1.music class essay-1 page - 6/6 3pm PST

AmadeusMozartbiographicalarticles.pdf

Home >English homework help >Article writing homework help >1.music class essay-1 page - 6/6 3pm PST

Page 1 of 288

<p>Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).</p><p> Subscriber: Pasadena City College; date: 06 June 2019</p>

Grove Music Online Mozart, (Johann Chrysostom) Wolfgang Amadeus Cliff Eisen and Stanley Sadie

https://doi.org/10.1093/gmo/9781561592630.article. 6002278233 Published in print: 20 January 2001 Published online: 2001

Member of Mozart family

(b Salzburg, Jan 27, 1756; d Vienna, Dec 5, 1791). Austrian composer, son of (1) Leopold Mozart. His style essentially represents a synthesis of many different elements, which coalesced in his Viennese years, from 1781 on, into an idiom now regarded as a peak of Viennese Classicism. The mature music, distinguished by its melodic beauty, its formal elegance and its richness of harmony and texture, is deeply coloured by Italian opera though also rooted in Austrian and south German instrumental traditions. Unlike Haydn, his senior by 24 years, and Beethoven, his junior by 15, he attempted most of the art-music forms of his time and excelled at them all..

1. Ancestry and early childhood.

Mozart was baptized on the day after his birth at St Rupert's Cathedral as Joannes Chrysostomus Wolfgangus Theophilus. The first two names record that 27 January was the feast day of St John Chrysostom, while Wolfgangus was the name of his maternal grandfather and Theophilus a name of his godfather, the merchant Joannes Theophilus Pergmayr; Mozart sometimes preferred the Latin form, Amadeus, but more frequently Amadè, Amadé or the German form Gottlieb. He was the seventh and last child born to Leopold Mozart and his wife Maria Anna, née Pertl (b St Gilgen, 25 Dec 1720; d Paris, 3 July 1778); only he and the fourth child, (2) Maria Anna (‘Nannerl’), survived.

The name Mozart (spelt in a variety of forms including Mozarth, Mozhard and Mozer) is first recorded for a Heinrich Motzhart in Fischach, in 1331, and appears in other villages south-west of Augsburg, notably Heimberg, from the 14th century; the paternal ancestry of the family has been traced with some certainty to Ändris Motzhart, who lived in the Augsburg area in 1486. Several early member of the family were master masons (i.e. architects), builders, craftsmen and sculptors; two, in the late 16th and early 17th centuries, were artists. Mozart's great grandfather David (c1620– 1685) was a master mason, his grandfather Johann Georg (1679– 1736) a master bookbinder in Augsburg. His mother's family came mainly from the Salzburg region and followed middle-class occupations. Her father, Wolfgang Nikolaus Pertl, held important

Page 2 of 288

administrative and judicial posts at Hüllenstein, near St Gilgen, but a bout of ill-health pushed him into debt and his family was left destitute.

Until 1773 the Mozart family rented an apartment on the third floor of the house of Johann Lorenz and Maria Theresia Hagenauer, who had a thriving grocery business with connections in several important European cities. They also acted as bankers to the Mozarts, establishing credit networks for Leopold during the tours of the 1760s. It was to the Hagenauers that most of Leopold's early letters, now the most important source of information about Mozart's travels during the 1760s, were addressed. Many of them were intended for public circulation: Leopold was keen to impress the children's triumphs on the archbishop, the Salzburg nobility and his wide circle of friends and acquaintances.

As far as is known, Leopold was entirely responsible for the education of his children, which was by no means restricted to music but also included mathematics, reading, writing, literature, languages and dancing; moral and religious training were part of the curriculum as well. (A later biographical dictionary, B. Pillwein's Biographische Schilderungen (Salzburg, 1821), suggests that the court singer Franz Anton Spitzeder also gave the young Mozart musical instruction, but this assertion is uncorroborated.) Mozart showed his musical gifts at an early age; Leopold noted in Wolfgang’s sister's music book (the so-called Nannerl Notenbuch, begun in 1759) that Wolfgang had learnt some of the pieces – mostly anonymous minuets and other binary form movements, probably German in origin, but also including works by Wagenseil, C.P.E. Bach, J.J. Agrell and J.N. Tischer as well as Leopold Mozart himself – when he was four. According to Leopold, Wolfgang's earliest known compositions, a miniature Andante and Allegro K1a and 1b, were written in 1761, when he was five. More substantial are the binary form minuets in F major K2 and K5 and the Allegro in B♭ K3, composed between January and July 1762.

Mozart's first known public appearance was at Salzburg University in September 1761, when he took a dancing part in a performance of Sigismundus Hungariae rex, given as an end-of-term play (Finalkomödie) by Marian Wimmer with music by the Salzburg Kapellmeister Ernst Eberlin. In 1762 Leopold apparently took Wolfgang and Nannerl to Munich, where they played the harpsichord for Maximilian III Joseph, Elector of Bavaria (no documentation survives for this journey, which is known only from a later reminiscence of Nannerl Mozart). A tour to Vienna lasted from September to December 1762. The children appeared twice before Maria Theresa and her consort, Francis I, as well as at the homes of various ambassadors and nobles (the empress sent the children a set of court clothes, which they wore for the well-known paintings done later in Salzburg, probably by P.A. Lorenzoni). The trip was a great success: in October the imperial paymaster presented the Mozarts with a substantial honorarium and a request to prolong their stay; the French ambassador, Forent-Louis-Marie, Count of Châtelet- Lomont, invited them to Versailles; and Count Karl von Zinzendorf,

Page 3 of 288

later a high state official, wrote in his diary that ‘the poor little fellow plays marvellously, he is a child of spirit, lively, charming; his sister's playing is masterly’.

The family returned to Salzburg on 5 January 1763. Leopold was promoted to deputy Kapellmeister on 28 February, and that evening Mozart played at court as part of Archbishop Schrattenbach's birthday celebrations; the Salzburg court chronicle records that there was ‘vocal music by several virtuosos, among whom were, to everyone's astonishment, the new vice-Kapellmeister's little son, aged seven, and daughter, aged ten, performing on the harpsichord, the son likewise on the violin, as well as one could ever have hoped of him’. On 9 June the family set out on a three-and-a-half-year journey through Germany, France, the Low Countries, England and Switzerland. It was the first of five tours undertaken during the next decade.

2. Travels, 1763–73.

Travelling by way of Munich, Augsburg, Ludwigsburg, the summer palace of the Elector Palatine Carl Theodor at Schwetzingen, Mainz, Frankfurt, Coblenz and Aachen, the Mozart family arrived at Brussels on 4 October 1763; in each of these places the children either performed at court or gave public concerts. From there they pressed on to Paris. The children played before Louis XV on 1 January 1764, with public concerts following on 10 March and 9 April at the private theatre of M. Félix, in the rue et porte Saint- Honoré. In Paris Mme Vendôme published Mozart's two pairs of sonatas for keyboard and violin, K6–9, his first music to appear in print.

The family arrived in England on 23 April, first lodging at the White Bear Inn in Piccadilly; the next day they moved to the house of the barber John Cousins, in Cecil Court. They played twice for George III, on 27 April and 17 May 1764 (in a letter of 28 May, Leopold enthusiastically recounted to Hagenauer the friendly greeting the king gave them at a chance meeting in St James's Park), and were scheduled to appear at a benefit for the composer and cellist Carlo Graziani on 23 May; however, Wolfgang was taken ill and was unable to perform. The Mozarts mounted their own benefit on 5 June, at the Great Room in Spring Garden; later that month Mozart performed ‘several fine select Pieces of his own Composition on the Harpsichord and on the Organ’ at Ranelagh Gardens, during breaks in a performance of Handel's Acis and Galatea. Further benefit concerts followed on 21 February and 13 May 1765. At some time during their visit to London, Mozart was tested by the philosopher Daines Barrington, who in 1769 furnished a report on him to the Royal Society (published in its Philosophical Transactions, lx (1771), 54–64). Barrington's tests were typical of others that Mozart was set elsewhere on the Grand Tour and, later, in Vienna and Italy:

I said to the boy, that I should be glad to hear an extemporary Love Song, such as his friend Manzoli might choose in an opera. The boy … looked back with much archness, and immediately began five or six lines of a jargon recitative proper to introduce a love song. He

Page 4 of 288

then played a symphony which might correspond with an air composed to the single word, Affetto. It had a first and second part, which, together with the symphonies, was of the length that opera songs generally last: if this extemporary composition was not amazingly capital, yet it was really above mediocrity, and shewed most extraordinary readiness of invention. Finding that he was in humour, and as it were inspired, I then desired him to compose a Song of Rage, such as might be proper for the opera stage. The boy again looked back with much archness, and began five or six lines of a jargon recitative proper to precede a Song of Anger. This lasted also about the same time as the Song of Love; and in the middle of it, he had worked himself up to such a pitch, that he beat his harpsichord like a person possessed, rising sometimes in his chair. The word he pitched upon for this second extemporary composition was, Perfido. After this he played a difficult lesson, which he had finished a day or two before: his execution was amazing, considering that his little fingers could scarcely reach a fifth on the harpsichord. His astonishing readiness, however, did not arise merely from great practice; he had a thorough knowledge of the fundamental principles of composition, as, upon producing a treble, he immediately wrote a base under it, which, when tried, had very good effect. He was also a great master of modulation, and his transitions from one key to another were excessively natural and judicious; he practised in this manner for a considerable time with a handkerchief over the keys of the harpsichord.

The Mozarts left London on 24 July 1765, travelling by way of Canterbury (where a concert was announced, but apparently cancelled) and Lille to Ghent and Antwerp, arriving at The Hague on 10 September. There the children gave two public concerts and played before the Princess of Nassau-Weilburg, to whom Mozart later dedicated the keyboard and violin sonatas K26–31. They moved on to Amsterdam in January, returning to The Hague for the installation of Wilhelm V on 11 March – it was for this occasion that Mozart composed the Gallimathias musicum K32 – and in April they set out again for Paris, arriving there in early May. The Mozarts remained in Paris for two months; their patron, Baron Grimm, who had paved their way there earlier, commented on Mozart's ‘prodigious progress’ since early 1764.

The final stage of the homeward journey took the Mozarts to Dijon, Lyons, Lausanne, Zürich and Donaueschingen, where they played for Prince Fürstenberg on nine evenings. From Donaueschingen they pressed on to Dillingen, Augsburg and Munich, arriving back in Salzburg on 29 November. On the day of their arrival, Beda Hübner, librarian at St Peter's, wrote in his diary (in ):

I cannot forbear to remark here also that today the world-famous Herr Leopold Mozart, deputy Kapellmeister here, with his wife and two children, a boy aged ten and his little daughter of 13, have arrived to the solace and joy of the whole town … the two children, the boy as well as the girl, both play the harpsichord, or the clavier, the girl, it is true, with more art and fluency than her little brother, but the boy with far more refinement and with more original ideas, and with the most beautiful harmonic inspirations … There is a strong rumour that the Mozart family will again not long remain

A-Ssp

Page 5 of 288

here, but will soon visit the whole of Scandinavia and the whole of Russia, and perhaps even travel to China, which would be a far greater journey and bigger undertaking still: de facto, I believe it to be certain that nobody is more celebrated in Europe than Herr Mozart with his two children.

Leopold Mozart is often portrayed as an inflexible, if consummate, tour manager, yet much of the ‘Grand Tour’ was not planned in advance. When he left Salzburg, Leopold was undecided whether to travel to England; nor was it his intention to visit the Low Countries (letter of 28 May 1764). There were also miscalculations. It is likely, for instance, that the Mozarts outstayed their welcome in London: by June 1765 they were reduced to giving cheap public displays at the down-market Swan and Hoop Tavern in Cornhill (see McVeigh, G1993). On the other hand, it is not widely appreciated how difficult travel could be at this time: routes were often unsafe and almost always uncomfortable (Leopold marvelled in a letter of 25 April 1764 at his successful crossing of the English Channel, an experience that was surely unknown to his friends in Salzburg), expenses were substantial, and he was frequently mistreated, ignored or prevented by potential patrons from performing. In a letter completed on 4 November 1763 he wrote from Brussels:

We have now been kept [here] for nearly three weeks. Prince Karl [Charles of Lorraine, brother of Emperor Francis I and Governor of the Austrian Netherlands] … spends his time hunting, eating and drinking … Meanwhile, in decency I have neither been able to leave nor to give a concert, since, as the prince himself has said, I must await his decision.

(Quotations from the Mozart family correspondence are based on the translations in Anderson, A1938, 3/1985.)

Nevertheless, these unexpected detours – which added nearly two years to the tour – also reaped rich musical rewards: at every stage of their travels the Mozarts acquired music that was not readily available in Salzburg or met composers and performers who did not normally travel in south Germany and Austria. At Ludwigsburg they heard Nardini (on 11 July 1763 Leopold wrote to Salzburg, ‘it would be impossible to hear a finer player for beauty, purity, evenness of tone and singing quality’), and in Paris they met, among others, Schobert, Eckard and Honauer, from whose sonatas, as well as sonatas by Raupach and C.P.E. Bach, Mozart later chose movements to set as the concertos K37 and 39–41. Their stay in London brought Mozart into contact with K.F. Abel, Giovanni Manzuoli and most importantly J.C. Bach, with whom the family became intimate and whose influence on Mozart was lifelong. Years later, when Wolfgang was in Paris, Leopold upheld Bach as a model composer (letter of 13 August 1778):

Page 6 of 288

If you have not got any pupils, well then compose something more …. But let it be something short, easy and popular … Do you image that you would be doing work unworthy of you? If so, you are very much mistaken. Did Bach, when he was in London, ever publish anything but similar trifles? What is slight can still be great, if it is written in a natural, flowing and easy style – and at the same time bears the marks of sound composition. Such works are more difficult to compose than all those harmonic progressions, which the majority of the people cannot fathom, or pieces which have pleasing melodies, but which are difficult to perform. Did Bach lower himself by such work? Not at all. Good composition, sound construction, il filo – these distinguish the master from the bungler – even in trifles.

It is also safe to say that on the ‘Grand Tour’ Mozart began to absorb his father's opinions about various national styles and how to conduct himself in public. In Paris on 1 February 1764, Leopold wrote of the Royal Chapel at Versailles:

I heard good and bad music there. Everything sung by individual voices and supposed to resemble an aria was empty, frozen and wretched – in a word, French – but the choruses are good and even excellent … the whole of French music is not worth a sou.

In this he anticipated by many years Mozart's comment on 5 April 1778, when he was again in Paris, that

at Mannheim [the choruses] are weak and poor, whereas in Paris they are powerful and excellent … What annoys me most of all in this business is that our French gentlemen have only improved their goût to this extent that they can now listen to good stuff as well. But to expect them to realize that their own music is bad or at least to notice the difference – Heaven preserve us!

More importantly, perhaps, Mozart also took to heart his father's negative opinions of Salzburg, repeating them almost verbatim in his letters of the late 1770s and early 80s. As early as 19 July 1763 Leopold wrote from Schwetzingen:

The orchestra is undeniably the best in Germany. It consists altogether of people who are young and of good character, not drunkards, gamblers or dissolute fellows.

Mozart, some 15 years later, wrote to his father (letter of 9 July 1778):

one of my chief reasons for detesting Salzburg [is the] coarse, slovenly, dissolute court musicians. Why, no honest man, of good breeding, could possibly live with them! Indeed, instead of wanting to associate with them, he would feel ashamed of them … [The Mannheim musicians] certainly behave quite differently from ours. They have good manners, are well dressed and do not go to public houses and swill.

Mozart remained in Salzburg for nine months. During this time he wrote three vocal works: a Latin comedy, Apollo et Hyacinthus, for the university; the first part of the oratorio Die Schuldigkeit des

Page 7 of 288

ersten Gebots, a joint work with Michael Haydn and Anton Cajetan Adlgasser; and the Grabmusik K42 (to which he added a concluding chorus with introductory recitative, c1773). On 15 September 1767 the family set out for Vienna. Presumably Leopold had timed this visit to coincide with the festivities planned for the marriage of the 16-year-old Archduchess Josepha to King Ferdinand IV of Naples. Josepha, however, contracted smallpox and died on the day after the wedding was to have taken place, throwing the court into mourning and inducing Leopold to remove his family from Vienna, first to Brünn (Brno) and then to Olmütz (Olomouc) where both Mozart and Nannerl had mild attacks of smallpox.

Shortly after their return to Vienna in January 1768, Leopold conceived the idea of securing for Mozart an opera commission, La finta semplice, but intrigues at court conspired to defeat his plan (the Mozarts' side of the story is preserved in detail in the surviving correspondence). He wrote an indignant petition to the emperor in September, complaining of a conspiracy on the part of the theatre director Giuseppe Afflisio (d’Affligio), who apparently claimed that Wolfgang's music was ghost-written by his father, and proving Mozart's output by including a list of his compositions to that time (see Zaslaw, A1985). Presumably as compensation for the suppression of the opera, in December Mozart directed a performance before the imperial court of a festal mass (K139), an offertory (K47b, lost) and a trumpet concerto (K47c, lost) at the dedication ceremony of the Waisenhauskirche; the Wienerisches Diarium reported on 10 December 1768 that Mozart performed his works ‘to general applause and admiration, and conducted with the greatest accuracy; aside from this he also sang in the motets’. That same month he completed the Symphony K48. Earlier, in October, Mozart may have given a private performance of his one-act Singspiel Bastien und Bastienne at the home of Dr Franz Anton Mesmer, the inventor of ‘magnetism therapy’ (later parodied in Così fan tutte).

On the return journey to Salzburg, the Mozarts paused at Lambach Abbey, where father and son both presented symphonies to the library (the controversy over the attribution of the two works, Leopold Mozart's G9 and Mozart's KAnh.221, is summarized in Zaslaw, L1989). They arrived home on 5 January and remained there for nearly a year. La finta semplice was performed at court on or about 1 May, and Mozart wrote the Mass K66 in October for the first Mass celebrated by his friend Cajetan (Father Dominicus) Hagenauer, son of the family's Salzburg landlord. Other substantial works from this time include three orchestral serenades (K63, 99 and 100), two of which were probably intended for performance as ‘Finalmusik’ at the university's traditional end-of-year ceremonies, possibly some shorter sacred works (K117 and 141) and several sets of dancing minuets (K65a and 103; K104 and 105 are by Michael Haydn, possibly arranged by Mozart). By the age of 13, then, Mozart had achieved a significant local reputation as both a composer and a performer. On 27 October he was appointed, on an honorary basis, Konzertmeister at the Salzburg court.

Page 8 of 288

2. Wolfgang Amadeus Mozart: portrait (early 1770) probably by Saverio della Rosa, formerly attributed to Felice Cignaroli (private collection); the music he is playing is presumed to be by Mozart himself (this is its only source) and is entered in the Köchel catalogue (3/1937) as K72a

Less than two months later, on 13 December, Leopold and Wolfgang set out on their own for Italy. The journey followed the now usual pattern: they paused at any town where a concert could be given or where an influential nobleman might wish to hear Mozart play. Travelling by way of Innsbruck and Rovereto, they arrived at Verona on 27 December. While there, Mozart played at the Accademia Filarmonica and had his portrait painted, probably by Saverio della Rosa (fig.1); the piece of music shown on the harpsichord, almost certainly by him, is otherwise unknown (K72a; but see Heartz, O1995). At Mantua, on 16 January, Mozart gave a concert typical of his public and private performances at the time: it included a

Page 9 of 288

symphony by him; prima vista and extempore performances of concertos, sonatas, fugues, variations and arias; and a small number of works contributed by other performers. The Gazzetta di Mantova, in a report on the concert (19 January 1770), described Mozart as ‘incomparable’.

From Mantua the Mozarts travelled to Milan where Wolfgang gave several performances at the home of Count Karl Firmian, the Austrian minister plenipotentiary, including a grand academy on 12 March that may have included the newly composed arias K77, 88 and Anh.2; presumably as a result of his performances and compositions, Mozart was commissioned to write the first opera, Mitridate, re di Ponto, for the carnival season in December. Father and son left Milan on 15 March, bound for Lodi (where Mozart completed his first string quartet, K80), Parma, Bologna (where they met the theorist and composer Padre Martini) and Florence, where Mozart became reacquainted with the castrato Manzuoli and newly acquainted with the English composer Thomas Linley, a boy of his own age. From there they passed on to Rome, arriving on 10 April, in time for Holy Week; Mozart made a clandestine copy of Allegri's famous Miserere (traditionally considered the exclusive property of the papal choir), and may have composed two or three symphonies (K81, 95 and 97). After a brief stay in Naples, where Mozart gave several concerts and heard Jommelli's Armida (which he described on 5 June 1770 as ‘beautiful, but much too broken up and old- fashioned for the theatre’), they returned to Rome, where on 5 July Pope Clemens XIV created Mozart a Knight of the Golden Spur. Father and son set out again on 10 July, returning to Bologna and the summer home of Count Pallavicini. There Mozart may have completed the Symphony K84, as well as some sacred works and canons, and he received the libretto and cast-list for his Milan opera. Before they left Bologna he was admitted to membership of the Accademia Filarmonica; the original autograph of his test piece, the antiphon K86, has annotations by Padre Martini, suggesting that he may have had help.

Work on the composition of Mitridate, re di Ponto began in earnest after the Mozarts' return to Milan on 18 October 1770. The libretto, by Vittorio Amadeo Cigna-Santi, after Racine, had been set by Quirino Gasparini for Turin in 1767 and Leopold in his letters described various intrigues among the singers, including the possibility of their substituting certain of Gasparini's settings for Mozart's. In fact the setting of ‘Vado incontro al frato estremo’ found in the earliest scores of the opera has been found to be by Gasparini; apparently the primo uomo, D'Ettore, was unwilling to sing Mozart's now lost version (Peiretti, J1996). There were three recitative rehearsals, two preliminary orchestral rehearsals and two full ones in the theatre, as well as a dress rehearsal; Leopold's letter of 15 December gives the useful information that the orchestra consisted of 14 first and 14 second violins, 6 violas, 2 cellos, 6 double basses, 2 flutes, 2 oboes, 2 bassoons, 4 horns, 2 trumpets and 2 keyboards. The première, at the Regio Ducal Teatro was on 26 December; including the ballets (by other composers), it lasted six hours. Leopold had not been confident that the opera would be a success, but it was, running to 22 performances.

Page 10 of 288

The Mozarts left Milan on 14 January 1771, stopping at Turin, Venice, Padua and Verona before returning to Salzburg on 28 March. The 15-month Italian journey had been an extraordinary success, widely reported in the international press: on 20 March 1770 the Notizie del mondo of Florence carried a notice of the ‘magnificent academy’ given at Count Firmian's, while the Hamburg Staats- und gelehrte Zeitung described Mozart's ‘extraordinary and precocious musical talent’ in a report sent from Rome on 22 May. The same newspaper's account of Wolfgang's Venice concert of 5 March 1771 (published on 27 March) neatly sums up the professional and personal accomplishments of the tour:

Young Mozart, a famous keyboard player, 15 years old, excited the attention and admiration of all music lovers when he gave a public performance in Venice recently. An experienced musician gave him a fugue theme, which he worked out for more than an hour with such science, dexterity, harmony and proper attention to rhythm that even the greatest connoisseurs were astounded. He composed an entire opera for Milan, which was given at the last carnival. His good- natured modesty, which enhances still more his precocious knowledge, wins him the greatest praise, and this must give his worthy father, who is travelling with him, extraordinary pleasure.

Even before their return to Salzburg in March 1771, Leopold had laid plans for two further trips to Italy: when the Mozarts were in Verona, Wolfgang was commissioned to write a serenata or festa teatrale, Ascanio in Alba, for the wedding in Milan the following October of Archduke Ferdinand and Princess Maria Beatrice Ricciarda of Modena; that same month the Regio Ducal Teatro at Milan had issued him with a contract for the first carnival opera of 1773, Lucio Silla (an oratorio commissioned for Padua, La Betulia liberata, seems never to have been performed). Accordingly, Mozart spent barely five months at home in 1771, during which time he wrote the Paduan oratorio, the Regina coeli K108, the litany K109 and the Symphony K110. Father and son set out again on 13 August, arriving at Milan on 21 August: They received Giuseppe Parini's libretto for Ascanio in Alba on 29 August; the serenata went into rehearsal on 27 September and the première took place on 17 October. Hasse's Metastasian opera Ruggiero, also composed for the wedding festivities, received its first performance the day before; according to Leopold, Ascanio ‘struck down Hasse's opera’ (letter of 19 October 1771), a judgment confirmed by a report in the Florentine Notizie del mondo on 26 October: ‘The opera has not met with success, and was not performed except for a single ballet. The serenata, however, has met with great applause, both for the text and for the music’. The Mozarts remained in Milan until 5 December; Wolfgang wrote the curiously titled ‘Concerto ò sia Divertimento’ K113 (later revised for Salzburg performance; see Blazin L1992) and the Symphony K112. He also may have sought employment at court, but his application was effectively rejected by Ferdinand's mother, Empress Maria Theresa, who in a letter (12 December 1771) advised the archduke against burdening himself with ‘useless people’ who go ‘about the world like beggars’.

Page 11 of 288

The third and last Italian journey began on 24 October 1772; probably Mozart had been sent the libretto and cast-list for the new Milan opera, Lucio Silla, during the summer, and had also set the recitatives. On his arrival at Milan, these were adjusted to accommodate changes made by the poet, Giovanni de Gamerra. He then wrote the choruses, and composed the arias for the singers in turn, having first heard each of them so that he could suit the music to their voices. The première, on 26 December, was a mixed success, chiefly because of a patchy cast; nevertheless, the opera ran for 26 performances. In January Mozart wrote the solo motet Exsultate, jubilate for the primo uomo in the opera, Venanzio Rauzzini (in Salzburg, about 1780 he revised the motet, probably for the soprano Francesco Ceccarelli to sing at the Dreifaltigkeitskirche; see Münster, I1993).

Leopold and Wolfgang arrived back in Salzburg on 13 March 1773. Mozart's days as a child prodigy were over; although he later travelled to Vienna, Munich and, more importantly, Mannheim and Paris, the 1770s can fairly be described as dominated by his tenure at Salzburg. For the most part, his career as both performer and composer was focussed on his court activities and a small circle of friends and patrons in his native town.

3. Salzburg, 1773–80.

Archbishop Schrattenbach, who died on 16 December 1771, the day after Wolfgang's return from the second Italian tour, was succeeded in March 1772 by Hieronymus Colloredo. An unpopular choice whose election was bitterly contested, Colloredo sought to modernize the archdiocese on the Viennese model, but his reform, while generally favouring cultural life in the city by attracting numerous prominent writers and scientists, met with local resistance. The court music in particular suffered, and many traditional opportunities for music-making were eliminated: the university theatre, where school dramas (the nearest Salzburg equivalent to opera) had been performed regularly since the 17th century, was closed in 1778; the Mass was generally shortened; restrictions were placed on the performance of purely instrumental music as well as some instrumentally accompanied sacred vocal music at the cathedral and other churches; and numerous local traditions, including the firing of cannons and the carrying of pictures and statues during church processions as well as the famous pilgrimage to Pinzgau, were abolished. Concerts at court were curtailed; in a letter of 17 September 1778 Leopold Mozart complained:

Yesterday I was for the first time [this season] the director of the great concert at court. At present the music ends at around 8.15. Yesterday it began around 7.00 and, as I left, 8.15 struck – thus an hour and a quarter. Generally only four pieces are done: a symphony, an aria, a symphony or concerto, then an aria, and with this, Addio!

Certainly these changes profoundly influenced traditional composition and performance in Salzburg. Yet they also encouraged other kinds of musical activity. In 1775 Colloredo ordered that the

Page 12 of 288

Ballhaus in the Hannibalgarten be rebuilt, at the city's expense, as a theatre for both spoken drama and opera. The first troupe to play there, directed by Carl Wahr, included in its repertory the comedy Der Zerstreute (after J.F. Regnard), with incidental music by Joseph Haydn (Symphony no.60, ‘Il distratto’), while Gebler's tragedy Thamos, König in Ägypten may have been performed with incidental music by Mozart. Schikaneder's troupe visited in 1780; Mozart composed the aria KAnh.11a (of which only a fragment survives) for his production of Die zwei schlaftlosen Nächte (Edge, K1996). Private orchestras were also established, the first of them by Colloredo's nephew, Count Johann Rudolf Czernin. Nevertheless, Colloredo's reforms served ultimately to impoverish Salzburg's musical life, and his policy of promoting Italians at the expense of local German talent – Domenico Fischietti was appointed Kapellmeister in 1772, and Giacomo Rust in 1777 – was a frequent cause for complaint. This may have been a sticking-point for Leopold Mozart in particular, who as deputy Kapellmeister since 1763 had reasonable expectations for promotion; as early as 1763 he had lamented the power and influence of Italian musicians in Germany, attributing his failure to secure an audience with Duke Carl Eugen of Württemberg to the intrigues of his Ober-Kapellmeister, Jommelli. In Paris in 1764 he wrote to Hagenauer: ‘If I had one single wish that I could see fulfilled in the course of time, it would be to see Salzburg become a court which made a tremendous sensation in Germany with its own local people’.

Mozart composed prolifically during the early years of Colloredo's rule: between 1772 and 1774 he wrote the masses K167, 192 and 194, the litanies K125 and 195, the Regina coeli K127, more than a dozen symphonies (from K124 to K202), the Keyboard Concerto K175 (possibly for organ) and the Concertone for two solo violins K190, the serenade K203, the divertimentos K131, 166 and 205 and the Quintet K174 (presumably modelled on similar works by Michael Haydn; see Seiffert, in Eisen and Seiffert, N1994). Financially the family prospered: in late 1773 they moved from their apartment in the Getreidegasse, where they had lodged with the Hagenauers, to a larger one, the so-called Tanzmeisterhaus, in the Hannibalplatz (now the Makartplatz). No doubt this move reflected Leopold's consciousness of their status in Salzburg society: the family was socially active, taking part in shooting parties and in constant music- making and often receiving visitors. Nevertheless, encouraged by rumours of a possible opening at the imperial court, Leopold took Wolfgang to Vienna in July 1773. Nothing came of this, but the sojourn, which lasted four months, was a productive one for Mozart: he composed a serenade (K185, possibly intended as a Salzburg Finalmusik) and six string quartets (K168–73). The more intense style of the quartets (two of which, K168 and 173, include fugal finales) has traditionally been attributed to Mozart's presumed contact with Joseph Haydn's latest quartets, in particular opp.9, 17 and 20, although it is more likely that they reflect common elements of the Viennese quartet at the time (Brown, H1992).

Mozart returned from Vienna in late September, and with the exception of three months spent in Munich between December 1774 and March 1775 for the composition and première of La finta

Page 13 of 288

giardiniera, the libretto of which is generally thought to have been prepared by Coltellini after Goldoni, he remained in his native city until September 1777. In the absence of any sustained family correspondence, his activities can only be surmised; no doubt they included performing at court and in the cathedral, frequent musical gatherings at home, considerable social activity and composition. Among the few documented events of these years are the composition of Il re pastore for the visit to Salzburg of Archduke Maximilian Franz on 23 April 1775 and Mozart's participation in celebrations marking the 100th anniversary of the pilgrimage church at Maria Plain in 1774.

It was about this time that Mozart began to withdraw from the Salzburg court music although the root cause of his dissatisfaction remains unclear. The family letters document Leopold's frustrating inability to find suitable positions for both of them; they frequently complain of longstanding troubles with Colloredo, who is described as rude and insensitive. There was also the irritation of being outdone in the court music by Italians, who were better paid than local musicians. Yet there is no compelling evidence of Colloredo's mistreatment of the Mozarts early in his rule. Wolfgang's serenata Il sogno di Scipione, originally composed for the 50th anniversary of Schrattenbach's ordination, was reworked early in 1772 and performed as part of the festivities surrounding Colloredo's enthronement; on 21 August 1772 he was formally taken into the paid employment of the court, as Konzertmeister (a post he had held in an honorary capacity for nearly three years) with an annual salary of 150 gulden, while Leopold continued to run the court music on a periodic basis and was entrusted with securing musicians, music and instruments; and the Mozarts travelled to Italy, Vienna and Munich. Their discontent with Salzburg – and Colloredo's eventual rejection of them – must therefore have had grounds beyond the conditions of their employment, Colloredo's difficult personality, his attempts to reform music-making in Salzburg or his general belt-tightening.

No doubt Colloredo was displeased by Leopold's excessive pride and his superior manner (in November 1766 Leopold had written, ‘after great honours, insolence is absolutely not to be stomached’) and in particular by his continuing attempts to leave the court. Both in Italy (1770–71) and in Vienna (1773) Leopold had attempted to find jobs that would permit the family to leave Salzburg, and not for the first time. As early as 30 October 1762, when he was in Vienna, he wrote a thinly veiled threat to Hagenauer: ‘If only I knew what the future will finally bring. For one thing is certain: I am now in circumstances which allow me to earn my living in Vienna’; and in London he was offered a post that, after much consideration, he rejected. Leopold frequently wrote of his plans in his letters home, often in cypher, to prevent them from being read and understood by the Salzburg censors. But it is likely that they were well known to Colloredo, who had good connections both in Vienna and in Italy. Maria Theresa's description of the family as like ‘beggars’ may have represented a common view among some of the European nobility.

Mozart's rejection of court musical life was transparent. He continued to compose church music, the primary duty of all Salzburg composers, but with little enthusiasm: his output between 1775 and

Page 14 of 288

1777, including the masses K220, 257–9, 262 and 275, the litany K243 and the offertory K277, was meagre compared with Michael Haydn's. Instead, Mozart established himself as the chief composer in Salzburg of instrumental and secular vocal music. Four violin concertos (K211, 216, 218 and 219; K207 was composed earlier, in 1773) and four keyboard concertos (K238, K242 for three keyboards, K246 for two and K271, presumably for the otherwise unknown French pianist Mlle Jeunehomme), the serenades K204 and 250, the ‘Serenata notturna’ K239 and numerous divertimentos (including K188, 240, 247 and 252) all date from this time; he also composed several arias, including Si mostra la sorte K209, Con ossequio, con rispetto K210, Voi avete un cor fedele K217 and Ombra felice … Io ti lascio K255. It is likely that Mozart's cultivation of instrumental music, which in many cases he wrote for private patrons rather than the court, was encouraged by Leopold, who during his heyday had been the most prominent and successful local composer of symphonies and serenades. Yet this may also have been a miscalculation. Leopold apparently failed to recognize that the conditions of musical life in the archdiocese, to say nothing of musical taste, had changed since the 1750s.

Matters came to a head in the summer of 1777. In August Mozart wrote a petition asking the archbishop for his release from employment, and Colloredo responded by dismissing both father and son. Leopold, however, felt he could not afford to leave Salzburg, and so Mozart set out with his mother on 23 September. The purpose of the journey was clear: Mozart was to secure well-paid employment (preferably at Mannheim, which Leopold had described in a letter of 13 November 1777 as ‘that famous court, whose rays, like those of the sun, illuminate the whole of Germany’) so that the family could move. Mozart first called at Munich, where he offered his services to the elector but met with a polite refusal. In Augsburg he gave a concert including several of his recent works and became acquainted with the keyboard instrument maker J.A. Stein; in a letter of 17 October he described Stein's pianos as damping

ever so much better than [Späth's] instruments. When I strike hard, I can keep my finger on the note or raise it, but the sound ceases the moment I have produced it. In whatever way I touch the keys, the tone is always even. It never jars, it is never stronger or weaker or entirely absent; in a word, it is always even.

He also embarked on a relationship with his cousin, Maria Anna Thekla (the ‘Bäsle’), with whom he later engaged in a scatological correspondence. Although obscene humour was typical of Salzburg (Mozart's parents sometimes wrote to each other in a similar vein), Solomon (F1995) has argued that the relationship between Wolfgang and the Bäsle may have been sexual; Schroder (F1999) offers a more contextualized reading of the letters.

