Johann Chrysostom Wolfgang Amadeus Mozart was a prolific and influential composer of the Classical era. His over 600 compositions include works widely acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. Mozart is among the most enduringly popular of classical composers, and many of his works are part of the standard concert repertoire.

Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart in Getreidegasse 9 in Salzburg, the capital of the sovereign Archbishopric of Salzburg, in what is now Austria, then part of the Holy Roman Empire. His only sibling who survived past birth was his sister Maria Anna (1751–1829), called "Nannerl". Wolfgang was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. Mozart generally called himself "Wolfgang Amadè Mozart"[2] as an adult, but there were many variants.

Mozart's father Leopold Mozart (1719–1787) was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg and a minor composer. He was also an experienced teacher; in the year of Mozart's birth he published a successful violin textbook, Versuch einer gründlichen Violinschule.

When Nannerl was seven, Leopold began giving her keyboard lessons. The three-year old Mozart looked on, evidently with fascination: his sister later recorded that at this age "he often spent much time at the clavier [keyboard], picking out thirds, [...] and his pleasure showed it sounded good [to him]."[3] Nannerl continued: "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."[3] Among them were the Andante (K. 1a) and Allegro in C (K. 1b).

Biographer Maynard Solomon[4] notes that while Leopold was a very devoted teacher to his children, there is evidence that Wolfgang was motivated to make progress even beyond what his father was teaching him. His first independent (and ink-spattered) composition, and his initial ability to play the violin, were both his own doing and were a great surprise to Leopold. The father and son seem to have been close; both of the precocious episodes just mentioned brought tears to Leopold's eyes.[5]

Leopold eventually gave up composing when his son's outstanding musical talents became evident.[6] He was Wolfgang's only teacher in his earliest years. He taught his children languages and academic subjects as well as music.[4]

During Mozart's formative years, his family made several European journeys in which the children were exhibited as child prodigies. These began with an exhibition in 1762 at the Court of the Elector of Bavaria in Munich, then in the same year at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and back home via Zürich, Donaueschingen, and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann Christian Bach, who met Mozart in London in 1764–65. The family again went to Vienna in late 1767 and remained there until December 1768.

These trips were often arduous, because of the primitive conditions of travel at that time,[8] the need to wait patiently for invitations and reimbursement from the nobility,[9] and long, near-fatal illnesses endured far from home: first Leopold (London, summer 1764)[10] then the two children (The Hague, fall 1765)[11]

After one year in Salzburg, Leopold and Wolfgang left for Italy, leaving Wolfgang's mother and sister at home. This journey took from December 1769 to March 1771, and like earlier journeys had the purpose of displaying the now-teenaged Mozart's abilities as a performer and as a rapidly maturing composer. Mozart met G.B. Martini in Bologna, and was accepted as a member of the famous Accademia Filarmonica. In Rome he heard Gregorio Allegri's Miserere once in performance in the Sistine Chapel then wrote it out in its entirety from memory, only returning to correct minor errors; thus producing the first illegal copy of this closely-guarded property of the Vatican.

In Milan, Mozart wrote the opera Mitridate Rè di Ponto (1770), performed with success. This led to further opera commissions, and Wolfgang and Leopold returned twice from Salzburg 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 in Italy, but these hopes were never fulfilled.[12]

Toward the end of the final Italian journey Mozart wrote the first of his works that is still widely performed today, the solo cantata "Exsultate, jubilate", K. 165.

Following his final return with his father from Italy (13 March 1773), Mozart was employed as a court musician by the ruler of Salzburg Prince-Archbishop Hieronymus Colloredo. Mozart was a favorite son in Salzburg, where he had a great number of friends and admirers,[13] and he had the opportunity to compose in many genres, including symphonies, sonatas, string quartets, serenades, and the occasional opera. Some of the works he produced during this early period are widely performed today. For instance, during the period between April and December of 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), steadily increasing in their musical sophistication. The last three (K. 216, K. 218, K. 219) are now staples of the repertoire. In 1776 he produced a series of piano concertos, culminating in the E flat concerto K. 271 of early 1777, considered by critics to be a breakthrough work.[14]

Despite these artistic successes, Mozart gradually grew more discontented with Salzburg and made increasingly strenuous efforts to find a position elsewhere. The reason seems to be in part his low salary, 150 florins per year.[15] In addition, Mozart longed to compose operas, and Salzburg provided at best rare occasions for opera productions. The situation became worse in 1775 when the court theater was closed, and the other theater in Salzburg was largely reserved for visiting troupes.[16]

Two long job-hunting expeditions interrupted this long Salzburg stay: Wolfgang and Leopold (they were both looking) 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.[17]

In August 1777, Mozart resigned his Salzburg position[18] and embarked (23 September) on yet another job-hunting tour, with visits to Augsburg, Mannheim, Paris, and Munich.[19] Since Archbishop Colloredo would not give Leopold leave to travel, Mozart's mother Anna Maria was assigned to accompany him.

In Mannheim Mozart became acquainted with members of the Mannheim orchestra, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters in a musical family. There were some prospects of employment in Mannheim, but eventually they failed to pan out, and Mozart left for Paris (14 March 1778)[20] in order to continue his search. His luck there was hardly better; one of his letters home indicates what may have been a job offer as organist at Versailles, but it was a job Mozart did not want.[21] He eventually fell into debt and took to pawning valuables.[22] The nadir of the visit occurred when Mozart's mother took ill and died (23 June 1778);[23] There had been delays in calling a doctor, which Halliwell speculates may have been due to lack of funds.[24]

While Wolfgang was in Paris Leopold was energetically pursuing opportunities for him back home in Salzburg,[25] and with the support of the local nobility obtained a better post for him, as court organist and concertmaster, at a pay of 450 florins.[26] However, Wolfgang was reluctant to take up this position,[27] and after departing from Paris (26 September 1778) he tarried in Mannheim, then Munich, still hoping to find a job outside Salzburg. In Munich he encountered Aloysia again, now a very successful singer, who made it plain to Mozart that she was no longer interested in him.[28]

Mozart finally reached home on 15 January 1779 and took up his new position. His discontent with Salzburg continued.

Among the better known works that Mozart wrote on the Paris journey are the A minor piano sonata, K. 310/300d, from 1778; and the "Paris" Symphony (no. 31), performed in Paris on the 128th of June, 1778.[29]

In January 1781, Mozart's opera Idomeneo, premiered with "considerable success" (New Grove) in Munich. The following March, the composer was summoned to Vienna, where his employer, Prince-Archbishop Colloredo of Salzburg, was attending the celebrations for the installation of the Emperor Joseph II. Mozart, who had just experienced success in Munich, was offended when Colloredo treated him as a mere servant, and particularly when the Archbishop forbade him to perform before the Emperor at Countess Thun's (for a fee that would have been fully half of his Salzburg salary). In May the resulting quarrel intensified: Mozart attempted to resign, and was refused. The following month, however, the delayed permission was granted, but in a grossly insulting way: Mozart was dismissed literally "with a kick in the ass", administered by the Archbishop's steward, Count Arco. In the meantime, Mozart had been noticing opportunities to earn a good living in Vienna, and he felt he ought to settle there and develop his own freelance career.[30]

The quarrel with the Archbishop was made harder for Mozart by the fact that his father took the Archbishop's side: hoping fervently that his son would come home when Colloredo returned, his father exchanged emotionally intense letters with Wolfgang, urging him to reconcile with their employer. Wolfgang passionately defended his intention to pursue his career alone in Vienna. The debate ended when Mozart was dismissed, freeing himself both of his oppressive employer and of his father's demands to return. Solomon thus characterizes Mozart's resignation as a "revolutionary step," and it greatly altered the course of his future life.[31]


Mozart's new career in Vienna began very well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi, 24 December 1781,[30] and according to the New Grove, he soon "had established himself as the finest keyboard player in Vienna."[30] Mozart also prospered as a composer: during 1781–1782 he wrote the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio"), which premiered 16 July 1782 and achieved a huge success. The work was soon being performed "throughout German-speaking Europe",[30] and fully established Mozart's reputation as a composer.

Near the height of his quarrels with Archbishop Colloredo, Mozart moved in (1 May or 2 May 1781) 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.[32] Aloysia, who had earlier rejected Mozart's suit, was now married to the actor Joseph Lange, and Mozart's interest shifted to the third daughter, Constanze. The couple were married, with father Leopold's "grudging consent" (New Grove), on 4 August 1782.[33] They had six children, of whom only two survived infancy: Karl Thomas (1784–1858) and Franz Xaver Wolfgang (1791–1844; later a minor composer himself).

During 1782–1783, Mozart became closely acquainted with the work of J. S. Bach and G.F. Handel as a result of the influence of Baron Gottfried van Swieten, who owned many manuscripts of works by the Baroque masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language, for example the fugal passages in Die Zauberflöte ("The Magic Flute"), and in the finale of Symphony No. 41.

