thomas's. In Berlin King Friedrich Wilhelm II, a cellist, commissioned 6 str. qts. of which only 3 were written. In the autumn Emperor Joseph II of Austria commissioned a new comic opera, Così fan tutte, which was prod. early in 1790. Joseph died shortly afterwards, but Mozart's hope of being appointed by Leopold II Kapellmeister in place of Salieri was not fulfilled. In 1791 he was approached by the actor-manager Schikaneder with a view to composing a fairy-tale opera on a lib. concocted by Schikaneder. Die Zauberflöte was almost completed by July, the month in which Mozart received a commission to compose a Requiem for an anonymous patron (Count F. von Walsegg who wished to pass it off as his own). Mozart deferred work on it to compose an adaptation of Metastasio's La clemenza di Tito for Leopold II's coronation as King of Bohemia in Prague in Sept. This prod. was supervised by Mozart, who returned to Vienna, wrote the cl. conc., cond. the f.p. of Die Zauberflöte, and then resumed work on the Requiem. But his health, which had been deteriorating for some time, now became critical and he died on 5 Dec., leaving the Requiem to be completed by his pupil Süssmayr. He was buried in accordance with the Emperor Joseph II's regulations, with others who had died at the same time, and the location of his grave remains unknown. The circumstances of Mozart's death have given rise to many sensational theories, none proved, and there is much medical speculation on the cause of death.

The extent and range of Mozart's genius are so vast and so bewildering that any concise summing-up of his achievement must risk being trite. He took the mus. small-change of his day, learned from childhood in the courts of Europe, and transformed it into a mint of gold. His sense of form and symmetry seems to have been innate and was allied to an infallible craftsmanship which was partly learnt and partly instinctive. In his operas he not only displayed hitherto unequalled dramatic feeling, but widened the boundaries of the singer's art through contact with some of the greatest vv. of his day and, with his amazing insight into human nature, at once perceptive and detached, he created characters on the stage who may be claimed in their context as the equal of Shakespeare's. His music was supranational, combining It., Fr., Austrian, and Ger. elements. Not by revolutionary deliberation but by the natural superiority of the mus. he wrote, he changed the course of the sym., the pf. conc., the str. qt., the sonata, and much more besides. Perhaps the only element missing from his mus. is the worship of Nature which Beethoven and later 19th-cent. composers were to supply. There are brilliance and gaiety on the surface of Mozart's mus., but underneath a dark vein of melancholy which gives his works (Così fan tutte in particular) an ambivalence which is continually fascinating and provocative. ‘Mozart is music’, a critic said, and most composers since 1791 have agreed. A selective list of prin. works follows. Some of the dates, which are Köchel's, are conjectural:

OPERAS: Apollo et Hyacinthus, intermezzo (K38, 1767); Bastien und Bastienne (K50, 1768); La finta semplice (K51, 1769); Mitridate, Rè di Ponto (K87, 1770); Ascanio in Alba (K111, 1771); Il sogno di Scipione (K126, 1771); Lucio Silla (K135, 1772); La finta giardiniera (K196, 1774); Il Rè Pastore (K208, 1775); Zaide (K344, 1779-80); Thamos, König in Ägypten (K345, 1773, rev. 1776 and 1779-80, incid. music); Idomeneo, Rè di Creta (K366, 1780-1); Die Entführung aus dem Serail (K384, 1781-2); L'Oca del Cairo (K422, 1783); Lo sposo deluso (K430, 1783); Der Schauspieldirektor (The Impresario) (K486, 1785-6); Le nozze di Figaro (K492, 1785-6); Don Giovanni (K527, 1787); Così fan tutte (K588, 1789); Die Zauberflöte (The Magic Flute) (K620, 1790-1); La clemenza di Tito (K621, 1791).

BALLET MUSIC: Les Petits Riens (K Anh. 10, 1778); for Idomeneo (K367, 1780).