From Augsburg Mozart and his mother went on to Mannheim, where they remained until the middle of March. Wolfgang became friendly with the Konzertmeister, Christian Cannabich, the Kapellmeister, Ignaz Holzbauer, and the flautist J.B. Wendling; he recommended himself to the elector but with no success. His Mannheim compositions included the keyboard sonatas K309 and 311, the Flute

Page 15 of 288

Quartet K285, five accompanied sonatas (K296, K301–3, K305, possibly inspired by the sonatas of Joseph Schuster) and two arias, Alcandro lo confesso … Non sò d'onde viene K294 and Se al labbro mio non credi … Il cor dolente K295; he was also asked by Ferdinand Dejean, an employee of the Dutch East India Company who had worked in eastern Asia for many years as a physician, to compose three flute concertos and two flute quartets, but in the event failed to fulfil the commission and may have written only a single quartet. The aria K294 was composed for Aloysia Lange, the daughter of the Mannheim copyist Fridolin Weber. Mozart, who was in love with Aloysia, put to Leopold the idea of taking her to Italy to become a prima donna, but this proposal infuriated his father, who accused him of dilatoriness, irresponsibility over money and family disloyalty.

In a letter of 11–12 February 1778, Leopold ordered his son to Paris; at this time it was also decided that his mother should continue to accompany him, rather than return to Salzburg, a decision that was to have far-reaching consequences for both father and son. Wolfgang arrived in Paris on 23 March and immediately re-established his acquaintance with Grimm. He composed additional music, mainly choruses (KA1), for a performance of a Miserere by Holzbauer and, according to his letters home – which are less than entirely truthful – a sinfonia concertante KAnh.9/297B, for flute, oboe, bassoon and horn. Like the Miserere choruses, the sinfonia concertante, allegedly suppressed by Joseph Legros, is lost (the convoluted history of this work, and the possibility that part of it survives in KAnh.9/C14.01, is described in Levin, M1988). A symphony (K297) was performed at the Concert Spirituel on 18 June and repeated several times (as described in his letters, Mozart composed two slow movements, of which the one in 6/8 is probably the original), while a group of ballet pieces, Les petits riens, composed for Noverre, was given with Piccinni's opera Le finte gemelle.

Mozart was unhappy in Paris: he claimed to have been offered, but to have declined, the post of organist at Versailles, and his letters make it clear that he despised French music and suspected malicious intrigue. He was not paid for a flute and harp concerto (K299) that he had composed in April for the Court of Guines, and his mother fell ill about mid-June. Although Grimm's doctor was called in to treat her, nothing could be done and she died on 3 July. Mozart wrote to his father to say that she was critically ill, and by the same post to Abbé Bullinger, a close friend in Salzburg, telling him what had happened; Leopold was thus prepared when Bullinger broke the news to him.

These events triggered another round of incriminating letters: Leopold accused Mozart of indolence, lying and improper attention to his mother; for his part Mozart defended himself as best he could. Although this correspondence is frequently taken to represent the first – and most compelling – evidence of an irreparable fissure in the relationship between Wolfgang and his father, it reflects more on their attempts to come to grips with an overwhelming family tragedy. Leopold's implicit suggestion that Mozart was partly responsible for his mother's death cannot be taken seriously. Stuck in Salzburg, grieving for his wife and worrying about his son, Leopold must have felt himself a helpless bystander; his only

Page 16 of 288

recourse was by letter, after the event. Not surprisingly, he sometimes wrote insensitively and hurtfully. His uncompromising devotion to Mozart, however, was never in question. It is significant – given his belief in the fragility of existence (see especially Halliwell, F1998) – that in his first letter to Wolfgang after learning of Maria Anna's death, he does not lay blame but is concerned chiefly with his son's well-being.

Mozart stayed with Grimm for the remainder of the summer. He had another symphony given at the Concert Spirituel, on 8 September (his claim in a letter of 11 September that it was a new work appears to be untrue), and renewed his acquaintance with J.C. Bach, who had come over from London to hear the Paris singers before composing the opera Amadis de Gaule. Mozart also wrote a scena, now lost, for the castrato Tenducci. But his friendship with Grimm, to whom he owned money, deteriorated, and on 31 August Leopold wrote to inform him that, following the death of Adlgasser, a post was open to him in Salzburg, as court organist with accompanying duties rather than as violinist; the archbishop had offered an increase in salary and generous leave. Mozart set out for home on 26 September. Grimm put him on the slow coach through Nancy, and Strasbourg to Mannheim, where he heard Benda's melodrama Medea and resolved to write one himself (the work, Semiramis, if started, was never performed and is now lost; Mozart later wrote a melodrama for the incomplete Singspiel Zaide). Leopold, however, was infuriated that Mozart had gone to Mannheim, where, since the removal of Carl Theodor's court to Munich, there were no opportunities for advancement. Mozart reached Munich on 25 December and remained there until 11 January; he was coolly received by Aloysia Weber, now singing in the court opera. Finally, in the third week of January 1779, he arrived back in Salzburg.

Immediately on his return Mozart formally petitioned the archbishop for his new appointment as court organist. His duties included playing in the cathedral, at court and in the chapel, and instructing the choirboys. Reinstated under favourable conditions, he seems at first to have carried out his duties with determination: in 1779–80 he composed the ‘Coronation’ Mass K317, the Missa solemnis K337, the vespers settings K321 and 339 and the Regina coeli K276. Nevertheless, Colloredo was not satisfied: in an ambiguously worded document appointing Michael Haydn court and cathedral organist in 1782 he wrote: ‘we accordingly appoint [J.M. Haydn] as our court and cathedral organist, in the same fashion as young Mozart was obligated, with the additional stipulation that he show more diligence … and compose more often for our cathedral and chamber music’. The cause of Colloredo's dissatisfaction may have lain in Mozart's other works of the time: the Concerto for two pianos K365, the Sonata for piano and violin K378, the symphonies K318, 319 and 338, the ‘Posthorn’ Serenade K320, the Divertimento, K334 the Sinfonia concertante for violin and viola K364, incidental music for Thamos, König in Ägypten and Zaide. Few of these works would have been heard at court, where instrumental music was little favoured; the production of theatrical music was the domain of the civil authorities.

Page 17 of 288

Mozart's contract with Colloredo did not specify his compositional obligations as a composer: it stated only that ‘he shall as far as possible serve the court and the church with new compositions made by him’. As Colloredo's criticism makes clear, however, he expected Mozart to take a more active role in the court music. During his final years in Salzburg, then, Mozart reverted to the pattern of 1774–7: he put in appearances at court as both performer and composer, but half-heartedly; his music-making was intended instead chiefly for a small circle of friends and the local nobility.

4. The break with Salzburg and the early Viennese years, 1780–83.

In the summer of 1780, Mozart received a commission to compose a serious opera for Munich, and the Salzburg cleric Giovanni Battista Varesco was engaged to prepare a libretto based on Danchet's Idomenée. The plot concerns King Idomeneus of Crete, who promises Neptune that if spared from a shipwreck he will sacrifice the first person he sees and is met on landing by his son Idamantes. Mozart began to set the text in Salzburg; he already knew several of the singers, from Mannheim, and could draft some of the arias in advance.

Mozart arrived in Munich on 6 November 1780. Both the performing score of the opera (not taken into consideration by the Neue Mozart- Ausgabe; see Münster, J1982) and Mozart's letters to his father, who was in close touch with Varesco, offer insights into the genesis of the work and its modification during rehearsal. The matters that chiefly occupied Mozart were, first, the need to prune an overlong text; secondly, the need to make the action more natural; and third, the need to accommodate the strengths and weaknesses of the singers. Several cuts were made in December, during rehearsals, and Mozart continued to trim the score even after the libretto was sent to the printer at the beginning of January; a second libretto was printed to show the final text (although in the event still more adjustments were made, as the performing score makes clear). Much of the secco and accompanied recitative was cut, as well as sections of the ceremonial choral scenes and probably three arias in the last act. In a letter of 15 November to his father, Mozart described his concerns for both dramatic credibility and the singers' capabilities:

[Raaff] was with me yesterday. I ran through his first aria for him and he was very well pleased with it. Well – the man is old and can no longer show off in such an aria as that in Act 2 – ‘Fuor del mar ho un mar nel seno’. So, as he has no aria in Act 3 and as his aria in Act 1, owing to the expression of the words, cannot be as cantabile as he would like, he wishes to have a pretty one to sing (instead of the quartet) after his last speech, ‘O Creta fortunata! O me felice!’ Thus too a useless piece will be got rid of – and Act 3 will be far more effective. In the last scene of Act 2 Idomeneo has an aria or rather a sort of cavatina between the choruses. Here it will be better to have a mere recitative, well supported by the instruments. For in this scene which will be the finest in the whole opera … there will be so much noise and confusion on the stage that an aria at this particular

Page 18 of 288

point would cut a poor figure – and moreover there is the thunderstorm, which is not likely to subside during Herr Raaff's aria, is it?

The opera was first given on 29 January 1781, with considerable success. Both Leopold and Nannerl, who had travelled from Salzburg, were in attendance, and the family remained in Munich until mid-March. During this time Mozart composed the recitative and aria Misera! dove son … Ah! non son’ io che parlo K369, the Oboe Quartet K370 and possibly three piano sonatas (K330–32 although these many equally date from his first month in Vienna).

On 12 March Mozart was summoned to Vienna, where Archbishop Colloredo and his retinue were temporarily in residence for the celebrations of the accession of Emperor Joseph II; he arrived on 16 March, lodging with the archbishop's entourage. Fresh from his triumphs in Munich, Mozart was offended at being treated like a servant, and the letters that he wrote home over the next three months reflect not only increasing irritation and resentment – on 8 April the archbishop refused to allow him to perform for the emperor at Countess Thun's and thereby earn the equivalent of half his annual Salzburg salary – but also a growing enthusiasm for the possibility of earning his living, at least temporarily, as a freelance in Vienna. Matters came to a head on 9 May: at a stormy interview with Colloredo, Mozart asked for his discharge. At first he was refused, but at a meeting with the chief steward, Count Arco, on 8 June, he was finally and decisively released from Salzburg service, ‘with a kick on my arse … by order of our worthy Prince Archbishop’ (letter of 9 June 1781).

About this time Mozart moved to the house of the Webers, his former Mannheim friends, who had moved to Vienna after Aloysia's marriage to the court actor Joseph Lange, although in order to scotch rumours linking him with the third daughter, Constanze, he moved again in late August to a room in the Graben. He made a modest living at first, teaching three or four pupils, among them Josepha von Auernhammer (for whom he wrote the Sonata for two pianos K448) and Marie Karoline, Countess Thiennes de Rumbeke, cousin of Count Johann Phillipp von Cobenzl, the court vice- chancellor and chancellor of state (whom Mozart had met in Brussels in autumn 1763). He also participated in, or had works performed at, various concerts: the Tonkünstler-Societät gave one of his symphonies on 3 April (Mozart later applied for membership in the society, which provided pensions and benefits for the widows and orphans of Viennese musicians, but he failed to provide a birth certificate and his application was never approved); and on 23 November he played at a concert sponsored by Johann Michael von Auernhammer. Later Mozart participated in a series of Augarten concerts promoted by Philipp Jakob Martin. At the first of these, on 26 May 1782, he played a two-piano concerto with Josepha von Auernhammer (the programme also included a symphony by him). Mozart's own first public concert took place on 3 March 1782, possibly at the Burgtheater. The programme included the concertos K175 (with the newly composed finale K382) and K415, numbers from Lucio Silla and Idomeneo, and a free fantasy; on 23 March Mozart wrote to his father that the new concerto finale was ‘making

Page 19 of 288

… a furore in Vienna’. During this period he also played regularly at the home of Baron Gottfried van Swieten, where Handel and Bach were staples of the repertory.

By the end of 1781, Mozart had established himself as the finest keyboard player in Vienna; although he was not without competitors, few could match his pianistic feats. The most serious challenge, perhaps, came from Clementi, with whom Mozart played in an informal contest at Emperor Joseph II's instigation on 24 December. Clearly Mozart was perturbed by the event: although he was judged to have won, and Clementi later spoke generously of his playing, Mozart in his letters repeatedly disparaged the Italian pianist. It is likely that Clementi's skill took Mozart by surprise; the emperor must have been impressed as well, for he continued to speak of the contest for more than a year. That same month saw the appearance of Mozart's first Viennese publication, a set of six keyboard and violin sonatas (K296 and 376–80, of which two, K296 and 378 had been composed earlier). They were well received; a review in C.F. Cramer's Magazin der Musik (4 April 1783) described them as ‘unique of their kind. Rich in new ideas and traces of their author's great musical genius’.

The most important composition of this period, however, was Die Entführung aus dem Serail, the libretto of which was given to Mozart at the end of July 1781. Originally planned for September, the première was postponed until the following summer (Mozart had completed the first act in August 1781). The opera was a great success: Gluck requested an extra performance, Schikaneder's troupe mounted an independent production in September 1784 (although the aria ‘Martern aller Arten’ was replaced because the orchestra was incapable of performing the obbligato solos), and productions were soon mounted in cities throughout German- speaking Europe. The earliest lengthy obituary of Mozart, in the Musikalische Korrespondenz der Teutschen Filarmonischen Gesellschaft of 4 January 1792, described the work as ‘the pedestal upon which his fame was erected’.

In his letters to Leopold, Mozart described in detail several of his decisions in composing the opera. He wrote on 26 September 1781:

in the original libretto Osmin has only [one] short song and nothing else to sing, except in the trio and the finale; so he has been given an aria in Act 1, and he is to have another in Act 2. I have explained to Stephanie the words I require for the aria [‘Solche hergelaufne Laffen’] – indeed, I had finished composing most of the music for it before Stephanie knew anything whatever about it. I am enclosing only the beginning and the end, which is bound to have a good effect. Osmin's rage is rendered comical by the use of the Turkish music. In working out the aria I have … allowed Fischer's beautiful deep notes to glow. The passage ‘Drum beim Barte des Propheten’ is indeed in the same tempo, but with quick notes; and as Osmin's rage gradually increases, there comes (just when the aria seems to be at an end) the Allegro assai, which is in a totally different metre and in a different key; this is bound to be very effective. For just as a man in such a towering rage oversteps all the bounds of order, moderation and propriety and completely forgets himself, so must

Page 20 of 288

the music too forget itself. But since passions, whether violent or not, must never be expressed to the point of exciting disgust, and as music, even in the most terrible situation, must never offend the ear, but must please the listener, or in other words must never cease to be music, so I have not chosen a key foreign to F (in which the aria is written) but one related to it – not the nearest, D minor, but the more remote A minor. Let me now turn to Belmonte's aria in A major, ‘O wie ängstlich, o wie feurig’. Would you like to know how I have expressed it – and even indicated his throbbing heart? By the two violins playing in octaves. This is the favourite aria of all who have heard it, and it is mine also. I wrote it expressly to suit Adamberger's voice. You see the trembling, the faltering, you see how his throbbing breast begins to swell; this I have expressed by a crescendo. You hear the whispering and the sighing – which I have indicated by the first violins with mutes and a flute playing in unison.

Mozart had already described his concern for naturalness, in both composition and performance, in a letter written in Paris on 12 June 1778:

Meis[s]ner, as you know, has the bad habit of making his voice tremble at times, turning a note that should be sustained into distinct crotchets, or even quavers – and this I never could endure in him. And really it is a detestable habit and one that is quite contrary to nature. The human voice trembles naturally – but in its own way – and only to such a degree that the effect is beautiful. Such is the nature of the voice; and people imitate it not only on wind instruments, but on string instruments too and even on the keyboard. But the moment the proper limit is overstepped, it is no longer beautiful – because it is contrary to nature.

Shortly after the première of Die Entführung, on 16 July, Mozart decided to go forward with his marriage to Constanze Weber, which he had first mooted to his father the previous December. Events gave him little choice: probably through his future mother-in-law's scheming, he was placed in a position where because of his alleged intimacy with Constanze he was required to agree to marry her or to compensate her. Mozart wrote to his father on 31 July 1782, asking for his approval, on 2 August the couple took communion together, on 3 August the contract was signed, and on 4 August they were married at the Stephansdom. Leopold's grudging consent did not arrive until the next day. The marriage appears to have been a happy one. Although Mozart described Constanze as lacking wit, he also credited her with ‘plenty of common sense and the kindest heart in the world’, and his letters to her, especially those written when he was on tour in 1789 and when she was taking the cure at Baden in 1791, are full of affection. There is little reason to imagine that she was solely, or even primarily, to blame for their chronic financial troubles, which surfaced only weeks after their marriage; the truth probably lies somewhere nearer Nannerl's statement, in 1792, that Mozart was incapable of managing his own financial affairs and that Constanze was unable to help him.

Mozart's departure from Salzburg, and his wedding to Constanze, triggered another acrimonious exchange with Leopold (whose letters from this period are lost, but their contents can be inferred from

Page 21 of 288

Mozart's). Leopold accused Wolfgang of concealing his affair with Constanze and, worse, of being a dupe, while Wolfgang, for his part, became increasingly anxious to defend his honour against reproaches of improper behaviour and his alleged failure to attend to his religious observations; he chastised his father for withholding consent to his marriage and for his lukewarm reaction to the success of Die Entführung. Mozart had reason to be upset: not only had Leopold repeatedly pressed him to return home, but in his dealings with Colloredo Mozart had been told by Count Arco that he could not leave his post without his father's permission. Despite his numerous successes in Vienna, he felt thwarted in his attempt to achieve a well-earned independence.

Presumably in order to heal the rift with his family, Mozart determined to take Constanze to Salzburg to meet his father and sister, although to Leopold's irritation the visit was several times postponed. The success of Die Entführung had catapulted Mozart to prominence: the opera was performed at the Burgtheater on 8 October, in the presence of the visiting Russian Grand Duke Paul Petrovich (Mozart directed from the keyboard, as he explained in a letter of 19 October 1782, ‘partly to rouse the orchestra, who had gone to sleep a little, partly … in order to appear before the royal guests as the father of my child’); and between November and March 1783 he played at concerts sponsored by Auernhammer (at the Kärntnertortheater), the Russian Prince Dmitry Golitsïn, Countess Maria Thun, Philipp Jakob Martin (at the casino ‘Zur Mehlgrube’), his sister-in-law Aloysia Lange (at the Burgtheater; according to Mozart's letter of 12 March, Gluck, who attended, ‘could not praise the symphony and aria too much’), Count Esterházy and the singer Therese Teyber. On 23 March Mozart gave his own academy at the Burgtheater, in the presence of the emperor. The programme may have included the Haffner Symphony K385 (composed in July 1782 to celebrate the ennoblement in Salzburg of Siegmund Haffner) and improvised variations on an aria from Gluck's La rencontre imprévue.

Mozart composed several new works for these occasions, including the piano concertos K413–15, later published by Artaria (although Mozart may not have conceived them as a set, the autographs show that some time in the spring of 1783 he thoroughly revised all three together), and three arias, K418–20, intended for a production of Pasquale Anfossi's Il curioso indiscreto at the Burgtheater on 30 June 1783. He also began work on the so-called ‘Haydn’ quartets. The first, K387, was completed in December 1782; the second, K421, was finished in June 1783, while Constanze was giving birth to their first child, Raimund Leopold, born on 17 June. (Mozart and Constanze had six children, four of whom died in infancy: Raimund Leopold (1783), (5) Karl Thomas, Johann Thomas Leopold (1786), Theresia (1787–8), Anna Maria (1789) and (6) Franz Xaver Wolfgang.)

Mozart and Constanze eventually set out in July (Raimund Leopold, who was left behind, died on 9 August); they remained in Salzburg for about three months. Later correspondence suggests that the visit was not entirely happy – Mozart was anxious about the success of the visit and about his father's reaction to Constanze – but details are lacking. While there, he probably composed his two violin-viola

Page 22 of 288

duos for Michael Haydn, who was behindhand with a commission from the archbishop, and parts of the Mass in C minor (K427, never completed) had their first hearing, possibly with Constanze singing, at St Peter's on 26 October. On the return journey to Vienna, Mozart paused at Linz, where he composed a symphony (K425) for a concert; the Piano Sonata K333 may also date from this time.

5. Vienna, 1784–8.

With his return to Vienna in late November 1783, Mozart entered on what were to be the busiest and most successful years of his life. On 22 December he performed a concerto in a concert mounted by the Tonkünstler-Societät, and on 25 January 1784 he conducted a performance of Die Entführung for the benefit of Aloysia Lange. He gave three subscription concerts in the private hall of the Trattnerhof in March, and a grand musical academy at the Burgtheater on 1 April; the programme included a ‘quite new’ symphony, possibly the Linz (K425), a new concerto (K450 or 451), the Quintet for piano and wind (K452) and an improvisation. The 1785 season was similar: there where six subscription concerts at the Mehlgrube beginning on 11 February (including the first performance of the D minor Concerto K466) and another grand academy at the Burgtheater on 10 March. It was chiefly for these concerts that, between February 1784 and December 1786, Mozart composed a dozen piano concertos (from K449 to K503), unquestionably the most important works of their kind. Perhaps in recognition of his risen star, in February 1784 Mozart started keeping a list of his new works, the Verzeichnüss aller meiner Werke, recording the incipit and the date of each. The catalogue is a primary source of information concerning Mozart's compositional activities during the 1780s, documenting among other things several lost compositions, including the aria Ohne Zwang, aus eignem Triebe K569, the contredanses K565 and an Andante for a violin concerto K470.

In addition to his public performances, Mozart was also in demand for private concerts: in March 1784 alone he played 13 times, mostly at the houses of Count Johann Esterházy and the Russian ambassador, Prince Golitsïn. By the same token, visiting and local virtuosos and concert organizations frequently gave newly commissioned works by him in their programmes: on 23 March the clarinettist Anton Stadler mounted a performance of the Wind Serenade K361, and on 29 April Mozart and the violinist Regina Strinasacchi played the Sonata K454. (Mozart is said to have performed from a blank or fragmentary copy; it is clear from the autograph that the violin part was written first and the piano one added later.) The Tonkünstler-Societät gave the cantata Davidde penitente (K469, arranged from the unfinished Mass in C minor K427) in March 1785; Mozart played a concerto for the same group in December. These works and performances brought Mozart considerable acclaim. A review of the December Tonkünstler- Societät concert noted ‘the deserved fame of this master, as well known as he is universally valued’ (Wiener Zeitung, 24 December). Earlier that year Leopold Mozart, who visited Wolfgang in Vienna in

Page 23 of 288

February and March 1785, wrote to Nannerl describing a quartet party at Mozart’s home at which Haydn told him, ‘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, what is more, the most profound knowledge of composition’.

His publications were numerous. Torricella brought out the three sonatas K333, K284 and K454; in July 1784 Lausch advertised manuscript copies of six piano concertos; and in February 1785 Traeg offered copies of three symphonies. The most significant publications, however, were possibly the three concertos K413–15, published by Artaria in March 1785, and the six quartets dedicated to Haydn, brought out by Artaria in September of that year. The success of these works seems to have brought about a fundamental shift in Mozart's attitude to composition and publishing. After mid-1786, several works were planned primarily with a view to publication rather than public performance; these include the piano quartets K478 and 493, the three piano trios K496, 542 and 548, the C major and G minor string quintets K515 and 516, the Hoffmeister Quartet K499 and the Sonata for piano and violin K526.

Although opera remained central to Mozart's ambitions throughout this period, there was no opportunity to build on the success of Die Entführung: by late 1782, Joseph II decided to close down the Nationaltheater (which he had founded in 1776 to promote German- language culture) and to re-establish Italian opera. Mozart was quick to capitalize on the change, although he had little luck in finding a suitable text; on 7 May 1783 he wrote to his father, ‘I have looked through at least a hundred librettos and more, but I have scarcely found a single one with which I am satisfied’. He therefore asked Leopold to have Varesco, the Salzburg poet and librettist of Idomeneo, provide a text. This was L'oca del Cairo, which Mozart received from Salzburg in June 1783. He may have worked on it during his visit to Salzburg, but the project was apparently abandoned by the end of the year, by which time he had sketched out seven pieces, including a large sectional finale. In 1785, or possibly earlier, he began work on Lo sposo deluso, ossia La rivalità di tre donne per un solo amante, which he based on the libretto used by Cimarosa for his opera Le donne rivali of 1780 (see Zaslaw, in Sadie, B1996), but this too was left incomplete: of the five surviving numbers – an overture, a quartet, a trio and two arias – only the trio, ‘Che accidenti, che tragedia’, is completely orchestrated. A one-act comedy, Der Schauspieldirektor K486, was given early in 1786 in the Orangery at Schloss Schönbrunn, together with Salieri's Prima la musica e poi le parole (both were commissioned for a visit by the Governor-General of the Austrian Netherlands), and in March a private performance of a revised version of Idomeneo was given at Prince Auersperg's; among other changes, Mozart wrote the duet ‘Spiegarti non poss'io’ (K489) to replace ‘S'io non moro a questi accenti’ and the scena and rondò ‘Non più, tutto ascoltai … Non temer, amato bene’ (K490) to replace the original beginning of Act 2.

The topic of Mozart's first documented collaboration with Lorenzo da Ponte, Le nozze di Figaro was no doubt carefully chosen: Beaumarchais' play, La folle journée, ou Le mariage de Figáro, had been printed in German translation in Vienna in 1785, although

Page 24 of 288

performances by Schikaneder's theatrical company had been banned; further, it was a sequel to Beaumarchais' Le barbier de Séville, ou La précaution inutile, of which Paisiello's operatic version, given at Vienna in May 1784, had been a great success. Work on Figaro was started by October or November 1785, and the opera came to the stage of the Burgtheater on 1 May 1786. The initial run was a success: many items were applauded and encored at the first three performances, prompting the emperor to restrict encores at later ones to the arias. Letters from Leopold to Nannerl Mozart make it clear that there was a good deal of intrigue against the work, allegedly by Salieri and Vincenzo Righini, while a pamphlet published in Vienna in 1786 (Ueber des deutsche Singspiel des Apotheker des Hrn. v. Dittersdorf; see Eisen, A1991) similarly claims that ‘[The foreign partisans] … have completely lost their wager, for Mozart's Nozze di Figaro … [has] put to shame the ridiculous pride of this fashionable sect’. An equally biting comment appeared in the Wiener Zeitung for 11 July: ‘Herr Mozart's music was generally admired by connoisseurs already at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves’.

The allegedly seditious politics of the opera may be overstated: Da Ponte was careful to remove the more inflammatory elements of Beaumarchais' play, and the characters and events of the opera are well situated within the commedia dell'arte tradition. Nevertheless, social tensions remain, as in Figaro's ‘Se vuol ballare’, the Act 2 finale, and the Count's music early in Act 3. Individual arias also reflect the social standing of the various characters: this may be exemplified by a comparison of Bartolo's blustery, parodistic vengeance aria ‘La vendetta’ and the Count's ‘Vedrò, mentr'io sospiro’, with its overtones of power and menace, or between the breadth and smoothness of the Countess's phraseology as opposed to Susanna's. Ultimately, however, Figaro may be no more than a comic domestic drama, though not without reflecting contemporary concerns about gender and society (see Hunter, J1999).

The presumed political implications of Mozart's masonic activities may also be overstated. On 11 December 1784 he had become a freemason at the lodge ‘Zur Wohlthätigkeit’ (‘Beneficence’), which in 1786, at Joseph II's orders, was amalgamated with the lodges ‘Zur gekrönten Hoffnung’ (‘Crowned Hope’) and ‘Drei Feuern’ (‘Three Fires’) into ‘Zur neugrekrönten Hoffnung’ (‘New Crowned Hope’) under the leadership of the well-known scientist Ignaz von Born. The society was essentially one of liberal intellectuals, concerned less with political ideals than with the philosophical ones of the Enlightenment, including nature, reason and the brotherhood of man; the organization was not anti-religious, and membership was compatible with Mozart's faith (Landon, G1982, suggests that an anonymous oil painting showing a meeting of a Viennese lodge includes, in the lower right corner, a portrait of Mozart). Mozart frequently composed for masonic meetings: the cantata Die Maurerfreude K471, for tenor, male chorus and orchestra, was written to honour Born, and various versions of the Maurerische Trauermusik K477 were given in 1786 (Autexier, L1984); several songs and other occasional works, too, were composed for lodge meetings. The masonic style is not restricted to music intended

Page 25 of 288

exclusively for lodge performance, but appears elsewhere in Mozart's works, with respect to both general themes, as in Die Zauberflöte, and specific musical constructions: Sarastro's aria ‘O Isis und Osiris’, with its strophic, antiphonal structure, is identical in form with other Viennese masonic songs of the 1780s.

Mozart had first made his way in Vienna by taking pupils, and he continued to do so throughout the mid-1780s: the most important of these was Johann Nepomuk Hummel, who lodged with him between 1786 and 1788. Mozart also taught the English composer Thomas Attwood, whose surviving exercises (now in ; ed. in NMA, X: 30/i) testify to Mozart's careful, systematic teaching methods, and perhaps carry hints as to how Mozart himself had been taught (see Heartz, H1974). The ‘English’ connection was already strong at the time of Figaro: the first Don Curzio was Michael Kelly (in fact an Irishman), and the first Susanna the soprano Nancy Storace; it is likely that Nancy's brother, Stephen – who later pilfered part of the ‘Rondo alla turca’ of the Sonata K331 in his opera The Siege of Belgrade – also consulted informally with Mozart on matters of composition. (After his return to London, Storace prepared a series of publications which included in 1789 the first edition of the Piano Trio K564, in a text that differs from the first Viennese edition of 1790; he probably received a copy of the work from Mozart himself.)

The impending departure of the English contingent from Vienna, planned for the spring of 1787, led Mozart to consider a journey to London during late 1786, but that idea foundered when Leopold took a strong stand against the proposed journey and refused to look after Mozart's children (of Mozart's six children, only two, Carl, born in 1784, and Franz Xaver, born in 1791, survived to adulthood). Mozart did, however, accept an invitation to Prague, where Figaro had been a great success. He spent approximately four weeks there, from 11 January 1787, and clearly relished his popularity in the city. He directed a performance of Figaro and gave a concert including a new symphony written for the occasion (the Prague, K504 – there is reason to believe that Mozart originally intended to perform the Paris Symphony with a new finale, but, having written it, decided to compose an entirely new symphony altogether; see Tyson, D1987). And it was about this time that the Prague impresario Pasquale Bondini commissioned Mozart to write an opera for the following autumn. On his return to Vienna, Mozart asked Da Ponte for another libretto.

The plot of Don Giovanni, based like that of Figaro on tensions of class and sex, dates back at least to the time of Tirso de Molina (1584–1648), although Da Ponte drew on the most recent stage version, a one-act opera with music by Giuseppe Gazzaniga and a libretto by Giovanni Bertati, given in Venice in February 1787. Mozart left for Prague on 1 October; the première was planned for 14 October 1787, but because of inadequate preparation, Figaro was given instead and the new opera was postponed until 29 October, when it earned a warm reception. Mozart directed three or four performances before returning to Vienna in mid-November. During this time he also visited his friends the Dušeks at their villa outside Prague; he wrote the difficult aria Bella mia fiamma K528 for Josefa, an old Salzburg friend. Don Giovanni was staged in Vienna in May

GB-Lbl

Page 26 of 288

1788, with several adaptations: Leporello's escape aria in Act 2 was replaced by a duet with Zerlina; Ottavio's ‘Il mio tesoro’ in Act 2 was replaced by ‘Dalla sua pace’ in Act 1, and Elvira was given a magnificent accompanied recitative and aria, ‘In quali eccessi … Mi tradì quell'alma ingrata’.

The two Da Ponte operas, along with the increasing success of his publications, initiated a new phase in Mozart's career. Not only did he now give fewer concerts – a grand academy at the Burgtheater on 7 April 1786, less than a month before the première of Figaro, was his last in that venue (the programme probably included the C minor Piano Concerto K491) – but other genres came to the fore in his output, including the symphony. The final symphonic triptych, composed between June and August 1788, was apparently intended for a concert series that autumn (Eisen, L1997); it is striking that Mozart chose these works, rather than concertos, for what may have been his first public concert appearance in two years. Whether these changes were also related to Mozart's appointment the previous December as court Kammermusicus, however, is unclear. Apparently he was required to do little more than write dances for court balls; nevertheless, Mozart welcomed the appointment, both for the dependable income it provided and for its advancement of his standing in Viennese musical circles. There is little reason to think that the relatively small salary of 800 gulden (Gluck, the previous incumbent, was paid 2000 gulden) was an insult to Mozart, for the post was superfluous to begin with; Joseph II later remarked that he had created the vacancy solely to keep Mozart in Vienna.

The death of Leopold Mozart in May 1787 may have initiated a fallow period for the composer, albeit at some months' distance: Mozart wrote relatively few works immediately following the Prague première of Don Giovanni, among them dances and piano music, songs and arias and at least part of a piano concerto (K537) in addition to the three new items for the Viennese première of his opera. A similar fallow period had followed the death of his mother in Paris in July 1778. Leopold's death also marked the final breakdown of the Salzburg Mozart family. Only Nannerl, who in 1784 had married the magistrate Johann Baptist Franz von Berchtold zu Sonnenburg and moved to St Gilgen, remained, and except for settling their father's estate, Mozart apparently failed to keep in contact with her (his last known letter to her is dated 2 August 1788). Nannerl was hurt by Mozart's lack of attention, so much so that when asked in 1792 to describe his life in Vienna, she pleaded ignorance, despite the fact that she had become personally acquainted with Constanze in 1783 and still had in her possession numerous letters from her father, many of them detailing Mozart's activities at the time.

6. The final years.

Mozart's financial circumstances in Vienna can be measured in part by the locations and sizes of the numerous lodgings he rented there. In January 1784 he moved to the Trattnerhof, and in September of that year to an apartment, now Domgasse 5, in the heart of the town,

Page 27 of 288

close to the Stephansdom. By mid-1788, however, he had removed to the distant suburb of Alsergrund, where rents were considerably cheaper. It is from this time that a dismal series of begging letters to his fellow freemason Michael Puchberg survives. One refers to the poor response to his string quintet subscription, another to embarrassing debts to a former landlord, and a third to dealings with a pawnbroker; the letters continued well into 1790.

Mozart's finances during the Vienna years must be counted a mystery. Although he was never forced to do without a maid or other luxuries typical of a person of his standing, his finances were unstable. Estimates of his earnings are at best incomplete and unreliable. His main sources of income included profits from his public concerts and payments from private patrons; money earned from teaching; honoraria for publications; and, from 1788, his salary as court Kammermusicus. During his early years in Vienna Mozart's performances represented a good source of income. His subscription series of 1784 attracted well over 100 patrons at 6 gulden for three concerts, and, according to Leopold, he took in 559 gulden from his Burgtheater academy on 10 March 1785. He also must have received cash or other rewards from the princes Esterházy and Golitsïn, at whose homes he frequently performed; for his contest with Clementi Joseph II gave him 50 ducats. After 1786, however, this concert-giving income largely disappeared.

Teaching provided less, although Mozart enterprisingly formulated a scheme to ensure some regularity of payment, which he described to his father in a letter of 23 January 1782: ‘I no longer charge for 12 lessons, but monthly. I learnt to my cost that my pupils often dropped out for weeks at a time; so now, whether they learn or not, each of them must pay me 6 ducats’. Publications may also have brought in substantial sums, although the payment of 450 gulden that Mozart received from Artaria for the six quartets dedicated to Haydn was exceptional; he received less for the symphonies and the sonatas, quintets and other chamber works printed during the 1780s. On occasion he acted as his own publisher, sometimes with sorry results: a subscription for his string quintets in 1788 apparently failed. In 1791, however, he apparently sold copies of Die Zauberflöte for 100 gulden each. For the composition of an opera Mozart generally received 450 gulden; payments of this amount are documented for Die Entführung, Figaro and La clemenza di Tito (for Così fan tutte see below); his share of the profit from Die Zauberflöte, however, is unknown.