In 1783, Wolfgang and Constanze visited Wolfgang's family in Salzburg, but the visit was not a success, as Leopold and Nannerl were, at best, only polite to Constanze. However, the visit sparked the composition of one of Mozart's great liturgical pieces, the Mass in C Minor, which, though not completed, was premiered in Salzburg. Constanze sang in the premiere.[34]

Following his move to Vienna, Mozart met Joseph Haydn and the two composers became friends; see Haydn and Mozart. 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 1782–85, and are often judged to be his response to Haydn's Opus 33 set from 1781. Haydn stood in awe of Mozart; when he first heard the last three of Mozart's series, he told the visiting Leopold, "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition."

During the years 1782–1785, Mozart put on a series of concerts in which he appeared as soloist in his own piano concertos. He wrote three or four concertos for each concert season, and since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof, an apartment building; and the ballroom of the Mehlgrube, a restaurant.[35] The concerts were very popular, and the concertos Mozart composed for them are considered among his finest works. 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".[35]

With the substantial money Mozart earned in his concerts and elsewhere, he and Constanze adopted a rather plush lifestyle. They moved to an expensive apartment, with a rent of 460 florins.[36] Mozart also bought a fine fortepiano from Anton Walter for about 900 florins, and a billiards table for about 300.[36] The Mozarts also sent their son Karl Thomas to an expensive boarding school[37][38] and kept servants. These choices inhibited saving, and were the partial cause of a stressful financial situation for the Mozart family a few years later.[39][40]

On 14 December 1784, Mozart became a Freemason, admitted to the lodge "Zur Wohltätigkeit" ("Beneficence").[41] Freemasonry played an important role in the remainder of Mozart's life; he attended many meetings, a number of his friends were Masons, and on various occasions he composed Masonic music.

Despite the great success of Die Entführung aus dem Serail, Mozart did little writing of operas during the years that followed it, 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. However, around the end of 1785, Mozart reshifted his focus again. He ceased to write piano concertos on a regular basis,[42] and began his famous operatic collaboration with the librettist Lorenzo da Ponte. 1786 saw the Vienna premiere of The Marriage of Figaro, which was quite successful in Vienna and even more so in a Prague production later the same year. The Prague success led to a commission for a second Mozart-Da Ponte opera, Don Giovanni, which premiered 1787 to acclaim in Prague and was also produced, with some success, in Vienna in 1788. Both operas are considered among Mozart's most important works and are mainstays of the operatic repertoire today; their musical complexity caused difficulty for both listeners and performers alike at their premieres.

In December 1787 Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post vacated the previous month when Gluck died. It was a part-time job, however. It paid only 800 florins per year, and merely required Mozart to compose dances for the annual balls in the Redoutensaal. Mozart complained to Constanze that the pay was "too much for what I do, too little for what I could do".[43] However, even this much proved important to Mozart later on when hard times arrived. Court records show that Joseph's intent was explicitly to help make sure that Mozart, whom he esteemed, did not leave Vienna to seek better prospects elsewhere.[43]

In 1787, the young Ludwig van Beethoven traveled to Vienna for two weeks in hopes of studying with Mozart. The evidence for what happened during this visit is conflicting, and at least three hypotheses are in play: that Mozart heard Beethoven play and praised him, that Mozart rejected Beethoven as a student, and that they never even met.

Toward the end of the decade, Mozart's career declined.

Around 1786 he had ceased to appear frequently in public concerts, and his income dropped.[44] This was in general a difficult time for musicians in Vienna because Austria was at war, and both the general level of prosperity and the ability of the aristocracy to support music had declined.[45]

By mid-1788, Mozart and his family moved from central Vienna to cheaper lodgings in the suburb of Alsergrund.[44] Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg; "a dismal series of begging letters" (New Grove) survives. Maynard Solomon and others have suggested that Mozart suffered from depression at this time, and it seems his output rate sank somewhat.[46] The major works of the period include the last three symphonies (1788: 39, 40, 41; it is not certain whether these were performed in Mozart's lifetime), and the last of the three Da Ponte operas, Cosi fan tutte, premiered 1790.

During this time Mozart made long journeys hoping to improve his fortunes: a visit in spring of 1789 to Leipzig, Dresden, and Berlin, and a 1790 visit to Frankfurt, Mannheim, and other German cities. The trips produced only isolated success and did not solve Mozart's financial problems.

Mozart's last year was, until his final illness struck, one of great productivity and (in the view of Maynard Solomon) personal recovery.[47] During this time Mozart wrote a great deal of music, including some of his most admired works: the opera The Magic Flute, the final piano concerto (K. 595 in B flat), the Clarinet Concerto K. 622, the last in his great series of string quintets (K. 614 in E flat), the motet Ave verum corpus K. 618, and the unfinished Requiem K. 626.

Mozart's financial situation, which in 1790 was the source of extreme anxiety to him, also began to improve. Although the evidence is uncertain[48] it appears that admiring wealthy patrons in Hungary and in Amsterdam pledged annuities to Mozart, in return for the occasional composition. Mozart also probably made considerable money from the sale of dance music that he wrote for his job as Imperial chamber composer.[48] He ceased to borrow large sums from Puchberg and made a start on paying off his debts.[48]

Lastly, Mozart experienced great satisfaction in the public success of some his works, notably The Magic Flute (performed many times even during the short period between its premiere and Mozart's death)[49] and the Little Masonic Cantata K. 623, premiered 15 November 1791.[50]

Mozart fell ill while in Prague, for the 6 September premiere of his opera La clemenza di Tito, written in 1791 on commission for the coronation festivities of the Emperor.[51] He was able to continue his professional functions for some time, for instance conducting the premiere of The Magic Flute on 30 September. The illness intensified on 20 November, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.

Mozart was tended in his final illness by Constanze, her youngest sister Sophie, and the family doctor, Thomas Franz Closset. There is evidence that he was mentally occupied with the task of finishing his Requiem. However, the evidence that he actually dictated passages to Süssmayr is very slim.[52][53]

Mozart died at 1 in the morning on 5 December. The New Grove describes his funeral thus: "Mozart was buried 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 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."[44]

The cause of Mozart's death cannot be determined with certainty. His death record listed "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment. The practice of bleeding medical patients, common at that time, is also cited as a contributing cause. However, the most widely accepted version is that he died of acute rheumatic fever; he had had three or even four known attacks of it since his childhood, and this particular disease has a tendency to recur, leaving increasingly serious consequences each time, such as rampant infection and heart valve damage.[54]

Mozart's spare funeral did not reflect his standing with the public as a composer: memorial services and concerts in Vienna and Prague were well attended.[55] Indeed, during the period following his death, Mozart's musical reputation rose substantially; Solomon describes an "unprecedented wave of enthusiasm"[56] for his work. Biographies were written (initially by Schlichtegroll, Niemetschek, and Nissen), and publishers vied to produce complete editions of his works.[56]

Mozart's physical appearance was described by tenor Michael Kelly, in his Reminiscences: "a remarkable 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". Of his voice Constanze 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."[57]

Mozart worked very hard, a great deal of the time, and finished works where necessary at a tremendous pace. When composing he often made sketches and drafts, though (unlike Beethoven's sketches) these are mostly not preserved, Constanze having destroyed them after his death.[58]

Mozart also enjoyed billiards and liked dancing. He kept pets (a canary, a starling and a dog), and kept a horse for recreational riding.[59]

He was raised Roman Catholic and remained a loyal member of the Catholic Church throughout his life.[60]

Mozart lived at the center of Viennese musical life, and knew a great number of people, including not just his fellow musicians, but also theatrical performers, fellow transplanted Salzburgers, and many aristocrats, including a fairly close acquaintance with the Emperor, Joseph II. Mozart had a considerable number of friends, of whom Solomon estimates the three closest were Gottfried Janequin, Count August Hatzfeld, and Sigmund Barisani. Others included the singers Franz Xaver Gerl and Benedikt Schack, Haydn (mentioned above), 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.[61]

Particularly in his youth, Mozart had a striking fondness for scatological and sexual humor, which is preserved in his many surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, but also in his correspondence with his sister Nannerl.[62] Mozart even wrote scatological music, the canon "Leck mich im Arsch" (literally "Lick me in the arse", sometimes idiomatically translated "Kiss my arse" or "Get stuffed") K. 231.

Mozart's music, like Haydn's, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the style galant to one that began to incorporate some of the contrapuntal complexities of the late Baroque, complexities against which the galant style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including masses; and he composed many dances, divertimenti, serenades, and other forms of light entertainment.

