Composers

Wolfgang Amadeus Mozart

Orchestra
Piano
Violin
Voice
Cello
Viola
Soprano
Mixed chorus
Tenor
Bass
Sonata
Dance
Concerto
Arias
Symphony
Quartet
Religious music
Song
Minuet
Divertimento
by popularity

#

10 Celebrated String Quartets10 Variations on "Unser dummer Pöbel meint", K.45512 Duette, Op.7012 German Dances, K.58612 Horn Duos, K.487/496a12 Minuets, K.56812 Minuets, K.58512 Minuets, K.599, 601, 60412 Variations in B-flat major, K.50012 Variations on "Je suis Lindor", K.354/299a12 Variations on "La belle Françoise", K.353/300f12 Variations on a Minuet by Fischer, K.179/189a12 Variations on 'La bergère Célimène', K.359/374a16 Minuets, K.17619 Sonatas for the Piano2 Country Dances, K.6032 Duos for Violin and Viola, K.423-4242 Fugues in E-flat major, K.deest2 Kirchenlieder, K.343/336c2 kontrapunktische Skizzen, K.deest2 Marches, K.335/320a2 Minuets, K.463/448c2 Minuets, K.6042 Minuets, K.61g2 Versettes, K.154a20 Minuets, K.103/61d20 Piano Compositions27 Quartets3 Country Dances3 Favorite Airs3 German Dances, K.6053 Marches, K.4083 Minuets, K.3633 Quartets for Flute, Violin, Viola and Cello3 Quartets, Op.793 Quatuors pour deux violons, taille et violoncelle3 Sonates pour le Clavecin ou Pianoforte Oeuvre VI3 String Quartets, Lib.13 String Trios36 Cadenzas, K.624/626a4 Country Dances, K.101/250a4 Country Dances, K.267/271c4 Country Dances, K.269b4 German Dances, K.6024 Minuets, K.6014 Puzzle Canons, K.73r4 Sonaten für das Pianoforte4 Spiegelkanons, K.Anh.10.165 Country Dances, K.6095 Divertimentos, K.Anh.229/439b5 Solfeggios, K.393/385b5 Variations in G major, K.5015 Variations on "Salve tu Domine", K.398/416e6 Country Dances, K.462/448b6 Duets for 2 Flutes, Op.756 German Dances, K.5096 German Dances, K.5366 German Dances, K.5676 German Dances, K.5716 German Dances, K.6006 Ländlerische Tänze, K.6066 Lieder6 Minuets, K.104/61e6 Minuets, K.105/61f6 Minuets, K.164/130a6 Minuets, K.461/448a6 Minuets, K.5996 Minuets, K.61h6 Quartetti capricciosi6 Serenades for 3 Clarinets6 Tonstücke6 Variations in F major, K.546 Variations on "Hélas, j'ai perdu mon amant", K.360/374b6 Variations on "Mio caro adone", K.180/173c6 Violin Sonatas, Op.16 Violin Sonatas, Op.26 Wiener Sonatinen7 Minuets, K.61b7 Variations on "Willem von Nassau", K.258 Mélodies8 Minuets, K.315a/315g8 Variations on "Come un agnello", K.460/454a8 Variations on "Dieu d'amour", K.352/374c8 Variations on "Ein Weib ist das herrlichste Ding", K.6138 Variations on "Laat ons juichen", K.249 Country Dances, K.510/Anh.C 13.029 Stücke für Klavier, K.Anh.2079 Variations on "Lison dormait", K.264/315d9 Variations on a Minuet by Duport, K.573

A

A Berenice, K.70/61cA questo seno deh vieni, K.374Abendempfindung, K.523Abendruhe, K.Anh.C 9.10Adagio and Allegro in F minor for a mechanical organ, K. 594Adagio and Fugue in C minorAdagio and Menuett, K.Anh.34Adagio and Rondo for glass harmonica, flute, oboe, viola and celloAdagio in B minorAdagio in B minor, K.deestAdagio in B-flat major, K.411/484aAdagio in C major, K.356/617aAdagio in D minor, K.Anh.35/593aAdagio in E for Violin and OrchestraAdagio in F major, K.410/484dAdagio in F major, K.Anh.93Adagio in F major, K.Anh.94Ah se in ciel, K.538Ah, lo previdi, K.272Ah, più tremar non voglio, K.71Ah, spiegarti, o Dio, K.178/417eAl desio, di chi t'adora, K.577Alcandro, lo confesso, K.294Alcandro, lo confesso, K.512Allegro assai in B-flat major, K.Anh.95Allegro in B-flat major, K.3Allegro in B-flat major, K.372Allegro in B-flat major, K.400/372aAllegro in B-flat major, K.Anh.96Allegro in C major, K.1bAllegro in C major, K.484eAllegro in C major, K.9a/5aAllegro in C minor, K.Anh.44/426aAllegro in F major, K.1cAllegro in G major, K.357/497aAllegro in G major, K.72aAllegro in G minor, K.312/590dAlleluia in D majorAlma Dei creatoris, K.277/272aAlma grande e nobil core, K.578Als Luise die Briefe, K.520Alte Mozart-AusgabeAn Chloe, K.524An die Einsamkeit, K.391/340bAn die Freude, K.53/47eAn die Hoffnung, K.390/340cAndante in B-flat major, K.5bAndante in B-flat major, K6.384BAndante in C for Flute and OrchestraAndante in C major, K.1aAndante in F major, K.616Andante variato, K.Anh.138Andantino in E-flat major, K.236/588bApollo et HyacinthusAscanio in AlbaAusgewählte Sonatinen-SätzeAve verum corpus