Mozart's day-to-day expenses, on the other hand, have been little explored. In addition to rent and food, his income had to cover substantial medical bills (chiefly resulting from Constanze's frequent cures), child-rearing expenses and a costly wardrobe (only some of the prices he paid for maintaining his standing in Vennese society, though gladly it seems). By all accounts he was generous to his friends, sometimes lending them money. Other expenses on other items must be taken into consideration as well, among them books, music and manuscript paper. Documents show that Mozart was in debt to the publisher Artaria throughout the 1780s, although it is

Page 28 of 288

unclear whether this represents monies owed before or after honoraria paid by Artaria for his published works (Ridgewell, G1999).

The estate documents are difficult to interpret. Mozart was in debt at the time of his death, but not to an excessive degree: the value of his estate, less than 600 gulden, was set against debts of about 900 gulden. However, this does not take into account a judgment of more than 1400 gulden awarded by the courts in November 1791 to Prince Karl Lichnowsky, who had sued Mozart, for unknown reasons (details of the affair and its resolution are known only summarily from an account in the Viennese archives; see Brauneis, G1991). Nevertheless, Constanze managed not only to pay off Mozart's debts but also to collect the value of the estate. It may be that she was provided for by Mozart's friends and patrons, chief among them van Swieten, or that her finances were secured by the sale of Mozart's music and the income from numerous benefit concerts.

Between 1788 and 1790, van Swieten contributed to Mozart's welfare by having him arrange for private performance several works by Handel, including Acis and Galatea (K566, November 1788), Messiah (K572, March 1789) and Alexander's Feast and the Ode for St Cecilia's Day (K591 and 592, both July 1790). But the situation in Vienna at the time was complicated by the Turkish war. One effect of this campaign was a general decline in musical patronage during 1788 and 1789, with fewer concerts than there had been earlier in the 1780s. (The war did provide Mozart with opportunities for composition, however, including the ‘Kriegslied’ Ich möchte wohl der Kaiser sein K539 and the works for mechanical organ, K594, 608 and 616, presumably composed for performance at a mausoleum established in memory of Field Marshal Gideon Laudon, hero of the Siege of Belgrade.)

Perhaps in an effort to alleviate his financial woes, or even to escape what he may have perceived as an oppressive Viennese atmosphere, Mozart undertook a concert tour of Leipzig, Dresden and Berlin in the late spring of 1789. Details of the journey are scarce. At Dresden he played chamber music privately and performed at court, in addition to playing in an informal contest with the organist J.W. Hässler, while at Leipzig he reportedly improvised at the Thomaskirche organ in the presence of the Kantor, J.F. Doles, a former Bach pupil. Mozart may have sold some compositions in Potsdam and Berlin, and he attended a performance of Die Entführung. Nevertheless, the journey was not without its rewards. In Leipzig Mozart renewed his acquaintance with Bach's music, obtaining a score of the motet Singet dem Herrn ein neues Lied! (BWV225); its impact is evident not only in the chorale of the Armed Men in Die Zauberflöte but also, more substantially, in the contrapuntal disposition and character of the finales of his two last string quintets, K593 and 614. And he was probably invited by King Friedrich Wilhelm II, an amateur cellist, to compose quartets and keyboard sonatas. Almost certainly he started work on this commission on the return journey to Vienna: the score of K575 and part of that of K589 are written on manuscript paper originating from a mill between Dresden and Prague. When the quartets were finally published by Artaria in 1791, however, they lacked a

Page 29 of 288

dedication altogether. Mozart wrote to Puchberg on 12 June 1790, ‘I have now been obliged to give away my quartets … for a pittance, simply in order to have cash in hand’.

His continuing financial problems notwithstanding, Mozart's circumstances were beginning to improve by late 1789. In addition to the first of the ‘Prussian’ quartets, he wrote two replacement arias for a new production of Figaro on 29 August (‘Al desio di chi t'adora’ K577 and ‘Un moto di gioia mi sento’ K579, first heard at a Tonkünstler-Societät concert in December), as well as substitute arias for productions of Cimarosa's I due baroni (K578), probably for a German-language version of Paisiello's Il barbiere di Siviglia (K580), and for Martín y Soler's Il burbero di buon cuore (K582 and 583). His work attracted international interest: the poet Friedrich Wilhelm Gotter intended to offer Mozart his opera libretto Die Geisterinsel (in the event not set until 1796, by Friedrich Fleischmann), and in April 1791 Mozart was apparently offered a pension by two groups of patrons, one in Amsterdam, the other in Hungary.

His main energies, however, were given to the composition of Così fan tutte, his third collaboration with Da Ponte and the only one of the Da Ponte operas for which there is no direct literary source (although, like Don Giovanni, it has sources in Tirso de Molina). It may be that the libretto was wholly original to Mozart and the poet, for the subject is sometimes claimed to have been suggested to Mozart and Da Ponte by Joseph II himself, allegedly on the basis of a recent real-life incident. However, it is known that the libretto was initially offered to Salieri, who set some early numbers and then apparently abandoned it (Rice, J1987). Così fan tutte is widely reckoned to be the most carefully and symmetrically constructed of the Da Ponte operas. The three men (the two officers Ferrando and Guglielmo and their friend don Alfonso) and the three women (the sisters Dorabella and Fiordiligi and their servant Despina) each have an aria in each act; and the ensembles are calculated so that the four principals are kept in their pairs (officers and sisters), and given relatively little personal identity, until well on in Act 2, by which time the sisters are emotionally affected by their disguised lovers. At this point, the pervasive element of parody characteristic of the opera gives way to music more personal in tone, reflecting the characters' differing moral dilemmas.

Little is known of the opera's genesis. It was rehearsed at Mozart's home on 31 December and at the theatre on 21 January 1790 (Puchberg and Haydn probably attended both); the première was on 26 January. There were four further performances, then a break because of the death of Joseph II in February, and five more in the summer. Mozart apparently expected to receive 900 gulden for its composition, twice the usual amount, but documents survive only for a payment of 450 gulden (Edge, G1991). Although the opera was a success – receipts from the court theatre box offices show that it was one of the most heavily attended of the season (Edge, G1996) – it soon came to be criticized for its apparent moral shortcomings: female fickleness, in particular, was found shocking, and it is made more so by the convention (standing equally in Figaro and Don Giovanni) that the action should span no more than 24 hours. The

Page 30 of 288

opera is susceptible of other interpretations, however. Its appeal to commedia dell'arte traditions explains some of the characters and their behaviour, including the use of poison, disguises and elevated rhetoric (Goehring, J1993), while its balance of sympathy and ridicule presents a commentary on the strength and uncontrollability of amorous feelings and the value of a mature recognition of them.

Joseph II died on 20 February 1790, and with the accession of a new emperor, Leopold II, Mozart hoped for a preferment at court; none was forthcoming. Unlike his predecessor, Leopold (who until his coronation had ruled in Florence as Grand Duke of Tuscany) had musical tastes that were thoroughly Italian. During the two years of his reign he transformed Viennese musical theatre: he planned to replace the old Burgtheater with a magnificent new house, he reintroduced the ballet and revived opera seria, and he reformed comic opera. Although these changes were seemingly reactionary, they nevertheless looked to the future: they were responsible at least in part for the composition of Die Zauberflöte and La clemenza di Tito, both of which were influential in the early 19th century (Rice, J1995).

In order to take advantage of the coronation festivities, in which he had no official role, Mozart went in September 1790 to Frankfurt, taking his brother-in-law Franz de Paula Hofer and a servant. They arrived on 28 September, and Mozart gave a public concert on 15 October; though musically a success it was poorly attended and financially a failure. On the return journey Mozart gave a concert at Mainz, heard Figaro at Mannheim, and played before the King of Naples at Munich. He reached home about 10 November, joining Constanze at their new apartment in central Vienna, to which she had just moved.

Page 31 of 288

11. Handbill for the concert Mozart gave in Frankfurt (15 October 1790) during the festivities on the coronation of Leopold II; the programme included the piano concertos K537 and 459

A trip to England became a possibility again that autumn. Mozart was tendered an invitation for an opera, but declined (he was also promised an engagement like Haydn's by J.P. Salomon). During the winter months he composed a piano concerto (K595, possibly performed on 9 January 1791 by his pupil Barbara Ployer at a concert held by Prince Adam Auersperg in honour of the visit to Vienna of the King of Naples; see Edge, G1996) and the last two

Page 32 of 288

string quintets (K593 and 614). He played a concerto at a concert organized by the clarinettist Josef Bähr, and an aria and a symphony were give at the Tonkünstler-Societät concerts in April. That same month Mozart secured from the city council the reversion to the important and remunerative post of Kapellmeister at the Stephansdom, where the incumbent Leopold Hofmann was aged and ill; he was appointed assistant and deputy, without pay, but in the end Hofmann outlived him.

It was for the festivities at Leopold II's coronation in Prague that Mozart composed La clemenza di Tito. Reports published soon after his death suggested that it had been written in only 18 days, some of it in the coach between Vienna and Prague, although it is more likely that it written over a period of six weeks. The impresario Domenico Guardasoni signed a contract with the Bohemian Estates on 8 July, and his first choice to compose a coronation opera (either on a subject to be suggested by the Grand Burgrave of Bohemia or, if time did not permit, on Metastasio's La clemenza di Tito, 1734), was Salieri. But Salieri refused the commission and the work fell to Mozart. Possibly this was in mid-July: the fact that Guardasoni's contract included an ‘escape clause’, allowing him to engage a different composer, suggests that he may already have expected Salieri to decline and discussed with Mozart the possibility of composing the opera. The text was arranged by Caterino Mazzolà, who cut much of the dialogue and 18 arias while adding four new ones, as well as supplying two duets, three trios and finale ensembles. In his catalogue, Mozart described Tito as ‘ridotto a vera opera’. The première took place on 6 September.

Mozart's works were widely published in 1791 – Viennese dealers produced nearly a dozen editions of his works in that year alone – and were intended for audiences that ranged far beyond court circles. Among them were the string quintets K593 and 614 (December 1790 and March 1791, respectively), the Concerto K622 for Anton Stadler (for whose basset-clarinet, with its downward extension of a major 3rd, Mozart also probably intended the Quintet K581), the Masonic cantata Laut verkünde unsre Freude K623, the aria Per questa bella mano K612, the piano variations on Ein Weib ist das herrlichste Ding K626, the motet Ave verum corpus K618, Die Zauberflöte K620 and the Requiem K626. Die Zauberflöte, written for Emanuel Schikaneder's suburban Theater auf der Wieden, was well under way by 11 June, as a reference in a letter to Constanze makes clear; possibly it was complete in July except for three vocal items, the overture and the march. The opera has several sources, among them Liebeskind's Lulu, oder Die Zauberflöte, published in Wieland's collection of fairly tales, Dschinnistan (1786–9); this was a source for other operas given at the Freihaustheater and its rival, the Leopoldstädter-Theater (including Benedikt Schack's Der Stein der Weisen, to which Mozart may have contributed several passages in addition to parts of the duet ‘Nun, liebes Weibchen, ziehst mit mir’ K625; see Buch, K1997). Many of the ritual elements are derived from Jean Terrasson's novel Sethos (1731), which has an ancient Egyptian setting, from contemporary freemasonry and possibly from other theatrical works of the time. The whole belongs firmly in the established traditions of Viennese popular theatre. C.L. Giesecke, a poet, actor and member of the lodge ‘Zur neugekronten Hoffnung’,

Page 33 of 288

later claimed to be the author of the libretto, but his assertion lacks plausible support. The arguments in favour of Schikaneder's authorship seem incontrovertible.

Although the opera was well received – contemporary opinion on the music was universally favourable – critics found the text unsatisfactory (the Staats- und gelehrte Zeitung of Hamburg reported on 14 October that ‘the piece would have won universal approval if only the text … had met minimum expectations'). One hotly disputed point concerns a possible reshaping of the plot while composition was in progress. The opera begins as a traditional tale of a heroic prince (Tamino) rescuing a beautiful princess (Pamina) at the bidding of her mother (the Queen of Night) from her wicked abductor (Sarastro). In the Orator's scene, however, it transpires that the abductor is beneficent and that it is the princess's mother who is wicked. Although it is tempting to think that this shift can only represent a change in plan by Schikaneder and Mozart (traditionally explained as an attempt to avoid duplicating a rival production, Wenzel Müller's Kaspar der Fagottist, oder Die Zauberzither), the moral ambiguities that demand explanation if it does not – Sarastro's employment of the evil Monostatos, for example, or the Queen and her Ladies' gifts of the benevolently magical flute and bells to Tamino and Papageno, or Pamina's fear of Sarastro – are not out of line with Viennese popular theatrical traditions, nor with symbolic interpretations of the work. It has also been argued that Tamino's confrontation with the Orator represents a recognition scene, a standard operatic situation also found in Figaro, Don Giovanni and Così fan tutte (Waldoff, J1994).

Much has been written about freemasonry in the opera. It is unlikely, as has been asserted, that the authors intended the characters to stand for figures involved in the recent history of the movement. They are better understood as generalized and symbolic figures: for instance, Tamino and Pamina are ideal beings seeking self- realization and, especially, ideal union. In this Die Zauberflöte may be thought to pursue the theme of selfconscious knowledge predicated in Così fan tutte. More broadly, the opera is susceptible to interpretation in light of the philosophical, cosmological and epistemological background of 18th-century freemasonry as an allegory of ‘the quest of the human soul for both inner harmony and enlightenment’ (Koenigsberger, J1975, and Till, J1992). Such interpretations help to explain how what may superficially seem a mixture of the musically sublime and the textually ridiculous melds into an opera not only theatrically effective but also of a philosophical or religious quality. Goethe tried to write a sequel to it, and Beethoven pointedly quoted from the opera in his Fidelio.

Probably in mid-July, Mozart was commissioned by Count Walsegg- Stuppach, under conditions of secrecy, to compose a Requiem for his wife, who had died on 14 February 1791; work on this was postponed at least until October 1791, after the completion of La clemenza di Tito and Die Zauberflöte. It is likely that Mozart was aware of Walsegg's identity: his friend Puchberg lived in Walsegg's Vienna villa, and the inclusion of basset-horns in the score suggests that Mozart could count on the participation of specific players, who would have been booked far in advance for a date and place already

Page 34 of 288

known to him. Later sources describe Mozart's feverish work at the Requiem, after his return from Prague, with premonitions of his own death, but these are hard to reconcile with the high spirits of his letters from much of October. Constanze's earliest account, published in Niemetschek's biography of 1798, states that Mozart ‘told her of his remarkable request, and at the same time expressed a wish to try his hand at this type of composition, the more so as the higher forms of church music had always appealed to his genius’. There is no hint that the work was a burden to him, as was widely reported in German newspapers from January 1792 onwards.

By the time of Mozart's final illness, he had completed only the ‘Requiem aeternam’ in its entirety; from the Kyrie to the ‘Confutatis’, only the vocal parts and basso continuo were fully written out. At the ‘Lacrimosa’ only the first eight bars are present for the vocal parts, along with the first two bars for the violins and viola. Sketches for the remaining movements, now mostly lost, probably included vocal parts and basso continuo. Mozart was confined to bed at the end of the November; he was attended by the two leading Viennese doctors, Closset and Sallaba, and nursed by Constanze and her youngest sister, Sophie. His condition seemed to improve on 3 December, and the next day his friends Schack, Hofer and the bass F.X. Gerl gathered to sing over with him parts of the unfinished Requiem. He was possibly also visited by Salieri. That evening, however, his condition worsened, and Closset, summoned from the theatre, applied cold compresses; the effect was to send Mozart into shock. He died just before 1 a.m. on 5 December. The cause of his death was registered as ‘hitziges Friesel Fieber’ (severe miliary fever, where ‘miliary’ refers to a rash resembling millet-seeds) and later diagnosed as ‘rheumatische Entzündungsfieber’ (rheumatic inflammatory fever) on evidence from Closset and Sallaba. This seems consistent with the symptoms of Mozart's medical history (Bär, G1966, 2/1972), more so than various rival diagnoses, such as uraemia (favoured by Greither, G1970, 3/1977), and Davies, G1989); there is no credible evidence to support the notion that he was poisoned, by Salieri or anyone else.

Mozart was buried in a common grave, in accordance with contemporary Viennese custom, at the St Marx cemetary 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 (F1856) 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.

7. Early works.

It is likely that the full extent of Mozart's original output during the 1760s will never be known. Not only were many of his early autographs heavily corrected by his father, but it is clear that some works, such as the pasticcio concertos K37 and 39–41 and to a lesser extent the J.C. Bach arrangements K107, were jointly composed. Other compositions, among them the Sonata for keyboard and violin K8, take over, wholly or in part, movements first written by Leopold.

Page 35 of 288

A related problem concerns Leopold's Verzeichniss of 1768, which describes ‘13 symphonies for 2 violins, 2 oboes, 2 horns, viola, and basso, etc.’ (Zaslaw, A1985). Of the early works in the genre attributed to Wolfgang, only eight are demonstrably genuine and known to have been composed by this time, while another four are of uncertain authorship and date. Even if all these symphonies are genuine and early, at least one other is missing. Leopold's list describes additional lost works, including six divertimentos in four parts for various instruments, six trios for two violins and cello, solos for violin and bass viol, minuets, marches and processionals for trumpets and drums. Also, as with many composers of the time, several works are known only from sources with no direct connection to the composer. Some may be authentic, but in other cases there is insufficient evidence for or against Mozart's authorship (for the symphonies see Eisen, L1989).

Accounts of Mozart's early stylistic development often fail to take these problems into consideration: demonstrably authentic works are often compared with, and analysed alongside, works only insecurely attributed to Mozart. The inevitable result is a patchwork story of progression and regression. When only the demonstrably authentic works are considered, however, not only does the progression in Mozart's style appear more linear, but individual works, often dismissed as showing no significant evidence of Mozart's development, can be seen to represent new plateaux in his sophistication as a composer. In the case of the symphonies this is especially apparent in the works composed up to about 1771. His earliest works in the genre, composed before 1767, are based on models that he encountered on the ‘Grand Tour’. All are in three movements, lacking a minuet and trio, and are scored for two oboes, two horns and strings. The first movements are in expanded binary form, in common time, and have tempo indications of Allegro, Allegro molto or Allegro assai, while the second movements, also in binary form, are in 2/4 time and are marked Andante. The concluding fast movements are generally in rondo form and are marked Allegro assai, Allegro molto or Presto, with 3/8 time signatures. For the most part, these works show a remarkable grasp of the principles of J.C. Bach's symphonic style, including the dramatic contrast of a forte motto opening and a piano continuation, together with hints of cantabile second subjects. In Vienna in 1768, however, Mozart adopted the common four-movement cycle, as well as local formal preferences: K48, for example, is the first of his symphonies to include a first movement in a fully worked-out sonata form. Still later, in Italy, he reverted to the three movement pattern with its attendant busy string figuration, lighter textures and less melodic thematic material (but still including full recapitulations, albeit with little or no preceding development). K74, with its linked first two movements, may originally have been intended as an opera overture.

While these symphonies are indebted to models encountered by Mozart during his travels during the 1760s and early 1770s, several depart from local norms in significant ways. The first movement of K16 is an expanded binary form of a type more common among Viennese symphonies; K19 includes a brief diversion based on the dominant minor, a procedure common among Salzburg symphonies

Page 36 of 288

of the 1750s; and K22 includes an extended orchestral crescendo and recurrence of tutti primary material at the middle and end of the movement, typical of Mannheim. K112, composed at Milan on 2 November 1771, is unusual for its inclusion of a minuet and trio. This symphony in particular represents a significant advance: it is the first by Mozart to include genuine development, rather than a mere retransition to the recapitulation; it explores a new tonal relationship between minuet and trio (previously always in the subdominant but here in the dominant); and it begins to break down the association, previously strictly upheld, of thematic or motivic material with function. The beginning of the transition, at bar 10, is obscured by a re-use of the symphony's stable opening bar as a jumping-off point for the modulation, an effect heightened by the structure of the opening idea. In earlier symphonies with similarly constructed opening material – an aggressive, forte and often unison triadic idea followed by a softer motif characterized by conjunct motion – the first idea is more or less literally repeated; in K112, however, the repetition of the opening is initially lacking and is reserved for the first important cadence, where it serves not only to bring the symmetrical pair of five-bar phrases to a conclusion, but also to represent the first element in a two-bar phrase at the beginning of the transition. This reinterpretation of previously-heard material creates an impression not only of unity, but also of ambiguity, and was to become a standard feature of Mozart's symphonies, and his style in general, during the 1770s and later.

Some departures from local norms may have resulted from Mozart's acquaintance with local Salzburg repertories, which have been underestimated in discussions of his development as composer of orchestral music. His father was the leading symphonist in the archdiocese, and works by several other composers, including Caspar Christelli, Ferdinand Seidl, Adlgasser and Michael Haydn, were known to Mozart during the 1760s. Many of these include Viennese and Italian features that he encountered at source only later on the ‘Grand Tour’, as well as novelties of their own. Salzburg also provided Mozart with opportunities for composition: the three serenades K63, 99 and 100 were probably composed there in the summer of 1769. Following local traditions best represented by Leopold Mozart, each has six or more movements plus an associated introductory (and perhaps valedictory) march. More relaxed in style than symphonies, the serenades show their most refined invention in the slow movements, of which one generally has a concertante part (for violin in K63 and for oboe in K100, which also has concertante parts in a fast movement and the trio of one of its minuets, a pattern that later became standard). The chief influence of Salzburg, however, was on Mozart's church music. The Missa brevis K49, although composed in Vienna in 1768, displays all the features of the Salzburg missa brevis tradition best represented in the works of Eberlin: in the Kyrie, a slow introduction to the main part of the tutti; solo and tutti writing in the Gloria and Credo, with fugal endings to both; a three-section Sanctus and a solo quartet Benedictus; and a simple, chordal tutti Agnus followed by a lively triple-time ‘Dona nobis pacem’. Many other features derive from Italian church music, which was widely disseminated and performed in Salzburg for several decades before the 1760s (Eisen, H1995). Among these are a

Page 37 of 288

preference for da capo arias, which is particularly strong in Mozart's solo church music, including the Regina coeli K108, with its large, busy orchestra and soprano solos. The Litaniae de venerabili altaris sacramento K125 of 1772 is a more sophisticated and individual work, with strong choral writing, strikingly contrasting arias and an opening Kyrie in an elaborate ritornello structure with three levels – orchestra, chorus and soloists.

In Salzburg, Mozart was also acquainted, both directly and indirectly, with Italian theatrical music even before his numerous tours. Italian operas were often given at court during Schrattenbach's reign, and their style informed the local near- equivalent, the so-called Finalkomödien, or school dramas, given annually at the Salzburg Benedictine University to mark the end of the academic year. Mozart composed only one work in this genre, Apollo et Hyacinthus, which includes full da capo arias and a striking dialogue for the angry Melia and the innocent Apollo, where changes in texture and key support the sense of drama; it is in many respects a successor to his earlier ‘sacred Singspiel’ Die Schuldigkeit des ersten Gebots K35.

La finta semplice, by contrast, gave Mozart his first opportunity to compose opera buffa, which required a command of the Italian language, an ability to delineate emotions quickly, a thorough knowledge of a wide range of effective orchestral clichés, and a control of the extended, multi-sectional finales of the Goldoni- Galuppi tradition favoured in Vienna. His next two dramatic works, Ascanio in Alba K111 and Il sogno di Scipione K126, were of the serenata or festa teatrale type. Ascanio is a leisurely work, with pastoral choruses and ballets interspersed with the arias, while Il sogno di Scipione is less tellingly characterized: the arias are lengthy and contain much bravura writing. The most significant of the early dramatic works, however, is the opera seria Lucio Silla, which is less convention-bound and more individual than Mozart's first opera seria, Mitridate, re di Ponto (modelled in several details of form and treatment on the setting by Quirino Gasparini; see Tagliavini, J1968). This is particularly true of the role of Junia, whose opening aria alternates between an intense Adagio and a fiery Allegro, and whose choral scene at her father's tomb recalls Gluck; the terzetto ‘Quell' orgoglioso sdegno’, in which the tyrant Sulla expresses his anger, is an early example of simultaneous differentiated characterization. Mozart was clearly pleased with several of the arias, which he had recopied in the later 1770s and early 1780s; he may have performed ‘Pupille amate’ in Vienna as late as Carnival 1786.

8. Works, 1772–81.

The pervasive influence of the Italian style lingered on well into the 1770s: it not only informs La finta giardiniera and Il re pastore but is also found in the church music, including the litanies K195 and 243 (the second of which embraces a variety of styles including simple homophonic choruses as well as dramatic ones, fugues, a plainchant setting and expressive arias with florid embellishment). Several

Page 38 of 288

symphonies, among them K181 and 184, are in three movements, without a break, on the pattern of the Italian overture, while the A major Symphony K201, composed in April 1774, combines southern grace with an intimate, chamber music style as well as full-bodied orchestral writing and a Germanic predilection for imitative textures.

No doubt Mozart's interest in counterpoint, as well as a general deepening of his style at this time, was stimulated by his visit in 1773 to Vienna, where he composed six string quartets. For all its pan-European popularity, the string quartet was little cultivated in Salzburg, where the chief forms of chamber music were the trio for two violins and bass and, during the 1770s, the divertimento for string quartet and two horns (Mozart wrote several such works, including K247 and 287). An altogether more intellectual approach is evident in the quartets: imitative textures are found not only in development sections but in first statements of thematic material as well, while the finales to K168 and K173 are both fugal. Similarly, Mozart's first original keyboard concerto, K175 (possibly intended for organ), exploits counterpoint in ways not previously found in his orchestral music. The finale in particular starts with an imitative gesture that returns in various guises throughout the movement. The Symphony in E♭ K184, its Italianisms notwithstanding, includes a C minor Andante whose main theme is also built on imitation, and the coda to the first movement of the Symphony K201 is a contrapuntal tour de force (the long development section of the finale also includes imitations between basses and first violins). The stormy Viennese style is most apparent in K184 (which was adopted in the 1780s as the overture to T.P. Gebler's Thamos, König in Ägypten, for which Mozart also wrote incidental music) and in the G minor Symphony K183. Some of this drama is carried over into the serenades of the mid-1770s, including K185, 203, 204 and 250 (Haffner), which although more relaxed in tone nevertheless frequently touch on a range of affects far beyond those typical of the genre. It was the serenade, in any case, that by 1775 had gained the upper hand in Mozart's orchestral output; there are no Salzburg symphonies – redactions of serenades aside – dating from between 1774 and 1779.

The church music that Mozart composed during this period mostly conforms to Salzburg traditions. The absence of soloists in the Mass K167 recalls Michael Haydn's Missa S Joannis Nepomuceni of 1772, while in K275 the distribution of solo and tutti, as well as the contrapuntal endings to the Gloria and Credo, the imitative entries at the beginning of the Sanctus and the solo at the Benedictus are reminiscent of Eberlin. Colloredo's church music reforms, described by Mozart in an oft-cited letter to Padre Martini of 4 September 1776 (‘a mass, with the whole Kyrie, the Gloria, the Credo, the epistle sonata, the offertory or motet, the Sanctus and the Agnus, must last no more than three-quarters of an hour’), inform the brevity and style of K192 and 194: both include a minimum of word repetition, simple choral declamation and sparing musical treatment of text meanings, as well as unbroken settings of the Gloria and Credo without extended final fugues. Similar economies are found in K257, 258 and 259. Not all church music composed in Salzburg at

Page 39 of 288

this time was subject to Colloredo's reforms, however. A letter written by Leopold Mozart on 1 November 1777 describes a mass by Michael Haydn, the Missa S Hieronymi, that lasted an hour and a quarter. And K262 is a long and elaborate work which includes, besides concluding fugues to the Gloria and Credo, contrapuntal writing even at the Kyrie and ‘Et incarnatus’, and extended orchestral ritornellos.

If the church music mostly fell in step with Salzburg traditions, the symphonies, serenades and concertos of the earlier 1770s differ from other orchestral music composed there not only in their imaginative scoring, formal variety and diverse characters, but also in their susceptibility to critical readings. In the Symphony K133, the opening hammer-strokes do not return at the start of the recapitulation, which begins with the second group, but they appear to be ‘realized’ in the coda, where the weakly articulated theme first heard in the second bar is repeated with strong, downbeat root motion, reproducing the forte dynamic of the hammer-strokes. Not only does this gesture provide stability and closure otherwise lacking in the movement, but there seems little doubt that Mozart considered it quite deliberately. The autograph shows that he originally intended the passage to represent a coda; by cancelling the first ending, however, he integrated it into the movement proper, rather than distancing it from the action. Almost certainly it was works such as this that in Salzburg provoked dissatisfaction with Mozart. For his part, he complained that ‘there is no stimulus [there] for my talent. When I play or when any of my compositions is performed, it is just as if the audience were all tables and chairs’.

Shortly before his departure for Paris in autumn 1777 Mozart composed the Piano Concerto K271, which in its scale, mastery of design, virtuosity, elements of surprise (the piano entry in the third bar is unprecedented) and exploitation of the most profound affects, particularly in the recitative sections of the disturbing C minor Andantino, far exceeds his earlier orchestral music. (Some parallels can be found in the violin concertos K216, 218 and 219 of 1775: the first two also have finales in a variety of tempos and metres, while in K219 the soloist is introduced in the first movement by a poetic Adagio episode, and there is a notable ‘Turkish’ episode in the minuet finale.) In many ways, K271 represents a new, more elaborate style that was to become Mozart's norm in the late 1770s. No doubt personal factors contributed to this development. It is difficult to forgo altogether the notion that the Paris–Mannheim journey of 1777–9, which violently wrenched Mozart from adolescence to manhood, dramatically influenced the style and substance of his music.

Whether as a result of ‘foreign’ influences or merely a desire to accommodate his works to a specific public, the music that Mozart composed in Mannheim and Paris frequently recalls local styles. Nannerl Mozart remarked of the Piano Sonata K309, written for Christian Cannabich's daughter Rosina, that ‘anyone could see it was composed in Mannheim’ (letter of 8 December 1777; Leopold, perhaps more astutely, described it on 11 December 1777 as having ‘something of the mannered Mannheim style about it, but so little that your own good style is not spoilt’). Nannerl’s observation may

Page 40 of 288

refer to the sharp dynamic contrasts in the first two movements and the affectation of the Andante; a similar atmosphere is evident in the next sonata, K311. The A minor Sonata K310, on the other hand, follows up the tradition of fiery keyboard writing that Schobert and others had pursued in Paris (although the tripartite Andante cantabile, with its agitated outburst at the centre of the movement, is without expressive precedent). In his six sonatas for keyboard and violin published in Paris (K301–06), Mozart also took over some features of Joseph Schuster's accompanied divertimentos (which he praised in a letter of 6 October 1777 to his father), notably in the structure of the first movement of K303, where the Adagio introduction represents the first subject and recurs at the recapitulation. The sonatas exhibit a wide variety of styles and affects, ranging from the eerie, almost claustrophobic, E minor K304 to the quasi-orchestral K302 (similar variety can be found in the piano sonatas of the mid-1770s, among them the mannered K282 and the orchestral K284). Perhaps the most important orchestral work composed at this time was the Paris Symphony K297. Following Leopold's advice, Mozart carefully tailored the work to local taste, beginning with the obligatory premier coup d'archet and continuing with powerful unison and octave passages, brilliant tuttis and exposed passages for the wind. Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings, the symphony consciously exploits the soundscape of the large Paris orchestra.

Formal and textural variety abounds in the works of the mid- to late 1770s. Frequently, as in the Piano Sonata K280, Mozart avoids settling on the dominant (the same process characterizes the Haffner Symphony K385 of 1782), while some works, including the Piano Sonata K311, reverse the order of the material in the recapitulation. Within the recapitulation itself, Mozart finds effective new ways of avoiding a modulation to the dominant, often incorporating further development that relies on earlier transitional material but does not literally duplicate it. A good example is the Paris Symphony, where the introduction of a C♮ in the basses at bar 175 pushes the harmonies to the subdominant side while also, incidentally, serving to disorientate the listener. Because the movement has no internal repeats, the drop to C♮ conjures up memories of the surprising introduction of B♭ at the start of the development, which serves as the jumping-off point for a modulation to the distant key of F major; consequently, on first hearing the recapitulation may seem to represent a ‘new’ development.

Many of these styles and techniques remained with Mozart after his return to Salzburg in 1779. This is less true of his church music, perhaps, than of his other works, although the Credo of the Coronation Mass K317 has a symphonic thrust lacking in his earlier works and is broken off by an Adagio ‘Et incarnatus’; in this respect it shares with Mozart's instrumental compositions of the time a selfconscious exploitation of musical and affective disruption. In the ‘Posthorn’ Serenade K320, for example, Mozart recalls the striking formal gesture of the Sonata K303, repeating, at the start of the recapitulation, the music of the slow introduction, rewriting it in the prevailing tempo. In the symphonies K318 and 338 Mozart

Page 41 of 288

manipulates the recapitulation. K338 repeats only a part of the first theme, reserving the rest for the final cadence, while K318 is altogether novel in its formal outlines, incorporating an Andante after the development and then returning to the second subject before only partly restating the first. Both the Serenade K320 and the magnificent Sinfonia concertante for violin and viola K364 make extensive use of Mannheim-style crescendos. The Andante of K364 in particular represents a peak in Mozart's orchestral style at this time: its rich orchestral textures, with divided violas, verge on the extravagant, while the unwillingness of the soloists to cadence, as they force each other on, often to higher tessituras, gives the movement an almost ecstatic character. (In this regard the Andante is similar in character to the Adagio non troppo of the G minor String Quintet K516, although part of the effect there is harmonic, deriving from the unexpected shifts between minor and major.)

Idomeneo marks the end of this development; it is unquestionably the most complex and opulent work composed by Mozart before his permanent move to Vienna in early 1781. Although nominally an opera seria, Idomeneo departs substantially from that tradition. With its French source, it is more natural in its expression of emotion and more complex in structure, with a greater emphasis on the participation of the chorus; its scoring, for the virtuoso Mannheim orchestra now at Munich, is exceptionally full and elaborate. The influence of Piccinni's French operas, as well as that of Gluck's reform works, is strong.

A remarkable feature of the opera is its abundance of orchestral recitative, which sharply reflects the sense of the words. It also uses recurrent motifs. Certain phrases recur throughout the opera, referring consistently to individual characters and their predominant emotions, including Ilia's grief, Electra's jealousy and Idamantes' feelings about the sacrifice (Heartz, J1974). The key treatment is sometimes unorthodox and invariably expressive, as in Electra's D minor first aria, ‘Tutte nel cor vi sento’. Here Mozart reaches a recapitulation in C minor before returning to the home key; he then modulates, without changing speed, into the music of the tempest, also in C minor and making use of a motif similar to that of the aria. The opera's orchestration includes many new and brilliant details, among them the evocative flute, oboe and violin passages in ‘Fuor del mar’ and the use of sustained wind against inexorable string triples and muted trumpet fanfares in ‘O voto tremendo’. Perhaps the most admired number of the opera is the powerful Act 3 quartet, in which Idamantes resolves to seek death, a tour de force in which intensely chromatic music truthfully embraces four characters' diverse emotions.

9. Works, 1781–8.

Possibly as a result of the natural development of Mozart's style, or through a wish to accommodate his changed circumstances, the extravagance of Mozart's ‘late Salzburg’ works gave way, after his permanent move to Vienna, to leaner, more transparent textures and a less ornamental manner. This is true particularly of the six

Page 42 of 288

accompanied sonatas published in December 1781 (although only four of them, K376–7, 379 and 380, were composed there; K296 was written at Mannheim, and K378 at Salzburg in 1779 or 1780). At the same time, however, they are broader in conception than the earlier sonatas, with greater forward thrust and, in K380, a deepened sense of rhetorical contrast between full chords and rapid passage-work. Above all, they display a new relationship between the instruments. Although they remain piano sonatas with accompaniment, and contain passages where the violin part could be omitted without damaging the sense of the music, the violin nevertheless increasingly carries essential material, melodic or contrapuntal, and engages in dialogue with the keyboard. The violin part has even greater prominence in K454, composed for Regina Strinasacchi, while in K526, arguably the finest of Mozart's accompanied sonatas, the two instruments are equal in importance. The same trend is evident in the piano trios K496, 502, 542 and 548.