SYMPHONIES (numbered according to Breitkopf and Härtel edn.): No.1 in Eb (K16, 1764); No.4 in D (K19, 1764); No.5 in Bb (K22, 1765); No.6 in F (K43, 1767); No.7 in D (K45, 1768); No.8 in D (K48, 1768); No.9 in C (K73, 1771); No.10 in G (K74, 1770); No.11 in D (K84, 1770); No.12 in G (K110, 1771); No.13 in F (K112, 1771); No.14 in A (K114, 1771); No.15 in G (K 124, 1772); No.16 in C (K128, 1772); No.17 in G (K129, 1772); No.18 in F (K130, 1772); No.19 in Eb (K132, 1772); No.20 in D (K133, 1772); No.21 in A (K134, 1772); No.22 in C (K162, 1773); No.23 in D (K181, 1773); No.24 in Bb (K182, 1773); No.25 in G minor (K183, 1773); No.26 in Eb, ov. for Thamos (K184, 1773); No.27 in G (K199, 1773); No.28 in C (K200, 1773); No.29 in A (K201, 1774); No.30 in D (K202, 1774); No.31 in D (Paris, K297, 1778); No.32 in G, probably ov. to Zaide (K318, 1779); No.33 in Bb (K319, 1779); No.34 in C (K338, 1780); No.35 in D (Haffner, K385, 1782); No.36 in C (Linz, K425, 1783); No.37 in G (only introduction, rest by M. Haydn) (K444, 1783); No.38 in D (Prague, K504, 1786); No.39 in Eb (K543, 1788); No.40 in G minor (K550, 1788); No.41 in C (Jupiter, K551, 1788); also various others, some only fragmentary, and some probably of doubtful authenticity.

MISC. ORCH.: Cassations: Bb (K99, 1769); Kontretänze (Country Dances): Bb (K123, 1770), Set of 6 (K462, 1784), Das Donnerwetter (K534, 1788), La Bataille (K535, 1788), Set of 2 (K565, 1788), Der Sieg vom Helden Koburg (K587, 1789), Set of 2 (K603, 1791), Eb (K607, 1791), Set of 5 (K609, 1791), G major (K610, 1791); German Dances: Set of 6 (K509, 1787), Set of 6 (K536, 1788), Set of 6 (K567, 1788), Set of 6 (K571, 1789), Set of 12 (K586, 1789), Set of 6 (K600, 1791), Set of 4 (K602, 1791), Set of 3 (K605, 1791), C major (K611, 1791); Divertimenti: No.1 in Eb (K113, 1771), No.2 in D (K131, 1772), D (K136, 1772), Bb (K137, 1772), F (K138, 1772), No.3 in Eb (K166, 1773), No.4 in Bb (K186, 1773), No.5 in C (K187, ?1773), No.6 in C (K188, 1776), No.7 in D (K205, 1773), No.8 in F (K213, 1775), Eb (K226, 1775), Bb (K227, 1775), No.9 in Bb (K240, 1776), No.10 in F (K247, 1776), No.11 in D (K251, 1776), No.12 in Eb (K252, 1776), No.13 in F (K253, 1776), No.14 in Bb (K270, 1777), No.15 in Bb (K287, 1777), F (K288, 1777), No.16 in Eb (K289, 1777), No.17 in D (K334), 1779); Serenades: G (K63, 1769), No.1 in D (K100, 1769), No.2 in F (Kontretanz) (K101, ?1776), No.3 in D (K195, 1773), No.4 in D (K203, 1774), No.5 in D (K204, 1775), Serenata notturna, No.6 in D for 2 orch. (K239, 1776), No.7 in D (Haffner, K250, 1776), No.8 in D (Notturno for 4 orch., K286, 1776-7), No.9 in D (Posthorn, K320, 1779), No.10 in Bb for 13 wind instr. (K361, 1784), No.11 in Eb for wind (K375, 1781), No.12 in C minor for wind (K388, 1782), No.13 in G for str., Eine kleine Nachtmusik (K525, 1787); Maurerische Trauermusik (Masonic Funeral Music) (K477, 1785); Ein musikalischer Spass (A musical joke) (K522, 1787); Sinfonia Concertante in Eb for ob., cl., bn., hn. (K297b, 1778, considered doubtful attribution by some scholars); also Marches, Minuets, Gavottes.