The central traits of the classical style can be identified in Mozart's music. Clarity, balance, and transparency are hallmarks of his work. A more simplistic notion of the delicacy of his music obscures the exceptional power of some 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 has written (1997): "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." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonance" Quartet, K. 465 rapidly explodes a shallow understanding of Mozart's style as light and pleasant.

From an early age, Mozart had a gift for imitating the music he heard. His travels provided him with a rare collection of experiences from which to create his unique compositional language. In London as a child, he met J.C. Bach and heard his music. In Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the Mannheim orchestra. In Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures.[63] This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. 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 commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from Baroque music's Phrygian style, especially J. S. Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar.

As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses 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 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 to come, is evident in some of the music of both composers at that time. Mozart's Symphony No. 25 in G minor, K. 183 is another excellent example of this style.

Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by a composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.[64]

Mozart's most famous pupil was probably Johann Nepomuk Hummel, a transitional figure between Classical and Romantic eras whom the Mozarts took into their Vienna home for two years as a child during his studies.[65]

More important is the influence Mozart influenced on later composers through the example of his works. Follow the surge in his reputation after his death, the study of works by Mozart became part of the training of every classical musician, and has been ever since.

Ludwig van Beethoven, whose life overlapped with Mozart's, seems to have been particularly strongly influenced by him. Beethoven became closely acquainted with Mozart's work as a teenager (he is thought to have played Mozart's operas in the court orchestra in Bonn).[66] He traveled to Vienna in 1787 in the hope (unfulfilled) of studying with Mozart. It is thought that some of Beethoven's works have direct models in comparable works by Mozart. Beethoven also wrote cadenzas (WoO 58) to Mozart's D minor piano concerto K. 466.

A number of 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 Frédéric Chopin's variations for solo piano 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.[67] Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G "Mozartiana" (1887) in tribute to Mozart.

The first major works of literature inspired by Mozart were by the German writers E. T. A. Hoffmann and Eduard Mörike. Hoffmann published his "Don Juan" in 1812, Mörike his "Mozart's Journey to Prague" in 1856. Mozart also appears in Hermann Hesse's novel Der Steppenwolf.

In modern fiction, the mystery surrounding the composer's death is explored within a popular thriller context in the 2008 novel The Mozart Conspiracy by British writer Scott Mariani, who departs from the established Salieri-poisoning theory to suggest a deeper political motive behind his death.

Aleksandr Pushkin's play Mozart and Salieri is based on the supposed rivalry between Mozart and Antonio Salieri, particularly the idea that it was poison received from the latter that caused Mozart's death. This idea is not supported by modern scholarship[1].

Peter Shaffer's play Amadeus focuses on the difference between true and sublime genius (Mozart) and mere high-quality craftsmanship. Shaffer seems to have been especially taken by the contrast between Mozart's enjoyment of vulgarity (for historical evidence exists, in the form of his letters to his cousin) and the sublime character of his music. The scene in Shaffer's work in which Mozart dictates music to Salieri on his deathbed is entirely an author's fancy; for the question of whether Mozart did any dictation on his deathbed at all. Shaffer's play was subsequently made into a film version.

In 2007, he was portrayed by John Sessions in the Doctor Who audio adventure 100 in a story that explored the ramifications of Mozart being granted immortality.

Nicolai Rimsky-Korsakov's opera Mozart and Salieri, based on Pushkin's play, treats the Salieri poisoning legend.

Children's author Daniel Pinkwater has Mozart appear as a character in several of his books, including The Muffin Fiend, in which Mozart helps solve a crime involving an extra-terrestrial creature who steals muffins from Vienna's bakeries.

For purposes of careful identification of works by Mozart, the Köchel catalogue number is used. This is a unique number assigned (on a chronological basis) to every known work by Mozart. The first edition of the Köchel catalogue was completed in 1862 by Ludwig von Köchel. It has repeatedly been updated since then, as scholarly research improves our knowledge of the dates and authenticity of individual works.

1 Mozart's exact name involved many complications; for details see Mozart's name. 2 Deutsch 1965, p. 9 3 a b Deutsch 1965, pp. 454–462 4 a b Solomon 1995, pp. 39–40 5 Deutsch 1965, pp. 452–453 6 Solomon 1995, p. 33 7 Solomon 1995, p. 44 8 Halliwell 1998, pp. 51, 53 9 Halliwell 1998, pp. 47-48 10 Halliwell 1998, pp. 82-83 11 Halliwell 1998, pp. 99-102 12 Halliwell 1998, p. 172, pp. 183-185 13 Solomon 1995, p. 106 14 Solomon 1995, p. 103 15 Solomon 1995, p. 98 16 Solomon 1995, p. 107 17 Solomon 1995, p. 109 18 Archbishop Colloredo responded to the request by dismissing both Wolfgang and Leopold, though the dismissal of the latter was not actually carried out. See Halliwell 1998, 225. 19 Rushton (1992) 20 Deutsch 1965, p. 174 21 Solomon 1995, p. 149 22 Halliwell 1998, pp. 304-305 23 Rushton 1992, p. 3

24 Halliwell 1998, p. 305 25 For details see Halliwell 1998, chs. 18-19. 26 Solomon 1995, p. 157 27 See, e.g. Halliwell 1998, p. 322 28 Rushton 1992, §3 29 Deutsch 1965, p. 176 30 a b c d Rushton 1992, §4 31 Solomon 1995, p. 247 32 Solomon 1995, p. 253 33 Solomon 1995, §16 34 Solomon 1995, p. 270 35 a b Solomon 1995, p. 293 36 a b Solomon 1995, p. 298 37 Solomon 1995, p. 430 38 Solomon 1995, p. 578 39 Solomon 1995, §27 40 Solomon 1995, p. 431 41 Solomon 1995, p. 321 42 Solomon 1995 43 a b Solomon 1995, pp. 423–424 44 a b c Rushton 1992, §6 45 Solomon 1995 46 Steptoe 1988, p. 208 47 Solomon 1995, §30 48 a b c Solomon 1995, p. 477 49 Solomon 1995, p. 487

50 Solomon 1995, p. 490 51 Solomon 1995, p. 485 52 Solomon 1995, p. 493 53 Solomon 1995, p. 588 54 Solomon 1995, p. 491 55 Solomon 1995, p. 499 56 a b Solomon 1995, p. 499 57 Solomon 1995, p. 308 58 Solomon 1995, p. 310 59 Solomon 1995, p. 319 60 Allen, John (2006-09-01). "Mozart: Catholic, Master Mason, favorite of the pope", National Catholic Reporter. Retrieved on 2007-11-10. 61 Solomon 1995, §20 62 Solomon 1995, p. 169 63 Heartz, Daniel (2003). Music in European Capitals: The Galant Style, 1720–1780. W. W. Norton & Company. ISBN 0393050807. 64 Einstein, Alfred (1965-12-31). Mozart: His Character, His Work. Oxford University Press. ISBN 0195007328. 65 Solomon 1995, p. 574 66 "Mozart, Mozart's Magic Flute and Beethoven". Raptus Association. 67 March, Ivan (2006-01-03). The Penguin Guide to Compact Discs and DVDs 2005/06 Edition. Penguin Books. ISBN 0141022620.

• Deutsch, Otto Erich (1966) Mozart: A Documentary Biography, Stanford University Press, ISBN 0804702330.
• Halliwell, Ruth (1998) The Mozart Family: Four Lives in a Social Context, Oxford: Oxford University Press, ISBN 0198163711.
• Rushton, Julian (1998) New Grove Dictionary of Opera, London: Grove Publications, ISBN 0-333-73432-7 .
• Solomon, Maynard (1996) Mozart: A Life, Harper Perennial, ISBN 0060926929.
• Steptoe, Andrew (1990) The Mozart-da Ponte Operas, Oxford: Oxford University Press, ISBN 0198162219.

• Cairns, David (2006) Mozart and His Operas, University of California Press, ISBN 0520228987.
• Eisen, Cliff (2006) The Cambridge Mozart Encyclopedia, Cambridge University Press, ISBN 0521856590.
• Gutman, Robert W. (2000), Mozart: A Cultural Biography, Harvest Books, ISBN 0156011719,
• Rosen, Charles (1998) The Classical Style: Haydn, Mozart, Beethoven, W. W. Norton & Company, ISBN 0393317129.
• Till, Nicholas (1994) Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas, W. W. Norton & Company, ISBN 0393313956.

Wolfgang Amadeus Mozart was prolific and wrote in many genres. Perhaps his best-admired work is in opera, the piano concerto, the symphony, and in the string quartet and string quintet. Mozart also wrote much work for solo piano, other forms of chamber music, masses and other religious music, and endless dances, divertimentos, and other forms of light entertainment.