This new equality of partnership is best reflected in the string quartets and quintets of the early to mid-1780s, including the six string quartets dedicated to Haydn, which Mozart described in his dedication of 1 September 1785 as ‘the fruits of a long and laborious endeavour’, a claim borne out by the relatively large number of quartet fragments from this time as well by numerous corrections and changes in the autographs. That Mozart sought to emulate Haydn's quartets op.33, but not to imitate them slavishly, can hardly be doubted: like Haydn's, Mozart's quartets are characterized by textures conceived not merely in four-part harmony, but as four-part discourse, with the actual musical ideas linked to a freshly integrated treatment of the medium. Later critics described them as prime examples, together with those of Haydn and Beethoven, of the ‘classical’ quartet, as opposed to the quartor concertant or quatuor brillant. According to Koch, they were the finest works of their kind.

Counterpoint in particular takes on a new aspect in the quartets. In the first movements of K421 and 464, each of the principal themes is subjected to imitative treatment; the Andante of K428 follows a similar procedure, supported by increased chromaticism (which is characteristic of the quartet as a whole). The coda of the first movement of the ‘Hunt’ Quartet K458, like the coda of the earlier A major Symphony K201, draws on the latent imitative potential of the movement's main thematic material, while the famous introduction to the ‘Dissonance’ Quartet K465 represents an extreme of both free counterpoint and chromaticism. Similar effects can be observed in the C major and G minor quintets of 1787, K515 and 516.

The finale of K387 represents a different use of counterpoint, which is treated not so much as a texture in and of itself, but as a structural topic. Here the main, stable thematic material is represented first and foremost by fugatos, while transitional and cadential material is generally composed in a melody-and- accompaniment buffo style. This procedure is reversed in the final movement of the Piano Concerto K459, where fugato represents transition and is explosively elaborated in the double fugue of the central episode. The hidden, but inherently contrapuntal nature of Mozart's material in general is already adumbrated in the C minor Fugue K426 for two pianos and its later version for strings K546,

Page 43 of 288

where the seemingly commonplace Baroque subject erupts at the end of the movement in the previously unimaginable guise of a melody accompanied by aggressive sawing-away in the upper parts. No doubt Mozart had conceived this possibility as early as 1782 while arranging for string quartet several fugues by Bach and Handel: a similar procedure is found at the conclusion of his version of the D♯ minor fugue from book 2 of Bach's Das wohltemperirte Clavier.

The wind music, including the three substantial serenades K361, 375 and 388, shows Mozart's interest in texture in different ways, including the use of novel combinations of instruments (Peter Shaffer, in his play Amadeus, puts into Salieri's mouth an evocative description of the opening bars of the Adagio from the Serenade for 13 instruments, K361). The C minor Mass K427, meanwhile, includes grave choruses (some in eight parts, as well as the customary four), among which the ‘Qui tollis’ is built on an ostinato bass of the Baroque descending tetrachord pattern. Several solo items, such as the ‘Domine Deus’ duet and the ‘Quoniam’ trio, are almost Handelian in their counterpoint, figuration and bare continuo textures. The Trio for clarinet, viola and piano K498 and the Quintet for piano and wind K452 are both uniquely scored.

Mozart's deliberate attention to even the smallest details of texture, scoring, rhythm and articulation as elements of both affect and style is evident from the numerous erasures, changes and revisions in his autographs. At bar 106 of the first movement of the D minor Piano Concerto K466, for example, he originally wrote the upper string parts as alternating quaver rests and quavers, continuing the pattern of the previous two bars, but he changed these to straight quavers in anticipation of the approaching imperfect cadence. The second movement was initially conceived to begin with the orchestra (as an erased piano marking in the first violin part shows) and to include trumpets and drums, and in a possibly related correction, trumpets and drums were omitted from the two final bars of the first movement. In the final movement, at bar 181, Mozart for the first time writes slurs in the accompanying second violin, viola, cello and double bass parts, possibly because their figure here ascends where previously it had descended.

That texture is also a matter of formal significance for Mozart is especially clear in the case of the piano concertos. The structures of the first movements have been related to sonata form, Baroque ritornello forms and aria forms. Although varied in their structural details, they nevertheless follow a broadly consistent outline, consisting of seven large units: (1) an opening ritornello including a first theme, a more lyrical group and a concluding group; (2) the first solo, reiterating the first theme and then modulating to the dominant for a secondary group and a coda; (3) a medial ritornello, usually based on the opening ritornello; (4) a development-like section, representing the first part of the second solo; (5) a recapitulation, representing the second part of the second solo and largely following the first solo (but omitting the modulation); and (6) a concluding ritornello, using material from the medial ritornello and interrupted by (7) a cadenza. The second and third movements are

Page 44 of 288

more varied. The former include romances, binary movements, rondos and variations; the finales, although mostly sonata rondos, also include variations and sonata forms.

Viewed chronologically, the piano concertos make increasing use of dialogue between the soloist and the orchestra (both as a whole and in its individual sections); the solo keyboard writing, meanwhile, becomes increasingly varied and demanding. A new feature is the use of a soloistic continuo part in the orchestral outbursts that interrupt the large solo sections. (For a fuller discussion of structural aspects of the concertos, see Concerto.)

While the model of the early operatic aria is at least partly relevant to Mozart's Viennese concertos, it does not apply to Die Entführung or the three Da Ponte operas, Le nozze di Figaro, Don Giovanni and Così fan tutte: by the 1780s Mozart had more or less left earlier aria forms behind (Webster, M1996). Several different formal types can nevertheless be identified, including binary forms (Die Entführung, ‘Traurigkeit’), ABA forms (Don Giovanni, ‘Dalla sua pace’, Così, Un ‘aura amorosa’), complex two-part forms (Figaro, ‘Aprite un po' quegl'occhi’ and Don Giovanni, ‘Vedrai, carino’), one-part undivided forms (Die Entführung, ‘Im Mohrenland’), rondo (in the modern sense; Così, ‘Donne mie’) and rondò (Figaro, ‘Dove sono’; see Webster, J1991). In every instance, however, a formal scheme is designed to express the text. The solo arias, rather than representing action, simultaneously portray a variety of complementary or conflicting emotions, one of which usually gains the upper hand. ‘Non più andrai’ is not so much about Cherubino's implied growth from adolescence to manhood as about Figaro's overwhelming need to gloat; the conflict between achieving peace of mind and inflicting punishment on Belmonte is resolved, in ‘O, wie will ich triumphieren’, in favour of strangulation; and Don Giovanni's rampant sexual desires overwhelm ‘Fin ch'han dal vino’, as the final phrase spins, like him, nearly out of control, unable to cadence. Otherwise, the arias often reflect differences in the standing of the various characters – Bartolo's ‘La vendetta’ is blustery and parodistic, the Count's ‘Vedrò, mentre io sospiro’, menacing – or express social tension: Figaro's ‘Se vuol ballare’ is a good example (Allanbrook, J1982).

The ensembles sometimes carry more complex kinds of expression: the Letter Duet in Figaro is a dramatic tour de force, the music representing the dictation of a letter, with phrases realistically repeated and a condensed recapitulation serving for the reading- back of the text. But it is the finales in particular that, following opera buffa tradition, carry the action forward: changes in tempo, metre, tonality and orchestration resolve existing tensions while creating new ones, always closely allied to the action. Whether they represent meaningful or intentional tonal structures, however, is uncertain. By the same token, the notion that the operas exhibit large-scale tonal planning from start to finish has recently come under attack; many of the key successions cited as evidence of high- level organization are fairly common among Viennese opere buffe in general (Platoff, J1997). In at least parts of some individual operas, however, tonal planning appears to be deliberate. The Act 2 finale to Don Giovanni, for example, mirrors almost exactly the tonal action of

Page 45 of 288

the opera's overture and Introduzione. Both begin in D (minor–major in the overture, major in the finale) and then proceed by way of F (Leporello, Don Giovanni's dance band) to B♭ (Don Giovanni is chased from Anna's bedroom and confronts her father, Elvira confronts Don Giovanni) before returning abruptly to D. The similarity is reinforced by the virtual avoidance of a strong A major in both sections, while the conclusion of the action and the final sextet reverse the minor–major progression of the overture. Strikingly enough, it is the two outer sections of the opera that correspond to the traditional Don Giovanni story; the action ‘inside’ this frame is the unique contribution of Da Ponte and Mozart.

Shortly after the completion of Figaro, and hard on the heels of K503, the last of the concertos composed between 1784 and 1786, came the first of Mozart's ‘late’ symphonies, the Prague K504. While preserving much of the traditional D major brilliance, this work depends more on the arrangement and development of motifs than on thematic material; its surface is more varied, and more complex, than that of any previous orchestral work by him. The first movement in particular has a structure of great originality. The second-group idea starts as a chromatically inflected variant of the first, with a contrapuntal and sequential continuation, before a distinctive lyrical theme appears, while the development includes contrapuntal workings of various of these motifs and elides with the recapitulation, which fuses the two groups in unexpected ways. The variety of topics and figures alluded to, the integration of learned and galant counterpoint, and the rhetorical strategies of the Prague all make it a ‘difficult’ work, both conceptually and in terms of performance (Sisman, L1997). No less difficult are the final three symphonies, K543, 550 and 551, composed in the summer of 1788. K543, like the Prague, includes a long and at times sharply dissonant, tonally wayward introduction, the very sound of which – including clarinets but not oboes – is unprecedented for the time. This was, probably, the most hastily written of the three: the autograph is among Mozart's most careless, showing numerous mistakes of an elementary sort (instrumental lines are misidentified, necessary clefs and accidentals are omitted, and many parts are written on the wrong staves). More than the G minor or the ‘Jupiter’, the E♭ major Symphony relies on instrumental doublings, although this, too, contributes to its weighty effect. No less remarkable is the enharmonic writing in the A♭ major Andante con moto, where E♭ is reinterpreted (in bars 92–3) as D♯, leading to an outburst in B minor. Similar enharmonic and chromatic writing is found in the development of the first movement of the G minor Symphony, which begins with the first-group material in F♯ minor; in the finale, the development begins with a tonally disorientating flourish before embarking on a four-part contrapuntal working-out of the material, ending in the remote key of C♯ minor, where the music pauses before being wrenched back to the tonic for the recapitulation. It is the finale of the ‘Jupiter’, however, that is best known, although its supposedly ‘fugal’ writing does not strictly merit that description; rather, it represents an example of musica combinatoria, for the various independent motifs heard earlier in the movement are brought together in the coda to create a fugato in five-part invertible counterpoint. In all three of these works, as well as the Prague, the

Page 46 of 288

disposition and handling of the orchestra are unique. Building on his experience with concerto and opera, Mozart brought to the symphony orchestra a new understanding of its possibilities both as a corporate body and as a collection of individuals. The textures and gestures range from the most grandiose and ‘symphonic’ to the most intimate and chamber music-like; the obbligato orchestral ensemble achieves its first perfection in these works.

Mozart's return to the symphony, no doubt related to the increasing prestige of the genre in the mid-1780s, may reflect a fundamental change in his persona as a composer and his ideas of self- presentation. The final triptych forms a natural conclusion, both stylistically and biographically, to this period. But it is also fair to identify a similarly fundamental change in the works composed from 1784 onwards: beginning with the Concerto K450, Mozart's music is significantly more complex, more expansive, larger in scale and more difficult than previously (that Mozart himself may have been in some way aware of this is documented perhaps by the thematic catalogue of his works that he began at this time). This change is apparent from a comparison between the earlier three of the six quartets dedicated to Haydn, written in 1782–3, and the later three, written in 1784–5. Similarly, the Concerto K449, completed in February 1784 but, as the autograph shows, probably begun over a year earlier, is stylistically more akin to the less ambitious early Viennese concertos (K413–15) than to its successors.

During the 19th century, this division of Mozart's works into two stylistic phases, the first up to the end of 1783, the second from 1784 onwards (a division tacitly recognized by theorists, who almost exclusively cite the later works), fused with then current biographical views of the composer as a divinely inspired genius – by implication a paragon of balance, regularity, symmetry and logic – to endorse a view of the ‘Classical style’, and Mozart's relationship to it, that has persisted in writings on the composer until the end of the 20th century. As a result, several anomalous works, chief among them the final three symphonies and the C minor Concerto K491, are sometimes seen as representing a social rebellion, a ‘critical world view’, or Mozart's disillusionment with the Viennese musical public (see McClary, M1986, Kerman, M1991, and Subotnik, J1984, but in light of Powers, H1995). It is just as valid, however, to see these works as assertions of self-awareness. Mozart's plays of wit and his elaborate musical sophistication are not restricted to a handful of works: the abrupt shift from B♭ major to B minor in the central episode of the finale of the Concerto K456 or the precipitous modulation from B♭ to F♯ minor in the first movement of the Trio K563, the introduction of new themes in the development sections of the quartets K458 and 464, the three simultaneous dances in the Act 1 finale of Don Giovanni and the over-elaborate, almost decadent, ornamentation in the slow movement of the Concerto K450 all testify to a style that in general is concerned less with thematic unity and regularity than with disjunction and surprise. The final apotheosis of the ‘Jupiter’ does not represent a revelation of the symphony's teleological goal, nor is it a comment on the social ‘norms’ implied by that formulation. Rather, it signifies a self-realization of ‘the

Page 47 of 288

intellectual force that activates the structure of the work … that side-steps the coherence of form’ (Chua, L1999). In this respect, it is not wayward, but typical of Mozart's music of the mid-1780s.

10. Works, 1789–91.

The Clarinet Quintet K581 of September 1789 is a late manifestation of the ‘Classical’ style of the mid-1780s, and in particular of Mozart's ability to create and weld together a diversity of gestures over the course of entire paragraphs and entire movements. This is most notably the case at the arrival on the dominant in the first movement: a rest in all the parts – more a signal to stop the action after a tutti arrival than an indication of any particular length of silence – is followed by a pizzicato cello line outlining the tonic and fifth of the harmony, long held notes in the second violin and viola that seem almost to emerge from the preceding silence and a new lyrical melody in the first violin. The re-entry of the clarinet with the same melody signals further changes: a shift to the minor mode, lower dynamics and syncopations in the strings. All of these lead to a confrontation between the clarinet and the rest of the ensemble, an outbreak of semiquavers and a conclusive trill, on three instruments, resulting in the firmest cadence in the movement to that point. The effect is to drag the listener along on a wave of increasingly agitated activity; in this respect it resembles the increasingly elaborate waves of pianistic activity that animate the first solo of the Concerto K467.

Yet the Clarinet Quintet is not generally representative of Mozart's prevailing style at the time, which is often characterized as ironic, restrained or serenely detached. Some commentators date the origin of this style to the time of the last three symphonies, others to that of Don Giovanni or even the two string quintets of 1787. No doubt there are similar elements in other works of the period 1784–8: the Concerto K503 is sometimes described as neutral or cold. But on the whole the late works can be characterized as noticeably more austere and refined than the earlier works, more motivic and contrapuntal, more economical in the use of material and texturally less rich. There are fewer new themes in development sections or in exposition codas, and second-group material is frequently derived from primary ones by some form of extension or contrapuntal treatment.

This is particularly true of the late quintets K593 and 614. K593 has a first movement in a style more spare in texture than that of the preceding quintets but polyphonically richer, most obviously in the recapitulation, where the exposition material is extended and elaborated. The same can be said of K614, the minuet of which is canonic; more impressive still is the finale, the development section of which includes a double fugue. At the same time, both quintets selfconsciously exploit similar topics – each first-movement Allegro begins with a passage imitating horns, while that of K614 retains something of a wind serenade atmosphere – while making use of textures in novel ways. The Adagio of K593, not unlike the slow movement of the G minor Quintet K516, is a study in sonorities: each of its five large paragraphs is similarly structured around a

Page 48 of 288

recurring pattern, beginning with the full ensemble, reducing to three parts (the violins and viola alternating with the violas and violoncello) and then returning to five. K614 is novel in a different way. Here the first movement can be seen as a contest between the first violin and the rest of the ensemble, achieving rapprochement only in the final bars. (A similar principle is in evidence in the Piano Trio K502, where the exposition, development and recapitulation each represent an increasingly complex dialogue between piano and violin, with the cello fully participatory only after the second theme.) The textures of the late quartets, however, seem tame by comparison. Mozart must have realized that the new, elaborately wrought four-part quartet style he had previously cultivated would not serve for the concertante quartets popular in Berlin, and for the last two movements of K589 and the last three of K590, presumably conceived in the first instance for the cello-playing King of Prussia, the idea of the cello's prominence seems virtually to have been abandoned. It may also be that hopes of a preferment there – or of successfully completing the commission – had faded.

The notion of a contest in the first movement of K614 suggests that play on genre, consisting in this case of tension between the brilliant and ‘Classical’ styles identified by early writers on string chamber music, is also selfconsciously present in Mozart's works of the late 1780s (it had been there earlier, as well, in the Piano and Wind Quintet K452, a concerto in all but name, and in the final movement of the Piano Sonata K333, which includes a concerto cadenza). But there is a twist: in some instances Mozart manipulates not merely markers of genre, but markers of form and procedure as well. The slow movement of the E♭ Quintet K614, ostensibly a theme and variations (and among the most popular of Mozart's late variation sets, as several contemporaneous arrangements for keyboard show), takes over characteristic gestures of the rondo (including tonic restatements of the main theme) and, more importantly, the sonata. The passages linking the variations are typical sonata transitions, while the climax of the movement, which includes some of the sharpest dissonances in all of Mozart, corresponds to the increase in harmonic tension characteristic of a sonata development. A clear return to both tonic and main theme characterizes the final variation, which is followed by a sonata-like coda, drawing together the main procedural gestures of the movement.

Mozart's interest in Baroque counterpoint, so evident in the late quintets, may have been rekindled by his Handel arrangements for van Swieten and his trip in 1789 to Leipzig, where he renewed his acquaintance with Bach's works. Although the influence of Bach had been strong during the early 1780s, when Mozart also transcribed several preludes and fugues for van Swieten, a truly classical, integrated counterpoint of a Bachian sort appears to have become a regular feature of his music only in the late 1780s. Sometimes the counterpoint is explicit, as in the central fugato of the overture to Die Zauberflöte or in the chorale of the Men in Armour; for the most part, however, it is subsumed within larger forms and textures. In the Variations K613 the introduction and the theme, the song Ein Weib ist das herrlichste Ding, are combined contrapuntally in the coda, while in the Piano Sonata K576 the main secondary material of

Page 49 of 288

both outer movements is contrapuntally derived from the primary material (the first movement also includes significant contrapuntal working in the development and recapitulation).

Chance dictated that Mozart, in his last months, should compose works in three genres with which he had been little occupied for almost a decade: the Singspiel Die Zauberflöte, the Requiem and the opera seria La clemenza di Tito. Until the 1960s Mozart scholars were inclined to dismiss Tito as an opera written hastily and with distaste. Yet there is no reason to imagine that Mozart had reservations about composing it; serious opera had always attracted him, and many composers were setting Metastasio's classical librettos modified to meet contemporary taste through the addition of ensembles and choruses. Certainly the opera is written in a style more austere than that of the Da Ponte operas, but it is appropriate to the topic. It is clear that the aria lengths were carefully planned. In Act 2, both the prima donna (Vitellia) and the primo uomo (Sextus) have full-length rondò arias; Sextus's arias involve progressive increases of tempo, no doubt intended to represent the screwing up of his courage. The arias for the other characters, including Titus, are much shorter, while the trios embody some degree of simultaneous representation of different emotions, as in the opere buffe. The Act 1 finale, however, moves in a sense opposite from that of the traditional, accelerating opera buffa ensemble of confusion. It starts Allegro and ends Andante, with the principals on stage bewailing the betrayal of Titus while the groans of the populace are heard in the distance.

Die Zauberflöte and the Requiem appear on first hearing to be dramatically different in conception – no work by Mozart is more heterogeneous or displays as broad a range of stylistic references as the opera, while the Requiem seems to refer uniquely to its own rarefied spiritual domain – yet both exploit contrast to an extreme. The opera's fugal overture, with its key of E♭ and three introductory chords, is symbolically masonic; other ritual music, including Sarastro's songs, the choruses and some of the ensembles, also derive from freemasonry. Papageno's strophic comic songs, on the other hand, are in the cheerful manner of other contemporary Singspiele. The songs for the serious characters, while rarely using the extended forms of Italian opera, are more italianate; among these are Tamino's lyrical Portrait Aria and the Queen of Night's two bravura arias. Pamina's lament, ‘Ach, ich fühl's’, falls in between. Its simple, intimate manner reflects her more universal, idealized character. The remarkable Orator's Scene in the Act 1 finale, however, is sui generis (while at the same time recalling Mozart's interest in declaimed musical settings, first evident in the late 1770s).

The Requiem, by contrast, hides its diversity. Nevertheless the three prevailing textures – homophonic or chordal as in the ‘Dies irae’ and ‘Rex tremendae’, contrapuntal as in the ‘Requiem aeternam’, the Kyrie fugue and the ‘Recordare’, and cantabile as in the ‘Te decet hymnus’ and ‘Tuba mirum’ – are juxtaposed almost kaleidoscopically, often succeeding each other in response to single phrases of the text. At times, the enharmonic and chromatic modulations are extreme, notably in the ‘Confutatis’ (from bar 25), where the successive lines of text are given in A minor, A♭ minor, G minor and

Page 50 of 288

then, via F♯ major, F major (Wolff, I1991). The make-up of the ensemble, including basset-horns, bassoons, trumpets, timpani and strings (with obbligato trombone in the ‘Tuba mirum’), but no flutes, oboes or horns, lends itself to an extraordinarily beautiful, dark-hued sound. In the ‘Rex tremendae’ and in particular the ‘Confutatis’, the orchestra represents a character in its own right.

11. Aftermath: reception and scholarship.

To judge by the more than normally laudatory tone of the obituaries and other tributes, Mozart's reputation stood high at the time of his death; although his music was frequently criticized as too audacious and complex, it was understood that he was an artist far out of the ordinary. In 1795, the Teutschlands Annalen des Jahres 1794 reported that ‘In this year … nothing can or may be sung or played, and nothing heard with approbation, but that it bears on its brow the all-powerful and magic name of Mozart’, and by the end of the century his music held centre stage across Europe. Many of the mature works were already well known during the 1780s: the six quartets dedicated to Haydn, published by Artaria in September 1785, were available in Paris as early as December of that year, and some piano concertos were performed regularly in London from January 1786 onwards. It was Die Entführung, however, that first established Mozart's fame and influence throughout German- speaking Europe. The opera had been given in more than 20 cities by 1786, and Goethe, in his Italienische Reise of 1787, wrote that ‘All our endeavours … to confine ourselves to what is simple and limited were lost when Mozart appeared. Die Entführung aus dem Serail conquered all.’ Most of the other mature operas were similarly well received. Both Figaro and Don Giovanni were widely performed, especially in German, while Così had received numerous performances by 1793; Die Zauberflöte was universally popular. La clemenza di Tito, on the other hand, was slower to gain public acceptance (except in England, where it remained the favoured Mozart opera until the second decade of the 19th century).

No doubt interest in Mozart's music was fuelled by his premature death and by stories concerning the Requiem that began circulating shortly afterwards. The earliest known account, published in the Salzburger Intelligenzblatt for 7 January 1792, already adumbrated what is by now a familiar tale:

Some months before his death he received an unsigned letter, asking him to write a requiem and to ask for it what he wanted. Because this work did not at all appeal to him, he thought, I will ask for so much that the patron will certainly leave me alone. A servant came the next day for his answer. Mozart informed the unknown patron that he could not write it for less than 60 ducats and then not before two or three months. The servant returned immediately with 30 ducats and said that he would ask again in three months and that if the mass were ready, he would immediately hand over the other half of the money. So Mozart had to write it, which he did, often with tears in his eyes, constantly saying: I fear that I am writing a requiem for myself.

Page 51 of 288

This anecdote neatly summarizes the Romantic image of Mozart that was prevalent throughout the 19th century and much of the 20th, although numerous documented facts and other evidence contradict it. Mozart may have fallen ill as early as his visit to Prague in September 1791, but there is no sign of any protracted bad health that could have given rise to increasingly dark thoughts about his mortality and the work he was engaged on. Nor did the Requiem exclusively occupy his time: both the Clarinet Concerto K622 and the masonic cantata Laut verkünde unsre Freude K623 were completed in the autumn. Circumstantial evidence suggests that Mozart probably knew more about the commission than has generally been supposed.

In view of the specific details of the anecdote, which are of a sort unlikely to have been known to the general public so soon after Mozart's death, it may have originated with Mozart's inner circle: from the beginning, apparently, someone was determined to cast Mozart's life in a particular, and not entirely truthful, light (although see Clarke, I1996). It was only a small step from this first fabrication to a web of stories intended to promote various myths about the composer: that he was an ‘eternal child’, a social rebel, a libertine, a misunderstood genius, a helpless victim of professional conspiracies, or even an idiot savant who cared for nothing but his music (for a good summary, see Stafford, G1991). Much of the Mozart myth, including his alleged poverty and neglect in Vienna, as well as the jealousy of rival composers, was in place by 1800, when Thomas Busby wrote in the Monthly Magazine (London, December 1798):

Had not the almost uniform practice of courts long explained to mankind the principle on which they act, how difficult would it be to conceive, that that of Vienna could so little appreciate the merit of this extraordinary man, who looked to it for an asylum, and passed in its vicinity the last ten years of his life! the dispensers of royal favours, whose ears imbibe with such avidity the flattery that meanness offers, can neglect that genius which nobly refuses the tale of adulation; can stifle it with poverty, and even follow it with persecution.

Contradictory as the numerous biographical tropes surrounding the composer's life may at first seem, they nevertheless add up to a remarkably consistent picture of Mozart as an artist and personality distinctly outside the ‘norm’. And it was this notion of Mozart's lack of connection to the real world that set a course for Mozart scholarship – whether biographical, analytical or editorial – up to the end of the 20th century.

Even the earliest biographies took sides in the struggle to present an ‘authentic’ version of Mozart's life: Nannerl's account, dealing mostly with the Salzburg years, is included in the obituary of Friedrich Schlichtegroll (F1793), while Constanze's position was first put forward by Niemetschek (F1798); it is worth noting that Constanze bought up and destroyed the entire edition of the publication containing Schlichtegroll's obituary, apparently disliking its portrayal of her. A more substantial presentation of this side of the story is the biography by Georg Nikolaus Nissen, Constanze's second husband (F1828), which served as the main source for many

Page 52 of 288

later accounts, including those of Oulibicheff (Ulïbïshev) (F1843) and Holmes (F1845) (the year after the publication of Nissen's biography Vincent and Mary Novello met Constanze and Nannerl, both of whom talked about Mozart; see Medici and Hughes, G1955). The first important scholarly biography, embodying fresh research, appeared in the centenary year, 1856 – Otto Jahn's W.A. Mozart (F1856). Ludwig von Köchel's chronological thematic catalogue of Mozart's works, ahead of its time in scholarly method, appeared six years later.

In the early decades of the 20th century, Mozart scholarship was dominated by Wyzewa and Saint-Foix's highly schematic analytical and stylistic study of the works (F1912–46); Alfred Einstein, in particular, took over many of their conclusions in his edition, the third, of the Köchel catalogue (1937). Similarly important are Dent's pioneering study of the operas (J1913), Schiedermair's presentation of the letters (A1914) and Hermann Abert's revision of Jahn (F1919– 21). Emily Anderson's edition of the letters, with revised editions appearing in 1966 and 1985, was published in 1938 (Anderson, A1938); although it remains the fullest English translation available, it has been superseded by the complete German edition of W.A. Bauer, O.E. Deutsch and J.H. Eibl (A1962–75). The sixth edition of the Köchel catalogue, published in 1964, included substantial new information but by the late 1990s was badly out of date; a more reliable guide to the authenticity, chronology, history and sources for Mozart's works is found in the prefaces and critical reports to the Neue Mozart-Ausgabe (1955–91). The known documents relating to Mozart's life and works are collected in Deutsch's Mozart: die Dokumente seines Lebens (A1961, with supplements in 1978, 1991 and 1997).

Despite the dramatic increase in Mozart research in the late 20th century, and the renewed availability of numerous sources since the recovery in Poland of autographs lost during World War II, modern scholarship continues to rely on a limited range of material. This is especially evident in editions of Mozart's works, which are based almost exclusively on the autographs, for the most part ignoring, or at least undervaluing, contemporaneous manuscript copies and printed editions. This editorial stance has as much to do with past perceptions of Mozart as with modern notions of textual scholarship: the idea that his works were in some way ‘perfect’, and that transmission inevitably involves corruption, resulted in a misunderstanding of the essential nature of autographs as representing performance as well as the dismissal of some sources that were considered less important, including even Mozart's own performing copies. By the same token, the study of the autographs themselves was for many years limited by a Mozart-centred outlook. Between 1800, when the Offenbach publisher J.A. André purchased the bulk of Mozart's estate from Constanze, and the 1960s and 70s, when Wolfgang Plath published his important articles on Schriftchronologie, interest in these documents centred chiefly on the identification and chronological development of Mozart's handwriting. It was only in the 1970s that the watermarks began to be taken into account, in Alan Tyson's systematic and pioneering study, which gave rise to substantial revisions in the dating of Mozart's works. Since then, source studies have broadened in scope

Page 53 of 288

to include not only contemporaneous copies, but also Mozart's sketches (Konrad, E1992) and first editions of his works (Haberkamp, A1986). Nevertheless, much remains to be done.

Analytical studies in the 1980s and 90s also departed from traditional formal and Schenkerian models (although these have remained vital). Contextual, topical, rhetorical and genre- and gender-based studies have become prominent, not only in the operas but also in Mozart's instrumental music, chiefly the symphonies and concertos. These two orchestral genres in particular lie at the heart of performing practice studies, an important element of Mozart scholarship from the 1970s onwards. Biography, finally, has continued to command attention, displaying a wide range of concerns from the psychological (Hildesheimer, F1977, and Solomon, F1995, but see also Head, F1999) to the increasingly important contextual (Braunbehrens, F1986, Halliwell, F1998).

Works

Editions

Wolfgang Amadeus Mozart’s Werke, ed. J. Brahms and others (Leipzig, 1877–1905/R) [MW]

Wolfgang Amadeus Mozart: Neue Ausgabe sämtlicher Werke, ed. Internationale Stiftung Mozarteum Salzburg (Kassel, 1955– 91) [NMA; nos. shown, e.g. Series (IV): Werkgruppe (3)/ Abteilung (2)/Band (i), page (273) – IV:3/2/i, 273; Abteilung and Band nos. not always applicable]

Thematic catalogue

L. von Köchel: Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amade Mozarts (Leipzig, 1862; rev. 2/1905 by P. Graf von Waldersee; rev. 3/1937 by A. Einstein, repr. with suppl. 1947; rev. 6/1964/R by F. Giegling, A. Weinmann and G. Sievers)

K no. in Köchel, 1862;

for items not in 1862 edn, no. from 2/1905 or 3/1937 given K no. in Köchel, 6/1964;

nos. preceded by A, B or C in appendices KMS nos. in Konrad, E1992 A Anhang [appx]: applicable only to edns of Köchel before 6/1964 BH Bee Hive no. in Breitkopf edn LC Leopold Mozart’s catalogue, 17??;

Page 54 of 288

see Zaslaw, A1985 (D) date from MS of work (not always clear) (L) date from Mozart’s letters (V) date from Mozart: Verzeichnüss aller meiner Werke (1784–91), in GB-Lbl

Editions published in Mozart’s lifetime are noted in the Remarks column, excluding arrangements and, generally, pf reductions; references to movements are shown in small roman, e.g. K320/iii.