CONCERTOS: PIANO: No.1 in F (arr. of sonata-movts. by Raupach and Honauer, K37, 1767), No.2 in Bb (arr. of sonata-movts. by Raupach and Schobert, K39, 1767), No.3 in D (arr. of sonata-movts. by Honauer, Eckart, and ?C. P. E. Bach, K40, 1767), No.4 in G (arr. of sonata-movts. by Honauer and Raupach, K41, 1767), No.5 in D (K175, 1773), No.6 in Bb (K238, 1776), No.7 in F (K242, 1776), No.8 in C (K246, 1776), No.9 in Eb (K271, 1777), No.10 in Eb (K365, ?1779), No.11 in F (K413, 1782-3), No.12 in A (K414, 1782), No.13 in C (K415, 1782-3), No.14 in Eb (K449, 1784), No.15 in Bb (K450, 1784), No.16 in D (K451, 1784), No.17 in G (K453, 1784), No.18 in Bb (K456, 1784), No.19 in F (K459, 1784), No.20 in D minor (K466, 1785), No.21 in C (K467, 1785), No.22 in Eb (K482, 1785), No.23 in A (K488, 1784-6), No.24 in C minor (K491, 1786), No.25 in C (K503, 1786), No.26 in D, Coronation (K537, 1787-8), No.27 in Bb (K595, 1788-90); 2 PIANOS: Eb (K365, 1779); 3 PIANOS: F major (K242, 1776); Concert Rondo in D (K382, 1782), in A (K386, 1782).

VIOLIN: No.1 in Bb (K207, 1773), No.2 in D (K211, 1775), No.3 in G (K216, 1775), No.4 in D (K218, 1775), No.5 in A (K219, 1775, with alternative Adagio in E, K261, 1776), Rondo in C (K373, 1781); 2 VIOLINS: Concertone in C (K190, 1773); VIOLIN & VIOLA: Sinfonia Concertante in Eb (K364, 1779); BASSOON: Bb (K191, 1774); CLARINET: A major (K622, 1791); FLUTE: No.1 in G (K313, 1778), No.2 in D transcr. from ob. conc. in C (K314, 1778); Andante in C (K315, 1778); FLUTE & HARP: C major (K299, 1778); HORN & STRINGS: No.1 in D (K412, 1791), No.2 in Eb (K417, 1783), No.3 in Eb (K447, 1787), No.4 in Eb (K495, 1786), No.5 in Eb, fragment (K494a, 1786); Concert Rondo for hn. and orch. in Eb (K371, 1791); OBOE: C major (K271k, 1777, transcr. for fl. as conc. No.2 in D).

CHURCH MUSIC: Kyrie in F (K33, 1766), Missa brevis in G (K49, 1768), in D minor (K65, 1769), in C (K115, 1773), in F (K116, 1771), in F (Mass No.6) (K192, 1774), in D (K194, 1774), in C (Mass No.10) (K220, 1775), in C (K258, 1776), in C (Mass No.13) (K259, 1775 or 1776), in Bb (K275, 1777); Mass in C, Dominicus (K66, 1769), No.4 in C minor, Waisenhausmesse (K139, 1768), No.7 in C, Missa in honorem Sanctissimae Trinitatis (K167, 1773), in C (K257, 1776), in C, Missa longa (K262, 1775), No.16 in C, Coronation (K317, 1779), in C major, Missa solemnis (K337, 1780), No.18 in C minor, unfinished (K427, 1782-3); Regina Coeli (K127, 1772); Motet, Exsultate, jubilate for sop., orch., and organ (K165, 1773); Dixit Dominus (K193, 1774); Litaniae Lauretanae (K195, 1774); Litaniae de venerabili altaris Sacramento (K243, 1776); Vesperae de Dominica (K321, 1779); Kyrie in D minor (K341, 1780-1); Vesperae Solennes de Confessore (K339, 1780); Motet, Ave verum corpus (K618, 1791); Requiem Mass in D minor (unfinished) (K626, 1791).