• The indication "K." or KV refers to "Köchel (Verzeichnis)", i.e. the (more or less) chronological (i.e. by composition date) catalog of Mozart's works by Ludwig von Köchel. Note that this catalog has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 25). A version of the Köchel catalog can be found here and here.
• The compositions of Mozart listed below are grouped thematically, i.e. by type of composition. Not all thematic groups of Mozart's works have a separate numbering that is generally accepted: Köchel only numbers Symphonies (1 to 41); Piano concertos (1 to 27, leaving out some early transcriptions by Mozart) and a few other groups. On the other hand, for string quartets, most chamber music and vocal music there is no such numbering (or at least no general accepted one).
• Only relatively few of Mozart's compositions have Opus numbers, as not so many of his compositions were published during his lifetime, so numbering by Opus number proves quite impractical for Mozart compositions.

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

Childhood symphonies (1764-1771)
These are the numbered symphonies from Mozart's early childhood. It should be noted that there are also a fair amount of unnumbered symphonies from this time period.

• Symphony No. 1 in E-flat major, K. 16
• Symphony No. 2 in B-flat major, K. 17 (spurious)
• Symphony No. 3 in E-flat major, K. 18 (spurious, by Abel)
• Symphony No. 4 in D major, K. 19
• Symphony No. 5 in B-flat major, K. 22
• Symphony No. 6 in F major, K. 43
• Symphony No. 7 in D major, K. 45
• Symphony No. 8 in D major, K. 48
• Symphony No. 9 in C major, K. 73
• Symphony No. 10 in G major, K. 74
• Symphony No. 11 in D major, K. 84
• Symphony No. 12 in G major, K. 110
• Symphony No. 13 in F major, K. 112

Salzburg-era symphonies (1771-1781)
These symphonies are sometimes subcategorized as "Early" (1771-1773) and "Late" (1773-1775), and sometimes subcategorized as "Germanic" (with minuet) or "Italian" (without minuet). None of these were printed during Mozart's lifetime.

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

• Symphony No. 14 in A major, K. 114 (1771)
• Symphony No. 15 in G major, K. 124 (1772)
• Symphony No. 16 in C major, K. 128 (1772)
• Symphony No. 17 in G major, K. 129 (1772)
• Symphony No. 18 in F major, K. 130 (1772)
• Symphony No. 19 in E-flat major, K. 132 (1772)
• Symphony No. 20 in D major, K. 133 (1772)
• Symphony No. 21 in A major, K. 134 (1772)
• Symphony No. 22 in C major, K. 162 (1773)
• Symphony No. 23 in D major, K. 181 (1773)
• Symphony No. 24 in B-flat major, K. 182 (1773)
• Symphony No. 25 in G minor, K. 183 (173d B) (1773)
• Symphony No. 26 in E-flat major, K. 184 (1773)
• Symphony No. 27 in G major, K. 199 (1773)
• Symphony No. 28 in C major, K. 200 (1774)
• Symphony No. 29 in A major, K. 201 (1774)
• Symphony No. 30 in D major, K. 202 (1774)

Late symphonies (1781-1791)

• Symphony No. 31 "Paris" in D major, K. 297 (K. 300a) (1778)
• Symphony No. 32 "Overture in the Italian style" in G major, K. 318 (1779)
• Symphony No. 33 in B-flat major, K. 319 (1779)
• Symphony No. 34 in C major, K. 338 (1780)
• Symphony No. 35 "Haffner" in D major, K. 385 (1782)
• Symphony No. 36 "Linz" in C major, K. 425 (1783)
• Symphony No. 37 in G major, K. 444 (1783)
  
  For years this was categorized as a Mozart symphony, but later scholarship determined that it was actually composed by Michael Haydn (Symphony No. 25), and Mozart wrote only the slow introduction for it.
  
• Symphony No. 38 "Prague" in D major, K. 504 (1786)
  
  The three final symphonies (Nos. 39-41) were completed in about three months in 1788. It is quite likely that he hoped to publish these three works together as a single opus, although actually they remained unpublished until after his death. One or two of them might have been played in public in Leipzig in 1789.
  
• Symphony No. 39 in E flat major, K. 543 (1788)
• Symphony No. 40 in G minor, K. 550 (1788)
• Symphony No. 41 "Jupiter" in C major, K. 551 (1788)

Piano concertos
Mozart's production for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works (Piano Concertos Nos 1-4 (Mozart)). The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C.P.E. Bach). Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.

• Piano Concerto No. 1 in F major, K. 37
• Piano Concerto No. 2 in B flat major, K. 39
• Piano Concerto No. 3 in D major, K. 40
• Piano Concerto No. 4 in G major, K. 41
• Piano Concerto No. 5 in D major, K. 175
• Piano Concerto No. 6 in B flat major, K. 238
• Piano Concerto No. 7 in F major for Three Pianos, K. 242
• Piano Concerto No. 8 "Lützow" in C major, K. 246
• Piano Concerto No. 9 "Jeunehomme" in E flat major, K. 271
• Piano Concerto No. 10 in E flat major for Two Pianos, K. 365
• Piano Concerto No. 11 in F major, K. 413/387a
• Piano Concerto No. 12 in A major, K. 414/385p
• Piano Concerto No. 13 in C major, K. 415/387b
• Piano Concerto No. 14 in E flat major, K. 449
• Piano Concerto No. 15 in B flat major, K. 450
• Piano Concerto No. 16 in D major, K. 451
• Piano Concerto No. 17 in G major, K. 453
• Piano Concerto No. 18 in B flat major, K. 456
• Piano Concerto No. 19 in F major, K. 459
• Piano Concerto No. 20 in D minor, K. 466
• Piano Concerto No. 21 in C major, K. 467
• Piano Concerto No. 22 in E flat major, K. 482
• Piano Concerto No. 23 in A major, K. 488
• Piano Concerto No. 24 in C minor, K. 491
• Piano Concerto No. 25 in C major, K. 503
• Piano Concerto No. 26 "Coronation" in D major, K. 537
• Piano Concerto No. 27 in B flat major, K. 595

Violin concertos
Mozart's five violin concertos were written in Salzburg around 1775. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart probably never went through all the violin possibilities like others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto–like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)

• Violin Concerto No. 1 in B flat major, K. 207 (1775)
• Violin Concerto No. 2 in D major, K. 211 (1775)
• Violin Concerto No. 3 in G major, K. 216 (1775)
• Violin Concerto No. 4 in D major, K. 218 (1775)
• Violin Concerto No. 5 in A major, K. 219 (1775)
• Violin Concerto in E flat major, K. 268 (1780) (Doubtful)
• Violin Concerto in D major, K. 271a Kolb (1777) (Doubtful)

Horn concertos
Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. They were written for Mozart's lifelong friend Joseph Leutgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities on the valveless horns of Mozart's day.

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

• Horn Concerto No. 1 in D major, K. 412 (1791)
• Horn Concerto No. 2 in E flat major, K. 417 (1783)
• Horn Concerto No. 3 in E flat major, K. 447 (c. 1784-87)
• Horn Concerto No. 4 in E flat major, K. 495 (1786)

Other concertos

• Bassoon Concerto in B flat major, K. 191 (1774)
• Concerto for Harp, Flute and Orchestra, K. 299 (1778)
• Oboe Concerto in C major, K. 314 (has come down to us as the second flute concerto, but was almost certainly an oboe concerto) (1777-78)
• Concerto for Clarinet and Orchestra in A major, K. 622 (1791)
• Flute Concerto No. 1 in G Major, K. 313 (1778)
• Flute Concerto No. 2 in D Major, K. 314 (1778) (An arrangement of the above Oboe Concerto).
• Andante for Flute and Orchestra in C Major, K. 315 (1778)
• Concerto for Trumpet, K47a (lost)

Concertante symphonies

• Sinfonia Concertante for Violin, Viola and Orchestra K. 364 in E flat major (1779)
• Sinfonia Concertante for Oboe, Clarinet, Horn and Bassoon K. 297b in E flat major Anh.9 and later Anh. C 14.01 (1778)

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

• Piano Sonata No. 1 in C major, K. 279 (Munich, Summer 1774)
• Piano Sonata No. 2 in F major, K. 280 (Munich, Summer 1774)
• Piano Sonata No. 3 in B-flat major, K. 281 (Munich, Summer 1774)
• Piano Sonata No. 4 in E-flat major, K. 282 (Munich, Summer 1774)
• Piano Sonata No. 5 in G major, K. 283 (Munich, Summer 1774)
• Piano Sonata No. 6 in D major, K. 284 (Munich, Feb-Mar 1775)
• Piano Sonata No. 7 in C major, K. 309 (Mannheim, Nov. 8 1777)
• Piano Sonata No. 8 in A minor, K. 310 (Paris, Summer 1778)
• Piano Sonata No. 9 in D major, K. 311 (Mannheim, Nov 1777)
• Piano Sonata No. 10 in C major, K. 330 (Summer 1778)
• Piano Sonata No. 11 "Turkish March" in A major, K. 331 (Summer 1778)
• Piano Sonata No. 12 in F major, K. 332 (Summer 1778)
• Piano Sonata No. 13 in B-flat major, K. 333 (Summer 1778)
• Piano Sonata No. 14 in C minor, K. 457 (Vienna, Oct. 14, 1784)
• Piano Sonata No. 15 in F Major, K. 533/494 (Vienna, Jan. 3, 1788)
• Piano Sonata No. 16 in C Major, K. 545 (so-called facile or semplice sonata; Vienna, Jun. 26, 1788)
• Piano Sonata No. 17 in B-flat Major, K. 570 (Vienna, February, 1789)
• Piano Sonata No. 18 in D Major K. 576 (Vienna, July 1789)