Items are arranged in each category by order of K numbers

Masses, mass movements, requiem

Page 55 of 288

K k6 Title Key Scoring Composition MW NMA Remarks

33 33 Kyrie F SATB, str, bc

Paris, 12 June 1766 (D)

III/i, 2

I:1/1/ vi, 3

139 47a Missa solemnis

c S, A, T, B, SATB, 2 ob, 2 tpt, timp, str, bc

? Vienna, aut. 1768

I/i, 117

I:1/1/ i, 37

‘Waisenhausmesse’; perf. orphanage in Rennweg, Vienna, 7 Dec 1768

49 47d Missa brevis

G S, A, T, B, SATB, str, bc

Vienna, Oct– Nov 1768 (D)

I/i, 1 I:1/1/ i, 3

sketch, KMS 1768 KA20a/636b, 25

65 61a Missa brevis

d S, A, T, B, SATB, str, bc

Salzburg, 14 Jan 1769 (D)

I/i, 33

I:1/1/ i, 159

perf. Salzburg, collegiate church, 5 Feb 1769; KMS 1769

66 66 Missa C S, A, T, B, SATB, 2 ob, [2 hn,] 4 tpt, timp, str

Salzburg, Oct 1769 (D)

I/i, 49

I:1/1/ i, 185

‘Dominicus’ Mass; perf. Salzburg, St Peter, 15 Oct 1769, for Cajetan Hagenauer; hn parts c1775–6; KMS 1769

Page 56 of 288

89 73k Kyrie G SSSSS (? or soloistic)

Salzburg, 1772

III/ii I:1/1/ vi, 6

KMS 1772

90 90 Kyrie d SATB, bc

Salzburg, 1772

— I:1/1/ vi, 13

167 167 Missa C SATB, 2 ob, 4 tpt, 2 vn, b, bc

Salzburg, June 1773 (D)

I/i, 179

I:1/1/ ii, 3

‘In honorem Ssmae Trinitatis’

192 186f Missa brevis

F S, A, T, B, SATB, [2 tpt,] 2 vn, b, bc

Salzburg, 24 June 1774 (D)

I/i, 239

I:1/1/ ii, 75

tpt parts added later

194 186h Missa brevis

D S, A, T, B, SATB, 2 vn, b, bc

Salzburg, 8 Aug 1774 (D)

I/i, 265

I:1/1/ ii, 121

220 196b Missa brevis

C S, A, T, B, SATB, 2 tpt, timp, 2 vn, b, bc

?Salzburg, 1775–7

I/i, 291

I:1/1/ ii, 163

‘Spatzenmesse’

Page 57 of 288

262 246a Missa [longa]

C S, A, T, B, SATB, 2 ob, 2 hn, 2 tpt, 2 vn, b, bc

Salzburg, 1775

I/ii, 119

I:1/1/ ii, 197

2 tpt added c1777

257 257 Missa C S, A, T, B, SATB, 2 ob, 2 tpt, timp, 2 vn, b, bc

Salzburg, Nov 1776 (D)

I/ii, 1 I:1/1/ iii, 3

‘Credo’; KMS 1776

258 258 Missa brevis

C S, A, T, B, SATB, 2 ob, 2 tpt, timp, 2 vn, b, bc

Salzburg, Dec ?1775 [? 1776] (D)

I/ii, 55

I:1/1/ iii, 115

‘Spaur’, but possibly not mass composed for consecration of Count Friedrich Franz Joseph von Spaur, Feb 1777

259 259 Missa brevis

C S, A, T, B, SATB, 2 ob, 2 tpt, timp, 2 vn, b, bc

Salzburg, Dec 1776 (D)

I/ii, 89

I:1/1/ iii, 195

‘Organ solo’; 2 ob added ? 1776–81

Page 58 of 288

275 272b Missa brevis

B♭ S, A, T, B, SATB, 2 vn, b, bc

Salzburg, by 1780

I/ii, 183

I:1/1/ iv, 3

perf. Salzburg, St Peter, 21 Dec 1777

317 317 Missa C S, A, T, B, SATB, 2 ob, 2 hn, 2 tpt, timp, 2 vn, b, org

Salzburg, 23 March 1779 (D)

I/ii, 207

I:1/1/ iv, 57

‘Coronation’

337 337 Missa C S, A, T, B, SATB, 2 ob, 2 bn, 2 tpt, timp, 2 vn, b, bc

Salzburg, March 1780 (D)

I/ii, 255

I:1/1/ iv, 193

autograph incl. rejected 136-bar frag. Cr

341 368a Kyrie d SATB, 2 fl, 2 ob, 2 cl, 2 bn, 4 hn, 2 tpt, timp, str, bc

? Munich, 1780–81, or ? Vienna, late 1780s

III/i, 31

I:1/1/ vi, 84

lacks authentic sources

Page 59 of 288

427 417a Missa c 2S, SATB, fl, 2 ob, 2 bn, 2 hn, 2 tpt, 3 trbn, timp, str, org

Vienna, cJuly 1782, ? Salzburg, Oct 1783

XXIV, no. 29

I:1/1/ v

Cr inc., Ag not composed; Ky, Gl, San perf. Salzburg, St Peter, 26 Oct 1783; see Davidde penitente K469; KMS 1782 , 1783

626 626 Requiem d S, A, T, B, SATB, 2 basset- hn, 2 bn, 2 tpt, timp, str, bc

Vienna, late 1791

XXIV, no.1

I:1/2/ i–ii

inc.; completed by F.X. Süssmayr and others

b,c,d1–5

Page 60 of 288

Frags

K223/166e, Osanna, C, 21 bars, 1772, NMA, I:1/1/vi, 15; KA18/166f, Ky, C, 49 bars, 1772, NMA, I:1/1/vi, 17; KA19/166g, Ky, D, 12 bars, 1772, NMA, I:1/1/vi, 29; KA16/196a, Ky, G, 34 bars, ?1787–90, NMA, I:1/1/vi, 46; KA13/258a, Ky, C, 9 bars, ? 1790–91, NMA, I:1/1/vi, 82; KA322/296a = KA12/296b, Ky, E♭, 34 bars, ? early 1778, MW, III/1, 11, NMA, I:1/1/vi, 31; KA12/296c, San, C, 21 bars, ?1779–80, NMA, I:1/1/vi, 80; KA15/323, Ky, C, 37 bars, ?1787–90, MW, III/i, 22, NMA, I:1/1/ vi, 50; KA20/323a, Gl, C, 26 bars, ?1787–90, NMA, I:1/1/vi, 76; KA14/422a, Ky, D, 11 bars, ?1787–90, NMA, I:1/1/vi, 80

Doubtful (selective list)

K—/KA³ 235f/C1.02, Mass, E♭, by B. Schack, in Periodical Collection of Sacred Music no.4 (London, 1831), ‘additions by Mozart’; KA234/C1.08, Mass, C, numerous sources attrib. W.A. Mozart, pubd as Duae missae, no.1 (Munich), and as Novello no.8; K—/C1.18, ‘Missa solemnis pastorita’, G (Munich, 1946)

K—/C1.20, Missa solemnis, C, also attrib. F. Brixi, Bs = K92/ K³92/C3.01; K140/K³235d/C1.12, Missa brevis, G, unattrib. parts with autograph corrections, NMA, I:1/1/i, 285; K340/K³186f/C3.06, Ky, C, lost, MS copy once owned by J.A. André

Spurious (selective list)

K115/166d, Missa solemnis, ed. R. Kubik (Neuhausen- Stuttgart, 1981), vs ed. D. Townsend (New York, 1963), frag. draft , ed. in MW, XXIV, no.28 and by W. Schulze (Stuttgart, 1983), by L. Mozart (S4.2), see Pfannhauser (D1971–2); K91/186i, Ky, by G. Reutter (ii); K221/A1, Ky, MW, XXIV, no.34, by J.E. Eberlin; K116+—/90a+417B+A18–19, Missa brevis, MW, XXIV, no.33, by L. Mozart, see Plath and others, D1971–2; KA233/C1.06, Novello no.7, by F.X. Süssmayr according to C. Mozart, attrib. Pichler at

D-Ahk

D-OF

A-GÖ

Page 61 of 288

Litanies, vespers, vesper psalms

Page 62 of 288

K k6 Title Key Scoring Composition MW NMA Remarks

109 74e Litaniae lauretanae BVM

B♭ S, A, T, B, SATB, 2 vn, b, bc

Salzburg, May 1771 (D)

II, 1 I:2/i, 13

125 125 Litaniae de venerabili altaris sacramento

B♭ S, A, T, B, SATB, 2 ob/fl, 2 hn, 2 tpt, str, bc

Salzburg, March 1772 (D)

II, 13

I:2/i, 23

195 186d Litaniae lauretanae BVM

D S, A, T, B, SATB, 2 ob, 2 hn, str, bc

Salzburg, May 1774 (D)

II, 63

I:2/i, 135

193 186g Dixit Dominus, Magnificat

C S, T, SATB, 2 tpt, timp, 2 vn, b, bc

Salzburg, July 1774 (D)

II, 169

I:2/ii, 1

243 243 Litaniae de venerabili altaris sacramento

E♭ S, A, T, B, SATB, 2 ob/fl, 2 bn, 2 hn, str, bc

Salzburg, March 1776 (D)

II, 109

I:2/i, 251

Page 63 of 288

321 321 Vesperae de Dominica

C S, A, T, B, SATB, 2 tpt, timp, 2 vn, b, bc

Salzburg, 1779 (D)

II, 193

I:2/ii, 33

339 339 Vesperae solennes de confessore

C S, A, T, B, SATB, 2 tpt, timp, 2 vn, b, bc

Salzburg, 1780 (D)

II, 237

I:2/ii, 101

Page 64 of 288

Frag.

K—/321a, Mag, C, 7 bars, NMA, I:2/ii, 18

Short sacred works

Page 65 of 288

K k6 Title Key Scoring Composition MW NMA Remarks

20 20 God is our Refuge

g SATB London, July 1765 (D)

III/i, 47

III:9, 2

motet; autograph (partly L. Mozart) given to , July 1765, see King, Festschrift Albi Rosenthal, ed. R. Elvers (Tutzing, 1984), 157–80

— 33c Stabat mater SATB ? by 1768 — — lost; in LC

— 41f [Fugue à 4 voci]

?SATB ? by 1768 — — lost; in LC

47 47 Veni Sancte Spiritus

C S, A, T, B, SATB, 2 ob, 2 hn, 2 tpt, timp, bc

? before 1770 III/i, 48

I:3, 12

traditionally considered identical to Veni in LC, Vienna, 1768

GB-Lbl

Page 66 of 288

— 47b Vienna, late 1768

— — lost; ‘grand offertory’ perf. Vienna, Waisenhauskirche, 7 Dec 1768, ? = K34

117 66a Benedictus sit Deus

C S, SATB, 2 fl, 2 hn, 2 tpt, timp, str, bc

Salzburg, ? 1769

III/ ii, 21

I:3, 25

141 66b Te Deum C SATB, 4 tpt, timp, 2 vn, b, bc

?Salzburg II/i, 133

I:3, 43

earliest source 1770s; orig. timp part lost

85 73s Miserere a ATB, b Bologna, July–Aug 1770 (D)

III/i, 58

I:3, 69

last 3 verses ? incorrectly attrib. J. André in one MS

86 73v Quaerite primum

d SATB Bologna, 9/10 Oct 1770

III/i, 62

I:3, 73

ant; exercise for Accademia Filarmonica, Bologna; copies in

, transmit version by G.B. Martini,

A-Sm I-Baf

I-Bc

Page 67 of 288

108 74d Regina coeli C S, SATB, 2 ob/fl, 2 hn, 2 tpt, timp, str, bc

Salzburg, May 1771 (D)

III/i, 63

I:3, 74

72 74f Inter natos mulierum

G SATB, 2 vn, b, bc

?Salzburg III/ ii, 9

I:3, 9 off, for feast of St John the Baptist, 24 June; traditionally dated 1771 but earliest source late 1770s

127 127 Regina coeli B♭ S, SATB, 2 ob/fl, 2 hn, str, bc

Salzburg, May 1772 (D)

III/i, 87

I:3, 120

143 73a Ergo interest G S, str, bc Milan or Salzburg, 1772–3

III/ ii, 37

I:3, 62

motet

Page 68 of 288

165 158a Exsultate, jubilate

F S, 2 ob, 2 hn, str, bc

Milan, Jan 1773 (D)

III/ ii, 43

I:3, 157

motet, for V. Rauzzini; perf. Milan, 17 Jan 1773; rev. version with 2 fl in place of 2 ob, text changes, Salzburg, about 1780: see R. Münster, Mozart- Studien, ii (1993), 119–33

222 205a Misericordias Domini

d SATB, 2 vn, [va,] b, bc

Munich, early 1775

III/ ii, 77

I:3, 182

off

260 248a Venite populi D SSAATTBB, 2 vn ad lib, b, bc

Salzburg, 1776 (D)

III/ ii, 91

I:3, 199

off

277 277 Alma Dei creatoris

F S, A, T, B, SATB, 2 vn, b, bc

Salzburg, by 1781

III/ ii, 111

I:3, 223

off

273 273 Sancta Maria, mater Dei

F SATB, str, bc

Salzburg, 9 Sept 1777 (D)

III/ ii, 103

I:3, 234

grad, for feast of BVM, 12 Sept; ? for St Peter, Salzburg

Page 69 of 288

A1 297a Miserere (8 movts)

SATB, orch Paris, March– April 1778

— — for work by I. Holzbauer; lost; see letter, 5 April 1778

146 317b Kommet her, ihr frechen Sünder

B♭ S, str, bc Salzburg, 1770s

VI/i, 81

I:4/iv, 33

aria, usually said to date from 1779

276 321b Regina coeli C S, A, T, B, SATB, 2 ob, 2 tpt, timp, 2 vn, b, bc

Salzburg, late 1770s

III/i, 118

1:3, 243

lacks authentic sources

343 336c O Gottes Lamm; Als aus Aegypten

F; C

S, bc ? Vienna or Prague, ? 1787–8

III/i, 154

III:8, 30

Ger. sacred songs (see letter, 29 May 1787 and first edition)

618 618 Ave verum corpus

D SATB, str, bc

Baden, 17 June 1791 (D)

III/ ii, 123

I:3, 261

motet

Page 70 of 288

Frag.

KA23/166h, In te Domine speravi, C, 34 bars, 1774

Doubtful

K34, Scande coeli limina, off, C, ? Kloster Seeon, Bavaria, early 1767, MW, III/ii, 1, NMA, I:3m 3, ? = K—/47b; K142/C3.04, Tantum ergo, B♭, ? by J. Zach; K—, Amen, MW, III/i, 144, NMA, I:3, 270, see Eisen, D1991, 271–2; K197/C3.05, Tantum ergo, D, MW, III/i, 149, NMA, I:3, 276, transmitted with version, attrib. Mozart, of K142/C3.04

Spurious

K44/73u, Musica super cantum gregorianum, by J. Stadlmayr, see ‘Arrangements’; KA21/K³93c/A2, Lacrimosa, K326/K³93c/ A4, hymn, both by Eberlin; KA238/A17, Stabat mater, by P.E.F. Ligniville; K177/C3.09, off, by L. Mozart

Church sonatas

Page 71 of 288

K k6 Key Scoring Composition MW NMA

67 41h E♭ 2 vn, b, org Salzburg, late 1771–1772 XXIII, 1 VI: 16, 2

68 41i B♭ 2 vn, b, org Salzburg, late 1771–1772 XXIII, 3 VI:16, 4

69 41k D 2 vn, b, org Salzburg, late 1771–1772 XXIII, 5 VI: 16, 6

144 124a D 2 vn, b, org Salzburg, early 1774 XXIII, 7 VI: 16, 8

145 124b F 2 vn, b, org Salzburg, early 1774 XXIII, 9 VI: 16, 11

212 212 B♭ 2 vn, b, org Salzburg, July 1775 (D) XXIII, 11

VI: 16, 13

241 241 G 2 vn, b, org Salzburg, Jan 1776 (D) — VI: 16, 16

224 241a F 2 vn, b, org Salzburg, 1779–80 XXIII, 14

VI: 16, 18

225 241b A 2 vn, b, org Salzburg, 1779–80 XXIII, 18

VI: 16, 22

244 244 F 2 vn, b, org [solo] Salzburg, April 1776 (D) XXIII, 21

VI: 16, 25

Page 72 of 288

245 245 D 2 vn, b, org [solo] Salzburg, April 1776 (D) XXIII, 24

VI: 16, 28

263 263 C 2 tpt, 2 vn, b, org [solo]

Salzburg, late 1776 — VI: 16, 32

274 271d G 2 vn, b, org Salzburg, 1777 (D) XXIII, 27

VI: 16, 36

278 271e C 2 ob, 2 tpt, timp, 2 vn, b, org

Salzburg, March–April 1777

XXIII, 30

VI: 16, 39

329 317a C 2 ob, 2 hn, 2 tpt, timp, 2 vn, b, org [solo]

Salzburg, early 1779 XXIII, 41

VI: 16, 49

328 317c C 2 vn, b, org [solo] Salzburg, early 1779 XXIII, 36

VI: 16, 60

336 336d C 2 vn, b, org [solo] Salzburg, March 1780 (D)

XXIII, 51

VI: 16, 65

Page 73 of 288

Spurious

KA65a/124A, by L. Mozart

Oratorios, sacred dramas, cantatas

Page 74 of 288

K k6 Title (description, libretto)

Scoring Composition MW NMA Remarks

35 35 Die Schuldigkeit des ersten Gebots (pt 1 of orat, 3, I.A. Weiser)

3 S, 2 T, 2 ob/fl, 2 bn, 2 hn, trbn, str

Salzburg, early 1767

V/i I:4/i perf. Salzburg, 12 March 1767; pt 2 by J.M. Haydn, pt 3 by A.C. Adlgasser

42 35a Grabmusik (cant.)

S, B, SATB, [2 ob,] 2 hn, str

Salzburg, 1767

IV/ 1, 1

I:4/iv, 1

? perf. Salzburg Cathedral, 7 April 1767; final recit and chorus added c1773

118 74c La Betulia liberata (orat, 2, P. Metastasio)

4 S, T, B, SATB, 2 ob/fl, 2 bn, 4 hn, 2 tpt, str

Italy and Salzburg, March–July 1771

IV/ 2, 1

I:4/ii commissioned in Padua, apparently unperf.

Page 75 of 288

469 469 Davidde penitente (orat, 2, ? L. Da Ponte)

2 S, T, SATB, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 3 trbn, timp, str

Vienna, March 1785

IV/ 2, 1

I:4/iii music from Mass K427/417a except for 2 arias, 6 and 11 March 1785 (V); perf. Vienna, Burg, 13 March

471 471 Die Maurerfreude (cant., F. Petran)

T, TTB, 2 ob, cl, 2 hn, str

Vienna, 20 April 1785 (V)

IV/ 1, 24

I:4/iv, 35

perf. Vienna, lodge ‘Zur gekrönten Hoffnung’, 24 April 1785 (Vienna, 1785)

619 619 Die ihr des unermesslichen Weltalls Schöpfer ehrt (cant., F.H. Ziegenhagen)

S, pf Vienna, July 1791 (V)

VII/ 1, 82

I:4/iv, 59

sketch in autograph

623 623 Laut verkünde unsre Freude (cant., E. Schikaneder)

2 T, B, fl, 2 ob, 2 hn, str

Vienna, 15 Nov 1791 (V)

IV/ 1, 40

I:4/iv, 65

perf. Vienna, lodge ‘Zur neugekrönten Hoffnung’, 17 Nov 1791

Page 76 of 288

Frag.

K429/468a, Dir, Seele des Weltalls (cant., L.L. Haschka), T, TTB, fl, 2 ob, cl, 2 hn, bn, str, Vienna, 1785–6, MW, XXIV, no. 36a–b, NMA, I:4/iv, 96, partly completed by M. Stadler

Spurious

K623/623a, Lasst uns mit geschlungnen Händen, S, ?, appended to 1st edn of K623 (Vienna, 1792)

Operas, musical plays, dramatic cantatas

Page 77 of 288

K k6 Title (description, libretto)

Scoring First performed

MW NMA Remarks

38 38 Apollo et Hyacinthus (Lat. int, 3, R. Widl)

2 S, 2 A, T, B, 2 ob, 2 hn, str

Salzburg, Benedictine University, 13 May 1767

V/ii II:5/i perf. with Widl’s Lat. play, Clementia Croesi

51 46a La finta semplice (ob, 3, C. Goldoni, rev. M. Coltellini)

3 S, 2 T, 2 B, 2 fl/eng hn, 2 ob, 2 bn, 2 hn, str

Salzburg, Archbishop’s Palace, on or about 1 May 1769

V/iv II:5/ii composed Vienna, mid-1768

50 46b Bastien und Bastienne (Spl, 1, F.W. Weiskern, J. Müller and J.A. Schachtner, after M.-J.-B. Favart and H. de Guerville: Les amours de Bastien et Bastienne)

S, T, B, 2 ob/fl, 2 hn, str

Vienna, F.A. Mesmer’s house, ? Sept–Oct 1768

V/iii II:5/iii see Tyler J1990

Page 78 of 288

87 74a Mitridate, re di Ponto (dramma per musica, 3, V.A. Cigna-Santi after G. Parini’s It. trans. of J. Racine: Mithridate)

4 S, A, 2 T, 2 fl, 2 ob, 2 bn, 4 hn, str

Milan, Regio Ducal, 26 Dec 1770

V/v II:5/iv aria ‘Vado incontro al fato estremo’ (Act 3 scene iii) by Q. Gasparini (see Peiretti, J1996); KMS 1770

111 111 Ascanio in Alba (festa teatrale, 2, G. Parini)

4 S, T, SATB, 2 fl, 2 ob/eng hn/ serpentini, 2 bn, 2 hn, 2 tpt/hn, timp, str

Milan, Regio Ducal, 17 Oct 1771

V/vi II:5/v for wedding of Archduke Ferdinand of Austria and Maria Beatrice Ricciarda of Modena, with ballet KA207/ C27.06

α–ε

Page 79 of 288

126 126 Il sogno di Scipione (azione teatrale, 1, Metastasio)

2 S, 3 T, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

? Salzburg, Archbishop’s Palace, May 1772

V/vii II:5/vi composed ? April–Aug 1771, ? given as serenata at enthronement of Count H. Colloredo as Prince- Archbishop of Salzburg

135 135 Lucio Silla (dramma per musica, 3, G. De Gamerra)

4 S, 2 T, SATB, 2 ob/fl, 2 bn, 2 hn, 2 tpt, timp, str

Milan, Regio Ducal, 26 Dec 1772

V/viii II:5/vii

196 196 La finta giardiniera (ob, 3, ? G. Petrosellini)

4 S, 2 T, B, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt/hn, timp, str

Munich, Salvator, 13 Jan 1775

V/ix II:5/viii perf. as Spl, Die verstellte Gärtnerin, Augsburg, 1 May 1780; autograph Act 1 lost

Page 80 of 288

208 208 Il re pastore (serenata, 2, Metastasio)

3 S, 2 T, 2 fl, 2 ob/ eng hn, 2 bn, 2 hn, 2 tpt/hn, str

Salzburg, Archbishop’s Palace, 23 April 1775

V/x II:5/ix

A11 315e Semiramis (duodrama, O. von Gemmingen)

2 hn, 2 tpt/hn, str

Mannheim, Nov 1778 (L)

— — lost, ? never begun

345 336a Thamos, König in Ägypten (play with music, 5, T.P. Gebler)

B, SATB, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, 3 trbn, timp, str

Salzburg, ? 1773 and ? 1776–9

V/xii II:6/i ? 2 choruses composed Vienna, 1773; final version ? 1776–9

344 336b Zaide (Das Serail) (Spl, 2, Schachtner, after F.J. Sebastiani: Das Serail)

S, 2/3 T, 2 B, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Frankfurt, 27 Jan 1866

V/xi II:5/x Composed Salzburg, 1780, inc.; lacks ov. and final chorus; KMS 1779a

Page 81 of 288

366 366 Idomeneo, re di Creta (dramma per musica, 3, G.B. Varesco, after A. Danchet: Idomenée)

3 S, 3 T, B, SATB, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

(i) Munich, Residenz, 29 Jan 1781

V/xiii II:5/xi with ballet, K367

(ii) Vienna, Palais Auersperg, 13 March 1786

perf. with K489, 490, both composed by 10 March 1786 (V)

384 384 Die Entführung aus dem Serail (Spl, 3, C.F. Bretzner: Belmont und Constanze, rev. G. Stephanie the younger)

2 S, 2 T, B, SATB, 2 fl/ pic, 2 ob, 2 cl/ basset-hn, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, Burg, 16 July 1782

V/xv II:5/xii vs (Mainz, 1785–6) KMS 1781a

Page 82 of 288

422 422 L’oca del Cairo (ob, 2, Varesco)

3 S, 2 T, 2 B, [chorus,] 2 ob, 2 bn, 2 hn, str

unperf. XXIV, no. 37

II:5/xiii composed Salzburg and Vienna, late 1783, inc.; 1 trio completed, 6 nos. sketched

430 424a Lo sposo deluso (ob, 2, after Le donne rivali; attrib. ? Petrosellini)

2 S, 2 T, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

unperf. XXIV, no. 38

II:5/xiv begun ?1785; only ov., trio and qt completed; KMS 1783 ; A.

Campana, MJb 1988–9, 573–88

486 486 Der Schauspieldirektor (Spl, 1, Stephanie the younger)

2 S, T, B, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Schloss Schönbrunn, Orangery, 7 Feb 1786

V/xvi II:5/xv completed Vienna, 3 Feb 1786 (V), perf. with A. Salieri’s Prima la musica; KMS 1785 , 1786

a, b,

a γ/

1;–2

Page 83 of 288

492 492 Le nozze di Figaro (ob, 4, Da Ponte, after P.-A. Beaumarchais: La folle journée, ou Le mariage de Figaro)

5 S, 1/2 T, 3/4 B, SATB, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

(i) Vienna, Burg, 1 May 1786

V/ xvii

II:5/xvi completed Vienna, 29 April 1786 (V); vs (Bonn, 1795); numerous sketches

(ii) Vienna, Burg, 29 Aug 1789

with arias K577, 579

527 527 Il dissoluto punito, ossia Il Don Giovanni (ob, 2, Da Ponte)

3 S, T, 4 B, SATB, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, 3 trbn, timp, mand, str

(i) Prague, National, 29 Oct 1787

V/ xviii

II:5/xvii (concert version of ov., IV: 11/x, 23)

Prague, 28 Oct 1787 (V); vs (Mainz, 1791) and (Vienna, 1790–91); KMS, 1787

(ii) Vienna, Burg, 7 May 1788

perf. with addns K540a, b, c

Page 84 of 288

588 588 Così fan tutte, ossia La scuola degli amanti (ob, 2, Da Ponte)

3 S, T, 2 B, SATB, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, Burg, 26 Jan 1790

V/xix II:5/xviii Jan 1790 (V); vs (Leipzig, 1794); KMS 1789

620 620 Die Zauberflöte (Spl, 2, Schikaneder)

7 S, 2 A, 4 T, 5 B, SATB, 2 fl/ pic, 2 ob, 2 cl/ basset-hn, 2 bn, 2 hn, 2 tpt, 3 trbn, timp, glock, str

Vienna, auf der Wieden, 30 Sept 1791

V/xx II:5/xix mostly composed by July 1791 (V), ov. and march completed 28 Sept 1791 (V); excerpts, vs (Vienna, 1791–2): KMS 1791

621 621 La clemenza di Tito (os, 2, Metastasio, rev. C. Mazzolà)

4 S, T, B, SATB, 2 fl, 2 ob, 2 cl/ basset-hn, 2 bn, 2 hn, 2 tpt, timp, str

Prague, National, 6 Sept 1791

V/xxi II:5/xx for Prague coronation of Leopold II; completed 5 Sept 1791 (V); plain recits not by Mozart; KMS 1791,

β, γ, δ, ε

a;, α, b;, β

b γ, δ, ε,

Page 85 of 288

Music in

P. Anfossi: Il curioso indiscreto, Vienna, 1783

F. Bianchi: La villanella rapita, Vienna, 1785

Anfossi: Le gelosie fortunate, Vienna, 1788

D. Cimarosa: I due baroni, Vienna, 1789

U. Martín y Soler: Il burbero di buon cuore, Vienna, 1789

Ballet music

Page 86 of 288

K k6 Title Scoring Composition MW NMA Remarks

A10 299b Les petits riens

2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Paris, May– June 1778

XXIV, no. 10a

II:6/ ii, 13

perf. 11 June 1778, Paris, Opéra, after N. Piccinni: Le finte gemelle; 20 movts, ov. and 13 (of 20) by Mozart

300 300 [Gavotte] 2 ob, 2 bn, 2 hn, str

? Paris, early 1778

II:6/ ii, 46

? discarded movt of Les petits riens

367 367 [Ballet for Idomeneo]

see ‘Operas’

446 416d [Pantomime] str Vienna, Feb 1783

XXIV, no.18

II:6/ ii, 120

perf. Vienna, Hofburg, 3 March 1783; only 5 of at least 15 nos. extant

Page 87 of 288

A207 C27.06 [?for Ascanio in Alba]

? Milan, late 1771

— 9 nos. only extant, arr. pf; see Plath, D1964, 111– 29

Page 88 of 288

Sketches

K299c, for a ballet of 27 nos., ? Paris, early 1778

Frag.

KA103/299d, La chasse (rondo), 2 fl, 2 ob, 2 bn, 2 hn, ? Paris, 1778, NMA, II:6/ii, 112

Doubtful

KA109/135a, Le gelosie del serraglio (for Lucio Silla), ? Milan, late 1772, autograph incipits for ballet of 32 nos., 6 from J. Starzer: Les cinque soltanes: see Senn, E1961

Duets and ensembles for solo voices and orchestra

Page 89 of 288

K k6 First words (author)

Voices Accompaniment Composition MW NMA Remarks

479 479 Dite almeno in che mancai (G. Bertati)

S, T, B, B

2 ob, 2 cl, 2 bn, 2 hn, str

Vienna, 5 Nov 1785 (C)

VI/ ii, 70

II:7/ iii, 101

for Bianchi: La villanella rapita, perf. Vienna, Burg, 28 Nov 1785

480 480 Mandina amabile (Bertati)

S, T, B 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, str

Vienna, 21 Nov 1785 (V)

VI/ ii, 87

II:7/ iii, 143

as K479 (Paris, 1789–90)

489 489 Spiegarti non poss’io

S, T 2 ob, 2 bn, 2 hn, str

Vienna, 10 March 1786 (V)

V/ xiii

II:5/ xi, 376

for Idomeneo K366

540b 540b Per queste tue manine (Da Ponte)

S, B 2 fl, 2 ob, 2 bn, 2 tpt, str

Vienna, 28 April 1788 (V)

V/ xviii

II:5/ xvii, 497

for Don Giovanni K527

Page 90 of 288

625 592a Nun liebes Weibchen

S, B fl, 2 ob, 2 bn, 2 hn, str

Vienna, Aug 1790

— VI/2, 235

duet, for ? Schack: Der Stein der Weisen; ? partly orig; for other possible contribs. to opera see D.J. Buch, COJ, ix (1997), 195–232

615 615 Viviano felici (T. Grandi: Le gelosie villane)

S, A, T, B

Vienna, 20 April 1791 (V)

— — lost; known only from Mozart’s catalogue; for perf. of G. Sarti: Le gelosie villane

Page 91 of 288

Frag.

K389/384A, Welch ängstliches Beben (Bretzner), T, T, fl, ob, bn, 2 hn, str, Vienna, April–May 1782, MW, XXIV, no.42, intended for Die Entführung aus dem Serail K384; K434/480b, Delgran regno delle amazzoni (Petrosellini: Il regno delle amazoni), T, B, B, 2 ob, 2 bn, 2 tpt, str, ? Vienna, end 1785, xxiv, no.44, II:7/ iv, 154, 106 bars, inc. sketch, KMS 1785 = K626b/33

Vocal ensembles with piano or instrumental ensemble

Page 92 of 288

K k6 First words (author)

Voices Accompaniment Composition MW NMA Remarks

A24a 43a Ach, was müssen wir erfahren

S, S pf ? Vienna, Oct 1767

— III:9, 51

? by L. Mozart

436 436 Ecco quel fiero istante (Metastasio: Canzonette)

S, S, B 3 basset-hn ? Vienna, ? 1786

VI/ii, 65

III:9, 31

notturno; ? partly by G. von Jacquin; see Plath in Plath and others, D1971–2

437 437 Mi lagnerò tacendo (Metastasio: Siroe)

S, S, B 2 cl, basset-hn Vienna, 1786 VI/ii, 67

III:9, 35

as K436

438 438 Se lontan ben mio (Metastasio: Strofe per musica)

S, S, B 2 cl, basset-hn Vienna, ? 1786

XXIV, no. 46

III:9, 29

as K436

Page 93 of 288

439 439 Due pupille amabili

S, S, B 3 basset-hn Vienna, ? 1786

— III:9, 26

as K436

346 439a Luci care, luci belle

S, S, B 3 basset-hn Vienna, ? 1786

— III:9, 42

as K436

441 441 Liebes Mandel, wo is’s Bandel (?Mozart)

S, T, B str Vienna, ? early 1785 or ? 1786–7

VII/ 1, 25

III:9, 7

KMS 1786

532 532 [Grazie agl’inganni tuoi] (Metastasio: La libertà di Nice)

S, T, B fl, cl, 2 hn, 2 bn, b

? Vienna, 1787

VII/ 1, 73

III:9, 62

26 bars without words based on M. Kelly’s duet ‘Grazie agl’inganni tuoi’

549 549 Più non si trovano (Metastasio: L’olimpiade)

S, S, B 3 basset-hn Vienna, 16 July 1788 (V)

VI/ii, 185

III:9, 44

authenticity of acc. doubtful

α, β

Page 94 of 288

Frag.

KA5/571a, Caro mio Druck und Schluck (Mozart), S, T, T, B, ? pf, ? Vienna, 1789, MW, XXIV, no.50, NMA, III:9, 64

Spurious

K441c/C9.04, Liebes Mädchen, S, S, B, by M. Haydn, see Schmid, ÖMz, xxvi (1971), 72–9

Arias and scenes for voice and orchestra

For soprano

Page 95 of 288

K K6 First words (author)

Accompaniment Composition MW NMA Remarks

23 23 Conservati fedele (Metastasio: Artaserse)

str The Hague, Oct 1765

VI/i, 9; XXIV, no. 54

II:7/i, 13

rev. Jan 1766

70 61c A Berenice … Sol nascente

2 ob, 2 hn, str Salzburg, ? Dec 1766

VI/i, 23

II:7/i, 47

? licenza for Sarti: Vologeso, Salzburg, 28 Feb 1767, or for perf. March 1769

78 73b Per pietà, bell’idol mio (Metastasio: Artaserse)

2 ob, 2 hn, str c1765–6 VI/i, 49

II:7/i, 17

A2 73A Misero tu non sei (Metastasio: Demetrio)

Milan, 26 Jan 1770 (L)

— — lost; known only from letter, 26 Jan 1770

Page 96 of 288

88 73c Fra cento affanni (Metastasio: Artaserse)

2 ob, 2 hn, 2 tpt, str

Milan, Feb– March 1770

VI/i, 66

II:7/i, 65

79 73d O temerario Arbace … Per quel paterno amplesso (Metastasio: Artaserse)

2 ob, 2 bn, 2 hn, str

c1766 VI/i, 54

II:7/i, 23

77 73e Misero me … Misero pargoletto (Metastasio: Demofoonte)

2 ob, 2 bn, 2 hn, str

Milan, March 1770

VI/i, 33

II:7/i, 83

82 73o Se ardire, e speranza (Metastasio: Demofoonte)

2 fl, 2 hn, str Rome, 25 April 1770 (D)

XXIV, no. 48a

II:7/i, 103

83 73p Se tutti i mali miei (Metastasio: Demofoonte)

2 ob, 2 hn, str Rome, April– May 1770

VI/i, 60

II:7/i, 115, 177

2 versions

Page 97 of 288

74b 74b Non curo l’affetto (Metastasio: Demofoonte)

2 ob, 2 hn, str Milan or Pavia, early 1771

— II:7/i, 125

lacks authentic sources

217 217 Voi avete un cor fedele (after Goldoni: Le nozze di Dorina)

2 ob, 2 hn, str Salzburg, 26 Oct 1775 (D)

VI/i, 93

II:7/i, 147

? insertion for B. Galuppi: Le nozze di Dorina

272 272 Ah, lo previdi … Ah, t’invola agl’occhi miei (Cigna- Santi: Andromeda)

2 ob, 2 hn, str Salzburg, Aug 1777 (D)

VI/i, 119

II:7/ ii, 23

for J. Dušek

294 294 Alcandro lo confesso … Non sò d’onde viene (Metastasio: L’olimpiade)

2 fl, 2 cl, 2 bn, 2 hn, str

Mannheim, 24 Feb 1778 (D)

VI/i, 134

II:7/ ii, 41, 151

for A. Weber; 2 versions, KMS 1778α

Page 98 of 288

486a 295a Basta vincesti … Ah, non lasciarmi (Metastasio: Didone abbandonata)

2 fl, 2 bn, 2 hn, str

Mannheim, 27 Feb 1778 (D)

XXIV, no. 61

II:7/ ii, 77

for D. Wendling (i), inspired by an aria by Galuppi; see W. Plath, Festschrift Walter Senn, ed. E. Egg and E. Fässler (Munich, 1975), 174–8

316 300b Popoli di Tessaglia … Io non chiedo (R. de’ Calzabigi: Alceste)

ob, bn, 2 hn, str Paris, July 1778; Munich, 8 Jan 1779 (D)

VI/i, 164

II:7/ ii, 85

for A. Weber

A3 315b [Scena] ob, 2 cl, 3 hn, pf, str

St Germain, Aug 1778

— — lost; for G.F. Tenducci; see Oldman, ML, xlii (1961), 44– 52

Page 99 of 288

A11a 365a Warum, o Liebe … Zittre, töricht Herz (J.G. Dyck, after C. Gozzi: Le due notti affannase)

Munich, Nov 1780

— — partly lost; sung in Gozzi: Le due notti affannose, trans. F.A.C. Werther (Salzburg, 1 Dec 1780); see Edge, K1996

368 368 Ma che vi fece … Sperai vicino (Metastasio: Demofoonte)

2 fl, 2 bn, 2 hn, str

Salzburg, 1779–80

VI/i, 183

II:7/ ii, 107

369 369 Misera! dove son … Ah! non son io (Metastasio: Ezio)

2 fl, 2 hn, str Munich, 8 March 1781 (D)

VI/i, 198

II:7/ ii, 125

for Countess J. Paumgarten

Page 100 of 288

374 374 A questo seno … Or che il cielo (G. De Gamerra: Sismano nel Mogol)

2 ob, 2 hn, str Vienna, April 1781 (L)

VI/i, 206

II:7/ ii, 135

for F. Ceccarelli, perf. 8 April 1781

119 382h Der Liebe himmlisches Gefühl

? [2 ob, 2 hn, str] ? XXIV, no. 40

II:7/ ii, 203

lacks authentic sources; acc. extant only in kbd red.