B

Bassoon ConcertoBassoon Concerto in B-flat major, K.Anh.230aBasta, vincesti, K.486a/295aBastien und BastienneBella mia fiamma, K.528Benedictus sit Deus, K.117/66aBona noxBundeslied, K.623a

C

Canon for 12 Voices in G major, K.348/382gCanon for 2 Voices in C minor, K.230/382bCanon for 3 Voices in A major, K.562Canon for 3 Voices in C minor, K.229/382aCanon for 3 Voices in F major, K.507Canon for 3 Voices in F major, K.508Canon for 3 Voices in F major, K.559Canon for 3 Voices in G major, K.234/382eCanon for 4 Voices in A minor, K.555Canon for 4 Voices in B-flat major, K.558Canon for 4 Voices in B-flat major, K.562aCanon for 4 Voices in C major, K.553Canon for 4 Voices in C major, K.Anh.191/562cCanon for 4 Voices in F major, K.554Canon for 4 Voices in F major, K.560Canon for 4 Voices in F minor, K.557Canon for 4 Voices in G major, K.232/509aCanon for 4 Voices in G major, K.556Canon for 5 Voices in A major, K.73iCanon for 6 Voices in D major, K.347/382fCanons for 2 or 3 Voices, K.508aCapriccio in C major, K.395Caro mio Druck und Schluck, K.Anh.5/571aCassation in B-flat major, K.99/63aCassation in D major, K.100/62aCassation in G major, K.63Chi sà, chi sà, qual sia, K.582Ch'io mi scordi di te?, K.505Church Sonata in A major, K.225/241bChurch Sonata in B-flat major, K.212Church Sonata in B-flat major, K.68/41iChurch Sonata in C major, K.124cChurch Sonata in C major, K.263Church Sonata in C major, K.278/271eChurch Sonata in C major, K.328/317cChurch Sonata in C major, K.329/317aChurch Sonata in C major, K.336/336dChurch Sonata in D major, K.144/124aChurch Sonata in D major, K.245Church Sonata in D major, K.69/41kChurch Sonata in D major, K.Anh.65aChurch Sonata in E-flat major, K.67/41hChurch Sonata in F major, K.145/124bChurch Sonata in F major, K.224/241aChurch Sonata in G major, K.241Church Sonata in G major, K.274/271dChurch SonatasCibavit eos, K.44/73uClarice cara mia sposa, K.256Clarinet ConcertoClarinet QuintetClarinet Quintet, K.Anh.88/581aClarinet Quintet, K.Anh.90/580bClarinet Quintet, K.Anh.91Collection Complette des Oevres de PianoCollection de quintuors pour 2 violons, 2 violas et violoncelleCon ossequio, con rispetto, K.210Concert for Bassetthorn and Orchestra, K.584bConcerte für ein Blasinstrument und OrchesterConcerte für Violine und OrchesterConcerto for Flute, Harp, and OrchestraConcerto for Violin, Piano, and OrchestraConcertone in C major, K.190/186EConcertos de MozartConservati fedeleCoronation MassCosì dunque tradisci, K.432/421aCosì fan tutteCountry Dance in B-flat major, K.123/73gCountry Dance in C major, K.535Country Dance in C major, K.587Country Dance in D major, K.534Country Dance in E-flat major, K.607/605aCountry Dance in G major, K.610Country Dances for Johann Rudolf Graf Czernin, K.deest

D

Dans un bois solitaire, K.308/295bDaphne, deine Rosenwangen, K.52/46cDas Bandel, K.441Das Kinderspiel, K.598Das Lied der Trennung, K.519Das Traumbild, K.530Das VeilchenDatabase error - IMSLP: Free Sheet Music PDF Download Davide penitenteDel gran regno delle amazoni, K.434/480bDer Liebe himmlisches Gefühl, K.119/382hDer MessiasDer SchauspieldirektorDer Zauberer, K.472Des kleinen Friedrichs Geburtstag, K.529Deutsche TänzeDie Alte, K.517Die betrogene Welt, K.474Die Entführung aus dem SerailDie ihr des unermeßlichen Weltalls, K.619Die junge MozartDie kleine Spinnerin, K.531Die Mailänder QuartetteDie Maurerfreude, K.471Die Schuldigkeit des ersten GebotsDie Verschweigung, K.518Die Zufriedenheit, K.349/367aDie Zufriedenheit, K.473Dir, Seele des Weltalls, K.429/468aDite almeno, in che mancai, K.479Divertimenti for six windsDivertimento for String TrioDivertimento in B-flat major, K.137/125bDivertimento in B-flat major, K.186/159bDivertimento in B-flat major, K.240Divertimento in B-flat major, K.254Divertimento in B-flat major, K.270Divertimento in B-Flat Major, K.Anh.227Divertimento in C major, K.187/Anh.C 17.12Divertimento in C major, K.188/240bDivertimento in D major, K.131Divertimento in D major, K.136/125aDivertimento in D major, K.205/167ADivertimento in D major, K.246bDivertimento in E-flat major, K.113Divertimento in E-flat major, K.166/159dDivertimento in E-flat major, K.252/240aDivertimento in E-flat major, K.289/271gDivertimento in F major, K.138/125cDivertimento in F major, K.213Divertimento in F major, K.247Divertimento in F major, K.253Divertimento in F major, K.288Divertimento in F major, K.Anh.108Divertimento No. 11Divertimento No. 15Divertimento No. 17Dixit Dominus and Magnificat, K.193/186gDon GiovanniDouble Canon for 4 Voices, K.228/515bDue pupille amabili, K.439