Miscellaneous pieces

• Nannerl's Music Book
  
  1. Andante in C, K. 1a
  2. Allegro in C, K. 1b
  3. Allegro in F, K. 1c
  4. Minuet in F, K. 1d
  5. Minuet in G, K. 1e
  6. Minuet in C, K. 1f
  7. Minuet in F, K. 2
  8. Allegro in B-flat, K. 3
  9. Minuet in F, K. 4
  10. Minuet in F, K. 5
  11. Allegro in C, K. 5a
  12. Andante in B-flat, K. 5b
  
  
• Fantasy No. 1 with Fugue in C major, K. 394 (Vienna, 1782)
• Fantasy No. 2 in C minor, K. 396 (Vienna, 1782)
• Fantasy No. 3 in D minor, K. 397 (Vienna, 1782)
• Fantasy No. 4 in C minor, K. 475 (Vienna, May 20, 1785)
• Rondo No. 1 in D major, K. 485
• Rondo No. 2 in F major, K. 494 (finale to K.533 above initially published alone)
• Rondo No. 3 in A minor, K. 511
• Adagio for Piano in B minor, K. 540 (Vienna, 1788)
• Allegro and Rondo for piano in F Major, K. 547a (Vienna, Summer 1788) (adapted from K. 547 and K. 545)

Variations

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

Dual piano/performer works Piano Four-Hands

• Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765)
• Sonata for Keyboard Four-hands in D major, K. 381 / 123a
• Sonata for Keyboard Four-hands in B flat major, K. 358 / 186c
• Sonata for Keyboard Four-hands in F major, K. 497
• Sonata for Keyboard Four-hands in C major, K. 521
• Sonata for Keyboard Four-hands in G major, K. 357 (incompleted)
• Fugue in G minor, K.401
• Andante and Variations in G major, K.501
• Adagio and Allegro (Fantasia) in F minor, K.594 (organ, composer's transcription)
• Fantasia in F minor, K.608 (organ, composer's transcription)

Two Pianos

• Sonata for Two Pianos in D Major, K. 448 / 375a
• Fugue for Two Pianos in C minor, K. 426

Violin music
He also wrote for piano and violin (16 complete sonatas, plus several fragments and two variation sets), where - mainly in the more mature years - the piano does not play just a support to the other solo instrument, but builds a dialogue with it.

Childhood violin sonatas (1763-66)

• Violin Sonata No. 1 in C major, K. 6
• Violin Sonata No. 2 in D major, K. 7
• Violin Sonata No. 3 in B flat major, K. 8
• Violin Sonata No. 4 in G major, K. 9
• Violin Sonata No. 5 in B flat major, K. 10
• Violin Sonata No. 6 in G major, K. 11
• Violin Sonata No. 7 in A major, K. 12
• Violin Sonata No. 8 in F major, K. 13
• Violin Sonata No. 9 in C major, K. 14
• Violin Sonata No. 10 in B flat major, K. 15
• Violin Sonata No. 11 in E flat major, K. 26
• Violin Sonata No. 12 in G major, K. 27
• Violin Sonata No. 13 in C major, K. 28
• Violin Sonata No. 14 in D major, K. 29
• Violin Sonata No. 15 in F major, K. 30
• Violin Sonata No. 16 in B flat major, K. 31

Mature violin sonatas (1778-88)

• Violin Sonata No. 17 in C major, K. 296
• Violin Sonata No. 18 in G major, K. 301
• Violin Sonata No. 19 in E flat major, K. 302
• Violin Sonata No. 20 in C major, K. 303
• Violin Sonata No. 21 in E minor, K. 304
• Violin Sonata No. 22 in A major, K. 305
• Violin Sonata No. 23 in D major, K. 306
• Violin Sonata No. 24 in F major, K. 376
• Violin Sonata No. 25 in F major, K. 377
• Violin Sonata No. 26 in B flat major, K. 378
• Violin Sonata No. 27 in G major, K. 379
• Violin Sonata No. 28 in E flat major, K. 380
• Violin Sonata No. 29 in A major, K. 402 (completed by M. Stadler)
• Violin Sonata No. 32 in B flat major, K. 454
• Violin Sonata No. 33 in E flat major, K. 481
• Violin Sonata No. 35 in A major, K. 526
• Violin Sonata No. 36 in F major, K. 547

Variations for violin and piano

• Variations in G major, K. 359, "La bergere Celimene"
• 6 Variations in G minor on Helas, j'ai perdu mon amant, K. 360

String duos and trios

• Duo for Violin & Viola in G major, K. 423
• Duo for Violin & Viola in B flat major, K. 424
• Trio for Violin, Viola & Cello in E flat major, K. 563 (1788)
• Trio for 2 Violins & Cello in B flat major, K. 266
• Preludes and Fugues for Violin, Viola & Cello, K. 404a

String quartets

• Quartetti Milanesi, K. 80 and K. 155-160 (1770-1773)
  
  This cycle, in three movements, is interesting as far as these works can be considered precursors of the later - more complete - string quartets.
  
• String Quartet No. 1 in G major, K. 80/73f (1770)
• String Quartet No. 2 in D major, K. 155/134a (1772)
• String Quartet No. 3 in G major, K. 156/134b (1772)
• String Quartet No. 4 in C major, K. 157 (1772-3)
• String Quartet No. 5 in F major, K. 158 (1772-3)
• String Quartet No. 6 in B-flat major, K. 159 (1773)
• String Quartet No. 7 in E-flat major, K. 160/159a (1773)
• Vienna Quartets, K. 168-173 (1773) +
  
  Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
• String Quartet No. 8 in F major, K. 168 (1773)
• String Quartet No. 9 in A major, K. 169 (1773)
• String Quartet No. 10 in C major, K. 170 (1773)
• String Quartet No. 11 in E-flat major, K. 171 (1773)
• String Quartet No. 12 in B-flat major, K. 172 (1773)
• String Quartet No. 13 in D minor, K. 173 (1773)
• Haydn Quartets K. 387, 421, 428, 458, 464, 465, Opus 10 (1782–1785)
  
  Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
• String Quartet No. 14 in G major, ("Spring") K. 387 (1782)
• String Quartet No. 15 in D minor, K. 421/417b (1783)
• String Quartet No. 16 in E-flat major, K. 428/421b (1783)
• String Quartet No. 17 in B-flat major ("Hunt"), K. 458 (1784)
• String Quartet No. 18 in A major, K. 464 (1785)
• String Quartet No. 19 in C major ("Dissonance"), K. 465 (1785)
• String Quartet No. 20 in D major ("Hoffmeister"), K. 499 (1786)
  
  This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.
• Prussian Quartets K. 575, 589, 590 (1789-1790)
• String Quartet No. 21 in D major, K. 575 (1789)
• String Quartet No. 22 in B-flat major, K. 589 (1790)
• String Quartet No. 23 in F major, K. 590 (1790)

String quintets
The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."[1].