383 383 Nehmt meinen Dank

fl, ob, bn, str Vienna, 10 April 1782 (D)

VI/i, 217

II:7/ iii, 3

? for A. Lange (née Weber)

416 416 Mia speranza adorata … Ah, non sai qual pena (G. Sertor: Zemira)

2 ob, 2 bn, 2 hn, str

Vienna, 8 Jan 1783 (D)

VI/ii, 2

II:7/ iii, 11

for A. Lange, perf. 11 Jan and 23 March 1783

178 417e Ah, spiegarti, oh Dio

Vienna, June 1783

XXIV, no. 41

II:7/ iii, 210

acc. extant only in kbd red., ? earlier version of K418

Page 101 of 288

418 418 Vorrei spiegarvi, oh Dio

2 ob, 2 bn, 2 hn, str

Vienna, 20 June 1783 (D)

VI/ii, 11

II:7/ iii, 25

for A. Lange, insertion for Anfossi: Il curioso indiscreto, Vienna, Burg, 30 June 1783; KMS 1783

419 419 No, che non sei capace

2 ob, 2 hn, 2 tpt, timp, str

Vienna, June 1783 (D)

VI/ii, 21

II:7/ iii, 37

as K418; KMS 1783

490 490 Non più, tutto ascoltai ... Non temer, amato bene

2 cl, 2 bn, 2 hn, vn solo, str

Vienna, 10 March 1786 (V)

V/xiii II:5/ xi, 192

see Idomeneo K366

505 505 Ch’io mi scordi di te ... Non temer, amato bene

2 cl, 2 bn, 2 hn, pf, str

Vienna, 26 Dec 1786 (D)

VI/ii, 100

II:7/ iii, 175

for N. Storace; text from 1786 for Idomeneo K490

Page 102 of 288

528 528 Bella mia fiamma … Resta, o cara (D.M. Scarcone: Cerere placata)

fl, 2 ob, 2 bn, 2 hn, str

Prague, 3 Nov 1787 (D, V)

VI/ii, 146

II:7/ iv, 37

for J. Dušek

538 538 Ah se in ciel, benigne stelle (Metastasio: L’eroe cinese)

2 ob, 2 bn, 2 hn, str

Vienna, 4 March 1788 (D, V)

VI/ii, 161

II:7/ iv, 57

for A. Lange; rev. of 1778 vocal part

540c 540c In quali eccessi … Mi tradì (Da Ponte)

fl, 2 cl, bn, 2 hn, str

Vienna, 30 April 1788 (V)

V/ xviii

II:5/ xvii, 511

for Don Giovanni K527

569 569 Ohne Zwang, aus eignem Triebe

2 ob, 2 bn, 2 hn, str

Vienna, Jan 1789 (V)

— — lost; Mozart’s catalogue: ‘Eine teutsche Aria’

Page 103 of 288

577 577 Al desio di chi t’adora (?Da Ponte)

2 basset-hn, 2 bn, 2 hn, str

Vienna, July 1789 (V)

V/ xvii

II:5/ xvi, 602

rondò for A. Ferraresi del Bene, for Le nozze di Figaro K492; KMS 1789 , see Page and Edge, J1991

578 578 Alma grande e nobil core (G. Palomba)

2 ob, 2 bn, 2 hn, str

Vienna, Aug 1789 (V)

VI/ii, 187

II:7/ iv, 91

for Cimarosa: I due baroni, Vienna, Burg, Sept 1789

579 579 Un moto di gioia (?Da Ponte)

fl, ob, bn, 2 hn, str

Vienna, Aug 1789

VII/1 II:5/ xvi, 597

for Le nozze di Figaro K492

580 580 Schon lacht der holde Frühling

2 cl, 2 bn, 2 hn, str

Vienna, 17 Sept 1789 (V)

XXIV, no. 48

II:7/ iv, 168

for Ger. version of G. Paisiello: Il barbiere di Siviglia, not used; orch inc.

Page 104 of 288

582 582 Chi sa qual sia (?Da Ponte)

2 cl, 2 bn, 2 hn, str

Vienna, Oct 1789 (V)

VI/ii, 195

II:7/ iv, 105

for L. Villeneuve, for Martín y Soler: Il burbero di buon cuore, Vienna, Burg, 9 Nov 1789

583 583 Vado, ma dove? (?Da Ponte)

2 cl, 2 bn, 2 hn, str

Vienna, Oct 1789 (V)

VI/ii, 203

II:7/ iv, 115

as K582

— — Quel destrier (Metastasio: L’olimpiade)

c1766 lost; Constanze owned MS, 1799; see letter, 13 Feb 1799

— — Cara se le mie pene (? Metastasio: Alessandro nell’Indie)

2 hn, vn, va, b ? by 1772 — II:7/i, 59

? = aria composed Olmütz, 1767

— — Olmütz, Dec 1767 (L)

— — ?lost, or = ‘Cara se le mie pene’; see letter, 28 May 1778

Page 105 of 288

— — Vienna, late sum. – aut. 1768

— — described in letters

— — by Dec 1768 — — LC ‘15 Italian arias’, incl. probably K21, 23, 78/73b, 79/73d and possibly ‘Quel destrier’; 10 or 11 lost, not necessarily for S

Page 106 of 288

— — No caro fà corragio

str Vienna, ? Aug 1790

— — acc. recit for aria by Cimarosa in P.A. Guglielmi: La Quakera spiritosa, perf. Vienna, Burg, 13 Aug 1790; see A. Weinmann, ‘Zur Mozart- Bibliographie’, Mozartgemende Wien, xlvii/June (1980), 3–7

Page 107 of 288

Frags.

K73D, Per quel paterno amplesso (Metastasio: Artaserse), 3 bars, c1766

K440/383h, In te spero (Metastasio: Demofoonte), 81 bars, v and b only, 1782 or ? later, MW, XXIV, no. 47

For alto

Page 108 of 288

K K6 First words (author)

Accompaniment Composition MW NMA Remarks

255 255 Ombra felice … Io ti lascio (De Gramera)

2 ob, 2 hn, str Salzburg, Sept 1776 (D)

VI/i, 103

II:7/ ii, 3

text from M. Mortellari: Arsace (Padua, 1775)

Page 109 of 288

For tenor

Page 110 of 288

K K6 First words (author)

Accompaniment Composition MW NMA Remarks

21 19c Va dal furor portata (Metastasio: Ezio)

2 ob, 2 bn, 2 hn, str

London, 1765 VI/i, 1

II:7/i, 3, 163

2 versions, 1 rev. L. Mozart

36 33i Or che il dover … Tali e cotanti sono

2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Salzburg, Dec 1766

VI/i, 13

II:7/i, 33

licenza perf. anniversary of Archbishop Sigismund’s consecration, 21 Dec 1766

71 71 Ah più tremar non voglio (Metastasio: Demofoonte)

2 ob, 2 hn, str ? Italy 1770 XXIV, no. 39

II:7/ iv, 145

only 48 bars extant; ? continuation lost

209 209 Si mostra la sorte

2 fl, 2 hn, str Salzburg, 19 May 1775 (D)

VI/i, 83

II:7/i, 131

Page 111 of 288

210 210 Con ossequio, con rispetto (Petrosellini: L’astratto, ovvero Il giocator fortunato)

2 ob, 2 hn, str Salzburg, May 1775 (D)

VI/i, 87

II:7/i, 139

256 256 Clarice cara (Petrosellini: L’astratto, ovvero Il giocator fortunato)

2 ob, 2 hn, str Salzburg, Sept 1776 (D)

VI/i, 113

II:7/ ii, 15

? for Piccinni: L’astratto; KMS 1776

295 295 Se al labbro mio non credi

2 fl, 2 ob, 2 bn, 2 hn, str

Mannheim, 27 Feb 1778 (D)

VI/i, 148

II:7/ ii, 59, 167

for A. Raaff; 2 versions; from J.A. Hasse: Artaserse, text attrib. A. Salvi

435 416b Müsst’ich auch durch tausend Drachen

fl, ob, cl, 2 bn, 2 hn, 2 tpt, timp, str

? Vienna, early 1780s

XXIV, no. 45

II:7/ iv, 162

orch inc.; KMS 1783

Page 112 of 288

420 420 Per pietà, non ricercate

2 cl, 2 bn, 2 hn, str

Vienna, 21 June 1783 (D)

VI/ii, 31

II:7/ iii, 51

for J.V. Adamberger, for Anfossi: Il curioso indiscreto, not perf.; KMS 1783

431 425b Misero! o sogno … Aura che intorni spiri (Mazzolà: L’isola capricciosa)

2 fl, 2 bn, 2 hn, str

? Vienna, 1783

VI/ii, 39

II:7/ iii, 81

for Adamberger

540a 540a Dalla sua pace (Da Ponte)

fl, 2 ob, 2 bn, 2 hn, str

Vienna, 24 April 1788 (D, C)

V/ xviii

II:5/ xviii, 489

for F. Morella, for Don Giovanni K527

Page 113 of 288

For bass

Page 114 of 288

K K6 First words (author)

Accompaniment Composition MW NMA Remarks

432 421a Cosi dunque tradisci … Aspri rimorsi atroci (Metastasio: Temistocle)

2 fl, 2 ob, 2 bn, 2 hn, str

? Vienna, c1782–3

VI/ ii, 55

II:7/ iii, 67

512 512 Alcandro, lo confesso … Non sò d’onde viene (Metastasio: L’olimpiade)

fl, 2 ob, 2 bn, 2 hn, str

Vienna, 19 March 1787 (D)

VI/ ii, 120

II:7/ iv, 3

513 513 Mentre ti lascio (Angioli- Morbilli: La disfatta di Dario)

fl, 2 cl, 2 bn, 2 hn, str

Vienna, 23 March 1787 (D, C)

VI/ ii, 133

II:7/ iv, 19

for Jacquin

Page 115 of 288

539 539 Ich möchte wohl der Kaiser sein (J.W.L. Gleim)

pic, 2 ob, 2 bn, 2 hn, perc, str

Vienna, 5 March 1788 (D, C)

VI/ ii, 177

II:7/ iv, 79

Ger. warsong for F. Baumann, perf. Vienna, Leopoldstadt, 7 March 1788

541 541 Un bacio di mano (?Da Ponte)

fl, 2 ob, 2 bn, 2 hn, str

Vienna, May 1788 (C)

VI/ ii, 180

II:7/ iv, 83

for F. Albertarelli, for Anfossi: Le gelosie fortunate, Vienna, Burg, 2 June 1788

584 584 Rivolgete a lui lo sguardo (Da Ponte)

2 ob, 2 bn, 2 tpt, timp, str

Vienna, Dec 1789 (C)

VI/ ii, 209

for Così fan tutte K588; replaced by ‘Non siate ritrosi’

612 612 Per questa bella mano

fl, 2 ob, 2 bn, 2 hn, db solo, str

Vienna, 8 March 1791 (D, C)

VI/ ii, 224

II:7/ iv, 123

for F.X. Gerl and F. Pischelberger

Page 116 of 288

A245 621a Io ti lascio str ? Prague, Sept 1791

II:7/ iv, 139

? only vn parts by Mozart, rest by Jacquin; see U. Konrad, MJb 1989–90, 99– 113

Page 117 of 288

Frags.

K209a, Un dente guasto, 16 bars, ? sum. 1772

K433/416c, Männer suchen stets zu naschen, ?mid-1780s, MW, XXIV, no.43, orch barely sketched

Songs with piano accompaniment unless otherwise stated

Page 118 of 288

K K6 Title First words Key Author Composition MW NMA Remarks

53 47e An die Freude Freude, Königin der Weisen

F J.P. Uz Vienna, aut. 1768

VII/ 1, 2

III:8, 2

(Vienna, c1768)

147 125g Wie unglücklich bin ich nit

F Salzburg, ? 1775–6

VII/ 1, 4

III:8, 4

masonic

148 125h Lobegesang auf die feierliche Johannisloge

O heiliges Band der Freundschaft

D L.F. Lenz Salzburg, 1773

VII/ 1, 5

III:8, 4

masonic

307 284d Ariette Oiseaux, si tous les ans

C A. Ferrand Mannheim, wint. 1777–8

VII/ 1, 12

III:8, 6

for E.A. Wendling (ii)

308 295b Ariette Dans un bois solitaire

A♭ A.H. de la Motte

Mannheim, wint. 1777–8

VII/ 1, 14

III:8, 8

for E.A. Wendling (ii)

343 336c [2 Ger. sacred songs]

see ‘Short sacred works’

392 340a Verdankt sei es dem Glanz

F J.T. Hermes Vienna, 1781–2

VII/ 1, 24

III:8, 15

Page 119 of 288

391 340b [An die Einsamkeit]

Sei du mein Trost

B♭ Hermes Vienna, 1781–2

VII/ 1, 23

III:8, 16

390 340c [An die Hoffnung] Ich würd’ auf meinem Pfad

d Hermes Vienna, 1781–2

VII/ 1, 22

III:8, 17

349 367a Die Zufriedenheit Was frag ich viel

G J.M. Miller Munich, wint. 1780–81

VII/ 1, 18

III:8, 12

2 versions, one with mand acc.

351 367b Komm, liebe Zither

C Munich, wint. 1780–81

VII/ 1, 21

III:8, 14

mand acc.

A25 386d [Gibraltar] O Calpe! D J.N.C.M. Denis

Vienna, end 1782 (L)

— III:8, 72

only pf part sketched

178 417e Ah, spiegarti, o Dio

see ‘Arias and Scenes … ’ (soprano)

468 468 Lied zur Gesellenreise

Die ihr einem neuen Grade

B♭ J.F. von Ratschky

Vienna, 26 March 1785 (V)

VII/ 1, 34

III:8, 18

masonic; ? perf. Vienna, 16 April 1785; acc.: org in autograph, pf in Mozart’s catalogue

Page 120 of 288

472 472 Der Zauberer Ihr Mädchen, flieht Damöten ja!

g C.F. Weisse Vienna, 7 May 1785 (V)

VII/ 1, 36

III:8, 20

(Vienna, 1788)

473 473 Die Zufriedenheit Wie sanft, wie ruhig

B♭ Weisse Vienna, 7 May 1785 (V)

VII/ 1, 38

III:8, 22

474 474 Die betrogene Welt

Der reiche Tor G Weisse Vienna, 7 May 1785 (V)

VII/ 1, 40

III:8, 24

(Vienna, 1788)

476 476 Das Veilchen Ein Veilchen G J.W. von Goethe

Vienna, 8 June 1785 (V)

VII/ 1, 42

III:8, 26

(Vienna, 1789)

A11a 477a Per la ricuperta salute die Ophelia

Da Ponte Vienna, ? Sept 1785

lost, set by Mozart, Salieri and ‘Cornetti’, advertised in Wienerblättchen 26 Sept 1785

483 483 Zerfliesset heut’, geliebte Brüder

B♭ J.B. von Schloissnig

Vienna, end 1785

VII/ 1, 44

III:9, 20

masonic song, with male chorus

Page 121 of 288

484 484 Ihr unsre neuen Leiter

G Schloissnig Vienna, end 1785

VII/ 1, 46

III:9, 22

masonic song, with male chorus

506 506 Lied der Freiheit Wer unter eines Mädchens Hand

F J.A. Blumauer Vienna, ? end 1785

VII/ 1, 48

III:8, 28

(Vienna, 1786)

517 517 Die Alte Zu meiner Zeit e F. von Hagedom

Vienna, 18 May 1787 (V)

VII/ 1, 50

III:8, 32

(Vienna, 1788)

518 518 Die Verschweigung

Sobald Damötas Chloen sieht

F Weisse Vienna, 20 May 1787 (V)

VII/ 1, 52

III:8, 34

inc. (Vienna, 1788), lost; later completions by ? J. André in autograph and by ? A.E. Müller; see U. Konrad, MJb 1989–90, 99– 113

519 519 Das Lied der Trennung

Die Engel Gottes weinen

f K.E.K. Schmidt

Vienna, 23 May 1787 (V)

VII/ 1, 54

III:8, 36

(Vienna, 1789)

Page 122 of 288

520 520 Als Luise die Briefe

Erzeugt von heisser Phantasie

C G. von Baumberg

Vienna, 26 May 1787 (D, C)

VII/ 1, 58

III:8, 40

523 523 Abendempfindung Abend ist’s F ?J.H. Campe Vienna, 24 June 1787 (V)

VII/ 1, 60

III:8, 42

(Vienna, 1789)

524 524 An Chloe Wenn die Lieb’ aus deinen blauen

E♭ J.G. Jacobi Vienna, 24 June 1787 (V)

VII/ 1, 64

III:8, 46

(Vienna, 1789)

529 529 Des kleinen Friedrichs Geburtstag

Es war einmal, ihr Leutchen

F J.E.F. Schall Prague, 6 Nov 1787 (V)

VII/ 1, 68

III:8, 50

(Vienna, 1788)

530 530 Das Traumbild Wo bist du, Bild E♭ L.H.C. Hölty Prague, 6 Nov 1787

VII/ 1, 70

III:8, 52

circulated as work by Jacquin

531 531 Die kleine Spinnerin

Was spinnst du C Vienna, 11 Dec 1787 (V)

VII/ 1, 72

III:8, 54

(Vienna, 1787)

552 552 Beim Auszug in das Feld

Dem hohen Kaiser-Worte treu

A Vienna, 11 Aug 1788 (V)

— III:8, 56

(Vienna, 1788)

Page 123 of 288

596 596 Sehnsucht nach dem Frühlinge

Komm, lieber Mai

F C.A. Overbeck Vienna, 14 Jan 1791 (V)

VII/ 1, 77

III:8, 58

(Vienna, 1791)

597 597 Im Frühlingsanfang

Erwacht zum neuen Leben

E♭ C.C. Sturm Vienna, 14 Jan 1791 (V)

VII/ 1, 78

III:8, 59

(Vienna, 1791)

598 598 Das Kinderspiel Wir Kinder A Overbeck Vienna, 14 Jan 1791 (V)

VII/ 1, 80

III:8, 60

(Vienna, 1791)

619 619 Die ihr des unermesslichen Weltalls

see ‘Oratorios’

— — Zur Eröffnung der Meisterloge; Zum Schluss der Meisterarbeit

Des Todes Werk, der Faulniss Grauen; Vollbracht is die Arbeit der Meister

A. Veit von Schittlersberg

Vienna, ? Aug 1785

masonic, ? perf. 12 Aug 1785; see Autexier, G1984

Page 124 of 288

— — Bey Eröffnung der Tafelloge; Kettenlied; Lied in Nahmen der Armen

Legt für heut das werkzeug nieder; Wir singen, und schlingen zur Wette; Brüder! der blinde Greis am Stabe

G. Leon Vienna, ? June–July 1790

masonic, ? perf. 6 July 1790; see Autexier, K1992

Page 125 of 288

Sketches, frags.

K—/441a, Ja! grüss dich Gott, 20 bars, ?Vienna, 1783

KA26/475a, Einsam bin ich, 8 bars; O Calpe! [Gibraltar] (J.N.C.M. Denis), Vienna, end 1782 (L), NMA, III:8, 27, only pf part sketched; K²—+A270–75, 277–83/C8.32–46, 15 Lieder (C.F. Gellert), ? by L. Mozart, see Plath and others, D1971–2

K—, Lustig sein die Schwobemedle, Salzburg, 1777–9

Doubtful

K52/46c, Daphne deine Rosenwangen, arr. by L. Mozart of Meiner liebsten schöne Wangen (Bastien und Bastienne K51/46b) with new text, MW, VII/1, 1, NMA, II:5/iii, 90

Spurious

K149/125d, Ich hab’ es längst gesagt (Die grossmütige Gelassenheit) (L. Günther), MW, VII/1, 6; by L. Mozart; K150/125e, Was ich in Gedanken küsse (Geheime Liebe) (Günther), MW, VII/1, 7 by L. Mozart; K151/125f, Ich trachte nicht nach solchen Dugen (Die Zufriedenheit) (F.R.L. von Canitz), MW, VII/1, 8, by L. Mozart; K152/210a, Ridente la calma (canzonetta), arr. ? by Mozart of aria by J. Mysliveček, see MW, VII/1, 9, M. Flothuis, MJb 1971–2, 241–3; K350/C.8.48, Wiegenlied, MW, VII/1, 20, by B. Flies

Canons

Page 126 of 288

K k6 Work and type Key Composition MW NMA Remarks, alternative texts

89aI 73i canon 4 in 1 A 1772 — III: 10, 71

KMS 1772

89 73k Kyrie, 5 in 1 G 1772 III/i, 5

III: 10, 3

89aII 73r 1 Incipe Menalios, 3 in 1

F 1772 — III: 10, 73

2 Cantate Domino, 8 in 1

3 Confitebor, 2 in 1 (+ 1)

4 Thebana bella cantus, 6 in 2

B♭

A109d 73x 14 canonic studies

1772

Page 127 of 288

229 382a canon 3 in 1 c ? Vienna, c1782

VII/2, 2

III: 10, 80

Sie ist dahin (L.H.C. Hölty)

230 382b canon 2 in 1 c ? Vienna, c1782

VII/2, 4

III: 10, 83

Selig, selig (Hölty)

231 382c Leck mich im Arsch (Mozart), 6 in 1

B♭ ? Vienna, c1782

VII/2, 5

III: 10, 11

Lasst froh uns sein (C.G. Breitkopf)

233 382d Leck mir den Arsch (Mozart), 3 in 1

B♭ ? Vienna, c1782

VII/2, 11

III: 10, 17

Nichts labt mich mehr (G.C. Härtel)

234 382e Bei der Hitz’ im Sommer ess ich (Mozart), 3 in 1

G ? Vienna, c1782

VII/2, 13

III: 10, 20

Essen, trinken (Breitkopf)

347 382f canon 6 in 1 D ? Vienna, c1782

VII/2, 15

III: 10, 84

Wo der perlende Wein (Breitkopf): Lasst uns ziehn (L.V. Köchel)

348 382g V’amo di core teneramente, 12 in 3

G ? Vienna, c1782

VII/2, 16

III: 10, 24

Page 128 of 288

507 507 canon 3 in 1 F Vienna, after 3 June 1786

VII/2, 18

III: 10, 86

Heiterkeit und leichtes Blut (Härtel)

508 508 canon 3 in 1 F Vienna, after 3 June 1786

VII/2, 18

III: 10, 88

Auf das Wohl aller Freunde (Härtel)

— 508A canon 3 in 1 C Vienna, after 3 June 1786

—

508a 508a, 1–2

2 canons 3 in 1 F Vienna, after 3 June 1786

— III: 10, 89

508a 508a, 3–8

6 canons 2 in 1 F Vienna, after 3 June 1786

— III: 10, 90

232 509a Lieber Freistädtler, lieber Gaulimauli (Mozart), 4 in 1

G Vienna, after 4 July 1787

VII/2, 8; XXIV, no.52

III: 10, 27

Wer nicht liebt Wein (Härtel)

283 515b canon 4 in 2 F Vienna, 24 April 1787 (D)

VII/2, 1

III: 10, 96

Ach! zu kurz (Härtel)

Page 129 of 288

553 553 Alleluia, 3 in 1 C Vienna, 2 Sept 1788 (V)

VII/2, 19

III: 10, 32

554 554 Ave Maria, 4 in 1

F Vienna, 2 Sept 1788 (V)

VII/2, 20

III: 10, 34

555 555 Lacrimoso son’io, 4 in 1

a Vienna, 2 Sept 1788 (V)

VII/2, 21

III: 10, 36

text earlier set by A. Caldara; Ach zum Jammer (Breitkopf)

556 556 Grechtelt’s enk (Mozart), 4 in 1

G Vienna, 2 Sept 1788 (V)

VII/2, 23

III: 10, 38

Alles Fleisch (Breitkopf)

557 557 Nascoso e il mio sol, 4 in 1

f Vienna, 2 Sept 1788 (V)

VII/2, 25

III: 10, 40

text earlier set by Caldara

558 558 Gehn wir im Prater (Mozart), 4 in 1

B♭ Vienna, 2 Sept 1788 (V)

VII/2, 27

III: 10, 43

Alles ist eitel hier (Breitkopf)

559 559 Difficile lectu mihi mars (Mozart), 3 in 1

F Vienna, 2 Sept 1788 (V)

VII/2, 29

III: 10, 47

Nimm, ist’s gleich warm (Breitkopf)

Page 130 of 288

560a 559a O du eselhafter Peierl! (Mozart), 4 in 1

F Vienna, 2 Sept 1788 (V)

VII/2, 36

III: 10, 49, 55

versions K560, MW, VII/2, 31, in F or G with slightly different words; Gähnst du (Breitkopf)

561 561 Bona nox! bist a rechta Ox (Mozart), 4 in 1

A Vienna, 2 Sept 1788 (V)

VII/2, 37

III: 10, 62

Gute Nacht (Breitkopf)

562 562 Caro bell’idol mio, 3 in 1

A Vienna, 2 Sept 1788 (V)

VII/2, 39

III: 10, 65

text earlier set by Caldara; Ach süsses teures Leben (Breitkopf)

A191 562c [? for 2 vn, va, b] 4 in 1

C ?Vienna XXIV, no.51

III: 10, 68

— — canon 8 in 1 a ? Italy or Salzburg, 1770–71

— — see Zaslaw, D1971–2

— — 8 canons 2 in 1 F Vienna, after 3 June 1786

— III: 10, 90

Page 131 of 288

— — canon 4 in 1 F Vienna, ? sum. 1786

— III: 10, 97

Page 132 of 288

Spurious

KA109d/73x, 14 canonic studies, from G.B. Martini: Storia della musica; K562a, B♭, K562b, F, NMA, III:10, 98, by M. Haydn

Symphonies, symphony movements

Page 133 of 288

K k6 BH Key Movts Scoring Composition MW NMA Remarks

16 16 1 E♭ 3 2 ob, 2 hn, str

London, 1764– 5

VIII/ i, 1

IV: 11/i, 3

19 19 4 D 3 2 ob, 2 hn, str

London, 1765 VIII/ i, 37

IV: 11/i, 21

A223 19a — F 3 2 ob, 2 hn, str

London, 1765 – Paris, 1766

— IV: 11/i, 35

22 22 5 B♭ 3 2 ob, 2 hn, str

The Hague, Dec 1765

VIII/ i, 47

IV: 11/i, 49

43 43 6 F 4 2 ob/fl, 2 hn, str

? Salzburg– Vienna, 1767

VII/i, 56

IV: 11/i, 79

45 45 7 D 4 2 ob, 2 hn, 2 tpt, timp, str

Vienna, 16 Jan 1768 (D)

VIII/ i, 69

IV: 11/i, 95

adapted as ov. to La finta semplice

Page 134 of 288

A221 45a — G 3 2 ob, 2 hn, str

The Hague, 1766

— IV: 11/i, 115

‘Lambach’, rev. c1767

A214 45b — B♭ 4 2 ob, 2 hn, str

?Vienna, 1768

— IV: 11/i, 129

lacks authentic sources

48 48 8 D 4 2 ob, 2 hn, 2 tpt, timp, str

Vienna, 13 Dec 1768 (D)

VIII/ i, 81

IV: 11/i, 143

73 73 9 C 4 2 ob/fl, 2 hn, 2 tpt, timp, str

Salzburg or Italy, 1769– 70

VIII/ ii, 97

IV: 11/i, 163

81 73l 44 D 3 2 ob, 2 hn, str

? Rome, April 1770

XXIV, no.4

IV: 11/ii, 3

lacks authentic sources

97 73m 47 D 4 2 ob, 2 hn, 2 tpt, timp, str

? Rome, April 1770

XXIV, no.7

IV: 11/ii, 15

lacks authentic sources

Page 135 of 288

95 73n 45 D 4 2 fl, 2 tpt, str

? Rome, April 1770

XXIV, no.5

IV: 11/ii, 33

lacks authentic sources

84 73q 11 D 3 2 ob, 2 hn, str

? Milan/ Bologna, 1770

VIII/ i, 21

IV: 11/ii, 47

lacks authentic sources, also attrib. L. Mozart, C.D. von Dittersdorf and others; see J. LaRue, in Plath, L1971–2

74 74 10 G 3 2 ob, 2 hn, str

Milan, 1770 VIII/ i, 110

IV: 11/ii, 67

75 75 42 F 4 2 ob, 2 hn, str

Salzburg, 1771

XXIV, no.2

IV: 11/ii, 83

lacks authentic sources

110 75b 12 G 4 2 ob/fl, 2 bn, 2 hn, str

Salzburg, July 1771 (D)

VIII/ i, 135

IV: 11/ii, 97

Page 136 of 288

120 111a — D 1 2 fl, 2 ob, 2 hn, 2 tpt, timp, str

? Milan, Oct– Nov 1771

XXIV, no.9

IV: 11/ii, 115

finale, to form sym. with ov. to Ascanio in Alba K111

96 111b 46 C 4 2 ob, 2 hn, 2 tpt, timp, str

? Milan, Oct– Nov 1771

XXIV, no.6

IV: 11/ii, 133

112 112 13 F 4 2 ob, 2 hn, str

Milan, 2 Nov 1771 (D)

VIII/ i, 149

IV: 11/ii, 151

114 114 14 A 4 2 fl/ob, 2 hn, str

Salzburg, 30 Dec 1771 (D)

VIII/ i, 161

IV: 11/ii, 165

124 124 15 G 4 2 ob, 2 hn, str

Salzburg, 21 Feb 1772 (D)

VIII/ i, 175

IV: 11/ii, 183

128 128 16 C 3 2 ob, 2 hn, str

Salzburg, May 1772 (D)

VIII/ i, 187

IV: 11/ iii, 1

Page 137 of 288

129 129 17 G 3 2 ob, 2 hn, str

Salzburg, May 1772 (D)

VIII/ i, 199

IV: 11/ iii, 15

130 130 18 F 4 2 fl, 4 hn, str

Salzburg, May 1772 (D)

VIII/ i, 125

IV: 11/ iii, 31

132 132 19 E♭ 4 2 ob, 4 hn, str

Salzburg, July 1772 (D)

VIII/ i, 233

IV: 11/ iii, 52

alternative slow movts: see W. Plath, Mf, xxvii (1974), 93– 5

133 133 20 D 4 fl, 2 ob, 2 hn, 2 tpt, str

Salzburg, July 1772 (D)

VIII/ i, 252

IV: 11/ iii, 78

134 134 21 A 4 2 fl, 2 hn, str

Salzburg, Aug 1772 (D)

VIII/ i, 271

IV: 11/ iii, 102

Page 138 of 288

161, 163

141a 50 D 3 2 fl, 2 ob, 2 hn, 2 tpt, timp, str

Salzburg, 1773–4

XXIV, no. 10

IV: 11/ iii, 123

movts K161 from ov. to Il sogno di Scipione K126; K163 finale to form sym. with Il sogno di Scipione

184 161a 26 E♭ 3 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, str

Salzburg, 30 March 1773 (D)

VIII/ ii, 58

IV: 11/iv, 15

199 161b 27 G 3 2 fl, 2 hn, str

Salzburg, ?10 April 1773 (D)

VIII/ ii, 79

IV: 11/iv, 37

date on MS possibly 16 April

162 162 22 C 3 2 ob, 2 hn, 2 tpt, str

Salzburg, ?19 April 1773 (D)

VIII/ ii, 1

IV: 11/iv, 1

date on MS possibly 29 April

181 162b 23 D 3 2 ob, 2 hn, 2 tpt, str

Salzburg, 19 May 1773 (D)

VIII/ ii, 13

IV: 11/iv, 57

Page 139 of 288

182 173dA 24 B♭ 3 2 ob/fl, 2 hn, str

Salzburg, 3 Oct 1773 (D)

VIII/ ii, 39

IV: 11/iv, 75

183 173dB 25 g 4 2 ob, 2 bn, 4 hn, str

Salzburg, 5 Oct 1773 (D)

VIII/ ii, 39

IV: 11/iv, 87

201 186a 29 A 4 2 ob, 2 hn, str

Salzburg, 6 April 1774 (D)

VIII/ ii, 117

IV: 11/v, 1

202 186b 30 D 4 2 ob, 2 hn, 2 tpt, str

Salzburg, 5 May 1774 (D)

VIII/ ii, 141

IV: 11/v, 26

200 189k 28 C 4 2 ob, 2 hn, 2 tpt, timp, str

Salzburg, 17 [?12] Nov 1774 [?1773] (D)

VIII/ ii, 95

IV: 11/iv, 107

121 207a — D 1 2 ob, 2 hn, str

Salzburg, end 1774 – early 1775

X, 42 IV: 11/v, 44

finale, to form sym. with ov. to La finta giardiniera K196

Page 140 of 288

204 213a — D 4 2 ob, 2 bn, 2 hn, 2 tpt, str

— IV: 11/ vii, 1

movts from Serenade K204/213a

102 213c — D 1 2 ob/fl, 2 hn, 2 tpt, str

Salzburg, April and Aug 1775

XXIV, no.8

IV: 11/v, 139

finale, to form sym. with versions of ov. and 1st aria of Il re pastore K208

250 248b — D 4 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

— IV: 11/ vii, 31

movts from Serenade K250/248b with new timp part and other revs.

Page 141 of 288

297 300a 31 D 3 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Paris, June 1778

VIII/ ii, 157

IV: 11/v, 57

‘Paris’; 2 slow movts, probable original in 1st edn (Paris, 1788), but see Tyson, D1987; KMS 1778

318 318 32 G 1 2 fl, 2 ob, 2 bn, 4 hn, [2 tpt,] timp, str

Salzburg, 26 April 1779 (D)

VIII/ ii, 197

IV: 11/ vi, 3

tpt part added 1782–3; possibly intended as ov. to Zaide K344/336b

319 319 33 B♭ 4 2 ob, 2 bn, 2 hn, str

Salzburg, 9 July 1779 (D)

VIII/ ii, 213

IV: 11/ vi, 23

iii (minuet) added c1784–5; (Vienna, 1785) as op. 7 no.2

Page 142 of 288

320 320 — D 3 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

— IV: 11/ viii, 89

movts from Serenade K320 with added timp

338 338 34 C 3 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Salzburg, 29 Aug 1780 (D)

VIII/ ii, 239

IV: 11/ vi, 59

frag. minuet (? originally complete) after 1st movt cancelled in autograph

409 383f — C 1 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, May 1782

X, 48 IV: 11/x, 3

mooted as intended for K338 although scoring differs

Page 143 of 288

385 385 35 D 4 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, July 1782

VIII/ iii, 1

IV: 11/ vi, 113

‘Haffner’; orig. intended as serenade, possibly with another minuet (lost) and March K408 no.2/385a; fls and cls later addns; (Vienna, 1785) as op. 7 no.1

425 425 36 C 4 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Linz, Oct– Nov 1783

VIII/ iii, 37

IV: 11/ viii, 3

‘Linz’; rev. Vienna, c1784–5; see Eisen, L1988

444 425a 37 G 1 2 ob, 2 hn, str

Vienna, late 1783 or 1784

VIII/ iii, 81

— introduction for M. Haydn: Sym. ST334/P16

Page 144 of 288

504 504 38 D 3 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 6 Dec 1786 (V)

VIII/ iii, 97

IV: 11/ viii, 63

‘Prague’, last movt probably composed first; KMS 1786

543 543 39 E♭ 4 fl, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 26 June 1788 (V)

VIII/ iii, 137

IV: 11/ ix, 1

550 550 40 g 4 fl, 2 ob, [2 cl,] 2 bn, 2 hn, str

Vienna, 25 July 1788 (V)

VIII/ iii, 181

IV: 11/ ix, 63

2 versions, 1st without cls also incl. rev. passage in slow movt; see Eisen, L1997

b, γ

Page 145 of 288

551 551 41 C 4 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 10 Aug 1788 (V)

VIII/ iii, 230

IV: 11/ ix, 187

‘Jupiter’

A216 C11.03 54 B♭ 4 2 ob, 2 hn, str

XXIV, no. 63

— K³74g, lacks authentic sources; see G. Allroggen, Mozart und Italien: Rome 1974 [AnMc, no. 18 (1978)], 237–45

Page 146 of 288

Sketches, frags.