E

Ecco quel fiero istante, K.436Ein deutsches Kriegslied, K.539Ein musikalischer Spaß, K.522Eine Kleine Gigue in G, K. 574Eine kleine NachtmusikEine Kleine SuiteErgo interest, K.143/73aExsultate, jubilate

F

Fantasia in C major, KV 616aFantasia in C minor, K. 475Fantasia in F minor, K.608Fantasia No. 2Fantasia, K.528a/Anh.C 27.03Fantasias and Rondos for the PianoFantasie in F minor, K.Anh.32Fantasy No. 1 with FugueFingerübungen, K.626bFlute Concerto in D major, K.314/285dFlute Concerto No. 1Flute Quartet No. 1Flute Quartet No. 2Flute Quartet No. 3Flute Quartet No. 4Fra cento affanni, K.88/73cFragment, K.Anh.47Fragment, K.Anh.48Fragment, K.Anh.50Frühlingslied, K.Anh.C 8.23Fugue in C minor, K.426Fugue in C minor, K.Anh.39/383dFugue in C minor, K.Anh.39a/626bFugue in D major, K.73wFugue in D minor, K.deestFugue in E major, K.Anh.C 27.10Fugue in E minor, K.deestFugue in E-flat major, K.153/375fFugue in E-flat major, K.deestFugue in F major, K.375hFugue in F major, K.Anh.33Fugue in G major, K.443/404bFugue in G major, K.Anh.41/375gFugue in G major, K.Anh.45/375dFugue in G minor, K.154/385kFugue in G minor, K.401/375e

G

Gallimathias musicumGavotte in B-flat major, K.300Gesellenreise, K.468God is our refugeGrabmusik, K.42/35aGrazie agl'inganni tuoi, K.532Great Mass in C minor , K. 427

H

Horn Concerto in E major, K.494aHorn Concerto in E-flat major, K.370bHorn Concerto No. 1Horn Concerto No. 2Horn Concerto No. 3Horn Concerto No. 4Horn Quintet in E-flat major, K.407/386c

I

IdomeneoIdomeneo, ballet music, K.367Ihr unsre neuen Leiter, K.484Il mio primo MozartIl re pastoreIl sogno di ScipioneIm Frühlingsanfang, K.597In te spero, o sposo, K.440/383hInter natos mulierum, K.72/74fIo ti lascio, o cara, addio, K.Anh.245/621a

K

Kegelstatt TrioKlassische Kammer-Musik für Pianoforte zu 2 Händen übertragenKleiner Trauermarsch , K. 453aKomm, liebe Zither komm, K.351/367bKommet her, ihr frechen Sünder, K.146/317bKonzertarienKyrie in C major, K.Anh.15/323Kyrie in D major, K.91/186iKyrie in D minor, K. 341Kyrie in E-flat major, K.322/296aKyrie in F major, K. 33Kyrie in G major, K.89/73k

L

La Betulia liberata, K.118/74cLa chasse, K.Anh.103/299dLa clemenza di TitoLa finta giardinieraLa finta sempliceLa Tartine de beurreLarghetto and Allegro in E-flat major, K.deestLaut verkünde unsre Freude, K.623Leck mich im ArschLeck mir den Arsch fein recht schön sauberLes petits riens, K.Anh.10/299bLied der Freiheit, K.506Litaniae de venerabili altaris sacramento, K.125Litaniae de venerabili altaris sacramento, K.243Litaniae Lauretanae, K.109/74eLitaniae Lauretanae, K.195/186dLo sposo delusoLobegesang auf die feierliche Johannisloge, K.148/125hL'oca del CairoLondon SketchbookLuci care, luci belle, K.346/439aLucio Silla

M

Ma che vi fece, K.368Mandina amabile, K.480March in B-flat major, K.384bMarch in C major, K.214March in D major, K.189/167bMarch in D major, K.215/213bMarch in D major, K.237/189cMarch in D major, K.249March in D major, K.290/167ABMarch in D major, K.445/320cMarch in F major, K.248Mass in B-flat major, K. 275Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis"Mass in C major, K. 220 "Sparrow"Mass in C major, K. 257 "Credo"Mass in C major, K. 258 "Piccolomini"Mass in C major, K. 259 "Organ solo"Mass in C major, K. 262 "Missa longa"Mass in C major, K. 337 "Solemnis"Mass in C major, K. 66 "Dominicus"Mass in C minor, K. 139 "Waisenhaus"Mass in D major, K. 194Mass in D minor, K. 65Mass in F major, K. 192Mass in G major, K. 140 "Pastoral"Mass in G major, K. 49Maurerische TrauermusikMelodie Fragment in B-flat major, K.deestMentre ti lascio, K.513Mi lagnerò tacendo, K.437Mia speranza adorata, K.416Minuet in C major, K.1fMinuet in C major, K.409/383fMinuet in D major, K.355/576bMinuet in D major, K.94/73hMinuet in E-flat major, K.122/K.73tMinuet in F major, K.168aMinuet in F major, K.1dMinuet in F major, K.2Minuet in F major, K.4Minuet in F major, K.5Minuet in F major, K.Anh.32Minuet in G major, K.1/1eMisera, dove son!, K.369Miserere in A minor, K.85/73sMisericordias Domini, K.222/205aMisero me, K.77/73eMisero! o sogno, K.431/425bMitridate, re di PontoMusik zu einer Pantomime, K.446/416dMusikalisches Würfelspiel, K.516fMüsst' ich auch durch tausend Drachen, K.435/416b

N

Nehmt meinen Dank, K.383Neue Mozart-AusgabeNo, no, che non sei capace, K.419Non più! Tutto ascoltai, K.490Notturno in D major, K.286/269aNun, liebes Weibchen, K.625/592a