• String Quintet in B flat major, K. 174
• String Quintet in C major, K. 515
• String Quintet in G minor, K. 516
• String Quintet in C minor, K. 406 (516b)
  
  This is a transcription for string quintet of the earlier Serenade for wind octet in C minor (K. 388).
• String Quintet in D major, K. 593
• String Quintet in E flat major, K. 614

Piano trios

• Piano Trio in B flat, K. 254
• Piano Trio in G, K. 496
• Piano Trio in B flat, K. 502
• Piano Trio in E, K. 542
• Piano Trio in C, K. 548
• Piano Trio in G, K. 564

Other chamber music

• Flute Quartets (flute, violin, viola, cello) K. 285, 285a, 285b, 298 (1777–1778)
• Sonata for Bassoon and Violoncello in B-flat major, K. 292
• Oboe Quartet in F, K. 370
• Horn Quintet In E Flat, K. 407
• Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784)
• Piano Quartet No. 1 in G minor K. 478 (1785)
• 12 Duets - For Two Basset Horns, K. 487
• Piano Quartet No. 2 in E-flat major K. 493 (1786)
• Trio for Clarinet, Viola and Piano in E flat major, K. 498 "Kegelstatt" (1786)
• Clarinet Quintet in A major, K. 581 (1789)
• Adagio and Rondo for Glass Harmonica, Flute, Oboe, Viola and Cello, K6. 617 (1791)
• Adagio in C for Glass Harmonica, K6. 617a (1791)

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

• Serenade No. 1 in D major, K. 100
• Serenade No. 3 ("Antretter") in D major, K. 185
• Serenade No. 4 ("Colleredo") in D major, K. 203
• Serenade No. 5 in D major, K. 204
• Serenade No. 6 ("Serenata Notturna") in D major, K. 239
• Serenade No. 7 ("Haffner") in D major, K. 250
• Serenade No. 9 ("Posthorn") in D major, K. 320
• Serenade No. 10 for winds (Serenade for Thirteen Wind Instruments or "Gran Partita") in B flat major, K. 361
• Serenade No. 11 for winds in E flat major, K. 375
• Serenade No. 12 for winds in C minor, K. 388
• Serenade No. 13, "Eine kleine Nachtmusik" for String Quartet & Bass in G major, K. 525

Divertimenti

• Galimathias Musicum (Quodlibet), K. 32 (1766)
• Cassation in G, K. 63 (1769)
• Cassation in B flat, K. 99 (1769)
• Divertimento in E flat, K. 113 (1771)
• Divertimento in D, K. 131 (1772)
• Divertimenti, K. 136-138 (1772)
  
  Although sometimes described as string quartets, they are almost certainly for strings with double bass and are like Sinfonias in the Italian style.
• Divertimento in D, K. 205 (1773)
• Divertimento in F "Lodron", K. 247 (1776)
• Divertimento in D, K. 251 (1776)
• Notturno in D for Four Orchestras, K. 286 (1776-77)
• Divertimento in B flat "Lodron", K. 287 (1777)
• Divertimento in D, K. 334 (1779-80)
• Divertimento for two horns and strings, A Musical Joke, (Ein Musikalischer Spaß,) K. 522

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

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale K. 534, La Bataille K. 535, Canary K. 600/5, etc.

• 6 Menuets, K. 61h
• 7 Menuets, K. 65a
• 4 Contredanses, K. 101/250a
• 20 Menuets, K. 103
• 6 Menuets, K. 104/61e
• 6 Menuets, K. 105/61f
• Menuet in E flat, K. 122
• Contredanse in B flat, K. 123
• 6 Menuets, K. 164
• 16 Menuets, K. 176
• 4 Contredanses, K. 267/271c
• Gavotte in B flat, K. 300
• 3 Menuets, K. 363
• 5 Menuets, K. 461
• 6 Contredanses, K. 462/448b
• 2 Quadrilles, K. 463/448c
• 6 German Dances, K. 509
• Contredanse in D, "Das Donnerwetter", K. 534
• Contredanse in C, "La Bataille", K. 535
• 6 German Dances, K. 536
• 6 German Dances, K. 567
• 12 Menuets, K. 568
• 6 German Dances, K. 571
• 12 Menuets, K. 585
• 12 German Dances, K. 586
• Contredanse in C, "Der Sieg vom Helden Koburg", K. 587
• 6 Menuets, K. 599
• 6 German Dances, K. 600
• 4 Menuets, K. 601
• 4 German Dances, K. 602
• 2 Contredanses, K. 603
• 2 Menuets, K. 604
• 3 German Dances, K. 605
• 6 German Dances, K. 606
• 5 German Dances, K. 609
• Contredanse in G, K. 610

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

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

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

Masses

• Mass No. 1 ("Missa brevis") in G major, K. 49
• Mass No. 2 ("Missa brevis") in D minor, K. 65
• Mass No. 3 in C major (Dominicusmesse), K. 66
• Mass No. 4 ("Missa solemnis") in C minor, K. 139
• Mass No. 5 ("Missa brevis") in G major, K. 140
• Mass No. 6 ("Missa brevis") in F major, K. 192
• Mass No. 7 in C major (Missa in honorem Sanctissimae Trinitatis), K. 167
• Mass No. 8 ("Missa brevis") in D major, K. 194
• Mass No. 9 ("Missa brevis") in C major (Spatzenmesse), K. 220
• Mass No. 10 ("Missa brevis") in C major ("Credo" Mass), K. 257
• Mass No. 11 in C major (Spaurmesse or Piccolomissa), K. 258
• Mass No. 12 ("Missa brevis") in C major ("Organ Solo"), K. 259
• Mass No. 13 ("Missa longa") in C major, K. 262
• Mass No. 14 ("Missa brevis") in B flat major, K. 275
• Mass No. 15 in C major ("Coronation"), K. 317
• Mass No. 16 ("Missa solemnis") in C major (Missa aulica), K. 337
• Mass No. 17 in C minor ("Great"), K. 427
• Requiem Mass in D minor, K. 626 (completed by Franz Xaver Süssmayr after Mozart's death)

Other sacred music

• Regina Coeli for soprano, chorus and orchestra, K. 108
• Regina Coeli for soprano, chorus and orchestra, K. 127
• Te Deum, K. 141
• Exsultate, jubilate, K. 165
• Regina Coeli for soloists, chorus and orchestra, K. 276
• Vesperae de Dominica in C, K. 321
• Vesperae solennes de confessore, K. 339 (1780)
• Kyrie in D minor, K. 341
• Ave verum corpus, K. 618

Church sonatas

• Church Sonata No. 1 in E flat, K. 41h (1772)
• Church Sonata No. 2 in B, K. 68 (1772)
• Church Sonata No. 3 in D, K. 69 (1772)
• Church Sonata No. 4 in D, K. 144 (1772)
• Church Sonata No. 5 in F, K. 145 (1772)
• Church Sonata No. 6 in B, K. 212 (1775)
• Church Sonata No. 7 in F, K. 241a (1776)
• Church Sonata No. 8 in A, K. 241b (1776)
• Church Sonata No. 9 in G, K. 241 (1776)
• Church Sonata No. 10 in F, K. 244 (1776)
• Church Sonata No. 11 in D, K. 245 (1776)
• Church Sonata No. 12 in C, K. 263 (1776)
• Church Sonata No. 13 in G, K. 274 (1777)
• Church Sonata No. 14 in C, K. 278 (1777)
• Church Sonata No. 15 in C, K. 328 (1779)
• Church Sonata No. 16 in C, K. 329 (1779)
• Church Sonata No. 17 in C, K. 336 (1780)

• Fugue in E flat major, K. 153 (375f)
• Fugue in G minor, K. 154 (385k)
• Ouverture in C major, K. 399 (385i)
• Fugue in G minor, K. 401 (375e)
• Eine Kleine Gigue, K. 574
• Adagio and Allegro in F minor for a Mechanical Organ, K. 594 (1790)
• Fantasia in F minor for a Mechanical Organ, K. 608 (1791)
• Andante in F for a Small Mechanical Organ, K. 616 (1791)

• Die Schuldigkeit des ersten Gebotes, K. 35 (1767)
• Apollo et Hyacinthus, K. 38 (1767)
• Bastien und Bastienne, K. 50=46b (1768)
• La finta semplice, K. 51 (1768)
• Mitridate, rè di Ponto, K. 87 (1770)
• Ascanio in Alba, K. 111 (1771)
• Betulia Liberata, an oratorio, K. 118=74c (1771)
• Il sogno di Scipione, K. 126 (1772)
• Lucio Silla, K. 135 (1772)
• Thamos, König in Ägypten (1773, 1775)
• La finta giardiniera, K. 196 (1774-5)
• Il rè pastore, K. 208 (1775)
• Zaide, K. 344 (1779)
• Idomeneo, K. 366 (1781)
• Die Entführung aus dem Serail, K. 384 (1782)
• L'oca del Cairo, K. 422 (1783)
• Lo sposo deluso, K. 430
• Der Schauspieldirektor, K. 486 (1786)
• Le nozze di Figaro, K. 492 (1786)
• Don Giovanni, K. 527 (1787)
• Così fan tutte, K. 588 (1789)
• Die Zauberflöte, K. 620 (1791)
• La clemenza di Tito, K. 621 (1791)