KA100/383g, E♭, lost; K—/K³626b/34, KMS 1776 , D, 64 bars, ‘ouverture per un’opera buffa’; K—/K³467a/383i, KMS 1782 , C, 2nd half of 1782, for sym. or ov.

Doubtful

KA222/19b, C; KA215/66c, D; KA217/66d, B♭; KA218/66e, B♭; K —/C11.07, G or D; K—/C11.08, F lost, listed in Breitkopf & Härtel catalogue

Spurious

KA220/16a, ‘Odense’, a, see Zaslaw and Eisen, L1985–6

K76/42a, F, NMA, IV:11/1, 63, see Eisen, L1989

K18/A51, E♭, by C.F. Abel, see ‘Arrangements’; K291/A52, C, by M. Haydn (ST287); K—/K³16b/C11.01, D by L. Mozart (C3); K17/C11.02, B♭, by L. Mozart (B♭6), MW, VIII/i, 13, see C. Eisen, JAMS, xxxix (1986), 615–32; K98/C11.04, MW, XXIV, F, no.56, attrib. ‘Haydn’ in ; K—/K³311a/C11.05, B♭, ‘2nd “Paris” symphony’ (Paris, 1802–6)

KA210/C11.06, D, by L. Mozart (D11); KA293/C11.09, G (Leipzig, 1841), by L. Mozart; K—/K³293c/C11.10, F, by I. Pleyel (B136); K—/C11.11, C, by A. Gyrowetz; K—/C11.12, F, by C. Ditters von Dittersdorf; KA294/C11.13, G by L. Mozart (G3); K—/C11.14, C, by A. Eberl, see S. Fischer, MISM, xxxi (1983), 21–6; K—, B♭, K—, D, both for 2 vn, b, , ? by L. Mozart

Cassations, serenades, divertimentos, miscellaneous works

D-WEY

H-KE

Page 147 of 288

K k6 Title Key, movts

Scoring Composition MW NMA Remarks

32 32 Gallimathias musicum

hpd, 2 ob, 2 hn, 2 bn, str

The Hague, March 1766

XXIV, no. 12

IV: 12/i, 3

41a 41a 6 divertimentos

fl, hn, tpt, trbn, vn, va, vc

Salzburg, 1767

— — lost; in LC

100 62a Cassation D, 8 2 ob/fl, 2 hn, 2 tpt, str

Salzburg, 1769

IX/i, 33

IV: 12/i, 67

with March K62

63 63 Cassation G, 7 2 ob, 2 hn, str

Salzburg, 1769

IX/i, 1

IV: 12/i, 25

99 63a Cassation B♭, 7 2 ob, 2 hn, str

Salzburg, 1769

IX/i, 19

IV: 12/i, 45

Page 148 of 288

113 113 Divertimento E♭, 4 2 cl, 2 hn, (or 2 ob, ?2 cl, 2 eng hn, 2 bn, 2 hn), str

Milan, Nov 1771

IX/ii, 1

IV: 12/ii, 3

‘Concerto ò sia Divertimento’; rev. orch, early 1773, see Blazin, L1992

136– 8

125a –c

3 Divertimentos

see ‘Chamber Music: String Quartets’

131 131 Divertimento D, 7 fl, ob, bn, 4 hn, str

Salzburg, June 1772

IX/ii, 15

IV: 12/ii, 29

205 167A Divertimento D, 5 2 hn, bn, str (solo)

Salzburg, ? 1773

IX/ii, 73

VII: 18, 7

with March K290/167AB

185 167a Serenade D, 7 2 ob/fl, 2 hn, 2 tpt, vn solo, str

Vienna, July– Aug 1773

IX/i, 61

IV: 12/ii, 76

with March K189/167b

Page 149 of 288

203 189b Serenade D, 8 2 ob/fl, bn, 2 hn, 2 tpt, vn solo, str

Salzburg, Aug 1774 (D)

IX/i, 97

IV: 12/ iii, 7

with March K237/189c

204 213a Serenade D, 7 2 ob/fl, bn, 2 hn, 2 tpt, vn solo, str

Salzburg, 5 Aug 1775 (D)

IX/i, 133

IV: 12/ iii, 60

with March K215/213b; see also ‘Symphonies’

239 239 Serenata notturna

D, 3 2 vn, va, db (solo); str, timp

Salzburg, Jan 1776 (D)

IX/i, 177

IV: 12/ iii, 114

247 247 Divertimento F, 6 2 hn, str (solo)

Salzburg, June 1776 (D)

IX/ii, 98

VII: 18, 28

with March K248

250 248b Serenade D, 8 2 ob/fl, 2 bn, 2 hn, 2 tpt, vn solo, str

Salzburg, June 1776 (D)

IX/i, 193

IV: 12/iv, 8

‘Haffner’; with March K249; see also ‘Symphonies’

Page 150 of 288

251 251 Divertimento D, 6 ob, 2 hn, str (solo)

Salzburg, July 1776 (D)

IX/ii, 121

VII: 18, 67

286 269a Notturno D, 3 4 groups, each 2 hn, str (solo)

Salzburg, Dec 1776 – Jan 1777

IX/i, 293

IV: 12/v

287 271H Divertimento B♭, 6 2 hn, str (solo)

Salzburg, June 1777

IX/ii, 168

VII: 18, 103

320 320 Serenade D, 7 2 fl/pic, 2 ob, 2 bn, 2 hn, post horn, 2 tpt, timp, str

Salzburg, 3 Aug 1779 (D)

IX/i, 325

IV: 12/v

‘Posthorn’, with 2 marches, K335/320a; see also ‘Symphonies’, ‘Concertos (wind instruments)’

334 320b Divertimento D, 6 2 hn, str (solo)

Salzburg, 1779–80

IX/ii, 208

VI: 18, 158

with March K445/320c

Page 151 of 288

477 479a Maurerische Trauermusik

c 2 ob, cl, 3 basset- hn, dbn, 2 hn, str

Vienna, 1785 X, 53 IV: 11/x, 11

Dated July 1785 in (V); rev. version perf. Nov 1785, see Autexier, L1984–5

522 522 Ein musikalischer Spass

F, 4 2 hn, str (solo)

Vienna, 14 June 1787 (C)

X, 58 VII: 18, 223

525 525 Eine kleine Nachtmusik

G, 4 2 vn, va, vc, b (solo)

Vienna, 10 Aug 1787 (V)

XIII, 181

IV: 12/ vi, 43

orig. 5 movts, 2nd lost

— — Cassation C ? Salzburg, 1769

— — lost; see letter, 18 Aug 1771

Page 152 of 288

Frags.

K288/246c, F, vn, va, b, 2 hn, 1775–7, NMA, VII:18, 260; K246b /320B, 2 hn, str, end 1772 – early 1773

KA108/522a, F, 2 hn, str, 1787, NMA, VIII:18, 266, ? related to K522; KA69/525a, C, 2 vn, va, vc, db, 1787, NMA, IV:2/vi, 66, ? related to K525

Wind ensemble

Page 153 of 288

K k6 Title Key Scoring Composition MW NMA Remarks

33a 33a Solos fl, [?bc] Lausanne, Sept 1766

— — lost; in LC

33h 33h Piece hn [+ ?] ? Salzburg, 1766

— — lost; mentioned in L. Mozart’s letter, 16 Feb 1778

41b 41b Pieces 2 tpt/2 hn/2 basset- hn

Salzburg, 1767

— — lost; in LC

186 159b Divertimento B♭ 2 ob, 2 cl, 2 eng hn, 2 hn, 2 bn

Milan, March 1773

IX/ii, 57

VII: 17/i

166 159d Divertimento E♭ 2 ob, 2 cl, 2 eng hn, 2 hn, 2 bn

Salzburg, 24 March 1773 (D)

IX/ii, 47

VII: 17/i

Page 154 of 288

213 213 Divertimento F 2 ob, 2 bn, 2 hn

Salzburg, July 1775 (D)

IX/ii, 83

VII: 17/i

240 240 Divertimento B♭ 2 ob, 2 bn, 2 hn

Salzburg, Jan 1776 (D)

IX/ii, 89

VII: 17/i

252 240a Divertimento E♭ 2 ob, 2 bn, 2 hn

Salzburg, early 1776

IX/ii, 147

VII: 17/i

188 240b Divertimento C 2 fl, 5 tpt, timp

Salzburg, mid-1773

IX/ii, 69

VII: 17/i

253 253 Divertimento F 2 ob, 2 bn, 2 hn

Salzburg, Aug 1776 (D)

IX/ii, 152

VII: 17/i

270 270 Divertimento B♭ 2 ob, 2 bn, 2 hn

Salzburg, Jan 1777 (D)

IX/ii, 159

VII: 17/i

361 370a Serenade B♭ 2 ob, 2 cl, 2 basset- hn, 2 bn, 4 hn, db

Vienna, probably 1783–4

IX/i, 399

VII: 17/ii, 141

see D.N. Leeson, MJb 1997, 181–223

375 375 Serenade E♭ [2 ob,] 2 cl, 2 bn, 2 hn

Vienna, Oct 1781

IX/i, 455

VII: 17/ii, 3, 41

obs added in 2nd version, July 1782

Page 155 of 288

388 384a Serenade c 2 ob, 2 cl, 2 bn, 2 hn

Vienna, ? July 1782 or late 1783

IX/i, 481

VII: 17/ii, 97

arr. as str qnt, K406/516b

411 484a Adagio B♭ 2 cl, 3 basset- hn

Vienna, 1782 X, 80 VII: 17/ii, 223

410 440d Adagio F 2 basset- hn, bn

Vienna, end 1782

X, 79 VIII: 21, 120

487 496a 12 Duos 2 hn [? basset- hn]

Vienna, 27 July 1786 (D)

XXIV, no. 58

VIII: 21, 49

Page 156 of 288

Frag., sketches

K384B, Andante, 2 ob, 2 cl, 2 bn, 2 hn, ?1782–3

K384b, March, 2 ob, 2 cl, 2 bn, 2 hn; K384c, Allegro, 2 ob, 2 cl, 2 bn, 2 hn, ?1782–3

KA95/484b, Allegro assai, B♭, 2 cl, 3 basset-hn, ?1786–7

KA93/484c, Adagio, F, cl, 3 basset-hn, ?1787–8 or later; K484e, Allegro, F, basset-hn, str inst; KA94/580a, Adagio, C, cl, 3 basset-hn (or eng hn, 2 hn/basset-hn, bn), 1780s

Doubtful

K289/271g, Divertimento, E♭, 2 ob, 2 bn, 2 hn, MW, IX/ii, 198, NMA, VII:7/i; KAC13.07, Partita, E♭, 2 ob, 2 cl, 2 bn, 2 hn, inc.,

, see Leeson and Whitwell, N1972; 4 partitas, 2 ob, 2 cl, 2 bn, 2 hn, F, B♭, E♭, B♭, incl. movts from KA17.04–05, arrs. of movts from K361/370a, movts in ; 5 pièces d’harmonie, 2 ob, 2 cl, 2 bn, 2 hn (Leipzig, 1802), incl. B♭, after K361/370a, E♭, KA226/C17.01, B♭, after K361/370a, B♭, KA227/C17.02, E♭, KA228/C17.03; 5 divertimentos, B♭ (2 basset-hn/cl, bn)/(3 basset-hn), MW, XXIV, no.62, NMA, VII:21, 67, 78, 89, 105, 114 (also 167), see Whewell, N1962, 19, Flothuis, N1973–4

Spurious

K187/C17.12, Divertimento, C, 2 fl, 5 tpt, timp, MW, IX/ii, 63, arr. by L. Mozart of dances by Starzer and Gluck; see also ‘Arrangements’, K626b, 28

Marches

CZ-Pu

Page 157 of 288

K k6 Key Scoring Composition MW NMA Remarks

41c 41c 2 ob, bn, 2 hn, 2 vn, b

Salzburg, 1767 — — lost; in LC

62 62 D 2 ob, 2 hn, 2 tpt, str

Salzburg, 1769 — IV:12/ i, 63

quoted in letter, 4 Aug 1770; used in Mitridate K87/74a; ? for Cassation K100/62a

290 167ABD 2 hn, str Salzburg, sum. 1772

X, 19

VII: 18, 3

with Divertimento K205/167A

189 167b D 2 fl, 2 hn, 2 tpt, 2 vn, b

Vienna, July– Aug 1773

X, 1 IV:12/ ii, 70

with Serenade K185/167a

237 189c D 2 ob, 2 bn, 2 hn, 2 tpt, 2 vn, b

Salzburg, Aug 1774

X, 10

IV:12/ iii, 3

with Serenade K203/189b

215 213b D 2 ob, 2 hn, 2 tpt, str

Salzburg, Aug 1775

X, 7 IV:12/ iii, 55

with Serenade K204/213a

214 214 C 2 ob, 2 hn, 2 tpt, str

Salzburg, 20 Aug 1775 (D)

X, 4 IV: 13/1/ ii

Page 158 of 288

248 248 F 2 hn, str Salzburg, June 1776 (D)

X, 13

VII: 18, 23

with Divertimento K247

249 249 D 2 ob, 2 bn, 2 hn, 2 tpt, str

Salzburg, 20 July 1776 (D)

X, 16

IV:12/ iv, 3

with Serenade K250/248b

335 320a D 2 ob/fl, 2 hn, 2 tpt, str

Salzburg, Aug 1779

X, 22

IV: 13/1/ ii

2; with Serenade K320

445 320c D 2 hn, str Salzburg, sum. 1780

X, 114

VII: 18, 155

with Divertimento K344/320b

408/1 383e C 2 ob, 2 hn, 2 tpt, timp, str

Vienna, 1782 X, 28

IV: 13/1/ ii

408/3 383F C 2 fl, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 1782 X, 36

IV: 13/1/ ii

408/2 385a D 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 1782 X, 32

IV: 13/1/ ii

Page 159 of 288

544 544 D fl, hn, str Vienna, June 1788 (V)

— — lost

Page 160 of 288

Dance music

Minuets (* — without trio)

Page 161 of 288

K k6 No. Keys Scoring Composition MW NMA Remarks

41d 41d various Salzburg, 1767

— — lost; in LC

65a 61b 7 G, D, A, F, C, G, D

2 vn, b Salzburg, 26 Jan 1769

XXIV, no. 13

IV: 13/1/ i, 1

103 61d 19 C, G, D, F, C, A*, D, F, C, G, F, C, G, B♭, E♭, E*, A*, D, G*

2 ob/fl, 2 hn/tpt, 2 vn, b

Salzburg, spr.–sum. 1772

— IV: 13/1/ i, 11, 78, 80

orig. 20; rearranged by Mozart as 19

104 61e see ‘Arrangements etc.’

— 61gII see ‘Arrangements etc.’

Page 162 of 288

122 73t 1 E♭* 2 ob, 2 hn, 2 vn, b

? Bologna, Aug 1770

XXIV, no. 13a

IV: 13/1/ i, 10

see ‘Arrangements etc.’

164 130a 6 D, D, D, G, G, G

fl, ob, 2 hn/tpt, 2 vn, b

Salzburg, June 1772 (D)

XXIV, no. 57

IV: 13/1/ i, 45

176 176 16 C, G, E♭*, B♭*, F, D, A, C, G, B♭*, F, D, G, C, F, D

2 ob/fl, bn, 2 hn/ tpt, 2 vn, b

Salzburg, Dec 1773 (D)

IV: 13/1/ i, 51

alternative versions of trios 1 and 2 also known

363 363 3 D*, B♭*, D*

2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

? Vienna, c1782–3

XXIV, no. 14

IV: 13/1/ ii

409 383f 1 C see ‘Symphonies’

461 448a 6 C, E♭, G, B♭, F, D*

2 ob/fl, 2 bn, 2 hn, 2 vn, b

Vienna, 1784 XI, 158

IV: 13/1/ ii

no.6 inc.

Page 163 of 288

463 448c 2 F*, B♭*

2 ob, bn, 2 hn, 2 vn, b

Vienna, 1784 XI, 169

IV: 13/1/ ii

short minuets with contredanses

568 568 12 C, F, B♭, E♭, G, D, A, F, B♭, D, G, C

2 fl/pic, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, 24 Dec 1788 (V)

XI, 1 IV: 13/1/ ii

(Vienna, 1789)

585 585 12 D, F, B♭, E♭, G, C, A, F, B♭, E♭, G, D

2 fl/pic, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, Dec 1789 (V)

XI, 19

IV: 13/1/ ii

599 599 6 C, G, E♭, B♭, F, D

2 fl/pic, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, 23 Jan 1791 (V)

XI, 37

IV: 13/1/ ii

transmitted with K601, 604

Page 164 of 288

601 601 4 A, C, G, D

2 fl/pic, hurdy- gurdy, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, 5 Feb 1791 (V)

XI, 46

IV: 13/1/ ii

transmitted with K599, 604; composed with German Dances K602

604 604 2 B♭, E♭ 2 fl, 2 cl, 2 bn, 2 tpt, timp, 2 vn, b

Vienna, 12 Feb 1791 (V)

XI, 53

IV: 13/1/ ii

transmitted with K599, 601; composed with German Dances K605

Page 165 of 288

Doubtful

K61g , Menuet, NMA, IV:13/1/i, 40

Spurious

K105f/61f, 6 minuets, D, D, D, G, G, G, NMA, IV:13/1/i, by M. Haydn; K61h, 6 minuets, C, A*, D*, B♭, G, C, NMA, IV:13/1/i, 40, see Lindmayr-Brandl, L1995; K315a, Minuet, by J.C. Bach

German dances, ländler

Page 166 of 288

K k6 No. Keys Scoring Composition MW NMA Remarks

509 509 6 D, G, E♭, F, A, C

2 fl/pic, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Prague, 6 Feb 1787 (V)

XI, 56

IV: 13/1/ ii

536 536 6 C, G, B♭, D, F, F

pic, 2 fl, 2 ob/cl, 2 bn, 2 hn/tpt, timp, 2 vn, b

Vienna, 27 Jan 1788 (V)

XI, 72

IV: 13/1/ ii

(Vienna, 1789)

567 567 6 B♭, E♭, G, D, A, C

pic, 2 fl, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, 6 Dec 1788 (V)

XI, 80

IV: 13/1/ ii

(Vienna, 1789)

571 571 6 D, A, C, G, B♭, D

2 fl/pic, 2 ob/cl, 2 bn, 2 hn/tpt, timp, perc, 2 vn, b

Vienna, 21 Feb 1789 (V)

XI, 92

IV: 13/1/ ii

Page 167 of 288

586 586 12 C, G, B♭, F, A, D, G, E♭, B♭, F, A, C

2 fl/pic, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, perc, 2 vn, b

Vienna, Dec 1789 (V)

XI, 106

IV: 13/1/ ii

600 600 6 C, F, B♭, E♭, G, D

pic, 2 fl, 2 ob/cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, 29 Jan 1791 (V)

XI, 127

IV: 13/1/ ii

602 602 4 B♭, F, C, A

2 fl/pic, 2 ob/cl, 2 bn, 2 hn/tpt, timp, hurdy- gurdy, 2 vn, b

Vienna, 5 Feb 1791 (V)

XI, 139

IV: 13/1/ ii

with Minuets K601

605 605 3 D, G, C

2 fl/pic, 2 ob, 2 bn, 2 hn/tpt, 2 posthorns, timp, 5 sleighbells, 2 vn, b

Vienna, 12 Feb 1791 (V)

XI, 145

IV: 13/1/ ii

with Minuets K604; no.3, Die Schlittenfahrt, ? composed separately

Page 168 of 288

606 606 6 B♭ 2 vn, b [wind parts lost]

Vienna, 28 Feb 1791 (V)

XXIV, no. 16

IV: 13/1/ ii

‘Ländlerische’, with Contredanse K607/605a

611 611 1 C 2 fl, 2 ob, 2 bn, 2 tpt, timp, hurdy- gurdy, 2 vn, b

Vienna, 6 March 1791 (V)

XI, 144

IV: 13/1/ ii

‘Die Leyerer’; = K602, no.3

Page 169 of 288

Contredanses

Page 170 of 288

K k6 No. Keys Scoring Composition MW NMA Remarks

123 73g 1 B♭ 2 ob, 2 hn, 2 vn, b

Rome, 13–14 April 1770

XI, 152

IV: 13/1/ i, 7

101 250a 4 F, G, D, F

2 ob/fl, bn, 2 hn, 2 vn, b

Salzburg, ? early 1776

IX/1, 57

IV: 13/1/ i, 67

‘Serenade’

267 271c 4 G, E♭, A, D

2 ob/fl, bn, 2 hn, 2 vn, b

Salzburg, early 1777

XI, 154

IV: 13/1/ i, 71

462 448b 6 C, E♭, B♭, D, B♭, F

2 ob, 2 hn, 2 vn, b

Vienna, Jan 1784

XI, 165

IV: 13/1/ ii

wind insts added later

463 448c 2 F, B♭ 2 ob, bn, 2 hn, 2 vn, b

Vienna, Jan 1784

XI, 169

IV: 13/1/ ii

each preceeded by a minuet

Page 171 of 288

534 534 1 D pic, 2 ob, 2 hn, side drum, 2 vn, b

Vienna, 14 Jan 1788 (V)

XXIV, no. 27

IV: 13/1/ ii

Das Donnerwetter; extant only in pf red. and inc. orch parts

535 535 1 C pic, 2 cl, bn, tpt, side drum, 2 vn, b

Vienna, 23 Jan 1788 (V)

XI, 184

IV: 13/1/ ii

La bataille (The Siege of Belgrade)

535a 535a 3 C, G, G

Vienna, ? early 1788

only pf version extant

565 565 2 B♭, D 2 ob, 2 hn, bn, 2 vn, b

Vienna, 30 Oct 1788 (V)

— — lost

587 587 1 C fl, ob, bn, tpt, 2 vn, b

Vienna, Dec 1789 (V)

XI, 188

IV: 13/1/ ii

Der Sieg vom Helden Coburg

106 588a 3 D, A, B♭

2 ob, 2 bn, 2 hn, 2 vn, b

Vienna, Jan 1790

XXIV, no. 15

IV: 13/1/ ii

with ov.

Page 172 of 288

603 603 2 D, B♭ pic, 2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b

Vienna, 5 Feb 1791 (V)

XI, 191

IV: 13/1/ ii

607 605a 1 E♭ fl, ob, bn, 2 hn, 2 vn, b

Vienna, 28 Feb 1791 (V)

XXIV, no. 17

IV: 13/1/ ii

Il trionfo delle dame; with German Dances K606

609 609 5 C, E♭, D, C, G

fl, side drum, 2 vn, b

Vienna, 1791 XI, 194

IV: 13/1/ ii

610 610 1 G 2 fl, 2 hn, 2 vn, b

Vienna, 6 March 1791 (V)

XI, 200

IV: 13/1/ ii

Les filles malicieuses

510 C13.02 9 D, D, D, B♭, D, D, F, B♭, C

2 pic, 2 ob/fl, 2 cl, 2 hn, 2 tpt, timp, 2 vn, b

? Prague, early 1787

XI, 173

IV: 13/1/ ii

probably not authentic

Page 173 of 288

Frag.

KA107/535b, fl, ob, hn, bn, 2 vn, 1790–91 (? related to K603)

Doubtful

K—/269b, 12 contredanses, G, G, C, D, Salzburg, ? early 1776, nos.2, 12 = K101/250a nos.2, 3, see Eisen, B1991, 269–70

Concertos, concerto movements

Piano (all entitled ‘Concerto’)

Page 174 of 288

K k6 BH Key Scoring Composition Cadenzas k624/626a

MW NMA Remarks

37, 39– 41

1–4 see ‘Arrangements’

107, 1–3

see ‘Arrangements’

175 175 5 D pf, 2 ob, 2 hn, 2 tpt, timp, str

Salzburg, Dec 1773 (D)

1–4 XVI/ i, 131

V:15/ i, 3

possibly for org; obs, 1st hn rev. 1777–8, see K. Hortschansky, MJb 1989–90; (Vienna, 1785) as op.7; see K382

238 238 6 B♭ pf, 2 ob/ fl, 2 hn, str

Salzburg, Jan 1776 (D)

5–7 XVI/ i, 165

V:15/ i, 89

242 242 7 F 3 pf, 2 ob, 2 hn, str

Salzburg, Feb 1776 (D)

— XVI/ i, 197

V:15/ i, 155

‘Lodron’; also version for 2 pf

Page 175 of 288

246 246 8 C pf, 2 ob, 2 hn, str

Salzburg, April 1776 (D)

8–14 XVI/ i, 289

V:15/ ii, 3

‘Lützow’

271 271 9 E♭ pf, 2 ob, 2 hn, str

Salzburg, Jan 1777 (D)

15–22 XVI/ ii, 1

V:15/ ii, 65

‘Jeunehomme’

365 316a 10 E♭ 2 pf, 2 ob, 2 bn, 2 hn, str

Salzburg, ? late 1780

23–4 XVI/ ii, 53

V:15/ ii, 145

for dating see Konrad, M1990

382 382 — D pf, fl, 2 ob, 2 hn, 2 tpt, timp, str

Vienna, March 1782

25–6 XVI/ iv, 359

V:15/ i, 67

new finale for K175

414 385p 12 A pf, 2 ob, 2 hn, str

Vienna, 1782 27–36 XVI/ ii, 133

V:15/ iii, 3

(Vienna, 1785) as op.4 no.1; KMS 1782 = K—/385o

386 386 — A pf, 2 ob, 2 hn, str

Vienna, 19 Oct 1782 (D)

— — V:15/ viii, 173

? intended as finale for K414/385p; inc.

Page 176 of 288

413 387a 11 F pf, 2 ob, 2 bn, 2 hn, str

Vienna, 1782–3

37–8 XVI/ ii, 101

V:15/ iii, 67

(Vienna, 1785) as op.4 no.2

415 387b 13 C pf, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 1782–3

39–41 XVI/ ii, 163

V:15/ iii, 127

(Vienna, 1785) as op.4 no.3; cancelled slow movt, 16 bars, in autograph

449 449 14 E♭ pf, 2 ob, 2 hn, str

Vienna, 9 Feb 1784 (D, V)

42 XVI/ ii, 205

V:15/ iv, 3

probably begun 1782–3; for Barbara Ployer

450 450 15 B♭ pf, fl, 2 ob, 2 bn, 2 hn, str

Vienna, 15 March 1784 (V)

43–5 XVI/ ii, 241

V:15/ iv, 67

451 451 16 D pf, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 22 March 1784 (V)

46–7 XVI/ ii, 285

V:15/ iv, 137

(Paris, c1785); ornamentation of ii, K624/626aII, M

Page 177 of 288

453 453 17 G pf, fl, 2 ob, 2 bn, 2 hn, str

Vienna, 12 April 1784 (V)

48–51 XVI/ iii, 22

V:15/ v, 3

for Barbara Ployer; (Speyer, 1789) as op.9

456 456 18 B♭ pf, fl, 2 ob, 2 bn, 2 hn, str

Vienna, 30 Sept 1784 (V)

52–7 XVI/ iii, 55

V:15/ v, 71

‘Paradies’

459 459 19 F pf, fl, 2 ob, 2 bn, 2 hn, str

Vienna, 11 Dec 1784 (V)

58–60 XVI/ iii, 119

V:15/ v, 151

466 466 20 d pf, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 10 Feb 1785 (V)

— XVI/ iii, 181

V:15/ vi, 3

38-bar false start, last movt, in autograph

Page 178 of 288

467 467 21 C pf, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 9 March 1785 (V)

— XVI/ iii, 237

V:15/ vi, 93

482 482 22 E♭ pf, fl, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 16 Dec 1785 (V)

— XVI/ iv, 1

V:15/ vi, 177

488 488 23 A pf, fl, 2 cl, 2 bn, 2 hn, str

Vienna, 2 March 1786 (V)

61 XVI/ iv, 67

V:15/ vii, 3

491 491 24 c pf, fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 24 March 1786 (V)

— XVI/ iv, 121

V:15/ vii, 85

Page 179 of 288

503 503 25 C pf, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 4 Dec 1786 (V)

— XVI/ iv, 185

V:15/ vii, 256

KMS 1786

537 537 26 D pf, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str

Vienna, 24 Feb 1788 (V)

— XVI/ iv, 253

V:15/ viii, 3

‘Coronation’, pf part inc.; KMS 1787

595 595 27 B♭ pf, fl, 2 ob, 2 bn, 2 hn, str

Vienna, 5 Jan 1791 (V)

62–4 XVI/ iv, 309

V:15/ viii, 93

possibly begun 1788; (Vienna, 1791) as op.17

Page 180 of 288

Frags.

KA65/452c, slow movt, C, ?1784–6, NMA, V:15/vii, 188; KA59/459A, slow movt, C, ?1784

KA58/488a, slow movt, D, 1785–6, NMA, V:15/vii, 191; KA63/488b, ?rondo, A, ?1785–6, NMA, V:15/vii, 192; KA64/488c, ?rondo, A, 1785–6, NMA, V:15/vii, 193; K—/488d, rondo, A, 1785–6, NMA, V:15/vii, 194; KA62/491a, slow movt, E♭, ?1786, NMA, V:15/vii, 195; KA60/502a, first movt, C, 1784– 5, NMA, V:15/vii, 196; KA57/537a, first movt, D, 1785–6, NMA, V:15/vii, 197; KA61/537b, slow movt, d, ? late 1786, NMA, V:15/ vii, 198

Frag., vn, pf solos

KA56/315f, D, Mannheim, 1778, MW, XXIV, no.21a, NMA, V:14/ ii, 136

Strings

Page 181 of 288

K K6 Title Key Solo Accompaniment Composition MW NMA Remarks

190 186E Concertone C 2 vn solo ob, vc; 2 ob, 2 hn, 2 tpt, str

Salzburg, 31 May 1774 (D)

XII/ i, 167

V:14/ ii, 3

207 207 Concerto B♭ vn 2 ob, 2 hn, str Salzburg, 1773

XII/ i, 1

V:14/ i, 3

date on autograph 14 April 1775, but originally ‘1773’

211 211 Concerto D vn 2 ob, 2 hn, str Salzburg, 14 June 1775 (D)

XII/ i, 27

V:14/ i, 55

216 216 Concerto G vn 2 ob, 2 hn, str Salzburg, 12 Sept 1775 (D)

XII/ i, 49

V:14/ i, 95

218 218 Concerto D vn 2 ob, 2 hn, str Salzburg, Oct 1775 (D)

XII/ i, 83

V:14/ i, 151

219 219 Concerto A vn 2 ob, 2 hn, str Salzburg, 20 Dec 1775 (D)

XII/ i, 113

V:14/ i, 205

Page 182 of 288

261 261 Adagio E vn 2 fl, 2 hn, str Salzburg, 1776

XII/ i, 145

V:14/ i, 267

for K219

269 261a Rondo B♭ vn 2 ob, 2 hn, str Salzburg, 1776

XII/ i, 150

V:14/ i, 275

? for K207

364 320d Sinfonia concertante

E♭ vn, va

2 ob, 2 hn, str Salzburg, 1779–80

XII/ i, 211

V:14/ ii, 57

for dating see Konrad, M1990; KMS 1779 /¹ ²

373 373 Rondo C vn 2 ob, 2 hn, str Vienna, 2 April 1781 (D)

XII/ i, 159

V:14/ i, 293

470 470 Andante A vn 2 ob, 2 hn, str Vienna, 1 April 1785 (V)

— — lost; ? for concerto

β -

Page 183 of 288

Frag.

KA104/320e, Sinfonia concertante, vn, va, vc solos, A, 1779, NMA, V:14/ii, 153

Doubtful

K—/206a, F, vc, lost

K—/K²271a/271i, D, vn, NMA, X:29/i, 81, see King, L1978, 31– 2, and Mahling, MJb 1978–9, 252–68

Spurious

K268/C14.04, E♭, vn, MW, XXIV/xix, ? by J.F. Eck, see W. Lebermann, MF, xxxi (1978), 452–65; KA294a/C14.05, ‘Adelaide Concerto’, D, vn, by its ‘editor’, H. Casadesus (Mainz, 1930)

Wind

Page 184 of 288

K K6 Title Key Solo Accompaniment Composition MW NMA Remarks

— 47c Concerto tpt Vienna, cNov 1768

— — lost, perf. Vienna, Waisenhauskirche, 7 Dec 1768; see L. Mozart’s letter, 12 Nov 1768

191 186e Concerto B♭ bn 2 ob, 2 hn, str Salzburg, 4 June 1774 (D)

XII/ ii, 1

V:14/ iii, 133

271k 271k Concerto ob Salzburg, 1777

— — mentioned in letter, 14 Feb 1778; ?lost, or K314/285d, KMS 1779

313 285c Concerto G fl 2 ob, 2 hn, str Mannheim, early 1778

XII/ ii, 73

V:14/ iii, 3

lacks authentic sources

314 285d Concerto C ob/fl 2 ob, 2 hn, str ? Mannheim, early 1778

XII/ ii, 104

V:14/ iii, 53, 97

? = K271k, also arr. fl, D, authenticity uncertain; sk for ob 1777

Page 185 of 288

315 285e Andante C fl 2 ob, 2 hn, str ? Mannheim, early 1780

XII/ ii, 129

V:14/ iii, 89

A9 297B Sinfonia concertante

fl, ob, bn, hn

? Paris, April 1778

— — lost; ? partly transmitted by KA9/C14.01, E♭, ob, cl, bn, hn solos, acc. 2 ob, 2 hn, str, MW, XXIV, no.7a, NMA, X:29/ i, 3; see Levin, M1988

299 297c Concerto C fl, hp

2 ob, 2 hn, str Paris, April 1778

XII/ ii, 21

V:14/ vi, 3

320 320 Sinfonia concertante

G 2 fl, 2 ob, 2 bn

iii and iv of Serenade K320; see letter of 29 March 1783

412 386b Concerto D hn 2 ob, 2 hn, str Vienna, 1791 XII/ ii, 135

V:14/ v, 89

ii inc.; version in (K514)

is 1792 completion by F.X. Süssmayr

RUS-SPit

Page 186 of 288

417 417 Concerto E♭ hn 2 ob, 2 hn, str Vienna, 27 May 1783

XII/ ii, 149

V:14/ v, 3

447 447 Concerto E♭ hn 2 cl, 2 bn, str Vienna, ? 1787

XII/ ii, 167

V:14/ v, 29

495 495 Concerto E♭ hn 2 ob, 2 hn, str Vienna, 26 June 1786 (V)

XII/ ii, 187

V:14/ v, 57

622 622 Concerto A cl 2 fl, 2 bn, 2 hn, str

Vienna, Oct 1791

XII/ ii, 207

V:14/ v, 3

orig. solo part, with range to written c′, lost; draft of i, G, basset-hn = K584b/621b

Page 187 of 288

Frag. movts.

K—/370b, E♭, hn, ?1781, NMA, V:14/v, 105; K371, E♭, hn, ? 1781, MW, XXIV, no.21, NMA, V:14/iii; K293/416f, F, ob, Paris or Mannheim, 1778, MW, XXIV, no.20, NMA, V:14/iii, 167; K—/ 494a, E, hn, ?1783–7, NMA, V:14/v, 121; K584b/621b, G, basset-hn, 1790–91, NMA, V:14/iv, 165, = 1st movt of K622

Doubtful

KA230/196d, F, bn; ? others for bn, lost

Spurious

K—/C14.03, B♭, bn

Chamber

Strings and wind

Page 188 of 288

K k6 Title Key Scoring Composition MW NMA

285 285 Quartet D fl, vn, va, vc

Mannheim, 25 Dec 1777 (D)

XIV, 307

VIII:20/2, 3

285a 285a Quartet G fl, vn, va, vc

Mannheim, Jan–Feb 1778

VIII:20/2, 25

298 298 Quartet A fl, vn, va, vc

Vienna, 1786–7 XIV, 310

VIII:20/2, 51

370 368b Quartet F ob, vn, va, vc

Munich, early 1781 XIV, 327

VIII:20/2, 65

407 386c Quintet E♭ hn, vn, 2 va, vc

Vienna, end 1782 XIII, 41

VIII:19/2, 1

581 581 Quintet A cl, 2 vn, va, vc

Vienna, 29 Sept 1789 (V)

XIII, 112

VIII:19/2, 15

Page 189 of 288

Frags.