O

O temerario Arbace, K.79/73dOboe ConcertoOboe Concerto in B-flat major, K.deestOboe Concerto in E-flat major, K.Anh.C 14.06Oboe Concerto in F major, K.293/416fOboe QuartetOiseaux, si tous les ans, K.307/K.284dOmbra felice, K.255Or che il dover – Tali e cotanti sonoOuverture in B-flat major, K.Anh.C 11.05OuverturenOuvertüren für 2 Pianoforte zu 8 HändenOuverturen für OrchesterOverture and 3 Country Dances, K.106/588a

P

Partitions des 10 principaux quatuors pour 2 violons, alto et violoncellePer pietà, bell'idol mio, K.78/73bPer pietà, non ricercate, K.420Per questa bella mano, K.612Piano Concerto in C major, K.Anh.65Piano Concerto No. 10Piano Concerto No. 11Piano Concerto No. 12Piano Concerto No. 13Piano Concerto No. 14Piano Concerto No. 15Piano Concerto No. 16Piano Concerto No. 17Piano Concerto No. 18Piano Concerto No. 19Piano Concerto No. 20Piano Concerto No. 21Piano Concerto No. 22Piano Concerto No. 23Piano Concerto No. 24Piano Concerto No. 25Piano Concerto No. 26Piano Concerto No. 27Piano Concerto No. 5Piano Concerto No. 6Piano Concerto No. 7Piano Concerto No. 8Piano Concerto No. 9Piano Concerto No.2 in B-flat major, K.39Piano Concerto No.3 in D major, K.40Piano Concerto No.4 in G major, K.41Piano Concertos K. 107Piano Concertos Nos. 1–4Piano Quartet No. 1Piano Quartet No. 2Piano Sonata in B-flat major, K.Anh.31/569aPiano Sonata in F major, K. 547aPiano Sonata in F major, K.Anh.29/590aPiano Sonata in F major, K.Anh.30/590bPiano Sonata in F major, K.Anh.37/590cPiano Sonata No. 1Piano Sonata No. 10Piano Sonata No. 11Piano Sonata No. 12Piano Sonata No. 13Piano Sonata No. 14Piano Sonata No. 15Piano Sonata No. 16Piano Sonata No. 17Piano Sonata No. 18Piano Sonata No. 2Piano Sonata No. 3Piano Sonata No. 4Piano Sonata No. 5Piano Sonata No. 6Piano Sonata No. 7Piano Sonata No. 8Piano Sonata No. 9Piano Trio in B-flat major, K.502Piano Trio in B-flat major, K.Anh.51/501aPiano Trio in C major, K.548Piano Trio in D minor, K.442Piano Trio in E major, K.542Piano Trio in G major, K.496Piano Trio in G major, K.564Piano Trio in G major, K.Anh.52/495aPianofortewerke zu vier HändenPiece in F for Keyboard, K. 33BPiù non si trovano, K.549Popoli di Tessaglia!Prelude, K.Anh.C 15.11Preludes and Fugues, K.404a

Q

Quaerite primum regnum Dei, K.86/73vQuartette für 2 Violinen, Viola und VioloncelloQuintet for Piano and Winds

R

Regina coeli in B-flat major, K.127Regina coeli in C major, K.108/74dRegina coeli in C major, K.276/321bRequiemRivolgete a lui lo sguardo, K.584Romance in A-flat major, K.Anh.C 27.04Rondo for Piano and Orchestra in A majorRondo for Piano and Orchestra in D majorRondo in A minorRondo in B-flat for Violin and OrchestraRondo in C for Violin and OrchestraRondo in D major, K.485Rondo in E-flat major, K.371Rondo in F major, K.494