• Abendempfindung an Laura: Abend ist's, die Sonne ist verschwunden: K. 523 (1787-06-24)
• Ach, was müssen wir erfahren! K. 43a (1767-10-15)
• Ah, spiegarti, oh Dio: K. 417e (1783)
• Als aus Ägypten Israel: K. 336c/2 (1787-02)
• Als Luise die Briefe ihres ungetruen Liebhabers verbrannte: Erzeugt von heißer Phantasie: K. 520 (1787-05-26)
• An Chloe: Wenn die Lieb’ aus deinen blauen, hellen, offnen Augen sieht: K. 524 (1787-06-24)
• An die Freude: Freude, Königin der Weisen: K. 47e (1768-11)
• Auf die feierliche Johannisloge: O heiliges Band der Freundschaft treuer Brüder: K. 125h (1772)
• Caro mio Druck und Schluck: K. 571a (1789)
• Dans un bois solitaire: K. 295b (1777-10-30 to 1778-03-14)
• Das Kinderspiel: Wir Kinder, wir schmecken der Freuden recht viel! K. 598 (1791-01-14)
• Das Lied der Trennung: Die Engel Gottes weinen: K. 519 (1787-05-23)
• Das Traumbild: Wo bist du, Bild: K. 530 (1787-11-06)
• Das Veilchen: Ein Veilchen auf der Wiese stand: K. 476 (1785-06-08)
• Der Frühling: Erwacht zum neuen Leben: K. 597 (1791-01-14)
• Der Zauberer: Ihr Mädchen, flieht Damöten: K. 472 (1785-05-07)
• Des kleinen Friedrichs Geburtstag: Es war einmal, ihr Leute: K. 529 (1787-11-06)
• Die Alte: Ein bißchen aus der Nase: K. 517 (1787-05-18)
• Die betrogene Welt: Der reiche Tor: K. 474 (1785-05-07)
• Die kleine Spinnerin: Was spinnst du? K. 531 (1787-12-11)
• Die Verschweigung: Sobald Damötas Chloen sieht: K. 518 (1787-05-20)
• Die Zufriedenheit: Was frag' ich viel nach Geld und Gut: K. 367a (1777-11-8 to 1778-03-14)
• Die Zufriedenheit: Wie sanft, wie ruhig: K. 473 (1785-05-07)
• Due pupille amabili: K. 439 (1783)
• Ecco quel fiero istante: K. 436 (1783)
• Einsam bin ich, meine Liebe: K. 475a (Possibly 1785)
• Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fusse: K. 386d (1782-12)
• God is our refuge: K. 20 (1765-07)
• Grazie agl'inganni tuoi: K. 532 (1787)
• Ich würd' auf meinem Pfad: K. 340c (1781-08 to 1782-05)
• Ihr unsre neuen Leiter: K. 484 (1785-12)
• Komm, libe Zither, komm: K. 367b (1780-11 to 1781-03)
• Leid beim Auszugin in das Feld: Dem hohen Kaiserworte treu K. 552: (1788-08-11)
• Liebes Manndel, wo ist's Bandel? K. 441 (1783)
• Lied der Freiheit: Wer unter eines Mädchens Hand: K. 506 (end of 1785)
• Lied zur Gesellenreise: Die ihr einem neuen Grad: K. 468 (1785-03-26)
• Luci care, luci belle: K. 439a (1783)
• Mi lagnerò tacendo: K. 437 (1783)
• O Gotteslamm: K. 336c/1 (1787-02)
• Oiseaux, si tous les ans: K. 284d (1777-10-30)
• Più non si trovano: K. 549 (1788-07-16)
• Ridente la calma: K. 210a (Between 1772 and 1775)
• Se lontan, ben mio, tu sei: K. 438 (1783)
• Sehnsucht nach dem Frühling: Komm, lieber Mai, und mache: K. 596 (1791-01-14)
• Sei du mein trost: K. 340b (1781-08 to 1782-05)
• Verdankt sei es dem Glanz der Großen: K. 340a (1781-08 to 1782-05)
• Wie unglücklich bin ich nit: K. 125g (1772)
• Zerfließet heut', geliebte Brüder: K. 483 (1785-12)

• 14 Interval Canons No. 1 for 2 in 1: Canoni in unisono: NMA III/10 No. 26 No. 1 (1786-06-03)
• 14 Interval Canons No. 2 for 2 in 1: Canoni in seconda di sopra: NMA III/10 No. 26 No. 2 (1786-06-03)
• 14 Interval Canons No. 3 for 2 in 1: Canoni in seconda di sotto: NMA III/10 No. 26 No. 3 (1786-06-03)
• 14 Interval Canons No. 4 for 2 in 1: Canoni in terza di sopra: K. 508a No. 3 (1786-06-03)
• 14 Interval Canons No. 5 for 2 in 1: Canoni in terza di sotto: NMA III/10 No. 26 No. 5 (1786-06-03)
• 14 Interval Canons No. 6 for 2 in 1: Canoni in quarta di sopra: K. 508a No. 4 (1786-06-03)
• 14 Interval Canons No. 7 for 2 in 1: Canoni in quarta di sotto: NMA III/10 No. 26 No. 7 (1786-06-03)
• 14 Interval Canons No. 8 for 2 in 1: Canoni in quinta di sopra: K. 508a No. 5 (1786-06-03)
• 14 Interval Canons No. 9 for 2 in 1: Canoni in quinta di sotto: NMA III/10 No. 26 No. 9 (1786-06-03)
• 14 Interval Canons No. 10 for 2 in 1: Canoni in sesta di sopra: K. 508a No. 6 (1786-06-03)
• 14 Interval Canons No. 11 for 2 in 1: Canoni in sesta di sotto: NMA III/10 No. 26 No. 11 (1786-06-03)
• 14 Interval Canons No. 12 for 2 in 1: Canoni in settima di sopra: K. 508a No. 7 (1786-06-03)
• 14 Interval Canons No. 13 for 2 in 1: Canoni in settima di sotto: K. 508a NMA III/10 No. 26 No. 13 (1786-06-03)
• 14 Interval Canons No. 14 for 2 in 1: Canoni in settima di sotto: K. 508a No. 8 (1786-06-03)
• 2 Canons for 2 in 1: NMA III/10 Anh II No. 7a (1786-06-03)
• 2 Canons for 2 in 1: NMA III/10 Anh II No. 7b (1786-06-03)
• 4 Riddle Canons No. 1 for 3 Male Voices in 1: Ter ternis canite vocibus: Incipe Menalios: K. 73r (July or August 1770)
• 4 Riddle Canons No. 2 for 9 Female Voices in 1: Clama ne cesses. Tertia pars si placet: Cantate Domino: K. 73r (July or August 1770)
• 4 Riddle Canons No. 3 for 2 Mixed Voices and 1 additional Voice: Ter voce ciemus. Voce ter insonuit: Confitebor tibi Domine: K. 73r (July or August 1770)
• 4 Riddle Canons No. 4 for 6 Mixed Voices in 2: Thebana bella cantus / Troiana cantat: K. 73r (July or August 1770)
• Canon for 2 Voices in 1: Selig, selig: K. 382b (1782)
• Canon for 3 in 1: K. 508A (1786-06-03)
• Canon for 3 in 1: NMA III/10 Anh II No. 6 (1786-06-03)
• Canon for 3 in 3: NMA III/10 Anh II No. 1b (1781 or 1782)
• Canon for 4 Instruments in 1 for 2 Violins, Viola & Bass: K. 562c (?)
• Canon for 3 Voices in 1: Canone a tre soprani: Auf das Wohl aller Freunde: K. 508 (1786-06-03)
• Canon for 3 Voices in 1: Ave Maria: K. 554 (1788-09-02)
• Canon for 3 Voices in 1: Bei der Hitz im Sommer eß ich: K. 382e (1782)
• Canon for 3 Voices in 1: Essen, Trinken / Bei der Hitz im Sommer eß ich: K. 382e (1782)
• Canon for 3 Voices in 1: Heiterkeit und leichtes Blut: K. 507 (1786-06-03)
• Canon for 3 Voices in 1: Leck mir den Arsch fein recht schön sauber / Nichts labt mich mehr als Wein: K. 233/382d (1782)
• Canon for 3 Voices in 1: Nichts labt mich mehr als Wein: K. 382d (1782)
• Canon for 3 Voices in 1: O du eselhafter Peierl: K. 559a (some point between 1785 and 1787)
• Canon for 3 Voices in 1: Sie ist dahin: K. 382a (1782)
• Canon for 3 Voices in 1: V'amo di core: K. 382g (1782)
• Canon for 4 in 1: K. 562a (?)
• Canon for 4 in 1: NMA III/10 No. 28 (Summer 1786)
• Canon for 4 in 3: NMA III/10 Anh II No. 11 (1787 or 1788)
• Canon for 4 in 4: NMA III/10 Anh II No 2 (1781 or 1782)
• Canon for 4 in 4: NMA III/10 Anh II No. 10 (1787 or 1788)
• Canon for 4 in 4: NMA III/10 Anh II No. 3 (1781 or 1782)
• Canon for 4 in 4: NMA III/10 Anh II No. 4 (end of 1785 or 1786)
• Canon for 4 in 4: NMA III/10 Anh II No. 9 (1787 or 1788)
• Canon for 4 Instruments in 1: K. 73i (1770-04)
• Canon for 4 Voices in 1: Alleluia K. 553 (1788-09-02)
• Canon for 4 Voices in 1: Bona nox! bist a rechta Ox K. 561 (1788-09-02)
• Canon for 4 Voices in 1: Caro bell'idol mio K. 562 (1788-09-02)
• Canon for 4 Voices in 1: Difficile lectu mihi mars K. 559 (1788-09-02)
• Canon for 4 Voices in 1: Gehn wir im Prater, gehn wir in d'Hetz K. 558 (1788-09-02)
• Canon for 4 Voices in 1: Grechtelt's enk K. 556 (1788-09-02)
• Canon for 4 Voices in 1: Lacrimoso son'io K. 555 (1788-09-02)
• Canon for 4 Voices in 1: Nascoso è il mio sol K. 557 (1788-09-02)
• Canon for 4 Voices in 1: O du eselhafter Martin (Jakob) K. 560 (1788-09-02)
• Canon for 5 in 5: NMA III/10 Anh II No. 1a (1781 or 1782)
• Canon for 6 Voices in 1: Laßt froh uns sein K. 382c (1782)
• Canon for 6 Voices in 1: Wo der perlende Wein im Glase blinkt K. 382f (1782)
• Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 1 (1786-06-03)
• Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 2 (1786-06-03)
• Canonical Study for 4 in 2: K. 616b/31 (Summer 1787)
• Double Canon for 4 Voices in 2: K. 515b (1787-04-24)
• Kyrie K. 73k (1770-05)
• Canon for 6 voices in 1: Leck mich im Arsch / Laßt froh uns sein: K. 231/382c (1782)
• Triple Canon for 12 Voices in 3: Lieber Freistädtler, lieber Gaulimauli: K. 509a (1787-07-04)
• Untexted Canon for 4 (or 5) Voices in 1: Sit trium series una: K. 73i (1770-04)