CHORUS & ORCH.: Die Schuldigkeit des ersten Gebotes, pt. I of sacred drama (K35, 1767); Grabmusik, Passion cantata (K42, 1767); La Betulia liberata, oratorio (K118, 1771); Davidde Penitente, oratorio, mainly based on Mass in C minor, K427 (K469, 1785); Die Maurerfreude, cantata (K471, 1785); Eine kleine Freimaurer-Kantate (K623, 1791).

UNACC. VOICES: God is our Refuge, sacred madrigal (K20, 1765); 5 Riddle Canons (K89a, 1770); numerous Canons comp. between 1782 and 1788, also various secular trios, qts., and chs.

SOLO VOICE & ORCH. (mainly concert arias): Per pietà, bell' idol mio, sop. (K78, c.1766); Scena and aria, Misera, dove son? Ah, non son'io che parlo, sop. (K369, 1781); Scena and rondo (extra number for Idomeneo) Non più, tutto ascoltai. Non temer, amato bene, sop. (K490, 1786); Scena and rondo, Ch'io mi scordi di te. Non temer amato bene, sop. with pf. obbl. (K505, 1786); Scena and aria, Bella mia fiamma. Resta, oh caro, sop. (K528, 1787); aria, Un bacio di mano, for Anfossi's Le gelosie fortunate, for bass (K541, 1788); rondo, extra aria for Susanna in Figaro, Al desio di chi t'adora, sop. (K577, 1789); Un moto di gioia, sop., extra number for Susanna in Figaro (K579, 1789); Schon lacht der holde Frühling, sop. for Paisiello's Il Barbiere di Siviglia (K580, 1789); Vado, ma dove?, sop., for Martin's Il burbero di buon core (K583, 1789); Rivolgete a lui lo sguardo, bass, orig. for Così fan tutte (K584, 1789); Per questa bella mano, bass (K612, 1791).

STRING QUARTETS: No.1 in G (K80, 1773-5), No.2 in D (K155, 1772), No.3 in G (K156, 1772), No.4 in C (K157, 1772-3), No.5 in F (K158, 1772-3), No.6 in Bb (K159, 1773), No.7 in Eb (K160, 1773), No.8 in F (K168, 1773), No.9 in A (K169, 1773), No.10 in C (K170, 1773), No.11 in Eb (K171, 1773), No.12 in Bb (K172, 1773), No.13 in D minor (K173, 1773), Nos. 14-19 ‘Haydn Quartets’: No.14 in G (K387, 1782), No.15 in D minor (K421, 1783), No.16 in Eb (K428, 1783), No.17 in Bb (Hunt, K458, 1784), No.18 in A (K464, 1785), No.19 in C (Dissonanzen, K465, 1785), No.20 in D (Hoffmeister, K499, 1786), Nos. 21-23 (‘King of Prussia Quartets’): No.21 in D (K575, 1789), No.22 in Bb (K589, 1790), No.23 in F (K590, 1790); Adagio and Fugue in C minor, fugue identical with K426 for 2 pf. of 1783 (K546, 1788).

STRING QUINTETS: No.1 in Bb (K174, 1773), No.2 in C minor, arr. of Serenade No.12 for wind, K388 (K406, 1786), No.3 in C (K515, 1787), No.4 in G minor (K516, 1787), No.5 in D (K593, 1790), No.6 in Eb (K614, 1791).

CLARINET QUINTET: A major (K581, 1789); CLARINET TRIO, Eb for cl., va., pf. (K498, 1786).