S

Sancta Maria, K.Anh.C 3.15Sancta Maria, mater DeiScande coeli limina, K.34Schon lacht der holde Frühling, K.580Se al labbro mio non credi, K.295Se ardire, e speranza, K.82/73oSe lontan ben mio, tu sei, K.438Se tutti i mali miei, K.83/73pSehnsucht nach dem Frühling, K.596Selected String QuartetsSerenade in C minor, K.deestSerenade in D major, K.185/167aSerenade No. 10Serenade No. 11Serenade No. 12Serenade No. 4Serenade No. 5Serenade No. 6Serenade No. 7Serenade No. 9Si mostra la sorte, K.209Sinfonia Concertante for Four WindsSinfonia Concertante for Violin, Viola and OrchestraSinfonia concertante in A major, K.Anh.104/320eSketch to a Country Dance 'le mottet'Sonata for Bassoon and Cello in B-flat major, K.292/196cSonata for Piano Four-Hands in B-flat major, K.358/186cSonata for Piano Four-Hands in C major, K.521Sonata for Piano Four-Hands in D major, K.381/123aSonata for Piano Four-Hands in F major, K.497Sonata for Two Pianos in D majorSonata in C major for keyboard four-hands, K. 19dSonata in D major and Fugue in C minor for 2 PianosSonata Movement for Two Pianos, K.Anh.42/375bSonata Movement in B-flat major, K.Anh.43/375cSonaten für Pianoforte und ViolineSonaten und Variationen für Violine und KlavierSonatensatz in C major, K.deestString Duo No. 1String Duo No. 2String Quartet in A major, K.Anh.72/464aString Quartet in B-flat major, K.Anh.68/589aString Quartet in B-flat major, K.Anh.71/458bString Quartet in B-flat major, K.Anh.75/458aString Quartet in C major, K.Anh.77/385mString Quartet in C major, K.deestString Quartet in C minor, K.deestString Quartet in D minor, K.Anh.76/417cString Quartet in E minor, K.Anh.84/417dString Quartet in F major, K.Anh.73/589bString Quartet in G minor, K.Anh.74/587aString Quartet in G minor, K.deestString Quartet No. 1String Quartet No. 14String Quartet No. 15String Quartet No. 17String Quartet No. 18String Quartet No. 19String Quartet No. 20String Quartet No. 21String Quartet No. 22String Quartet No. 23String Quartet No.10 in C major, K.170String Quartet No.11 in E-flat major, K.171String Quartet No.12 in B-flat major, K.172String Quartet No.13 in D minor, K.173String Quartet No.16 in E-flat major, K.428/421bString Quartet No.2 in D major, K.155/134aString Quartet No.3 in G major, K.156/134bString Quartet No.4 in C major, K.157String Quartet No.5 in F major, K.158String Quartet No.6 in B-flat major, K.159String Quartet No.7 in E-flat major, K.160/159aString Quartet No.8 in F major, K.168String Quartet No.9 in A major, K.169String Quintet No. 1String Quintet No. 2String Quintet No. 3String Quintet No. 4String Quintet No. 5String Quintet No. 6String Quintet, K.Anh.79/515cString Quintet, K.Anh.80String Quintet, K.Anh.81/613aString Quintet, K.Anh.82/613bString Quintet, K.Anh.83/592bString Quintet, K.Anh.86/516aString Quintet, K.Anh.87/515aString Trio in G major, K.Anh.66/562eSub tuum praesidium, K.198/Anh.C 3.08Suite in C major, K.399/385iSymphonien für Pianoforte zu vier HändenSymphony No. 1Symphony No. 10Symphony No. 11Symphony No. 12Symphony No. 13Symphony No. 14Symphony No. 15Symphony No. 16Symphony No. 17Symphony No. 18Symphony No. 19Symphony No. 20Symphony No. 21Symphony No. 22Symphony No. 23Symphony No. 24Symphony No. 25Symphony No. 26Symphony No. 27Symphony No. 28Symphony No. 29Symphony No. 30Symphony No. 31Symphony No. 32Symphony No. 33Symphony No. 34Symphony No. 35Symphony No. 36Symphony No. 37Symphony No. 38Symphony No. 39Symphony No. 4Symphony No. 40Symphony No. 41Symphony No. 5Symphony No. 6Symphony No. 7Symphony No. 8Symphony No. 9Symphony No.45 in D major, K.95/73nSymphony, K. 111+120Symphony, K. 161Symphony, K. 196+121Symphony, K. 19aSymphony, K. 208+102Symphony, K. 45aSymphony, K. 45bSymphony, K. 75Symphony, K. 76Symphony, K. 81Symphony, K. 96Symphony, K. 97Symphony, K. 98

T

Tantum ergo in B-flat major, K.142/Anh.C 3.04Tantum ergo in D major, K.197/Anh.C 3.05Te Deum in C major, K.141/66bThamos, King of EgyptThe Magic FluteThe Marriage of FigaroTheme in C major, K.Anh.38/383dTrio in B-flat major, K.266/271fTrios for Piano, Violin, and CelloTrios, Quartette, Quintette, Concerte und SymphonienTwelve Variations on "Ah vous dirai-je, Maman"

U

Un bacio di mano, K.541Un moto di gioia mi sento, K.579

V

Va, dal furor portataVado, ma dove?, K.583Variations pour le PianoVeni Sancte SpiritusVenite populi, K.260/248aVerdankt sei es dem Glanz, K.392/340aVerzeichnüss aller meiner WerkeVesperae solennes de confessoreVesperae solennes de DominicaViolin Concerto No. 1Violin Concerto No. 2Violin Concerto No. 3Violin Concerto No. 4Violin Concerto No. 5Violin Concerto No. 6Violin Concerto No. 7Violin Sonata in A major, K.12Violin Sonata in A major, K.402/385eViolin Sonata in B-flat major, K.10Violin Sonata in B-flat major, K.15Violin Sonata in B-flat major, K.31Violin Sonata in B-flat major, K.378/317dViolin Sonata in B-flat major, K.8Violin Sonata in C major, K.14Violin Sonata in C major, K.28Violin Sonata in C major, K.403/385cViolin Sonata in C major, K.404/385dViolin Sonata in C major, K.46dViolin Sonata in C major, K.56/Anh.C 23.02Violin Sonata in C major, K.57/Anh.C 23.03Violin Sonata in C major, K.59/Anh.C 23.05Violin Sonata in C major, K.6Violin Sonata in D major, K.29Violin Sonata in D major, K.7Violin Sonata in E minor, K.60/Anh.C 23.06Violin Sonata in E-flat major, K.26Violin Sonata in E-flat major, K.380/374fViolin Sonata in E-flat major, K.58/Anh.C 23.04Violin Sonata in F major, K.13Violin Sonata in F major, K.30Violin Sonata in F major, K.377/374eViolin Sonata in F major, K.46eViolin Sonata in F major, K.55/Anh.C 23.01Violin Sonata in G major, K.11Violin Sonata in G major, K.27Violin Sonata in G major, K.9Violin Sonata No. 17Violin Sonata No. 18Violin Sonata No. 19Violin Sonata No. 20Violin Sonata No. 21Violin Sonata No. 22Violin Sonata No. 23Violin Sonata No. 24Violin Sonata No. 27Violin Sonata No. 32Violin Sonata No. 33Violin Sonata No. 35Violin Sonata No. 36Violin-QuintetteVoi avete un cor fedele, K.217Vorrei spiegarvi, oh Dio!