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Orchestral
Flute Concerto No.1 K.313 Mov 1 performed by Emmanuel Pahud
Flute Concerto No.1 K.313 Mov 2 performed by Emmanuel Pahud
Piano Concerto No. 9 Mov 1 performed by Mitsuko Uchida
Piano Concerto No. 9 Mov 2 performed by Mitsuko Uchida
Piano Concerto No. 9 Mov 3 performed by Mitsuko Uchida
Requiem - Mov 01 - Introitus performed by Academy of St. Martin
Requiem - Mov 02 - Kyrie performed by Academy of St. Martin
Requiem - Mov 03 - Dies irae performed by Academy of St. Martin
Requiem - Mov 04 - Tuba mirum performed by Academy of St. Martin
Requiem - Mov 05 - Rex tremendae performed by Academy of St. Martin
Requiem - Mov 06 - Recordare performed by Academy of St. Martin
Requiem - Mov 07 - Confutatis performed by Academy of St. Martin
Requiem - Mov 08 - Lacrimosa performed by Academy of St. Martin
Requiem - Mov 09 - Domine Jesu performed by Academy of St. Martin
Requiem - Mov 10 - Hostias performed by Academy of St. Martin
Requiem - Mov 11 - Sanctus performed by Academy of St. Martin
Requiem - Mov 12 - Benedictus performed by Academy of St. Martin
Requiem - Mov 13 - Agnus Dei performed by Academy of St. Martin
Requiem - Mov 14 - Communio performed by Academy of St. Martin
Symphony No. 25 part 1 performed by Bohm
Symphony No. 25 part 2 performed by Bohm
Symphony No. 25 part 3 performed by Bohm
Symphony No. 25 part 4 performed by Bohm
Symphony No. 29 part 1 performed by Bohm
Symphony No. 29 part 2 performed by Bohm
Symphony No. 29 part 3 performed by Bohm
Symphony No. 29 part 4 performed by Bohm
Symphony No. 35 part 1 performed by Bohm
Symphony No. 35 part 2 performed by Bohm
Symphony No. 35 part 3 performed by Bohm
Symphony No. 35 part 4 performed by Bohm
Symphony No. 36 part 1 performed by Vienna Philharmonic
Symphony No. 36 part 2 performed by Vienna Philharmonic
Symphony No. 36 part 3 performed by Vienna Philharmonic
Symphony No. 38 part 1 performed by Bohm
Symphony No. 38 part 2 performed by Bohm
Symphony No. 38 part 3 performed by Bohm
Symphony No. 38 part 4 performed by Bohm
Symphony No. 39 part 1 performed by Bohm
Symphony No. 39 part 2 performed by Bohm
Symphony No. 39 part 3 performed by Bohm
Symphony No. 39 part 4 performed by Bohm
Symphony No. 40 Mov 1 performed by Unknown
Symphony No. 40 Mov 2,1 performed by Unknown
Symphony No. 40 Mov 2,2 performed by Unknown
Symphony No. 40 Mov 3 performed by Unknown
Symphony No. 40 Mov 4,1 performed by Unknown
Symphony No. 40 Mov 4,2 performed by Unknown
Symphony No. 41 part 1 performed by Bohm
Symphony No. 41 part 2 performed by Bohm
Symphony No. 41 part 3 performed by Bohm
Symphony No. 41 part 4 performed by Bohm
Violin Concerto No. 3 in G Major Mov 1 performed by Iowa symphony orchestra

Piano
Piano sonata for four hands in Dm K. 381 Mov 1 performed by Unknown
Piano sonata for four hands in Dm K. 381 Mov 2 performed by Unknown
Piano sonata for four hands in Dm K. 381 Mov 3 performed by Unknown
Piano Sonata K333 Mov 1 performed by Unknown
Sonata 11 K331 Mov 3 Rondo Alla Turca performed by Massimiliano Ferrati
Sonata in C for 4 Hands K521 Mov 1 performed by Argerich + Kissin
Sonata in C for 4 Hands K521 Mov 2 performed by Argerich + Kissin
Sonata in C for 4 Hands K521 Mov 3 performed by Argerich + Kissin
Sonata in C Major K. 330 Mov 1 performed by Horowitz
Sonata in C Major K. 330 Mov 2 performed by Horowitz
Sonata in C Major K. 330 Mov 3 performed by Horowitz
Sonata in D for Two Pianos KV448 Mov 1 performed by Argerich + Baldocci
Sonata in D for Two Pianos KV448 Mov 2 performed by Argerich + Baldocci
Sonata in D for Two Pianos KV448 Mov 3 performed by Argerich + Baldocci
Violin Piano Sonata in E minor K.304 Mov 1 performed by Unknown
Violin Piano Sonata in E minor K.304 Mov 2 performed by Unknown

This is a collection of links to the best free music available on the net. The collection is evergrowing - or perhaps everchanging - since we do not host these files ourselves. We try to keep our database as up to date as possible but sometimes we just can't keep up with all the changes. If you find a dead link please contact us and we will remove it as soon as possible.

If you find some other high quality recording that is not featured in our database, and which is free to the public. Please contact us as well so we can keep the quality of this database as high as possible.

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W. A. Mozart - Concerto for flute harp and orchestra
W. A. Mozart - Oboe Concerto, Horn Concerto 4
W. A. Mozart - Piano Sonata, K. 310, mvt. 1
W. A. Mozart - Piano Sonata, K. 545, mvt. 1
W. A. Mozart - Piano Sonata, K. 545, mvt. 2
W. A. Mozart - Piano Sonata, K. 545, mvt. 3
W. A. Mozart - Symfoni 31 and 36
W. A. Mozart - Symfoni nr. 39 and Ouvertyr Figaros Wedding
W. A. Mozart - Symphony 32 , Symphony 29
W. A. Mozart - Symphony 40 KV 550, 3 marches KV 408, Serenade 6 KV 239
W. A. Mozart - Symphony No. 34
W. A. Mozart - Violin Concerto 4, Piano Concerto 23
W. A. Mozart - Violinkonsert (Violin Concerto) Nr. 5 A-dur and Sinfonia c

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The internet is a wonderful place - never before has so much information been so easily accessible and never before have so many people been able to work together so easily. However, the strength of the web is also it's weakness - for too much information published in an unorganized fashion will deter most people from ever digging deep enough to find the real nuggets.

In other words - the internet is full of amazing content but sometimes it can be hard to find.

That's where Al Segno comes in, well at least that's the idea. If what you're looking for is related to classical music and classical composers we hope that you will be able to find it here! For the first release of this website we have added four composers - Ludvig van Beethoven, Johann Sebastian Bach, Pyotr Ilyich Tchaikovsky and Wolfgang Amadeus Mozart. For each of these composers you will find:

• An extensive biography including a list of their works (From Wikipedia)
• A comprehensive and easily browseable index of videos of high quality performances (YouTube)
• MP3s, podcasts and recordings of their music (Different pages).

As of now - August, 27th 2008 - Al Segnos composer portraits database has been officially launched.