FLUTE QUARTETS: No.1 in D (K285, 1777), No.2 in G (K285a, 1777), No.3 in C (K285b, 1777), No.4 in A (K298, 1778); FLUTE (or vn.) SONATAS, with hpd.: No.1 in Bb (K10, 1764), No.2 in G (K11, 1764), No.3 in A (K12, 1764), No.4 in F (K13, 1764), No.5 in C (K14, 1764), No.6 in Bb (K15, 1764).

HORN QUINTET: Eb (K407, 1782).

OBOE QUARTET: F major (K370, 1781).

PIANO QUARTETS: No.1 in G minor (K478, 1785), No.2 in Eb (K493, 1786).

PIANO & WIND QUINTET (pf., ob., cl., hn., bn.): Eb (K452, 1784).

PIANO TRIOS: No.1 in Bb (K254, 1776), No.2 in G (K496, 1786), No.3 in Bb (K502, 1786), No.4 in E (K542, 1788), No.5 in C (K548, 1788), No.6 in G (K564, 1788); in D minor/major, completed by Stadler (K442, 1783).

MISC. CHAMBER WORKS: Adagio and Rondo in C minor for glass armonica, fl., ob., va., vc. (K617, 1791); Adagio for cor anglais and str. (K580a, 1789); Adagio in Canon in F for 2 basset hn. and bn. (K410, 1783); Adagio in F for 2 cl. and 3 basset hns. (K411, 1783); 12 Duets for 2 basset hns. (K487, 1786); Duo for vn. and va., No.1 in G (K423, 1783), No.2 in Bb (K424, 1783); 5 Divertimenti for 2 cl. and bn. (K229, 1783); Minuet in D, 2 vn., 2 hn., bass (K64, 1769); 7 Minuets with Trio, 2 vn. and bass (K65a, 1769); Adagio in C for glass armonica (K356, 1791).

SONATAS: BASSOON & CELLO: Bb (K292, 1775); PIANO: No.1 in C, No.2 in F, No.3 in Bb, No.4 in Eb, No.5 in G, No.6 in D (K279-284, 1774, No.6, 1775), No.7 in C (K309, 1777), No.8 in A minor (K310, 1778), No.9 in D (K311, 1778), No.10 in C, No.11 in A, No.12 in F, No.13 in Bb (K330-333, 1778), No.14 in C minor (K457, 1784), No.15 in C (K545, 1788), No.16 in Bb (K570, 1789), No.17 in D (K576, 1789); VIOLIN & PIANOFORTE: No.1 in C (K6, 1762-4), No.2 in D (K7, 1763-4), No.3 in Bb (K8, 1763-4), No.4 in G (K9, 1764), Nos. 5-10, K10-15 (see under flute), No.11 in Eb, No.12 in G, No.13 in C, No.14 in D, No.15 in F, No.16 in Bb (K26-31, 1766), No.17 in C (K296, 1778), No.18 in G, No.19 in Eb, No.20 in C, No.21 in E minor, No.22 in A, No.23 in D (K301-306, 1778), No.24 in F (K376, 1781), No.25 in F (K377, 1781), No.26 in Bb (K378, 1779), No.27 in G major/minor (K379, 1781), No.28 in Eb (K380, 1781), No.29 in A (K402, 1782, completed by Stadler), No.30 in C (K403, 1782, unfinished), No.31 in C (K404, 1782, unfinished), No.32 in Bb (K454, 1784), No.33 in Eb (K481, 1785), No.34 in A (K526, 1787), No.35 in F (K547, 1788). Also sonata movt. in C minor (K396, 1782, completed by Stadler).

STRING TRIOS: Bb, 2 vn. and bass, (K266, 1777), Divertimento in Eb, vn., va., vc. (K563, 1788). Also 6 Fugue arrs. from J. S. and W. F. Bach, with orig. introductions (K404A, 1782).

PIANO (4 HANDS): Sonatas: in Bb (K358, 1774), D (K381, 1772), F (K497, 1786), C (K521, 1787); Fugue in G minor (K401, 1782); Andante and Variations (K501, 1786).