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Warnung, K.433/416cWelch ängstliches Beben, K.389/384AWie unglücklich bin ich nit, K.147/125g

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XII Petites Pièces

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ZaideZerfliesset heut', geliebte Brüder, K.483
Wikipedia
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period.
Born in Salzburg, in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in Vienna, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence on Western music is profound. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
Wolfgang Amadeus Mozart was born on 27 January 1756 to Leopold Mozart (1719–1787) and Anna Maria, née Pertl (1720–1778), at Getreidegasse 9 in Salzburg. Salzburg was the capital of the Archbishopric of Salzburg, an ecclesiastic principality in the Holy Roman Empire (today in Austria). He was the youngest of seven children, five of whom died in infancy. His elder sister was Maria Anna Mozart (1751–1829), nicknamed "Nannerl". Mozart was baptised the day after his birth, at St. Rupert's Cathedral in Salzburg. The baptismal record gives his name in Latinized form, as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself "Wolfgang Amadè Mozart" as an adult, but his name had many variants.
Leopold Mozart, a native of Augsburg, then an Imperial Free City in the Holy Roman Empire, was a minor composer and an experienced teacher. In 1743, he was appointed as fourth violinist in the musical establishment of Count Leopold Anton von Firmian, the ruling Prince-Archbishop of Salzburg. Four years later, he married Anna Maria in Salzburg. Leopold became the orchestra's deputy Kapellmeister in 1763. During the year of his son's birth, Leopold published a violin textbook, Versuch einer gründlichen Violinschule, which achieved success.
When Nannerl was 7, she began keyboard lessons with her father, while her three-year-old brother looked on. Years later, after her brother's death, she reminisced:
He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good. ... In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. ... He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. ... At the age of five, he was already composing little pieces, which he played to his father who wrote them down.
These early pieces, K. 1–5, were recorded in the Nannerl Notenbuch. There is some scholarly debate about whether Mozart was four or five years old when he created his first musical compositions, though there is little doubt that Mozart composed his first three pieces of music within a few weeks of each other: K. 1a, 1b, and 1c.
In his early years, Wolfgang's father was his only teacher. Along with music, he taught his children languages and academic subjects. Solomon notes that, while Leopold was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught. His first ink-spattered composition and his precocious efforts with the violin were of his initiative and came as a surprise to Leopold, who eventually gave up composing when his son's musical talents became evident.
While Wolfgang was young, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition in 1762 at the court of Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, spanning three and a half years, taking the family to the courts of Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During this trip, Wolfgang met many musicians and acquainted himself with the works of other composers. A particularly significant influence was Johann Christian Bach, whom he visited in London in 1764 and 1765. When he was eight years old, Mozart wrote his first symphony, most of which was probably transcribed by his father.
The family trips were often challenging, and travel conditions were primitive. They had to wait for invitations and reimbursement from the nobility, and they endured long, near-fatal illnesses far from home: first Leopold (London, summer 1764), then both children (The Hague, autumn 1765). The family again went to Vienna in late 1767 and remained there until December 1768.
After one year in Salzburg, Leopold and Wolfgang set off for Italy, leaving Anna Maria and Nannerl at home. This tour lasted from December 1769 to March 1771. As with earlier journeys, Leopold wanted to display his son's abilities as a performer and a rapidly maturing composer. Wolfgang met Josef Mysliveček and Giovanni Battista Martini in Bologna and was accepted as a member of the famous Accademia Filarmonica. In Rome, he heard Gregorio Allegri's Miserere twice in performance, in the Sistine Chapel, and wrote it out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican.
In Milan, Mozart wrote the opera Mitridate, re di Ponto (1770), which was performed with success. This led to further opera commissions. He returned with his father twice to Milan (August–December 1771; October 1772 – March 1773) for the composition and premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Leopold hoped these visits would result in a professional appointment for his son, and indeed ruling Archduke Ferdinand contemplated hiring Mozart, but owing to his mother Empress Maria Theresa's reluctance to employ "useless people", the matter was dropped and Leopold's hopes were never realized. Toward the end of the journey, Mozart wrote the solo motet Exsultate, jubilate, K. 165.
After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had many friends and admirers in Salzburg and had the opportunity to work in many genres, including symphonies, sonatas, string quartets, masses, serenades, and a few minor operas. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three—K. 216, K. 218, K. 219—are now staples of the repertoire. In 1776, he turned his efforts to piano concertos, culminating in the E♭ concerto K. 271 of early 1777, considered by critics to be a breakthrough work.
Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year; Mozart longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theatre was closed, especially since the other theatre in Salzburg was primarily reserved for visiting troupes.
Two long expeditions in search of work interrupted this long Salzburg stay. Mozart and his father visited Vienna from 14 July to 26 September 1773, and Munich from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart's opera La finta giardiniera.
In August 1777, Mozart resigned his position at Salzburg and on 23 September ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.
Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters of a musical family. There were prospects of employment in Mannheim, but they came to nothing, and Mozart left for Paris on 14 March 1778 to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment. He fell into debt and took to pawning valuables. The nadir of the visit occurred when Mozart's mother was taken ill and died on 3 July 1778. There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds. Mozart stayed with Melchior Grimm, who, as a personal secretary of the Duke d'Orléans, lived in his mansion.
While Mozart was in Paris, his father was pursuing opportunities of employment for him in Salzburg. With the support of the local nobility, Mozart was offered a post as court organist and concertmaster. The annual salary was 450 florins, but he was reluctant to accept. By that time, relations between Grimm and Mozart had cooled, and Mozart moved out. After leaving Paris in September 1778 for Strasbourg, he lingered in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she was no longer interested in him. Mozart finally returned to Salzburg on 15 January 1779 and took up his new appointment, but his discontent with Salzburg remained undiminished.
Among the better-known works which Mozart wrote on the Paris journey are the A minor piano sonata, K. 310/300d, the "Paris" Symphony (No. 31), which were performed in Paris on 12 and 18 June 1778. and the Concerto for Flute and Harp in C major, K. 299/297c.
In January 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich. The following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. For Colloredo, this was simply a matter of wanting his musical servant to be at hand (Mozart indeed was required to dine in Colloredo's establishment with the valets and cooks.) However, Mozart was planning a bigger career even as he continued in the archbishop's service; for example, he wrote to his father:
My main goal right now is to meet the emperor in some agreeable fashion, I am absolutely determined he should get to know me. I would be so happy if I could whip through my opera for him and then play a fugue or two, for that's what he likes.
Mozart did indeed soon meet the Emperor, who eventually was to support his career substantially with commissions and a part-time position.
In the same letter to his father just quoted, Mozart outlined his plans to participate as a soloist in the concerts of the Tonkünstler-Societät, a prominent benefit concert series; this plan as well came to pass after the local nobility prevailed on Colloredo to drop his opposition.
Colloredo's wish to prevent Mozart from performing outside his establishment was in other cases, however, carried through, raising the composer's anger; one example was a chance to perform before the Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary.
The quarrel with the archbishop came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted, but in a grossly insulting way: the composer was dismissed literally "with a kick in the arse", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.
The quarrel with the archbishop went harder for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Mozart's father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and of his father's demands to return. Solomon characterizes Mozart's resignation as a "revolutionary step", and it significantly altered the course of his life.
Mozart's new career in Vienna began well. He often performed as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". He also prospered as a composer, and in 1782 completed the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio"), which premiered on 16 July 1782 and achieved considerable success. The work was soon being performed "throughout German-speaking Europe", and thoroughly established Mozart's reputation as a composer.
Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet.
Aloysia, who had earlier rejected Mozart's suit, was now married to the actor and artist Joseph Lange. Mozart's interest shifted to the third Weber daughter, Constanze.
The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly separated in April 1782. Mozart faced a challenging task in getting his father's permission for the marriage. The couple were finally married on 4 August 1782 in St. Stephen's Cathedral, the day before his father's consent arrived in the mail.
The couple had six children, of whom only two survived infancy:
In 1782 and 1783, Mozart became intimately acquainted with the work of Johann Sebastian Bach and George Frideric Handel as a result of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart's study of these scores inspired compositions in Baroque style and later influenced his musical language, for example in fugal passages in Die Zauberflöte ("The Magic Flute") and the finale of Symphony No. 41.
In 1783, Mozart and his wife visited his family in Salzburg. His father and sister were cordially polite to Constanze, but the visit prompted the composition of one of Mozart's great liturgical pieces, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.
Mozart met Joseph Haydn in Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn's Opus 33 set from 1781. Haydn in 1785 told Mozart's father: "I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition."
From 1782 to 1785 Mozart mounted concerts with himself as a soloist, presenting three or four new piano concertos in each season. Since space in the theatres was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant). The concerts were very popular, and the concertos he premiered at them are still firm fixtures in the repertoire. Solomon writes that during this period, Mozart created "a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre".
With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a rather luxurious lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins. Mozart bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300. The Mozarts sent their son Karl Thomas to an expensive boarding school and kept servants. Saving was therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts were later to experience.
On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit ("Beneficence"). Freemasonry played an essential role in the remainder of Mozart's life: he attended meetings, a number of his friends were Masons, and on various occasions, he composed Masonic music, e.g. the Maurerische Trauermusik.
Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. Around the end of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera Don Giovanni, which premiered in October 1787 to acclaim in Prague, but less success in Vienna in 1788. The two are among Mozart's most famous works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty both for listeners and for performers. These developments were not witnessed by Mozart's father, who had died on 28 May 1787.
In December 1787, Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post that had fallen vacant the previous month on the death of Gluck. It was a part-time appointment, paying just 800 florins per year, and required Mozart only to compose dances for the annual balls in the Redoutensaal (see Mozart and dance). This modest income became important to Mozart when hard times arrived. Court records show that Joseph aimed to keep the esteemed composer from leaving Vienna in pursuit of better prospects.
In 1787, the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart. No reliable records survive to indicate whether the two composers ever met.
Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank. This was a difficult time for musicians in Vienna because of the Austro-Turkish War: both the general level of prosperity and the ability of the aristocracy to support music had declined.
By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund. Although it has been suggested that Mozart aimed to reduce his rental expenses, research shows that by moving to the suburb, Mozart had not reduced his expenses (as he wrote in his letter to Puchberg), but merely increased the housing space at his disposal. Mozart began to borrow money, most often from his friend and fellow mason Michael Puchberg; "a pitiful sequence of letters pleading for loans" survives. Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems his output slowed. Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, Così fan tutte, premiered in 1790.
Around this time, Mozart made some long journeys hoping to improve his fortunes: to Leipzig, Dresden, and Berlin in the spring of 1789, and Frankfurt, Mannheim, and other German cities in 1790.
Mozart's last year was, until his final illness struck, a time of high productivity—and by some accounts, one of personal recovery. He composed a great deal, including some of his most admired works: the opera The Magic Flute; the final piano concerto (K. 595 in B♭); the Clarinet Concerto K. 622; the last in his series of string quintets (K. 614 in E♭); the motet Ave verum corpus K. 618; and the unfinished Requiem K. 626.