2 PIANOS: Fugue in C minor (K426, 1783, arr. for str., with short Adagio as preface, 1788), Sonata in D (K448, 1781).

SOLO PIANO (except Sonatas): Minuet and Trio in G, Minuet in F, Allegro in Bb, Minuet in F, Minuet in F (K1-5, 1761-2), 8 Variations on ‘Laat ons juichen’ (air by C. E. Graaff) in G (K24, 1766), 7 Variations on ‘Wilhelmus van Nassouwe’ (K25, 1766), 12 Variations on a Minuet by Fischer (K179, 1774), Andantino in Eb (K236, 1790), 9 Variations on ‘Lison dormait’ from Dezède's Julie (K264, 1778), 12 Variations on ‘Ah, vous dirai-je, maman’ (K265, 1778), 8 Variations on a March in Grétry's ‘Mariages Samnites’ (K352, 1781), 12 Variations on ‘La Belle Françoise’ (K353, 1778), 12 Variations on ‘Je suis Lindor’ in Beaumarchais's ‘Le Barbier de Séville’ (K354, 1778), Minuet in D (K355, c.1786), Fantasia and Fugue in C (K394, 1782), Capriccio in C (K395, 1778), Fantasia in D minor (K397, 1782), 6 Variations on Paisiello's ‘Salve tu, Domine’ (K398, 1783), Suite in C (K399, 1782), 1st movt. of Sonata in Bb (K400, 1782), Kleiner Trauermarsch in C minor (K453a, 1784), 10 Variations on Unser dummer Pöbel meint from Gluck's La rencontre imprévue (K455, 1784), Fantasia in C minor (K475, 1785), Rondo in D (K485, 1786), Rondo in F (K.494, 1786), 12 Variations on an Allegretto in Bb (K500, 1786), Rondo in A minor (K511, 1787), Allegro and Andante (K533, 1788, often used with Rondo, K494, as finale to make ‘Sonata No.18’), Adagio in B minor (K540, 1788), 9 Variations on a Minuet by Duport (K573, 1789), Gigue in G (K574, 1789), 8 Variations on Schack's ‘Ein Weib ist das herrlichste Ding’ (K613, 1791).

ORGAN: Sonatas with orch: C major (K263, 1776), C major (K278, 1777), C major (K329, 1779); 14 Sonatas for org. and str., comp. between 1767 and 1780.

MECHANICAL ORGAN: Adagio and Allegro in F minor (K594, 1790), Fantasia in F minor (K608, 1791), Andante in F (K616, 1791).

SONGS (v. and pf.): Mozart wrote about 40 solo songs and Lieder, of which the best known are: Die Zufriedenheit (K349, 1780), Ah, spiegarti, O Dio (K178, 1772), Oiseaux, si tous les ans (K307, 1777), Komm, liebe Zither (with mandolin) (K351, 1780), An die Hoffnung (K390, 1782), Gesellenreise (K468, 1785), Der Zauberer (K472, 1785), Die betrogene Welt (K474, 1785), Das Veilchen (K476, 1785), Lied der Freiheit (K506, 1786), Die Alte (K517, 1787), Die Verschweigung (K518, 1787), Das Lied der Trennung (K519, 1787), Als Luise (K520, 1787), Abendempfindung (K523, 1787), An Chloe (K524, 1787), Des kleinen Freidrichs Geburtstag (K529, 1787), Das Traumbild (K530, 1787), Die kleine Spinnerin (K531, 1787), Sehnsucht nach dem Frühlinge (K596, 1791), Das Kinderspiel (K598, 1791), Eine kleine deutsche Kantate, ‘Die ihr des unermesslichen Weltalls’ (K619, 1791).

ADDITIONAL ACCOMPANIMENTS TO WORKS BY HANDEL: Acis and Galatea (K566, 1788), Messiah (K572, 1789), Alexander's Feast (K591, 1790), Ode for St Cecilia's Day (K592, 1791).

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