Mozart's financial situation, a source of anxiety in 1790, finally began to improve. Although the evidence is inconclusive, it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He is thought to have benefited from the sale of dance music written in his role as Imperial chamber composer. Mozart no longer borrowed large sums from Puchberg and made a start on paying off his debts.
He experienced great satisfaction in the public success of some of his works, notably The Magic Flute (which was performed several times in the short period between its premiere and Mozart's death) and the Little Masonic Cantata K. 623, premiered on 17 November 1791.
Mozart fell ill while in Prague for the premiere, on 6 September 1791, of his opera La clemenza di Tito, which was written in that same year on commission for the Emperor's coronation festivities. He continued his professional functions for some time and conducted the premiere of The Magic Flute on 30 September. His health deteriorated on 20 November, at which point he became bedridden, suffering from swelling, pain, and vomiting.
Mozart was nursed in his final illness by his wife and her youngest sister and was attended by the family doctor, Thomas Franz Closset. He was mentally occupied with the task of finishing his Requiem, but the evidence that he dictated passages to his student Franz Xaver Süssmayr is minimal.
Mozart died in his home on 5 December 1791(1791-12-05) (aged 35) at 12:55 am. The New Grove describes his funeral:
Mozart was interred in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Otto Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.
The expression "common grave" refers to neither a communal grave nor a pauper's grave, but an individual grave for a member of the common people (i.e., not the aristocracy). Common graves were subject to excavation after ten years; the graves of aristocrats were not.
The cause of Mozart's death cannot be known with certainty. The official record has it as hitziges Frieselfieber ("severe miliary fever", referring to a rash that looks like millet seeds), more a description of the symptoms than a diagnosis. Researchers have suggested more than a hundred causes of death, including acute rheumatic fever, streptococcal infection, trichinosis, influenza, mercury poisoning, and a rare kidney ailment.
Mozart's modest funeral did not reflect his standing with the public as a composer; memorial services and concerts in Vienna and Prague were well-attended. Indeed, in the period immediately after his death, his reputation rose substantially. Solomon describes an "unprecedented wave of enthusiasm" for his work; biographies were written (first by Schlichtegroll, Niemetschek, and Nissen); and publishers vied to produce complete editions of his works.
Mozart's physical appearance was described by tenor Michael Kelly in his Reminiscences: "a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain". His early biographer Niemetschek wrote, "there was nothing special about [his] physique. ... He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox. He loved elegant clothing. Kelly remembered him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra." Based on pictures that researchers were able to find of Mozart, he seemed to wear a white wig for most of his formal occasions—researchers of the Salzburg Mozarteum declared that only one of his fourteen portraits they had found showed him without his wig. Of his voice, his wife later wrote that it "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic."
Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven's, these are mostly not preserved, as his wife sought to destroy them after his death.
Mozart lived at the center of the Viennese musical world, and knew a significant number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his elder colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart's practical jokes.
He enjoyed billiards and dancing and kept pets: a canary, a starling, a dog, and a horse for recreational riding. He had a startling fondness for scatological humour, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, and in his correspondence with his sister and parents. Mozart also wrote scatological music, a series of canons that he sang with his friends.
Mozart was raised a Roman Catholic and remained a devout member of the church throughout his life.
Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the style galant, a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, as well as dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491; the Symphony No. 40 in G minor, K. 550; and the opera Don Giovanni. Charles Rosen makes the point forcefully:
It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous.
During his last decade, Mozart frequently exploited chromatic harmony. A notable instance is his String Quartet in C major, K. 465 (1785), whose introduction abounds in chromatic suspensions, giving rise to the work's nickname, the "Dissonance" quartet.
Mozart had a gift for absorbing and adapting the valuable features of others' music. His travels helped in the forging of a unique compositional language. In London as a child, he met J. C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy, he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J. C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.
As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.
Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as The Marriage of Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is the most famous example by any composer. In his later operas, he employed subtle changes in instrumentation, orchestral texture, and tone colour, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions._116-0" class="reference"[108]
Mozart's most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably Johann Nepomuk Hummel, a transitional figure between the Classical and Romantic eras. More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of classical musicians' training.
Ludwig van Beethoven, Mozart's junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have performed Mozart's operas while playing in the court orchestra at Bonn and travelled to Vienna in 1787 hoping to study with the older composer. Some of Beethoven's works have direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart's D minor piano concerto K. 466. For further details, see Mozart and Beethoven.
Composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46). Others include Fernando Sor's Introduction and Variations on a Theme by Mozart (1821), Mikhail Glinka's Variations on a Theme from Mozart's Opera "Die Zauberflöte" (1822), Frédéric Chopin's Variations on "Là ci darem la mano" from Don Giovanni (1827), and Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331.
Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G, Mozartiana (1887), as a tribute to Mozart.
For unambiguous identification of works by Mozart, a Köchel catalogue number is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation "K." or "KV" followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works.
Although some Mozart’s early pieces were written for harpsichord, he also got acquainted in his early years with pianos made by Regensburg builder Franz Jakob Späth [de]. Later when Mozart was visiting Augsburg, he got impressed by Stein pianos and shared this in a letter to his father. On October 22, 1777 Mozart had premiered his triple-piano concerto (K.242) on instruments provided by Stein. The Augsburg Cathedral organist Demmler was playing the first, Mozart the second and Stein the third part. In 1783 when living in Vienna he purchased an instrument by Walter. Leopold Mozart confirmed the attachment which Mozart had with his Walter fortepiano: “It is impossible to describe the hustle and bustle. Your brother’s pianoforte has been moved at least twelve times from his house to the theatre or to someone else’s house.”