KA91/516c, B♭, and K516d, E♭, cl, 2 vn, va, vc; KA90/580b, F, cl, basset-hn, vn, va, vc; KA88/581a, A

Doubtful

K292/196c, Duo, B♭, bn, vc, MW, X, 75, NMA, VIII:21, 7, (Leipzig, 1805)

KA171/285b, Quartet, C, fl, vn, va, vc, KMS 1781, (Speyer, 1788) as op.14, ii arr. from Serenade K361/370a, see R. Lustig, MJb 1997, 157–79

String quintets: 2 violins, 2 violas, cello

Page 190 of 288

K k6 Key Composition MW NMA Remarks

174 174 B♭ Salzburg, Dec 1773 XIII, 1 VIII:19/1, 3

515 515 C Vienna, 19 April 1787 (V)

XIII, 54

VIII:19/1, 27

(Vienna, 1789)

516 516 g Vienna, 16 May 1787 (V)

XIII, 85

VIII:19/1, 63

(Vienna, 1790)

406 516b c Vienna, 1788 XIII, 23

VIII:19/1, 91

arr. from Serenade K388/384a

593 593 D Vienna, Dec 1790 (V) XIII, 132

VIII:19/1, 113

614 614 E♭ Vienna, 12 April 1791 (V)

XIII, 156

VIII:19/1, 143

Page 191 of 288

Frags.

KA80/514a, B♭, ?1787

KA87/515a, F, ?1791

KA79/515c, a, ?1791

KA86/516a, g, ? May 1787, related to K516; KA81/613a, E♭, late 1784 – 1785

KA83/592b, D, ?1788

KA2/613b, ?1786–7/?1789

Doubtful

3 preludes, see ‘Arrangements’

Spurious

K46, MW, XXIV, no.22, arr. of movts from Serenade K361/370a

String quartets

Page 192 of 288

K k6 Title Key Composition MW NMA Remarks

80 73f Quartet G Lodi, 15 March 1770 (D)

XIV, 1; XXIV, no. 55

VIII: 20/1/ i, 3

iv added Vienna, late 1773, or Salzburg, early 1774

136 125a Divertimento D Salzburg, early 1772

XIV, 278

IV: 12/vi, 3

137 125b Divertimento B♭ Salzburg, early 1772

XIV, 287

IV: 12/vi, 19

138 125c Divertimento F Salzburg, early 1772

XIV, 294

IV: 12/vi, 30

155 134a [Quartet] D Bolzano, Verona, Oct– Nov 1772

XIV, 8

VIII: 20/1/ i, 17

156 134b Quartet G Milan, end 1772

XIV, 15

VIII: 20/1/ i, 31

Page 193 of 288

157 157 Quartet C Milan, end 1772–early 1773

XIV, 21

VIII: 20/1/ i, 41

158 158 Quartet F Milan, end 1772–early 1773

XIV, 29

VIII: 20/1/ i, 57

159 159 Quartet B♭ Milan, early 1773

XIV, 36

VIII: 20/1/ i, 69

160 159a Quartet E♭ Milan, early 1773

XIV, 45

VIII: 20/1/ i, 85

168 168 Quartet F Vienna, Aug 1773

XIV, 52

VIII: 20/1/ i, 99

169 169 Quartet A Vienna, Aug 1773 (D)

XIV, 60

VIII: 20/1/ i, 113

170 170 Quartet C Vienna, Aug 1773 (D)

XIV, 69

VIII: 20/1/ i, 129

Page 194 of 288

171 171 Quartet E♭ Vienna, Aug 1773

XIV, 77

VIII: 20/1/ i, 145

172 172 Quartet B♭ Vienna, ? Sept 1773

XIV, 86

VIII: 20/1/ i, 159

173 173 Quartet d Vienna, [Sept] 1773 (D)

XIV, 96

VIII: 20/1/ i, 175

387 387 Quartet G Vienna, 31 Dec 1782 (D)

XIV, 106

VIII: 20/1/ ii, 3

(Vienna, 1785) as op. 10 no.1; sketch in autograph

421 417b Quartet d Vienna, June 1783

XIV, 124

VIII: 20/1/ ii, 33

(Vienna, 1785) as op. 10 no.2

428 421b Quartet E♭ Vienna, June– July 1783

XIV, 137

VIII: 20/1/ ii, 85

(Vienna, 1785) as op. 10 no.4

Page 195 of 288

458 458 Quartet B♭ Vienna, 9 Nov 1784 (V)

XIV, 152

VIII: 20/1/ ii, 57

‘Hunt’ (Vienna, 1785) as op.10 no.3

464 464 Quartet A Vienna, 10 Jan 1785 (V)

XIV, 168

VIII: 20/1/ ii, 111

(Vienna, 1785) as op. 10 no.5

465 465 Quartet C Vienna, 14 Jan 1785 (V)

XIV, 186

VIII: 20/1/ ii, 145

‘Dissonance’ (Vienna, 1785) as op.10 no.6

499 499 Quartet D Vienna, 19 Aug 1786 (V)

XIV, 206

VIII: 20/1/ iii, 3

‘Hoffmeister’ (Vienna, 1786)

546 546 Adagio and Fugue

c Vienna, 26 June 1788 (V)

XIV, 301

IV: 11/x, 47

? for str orch; fugue arr. from K426

575 575 Quartet D Vienna, June 1789 (V)

XIV, 226

VIII: 20/1/ iii, 37

‘Prussian’

Page 196 of 288

589 589 Quartet B♭ Vienna, May 1790 (V)

XIV, 242

VIII: 20/1/ iii, 65

‘Prussian’

590 590 Quartet F Vienna, June 1790 (V)

XIV, 258

VIII: 20/1/ iii, 93

‘Prussian’

Page 197 of 288

Frags.

K168a, F, early 1775

KA77/405a, C, c1790

KA76/417c, after 1786

K417d, e, c1789

g, with K453b, ?1783

KA75/458a, B♭, KA71/458b, B♭, both c1790, NMA, VIII:20/1/ iii, ? related to K589; KA72/464a, A, c1784, related to K464; KA47/587a, g, c1789

KA68/589a, B♭, c1783, NMA, VIII:20/1/iii, 148; KA73/589b, F, c1790, NMA, VIII:20/1/iii, 149, ? related to K590; K—, E, 1782– 3

Doubtful

6 preludes, see ‘Arrangements’

Spurious

B♭, C, A, E♭, KA210–13/C20.01–4, ed. H. Wollheim (Mainz, 1932), by J. Schuster; see Finscher, N1966

String sonatas, duos, trios

Page 198 of 288

K k6 Title Key Scoring Composition MW NMA Remarks

33b 33b Solos vc, b Donaueschingen, Oct 1766

— — lost; in LC (incipit ? = 2nd pt of that in K for K196d)

41g 41g Nachtmusik 2 vn, b ? Salzburg, 1767 — — lost; see N. Mozart’s letter, 8 Feb 1800

46d 46d Sonata C vn, b Vienna, 1 Sept 1768 (D)

— VIII: 21, 3

46e 46e Sonata F vn, b Vienna, 1 Sept 1768 (D)

— VIII: 21, 5

266 271f Trio B♭ 2 vn, b Salzburg, early 1777

XXIV, no. 23

VIII: 21, 61

404a 404a 4 preludes vn, va, vc

Vienna, 1782 — — doubtful; for fugues by J.S. and W.F. Bach; see ‘Arrangements’

Page 199 of 288

423 423 Duo G vn, va ? Salzburg or Vienna, 1783

XV, 1 VIII: 21, 15

424 424 Duo B♭ vn, va ? Salzburg or Vienna, 1783

XV, 9 VIII: 21, 33

563 563 Trio E♭ vn, va, vc

Vienna, 27 Sept 1788 (V)

XV, 19

VIII: 21, 121

‘Ein Divertimento … di sei pezzi’

— — b viol, b — — lost; in LC (incipit ? as K33b)

— — 6 trios 2 vn, vc before 1768 — — lost; in LC

Page 200 of 288

Frags.

K443/404b, Fugue, G, completed by M. Stadler; KA66/562e, G, vn, va, vc, c1790–91

K—, Trio, 2 vn, vc, Vienna, 1785–6 or later

Keyboard and two or more instruments

Page 201 of 288

K k6 Title Key Scoring Composition MW NMA Remarks

10– 15

6 sonatas hpd, vn [, vc]

see ‘Keyboard and violin’ below

254 254 Divertimento B♭ pf, vn, vc Salzburg, Aug 1776 (D)

XVII/ 2, 2

VIII: 22/2, 56

(Paris, c1782) as op.3

452 452 Quintet E♭ pf, ob, cl, bn, hn

Vienna, 30 March 1784 (V)

XVII/ 1, 2; XXIV, no. 59

VIII: 22/1, 107

sk KA54/452a; KMS 1783

478 478 Quartet g pf, vn, va, vc

Vienna, 16 Oct 1785 (D)

XVII/ 1, 32

VIII: 22/1, 1

(Vienna, 1785–6)

493 493 Quartet E♭ pf, vn, va, vc

Vienna, 3 June 1786 (V)

XVII/ 1, 62

VIII: 22/1, 53

(Vienna, 1787) as op.13; KMS 1786

Page 202 of 288

496 496 Trio G pf, vn, vc Vienna, 8 July 1786 (V)

XVII/ 2, 46

VIII: 22/2, 78

(Vienna, 1786); sk

498 498 Trio E♭ pf, cl, va Vienna, 5 Aug 1786 (V)

XVII/ 2, 68

VIII: 22/2, 104

(Vienna, 1788) as op.14

502 502 Trio B♭ pf, vn, vc Vienna, 18 Nov 1786 (V)

XVII/ 2, 86

VIII: 22/2, 129

(Vienna, 1788) as op.15 no. 1

542 542 Trio E pf, vn, vc Vienna, 22 June 1788 (V)

XVII/ 2, 110

VIII: 22/2, 160

(Vienna, 1788) as op.15 no. 2

548 548 Trio C pf, vn, vc Vienna, 14 July 1788 (V)

XVII/ 2, 132

VIII: 22/2, 188

(Vienna, 1788) as op.15 no. 3

564 564 Trio G pf, vn, vc Vienna, 27 Oct 1788 (V)

XVII/ 2, 150

VIII: 22/2, 212

(London, 1789)

Page 203 of 288

617 617 Adagio and Rondo

c armonica, fl, ob, va, vc

Vienna, 23 May 1791 (V)

X, 85 VIII: 22/1, 146

Page 204 of 288

Frags.

K442, d, pf, vn, vc, Vienna, ?1783–90, MW, XVII/2, 20, inc., completed by M. Stadler, ? 3 separate movts, d, G, D, associated fortuitously; KA54/452a, B♭, kbd, ob, cl, basset-hn, bn, ?1785, ? related to K452; KA53/493a, E♭, pf, vn, va, vc, c1786, ? related to K493; KA52/495a, G, pf, vn, vc, c1786–7, NMA, VIII:22/2, 271, ? related to K496; KA51/501a, B♭, pf, vn, vc, 1784–5

KA92/616a, C, armonica, fl, ob, va, vc, ?1791, NMA, VIII:22/1, 168, related to K617

Keyboard and violin

Page 205 of 288

K k6 Title Key Composition MW NMA Remarks

6–7 6–7 2 Sonatas C, D Salzburg, Paris, 1762–4

XVIII/i, 2, 12

VIII:23/ i, 2, 12

(Paris, 1764) as op.1

8–9 8–9 2 Sonatas B♭, G Paris, 1763–4 XVIII/i, 20, 26

VIII:23/ i, 20, 26

(Paris, 1764) as op.2

10– 15

6 Sonatas B♭, G, A, F, C, B♭

London, 1764 XVIII/i, 34, 42, 47, 54, 62, 72

VIII: 22/2, 2, 12, 18, 26, 36, 48

(London, 1765) as op.3; vc ad lib

26– 31

6 Sonatas E♭, G, C, D, F, B♭

The Hague, Feb 1766

XVIII/i, 78, 84, 90, 96, 100, 106

VII:23/i, 34, 40, 45, 50, 54, 59

(The Hague and Amsterdam, 1766) as op.4

301 293a Sonata G Mannheim, early 1778

XVIII/ii, 18

VIII:23/ i, 66

(Paris, 1778) as op.1 no.1

302 293b Sonata E♭ Mannheim, early 1778

XVIII/ii, 32

VIII:23/ i, 78

(Paris, 1778) as op.1 no.2

303 293c Sonata C Mannheim, early 1778

XVIII/ii, 44

VIII:23/ i, 88

(Paris, 1778) as op.1 no.3

Page 206 of 288

305 293d Sonata A Mannheim, early 1778

XVIII/ii, 64

VIII:23/ i, 107

(Paris, 1778) as op.1 no.5

296 296 Sonata C Mannheim, 11 March 1778 (D)

XVIII/ii, 2

VIII:23/ i, 139

(Vienna, 1781) as op.2 no.2

304 300c Sonata e Paris, early sum. 1778

XVIII/ii, 54

VIII:23/ i, 98

(Paris, 1778) as op.1 no.4

306 300l Sonata D Paris, sum. 1778

XVIII/ii, 76

VIII:23/ i, 118

(Paris, 1778) as op.1 no.6

378 317d Sonata B♭ Salzburg, 1779–80

XVIII/ii, 140

VIII:23/ i, 154

(Vienna, 1781) as op.2 no.4

372 372 Sonata B♭ Vienna, 24 March 1781

XVIII/ii, 98

VIII:23/ ii, 154

Allegro only, inc.; completed by M. Stadler

379 373a Sonata G Vienna, April 1781

XVIII/ii, 160

VIII:23/ ii, 3

(Vienna, 1781) as op.2 no.5

359 374a Variations G Vienna, June 1781

XVIII/ii, 290

VIII:23/ ii, 136

on La bergère Célimène, Fr. song (anon.) (Vienna, 1786)

Page 207 of 288

360 374b Variations g Vienna, June 1781

XVIII/ii, 300

VIII:23/ ii, 144

on Hélas, j’ai perdu mon amant, Fr. song (anon.) (Vienna, 1786)

376 374d Sonata F Vienna, sum. 1781

XVIII/ii, 108

VIII:23/ ii, 16

(Vienna, 1781) as op.2 no.1

377 374e Sonata F Vienna, sum. 1781

XVIII/ii, 124

VIII:23/ ii, 32

(Vienna, 1781) as op.2 no.3

380 374f Sonata E♭ Vienna, sum. 1781

XVIII/ii, 172

VIII:23/ ii, 48

(Vienna, 1781) as op.2 no.6

454 454 Sonata B♭ Vienna, 21 April 1784 (V)

XVIII/ii, 210

VIII:23/ ii, 64

(Vienna, 1784) as op.7 no.3

481 481 Sonata E♭ Vienna, 12 Dec 1785 (V)

XVIII/ii, 232

VIII:23/ ii, 82

(Vienna, 1786)

526 526 Sonata A Vienna, 24 Aug 1787 (V)

XVIII/ii, 252

VIII:23/ ii, 100

(Vienna, 1787)

547 547 Sonata F Vienna, 10 July 1788 (V)

XVIII/ii, 276

VIII:23/ ii, 122

‘für Anfänger’

Page 208 of 288

Frags.

KA46/374g, B♭, 33 bars, 1781–2

K403/385c, C, parts of 3 movts, 1784–5

K402/385E, A; K396/385f, C, 28 bars, c1781

KA48/385e, A, 34 bars, 1784–5

K404/485d, C, at least 24 bars, ?1786

Spurious

K55–60/C23.01–6, MW, XVIII, 114ff, see F. Neumann, MJb 1965–6, 152–60, Plath, D1968–70

K61, MW, XVIII, 172, by H.F. Raupach

Keyboard

Sonatas

Solo keyboard

Page 209 of 288

K k6 Key Composition MW NMA Remarks

A199– 202

33d– g

G, B♭, C, F

1766 — — lost; listed in Breitkopf catalogue

279– 83

189d –h

C, F, B♭, E♭, G

Munich, early 1775

XX, 1 IX:25

284 205b D Munich, Feb– March 1775

XX, 46

IX:25 (Vienna, 1784) as op.7 no.2; sketch in autograph

309 284b C Mannheim, Oct– Nov 1777

XX, 64

IX:25 (Paris, 1782) as op.4 no.1

311 284c D Mannheim, Nov 1777

XX, 92

IX:25 (Paris, 1782) as op.4 no.2

310 300d a Paris, sum. 1778 XX, 78

IX:25 (Paris, 1782) as op.4 no.3

330 300h C Munich or Vienna, 1781–3

XX, 106

IX:25 (Vienna, 1784) as op.6 no.1

331 300i A Munich or Vienna, 1781–3

XX, 118

IX:25 (Vienna, 1784) as op.6 no.2

Page 210 of 288

332 300k F Munich or Vienna, 1781–3

XX, 130

IX:25 (Vienna, 1784) as op.6 no.3

333 315c B♭ Linz and Vienna, 1783–4

XX, 146

IX:25 (Vienna, 1784) as op.7 no.1

457 457 c Vienna, 14 Oct 1784 (V)

XX, 160

IX:25 pubd with Fantasia K475 (Vienna, 1785) as op.11, see Wolf, O1992

533 533 F Vienna, 3 Jan 1788 (V)

XXII, 44

IX:25 incl. rev. of Rondo K494; (Vienna, 1788)

545 545 C Vienna, 26 June 1788 (V)

XX, 174

IX:25 ‘für Anfänger’

A135 547a F ? Vienna, sum. 1788

— IX: 26, 157

doubtful; finale = transposed version of K545, iii

570 570 B♭ Vienna, Feb 1789 (V)

XX, 182

IX:25 first edn (1796) with vn acc., probably spurious

576 576 D Vienna, July 1789 (V)

XX, 194

IX:25

Page 211 of 288

Frags.

K400/372a, B♭, MW, XXIV, 26, NMA, IX:25/ii, 174; KA31/569a, B♭, ?1789, NMA, IX:25/ii, 181, ? related to K570; KA29, 30, 37/590a–c, F, 1789–90

K312/590d, g, ?1789–90, MW, XX, 13, NMA, IX:25/ii, 184; K—, C, c1773, NMA, IX:25/ii, 173

Keyboard duet

Page 212 of 288

K k6 Key Composition MW NMA Remarks

381 123a D Salzburg, mid-1772 XIX, 32

IX:24/2, 20

(Vienna, 1783) as op. 3 no.1

358 186c B♭ Salzburg, late 1773 – early 1774

XIX, 18

IX:24/2, 36

(Vienna, 1783) as op. 3 no.2

497 497 F Vienna, 1 Aug 1786 (V) XIX, 46

IX:24/2, 54

(Vienna, 1787) as op. 12

521 521 C Vienna, 29 May 1787 (V)

XIX, 80

IX:24/2, 106

(Vienna, 1787)

Page 213 of 288

For 2 keyboards

Page 214 of 288

K k6 Key Composition MW NMA

448 375a D Vienna, Nov 1781 XIX, 126 IX:24/1, 2

Page 215 of 288

Frags.

KA42/375b, 1782–3

KA43/375c, B♭, 2 kbd, 1782–3

KA45/375d, G, 2 kbd, ?1785–6

KA44/426a, 2 kbd, ?1785–6

? Sonata, G, kbd 4 hands [K357/497a, Allegro, 98 bars, and K357/500a, Andante, 158 bars], 1791, MW, XIX, 2, 10, NMA, IX:24/2, 142

Doubtful

K19d, C, NMA, IX:24/2, 2 (Paris, 1788), see Eisen, O1998

Variations

Solo keyboard

Page 216 of 288

K k6 Theme Key Composition MW NMA Remarks

A206 21a ?orig. C ? London, 1765

— — lost; listed in Breitkopf catalogue

24 24 Dutch song (Laat ons juichen) by C.E. Graaf

G The Hague, Jan 1766

XXI, 1

IX: 26, 3

(The Hague, 1766)

25 25 Willem van Nassau (Dutch national song)

D Amsterdam, Feb 1766

XXI, 6

IX: 26, 9

(The Hague, 1766)

180 173c Mio caro Adone from Salieri: La fiera di Venezia, Vienna, 1772

G Vienna, aut. 1773

XXI, 22

IX: 26, 15

(Paris, 1778)

179 189a Minuet [finale of Ob Conc. no.1, 1768] by J.C. Fischer

C Salzburg, sum. 1774

XXI, 12

IX: 26, 20

(Paris, 1778)

Page 217 of 288

354 299a Je suis Lindor (song in Beaumarchais: Le barbier de Séville, by A.L. Baudron)

E♭ Paris, early 1778

XXI, 58

IX: 26, 34

(Paris, 1778)

265 300e Ah vous dirai-je, maman (Fr. song)

C Vienna, 1781– 2

XXI, 36

IX: 26, 49

(Vienna, 1785)

353 300f La belle françoise, (Adieu donc, dame françoise, Fr. song)

E♭ Vienna, 1781– 2

XXI, 50

IX: 26, 58

(Vienna, 1786)

264 315d Lison dormait from N. Dezède: Julie, Paris, 1772

C Paris, late sum. 1778

XXI, 26

IX: 26, 67

shortened (Paris, 1786), (Vienna, 1786)

352 374c Dieu d’amour (March), chorus from A.-E.-M. Grétry: Les mariages samnites, Paris, 1776

F Vienna, June 1781

XXI, 44

IX: 26, 82

(Vienna, 1786)

Page 218 of 288

398 416e Salve tu, Domine, chorus from G. Paisiello: I filosofi immaginari, Vienna, 1781

F Vienna, March 1783

XXI, 68

IX: 26, 90

(Vienna, 1786)

460 454a Come un agnello from Sarti: Fra i due litiganti, Milan, 1782

A Vienna, ? June 1784

XXI, 84

IX: 26, 154

autograph has 2 variations; version with 8 variations (Vienna, 1784) probably by Sardi, see R. Armbruster, MJb 1997, 225–48

455 455 Les hommes pieusement (Unser dummer Pöbel meint) from Gluck: La rencontre imprévue

G Vienna, 25 Aug 1784 (V)

XXI, 74

IX: 26, 98

(Vienna, 1785); earlier version ? 1781–2

500 500 probably orig. B♭ Vienna, 12 Sept 1786 (V)

XXI, 94

IX: 26, 112

Page 219 of 288

54 547b probably orig. F Vienna, July 1788

IX: 26, 157

1st edn (1785) has spurious 4th variation; re- used by Mozart, with vn, K547

573 573 Minuet [from Vc Sonata op.4 no.6] by J.P. Duport

D Potsdam, 29 April 1789 (V)

XXI, 100

IX: 26, 120

(Berlin, 1791); see K. Hortschansky, Mf, xvi (1963), 265–7

613 613 Ein Weib ist das herrlichste Ding, by B. Schack or F. X. Gerl

F Vienna, March 1791

XXI, 108

IX: 26, 132

theme from music to Schikaneder play Der dumme Gärtner aus dem Gebirge, 1789; (Vienna, 1791)

Page 220 of 288

Frags.

KA38/383d, ?org, MW, XXII, 15, NMA, IX:26, 149; K236/588b, E♭, theme by Gluck, 1782–3, ? intended for variations

Doubtful

KA206/21a, ? London, 1764–5, lost

Piano duet

Page 221 of 288

K k6 Theme Key Composition MW NMA

501 501 probably orig. G Vienna, 4 Nov 1786 (V) XIX, 108 IX:24/ii, 96

Page 222 of 288

Miscellaneous

Solo keyboard

Page 223 of 288

K k6 Title Key Composition MW NMA Remarks

— 1a Andante C Salzburg, early 1761

— —

— 1b Allegro C Salzburg, early 1761

— —

— 1c Allegro F Salzburg, 11 Dec 1761

— —

— 1d Minuet F Salzburg, 16 Dec 1761

— —

1 1e Minuet G Salzburg, Dec 1761 – Jan 1762

XII, 2 —

— 1f Minuet C Salzburg, Dec 1761 – Jan 1762

— —

2 2 Minuet F Salzburg, Jan 1762

XXII, 3

—

3 3 Allegro B♭ Salzburg, 4 March 1762

XXII, 38

—

4 4 Minuet F Salzburg, 11 May 1762

XXII, 3

—

Page 224 of 288

5 5 Minuet F Salzburg, 5 July 1762

XXII, 4

—

9a 5a Allegro C sum. 1763 — —

9b 5b Andante B♭ sum. 1763 — —

— 33B [without title]

F Zürich, Oct 1766

— —

41e 41e Fugue Salzburg, 1767 — — lost; in LC

72a 72a Allegro G ? Verona, Jan 1770

— — inc.; only source is portrait by S. dalla Rosa

94 73h Minuet D Salzburg, 1769 XXII, 5

—

284a 284a 4 preludes — — identical with K395/300g

284f 284f Rondo Mannheim, Nov 1777

— — lost; mentioned in letter, 29 Nov 1777

395 300g Capriccio C Munich, Oct 1777

XXIV, no.24

—

Page 225 of 288

315a 315g 8 minuets Salzburg, late 1773

— —

400 372a Allegro B♭ Vienna, 1781 XXIV, no.26

— inc.; completed by M. Stadler

401 375e Fugue g Vienna, early 1782

XXII, 34

— inc.; completed by M. Stadler; also duet version

153 375f Fugue E♭ ? Salzburg, 1783

XXIV, no.25

— inc.; completed by S. Sechter

394 383a Prelude and fugue

C Vienna, early 1782

XX, 20

—

396 385f Fantasia c Vienna, early 1782

XX, 214

IX:25 inc.; orig. with vn, see ‘Chamber music’

397 385g Fantasia d Vienna, early 1782 or 1786–7

XX, 220

IX:25 last 10 bars (not in 1st edn) probably spurious; see Plath, in Plath and others, D1971–2, 31

399 385i Suite C Vienna, early 1782

XXII, 28

— Sarabande inc.

Page 226 of 288

154 385k Fugue g Vienna, early 1782

XXIV — inc.

453a 453a Funeral march

c Vienna, 1784 — —

475 475 Fantasia c Vienna, 20 May 1785 (V)

XX, 224

IX:25 pubd with Sonata K457 (Vienna, 1785) as op.11

485 485 Rondo D Vienna, 10 Jan 1786 (D)

XXII, 8

IX:25 (Vienna, c1786)

494 494 Rondo F Vienna, 10 June 1786 (D)

XXII, 14

IX:25 (London, 1788), (Speyer, 1788); rev. version in Sonata K533

511 511 Rondo a Vienna, 11 March 1787 (V, D)

XXII, 20

IX:25 (Vienna, 1787)

540 540 Adagio b Vienna, 19 March 1788 (V)

XXII, 56

— ? (Vienna, 1788)

574 574 Gigue G Leipzig, 16 May 1789 (D)

XXII, 60

—

Page 227 of 288

355 576b Minuet D Vienna, ?1786–7 XXII, 6

— trio by M. Stadler; see King, B1955, 3/1970, 222–3; Badura-Skoda, NZM, Jg.127 (1966), 468– 72

236 588b Andantino E♭ XXII, 55

— see ‘Arrangements’

312 590d Allegro g Vienna, 1789–90 XXII, 39

— inc.; ? for a sonata; see W. Plath, in Plath and others, D1971– 2, 30–31; Tyson, D1987, 20

— — [without title]

E♭ ? Salzburg, Jan 1769

— —

Page 228 of 288

Frags.

K73w, Fugue, D, early 1773

KA41/375g, Fugue, G, 1777

K375h, Fugue, F; KA433 and 40/383b, Fugue, F, ?1788–9

KA39/383d, Fugue, c; KA32/383C, Fantasia, f; KA34/385h, Adagio, d, 1786–7

KA34/576a, Minuet, D, 1786–7

K—, untitled, B♭, ? Salzburg, 1769, see K626b/25

2 keyboards

Page 229 of 288

K k6 Title Key Composition MW NMA Remarks

426 426 Fugue c Vienna, 29 Dec 1783 (D)

XIX, 118

IX: 24/1, 39

(Vienna, 1788); arr., with new introduction, for str, K546

— — Larghetto and Allegro

E♭ ? Vienna, 1782–3

— IX: 24/1, suppl.

inc.; completed by M. Stadler; see G. Croll, MJb 1962–3, 108–10; MJb 1964, 28–37

Page 230 of 288

Frags.

KA42/375b, Grave–Presto, B♭, 52 bars, MW, XXIV, 60, NMA, IX: 24/1, 46; KA43/375c, B♭, 15 bars, NMA, IX:24/1, 49; KA45/375d, Fugue, G, 23 bars, NMA, IX:24/1, 50; KA44/426a, Allegro, c, 22 bars, NMA, IX:24/1, 51

For mechanical organ or armonica

Page 231 of 288

K K6 Title Instrument Key Composition MW NMA Remarks

594 594 Adagio and Allegro

mechanical org

f Vienna and elsewhere, Oct–Dec 1790

XXIV, no. 27a

IX:27

608 608 [Fantasia] mechanical org

f Vienna, 3 March 1791 (C)

X/ 100

IX:27

616 616 Andante mechanical org

F Vienna, 4 May 1791

X/ 109

IX:27 arr. pf (Venice, 1791)

356 617a Adagio armonica C Vienna, 1791 X/84 IX:27

Page 232 of 288

Frags. for mechanical org

KA35/593a, Adagio, d, 1790–91

K615a, Andante, F, 1791

Miscellaneous

Page 233 of 288

K k6 Title Key Composition MW NMA Remarks

A109b, 15a– ss

15 a–ss

London Sketchbook

London, 1765 — — short pieces on 2 staves for kbd or sketches for orch

— 32a Capricci ?1764–6 — — lost; see C. Mozart’s letter to André, 2 March 1799; ? in LC

41f 41f Fugue a 4 Salzburg, 1767

— — lost; in LC

393 385b Solfeggios for voice

Vienna, ?Aug 1782

XXIV, no.49

—

— 453b Exercise book for Barbara Ployer

— — facs. in R. Lach, W.A. Mozart als Theoretiker (Vienna, 1918)

485a 506a Attwood Studies

Vienna, 1785– 6

— X:30, 1

A294d 516f Musikalisches Würfelspiel

C Vienna, 1787 — —

Page 234 of 288

A78 620b [contrapuntal study]

b Vienna, ? Sept 1791

— — chorale setting; ? sketch for Die Zauberflöte K620

Page 235 of 288

Frags.

K—/385n, Fugue a 4, A, Vienna, ?1782

K443/404b, Fugue a 3, G, Vienna, ?1782, completed by M. Stadler

Doubtful

K154/A61–2, fugues, before 1772

K—/A65, Adagio, F, ed. N. Zaslaw in Haydn, Mozart and Beethoven: Essays in Honour of Alan Tyson, ed. S. Brandenburg (Oxford, 1998), 101–14

Arrangements etc.

Page 236 of 288

K k6 Orig. composer, work

Orig. scoring

Key Mozart’s scoring

Date of arr.

MW NMA Remarks

37 37 i Raupach, op.1 no.5

kbd F kbd, 2 ob, 2 hn, str

Salzburg, April 1767

XVI/ i, 1

X:28/ii, 3

ii ?

iii L. Honauer, op. 2 no.3

39 39 i Raupach, op.1 no.1

kbd B♭ kbd, 2 ob, 2 hn, str

Salzburg, June 1767

XVI/ i, 35

X:28/ii, 45

ii J. Schobert, op.17 no.2

iii Raupach, op.1 no.1

40 40 i Honauer, op.2 no.1

kbd D kbd, 2 ob, 2 hn, str

Salzburg, July 1767

XVI/ i, 67

X:28/ii, 84 cadenza K624/626aII, C

Page 237 of 288

ii J.G. Eckard, op.1 no.4

iii C.P.E. Bach, H81 W117

41 41 i Honauer, op.1 no.1

kbd G kbd, 2 ob, 2 hn, str

Salzburg, July 1767

XVI/ i, 99

X:28/ii, 125

ii Raupach, op.1, no.1

iii Honauer, op.1 no.1

104 61e M. Haydn, minuets

orch C, F, C, A, G, G

orch Salzburg, c1771

— IV:13/1/i, 28

— 61gII M. Haydn, minuet

kbd C orch Salzburg, c1771

— IV:13/1/i, 92

Page 238 of 288

122 73t M. Haydn, minuet

orch E♭ orch ? Bologna, Aug 1770

XXIV, no. 13a

IV:13/1/i, 10

44 73u J. Stadlmayr, Musica super cantum gregorianum

5vv SATB Salzburg, c1768–9

— — see E. Hintermaier, MJb 1991, 509–17

107, 1

J.C. Bach, op. 5 no.2

kbd D kbd, 2 vn, b

1772 — X:28/ii, 165

cadenzas K624/626aII, A–B

107, 2

J.C. Bach, op. 5 no.3

kbd G kbd, 2 vn, b

1772 — X:28/ii, 187

107, 3

J.C. Bach, op. 5 no.4

kbd E♭ kbd, 2 vn, b

1772 — X:28/ii, 203

284e 284e J.B. Wendling, conc.

fl, str ?addl wind

Mannheim, Nov 1777

— — lost; see letter, 21 Nov 1777

Page 239 of 288

404a 404a 6 preludes and fugues

kbd vn, va, vc Vienna, 1782

— — doubtful; see Kirkendale, N1964 and Kirkendale, Mf, xviii (1965), 195– 9; Holschneider, Mf, xvii (1964), 51–6

1 p ?orig., f J.S. Bach BWV853

2 p ?orig., f BWV883

3 p ?orig., f BWV882

4 p BWV527/ ii, f BWV1080 no.8

5 p, f BWV526/ii, iii

E♭

Page 240 of 288

6 p ?orig., f W.F. Bach Fugue no.8

405 405 J.S. Bach, 5 fugues BWV871, 876, 878, 877, 874

kbd c, E♭, E, d, D

2 vn, va, vc

Vienna, 1782

— — see W. Kirkendale, MJb 1962–3, 140–55

— — J.S. Bach, BWV891

kbd c 2 vn, va, vc

? Vienna, 1782

— — see G. Croll, ÖMz, xxi (1966), 508– 14

— — 6 preludes and fugues

kbd 2 vn, va, vc

? Vienna, 1782

— — very doubtful; see Kirkendale, N1964

1 p ?orig., f J.S. Bach BWV548

2 p ?orig., f BWV877

3 p ?orig., f BWV876

E♭

Page 241 of 288

4 p ?orig., f BWV891

5 p ?orig., f BWV874

6 p ?orig., f BWV878

— — 3 preludes and fugues

kbd 2 vn, 2 va, vc

? Vienna, 1782

— — very doubtful; see Kirkendale, N1964

1 p ?orig., f J.S. Bach BWV849

2 p ?orig., f BWV867

3 p ?orig., f BWV546

Page 242 of 288

470a 470a G.B. Viotti, Vn Conc. no. 16

addl tpt, timp

Vienna, c1789–90

– — see M.H. Schmid, Mozart- Studien, v (1995), 149– 71

— 506a, HS4

J. Haydn, duet Cara, sarò fedele, from Armida

Vienna, c1786–91

— — formerly considered part of the Attwood exercises; facs. in Landon, G1989

A109g no. 19

537d C.P.E. Bach, Ich folge dir, from Auferstehung und Himmelfahrt Jesu

T, tpt, str

addl fl, ob, tpt

Vienna, Feb 1788

— —

Page 243 of 288

566 566 G.F. Handel, Acis and Galatea

S, T, T, T, B, rec, 2 ob, bn, 2 vn, va, bc

addl 2 fl, 2 cl, bn, 2 hn

Vienna, Nov 1788

— X:28/1/i

572 572 Handel, Messiah

S, A, T, B, SATB, 2 ob, 2 tpt, timp, str

addl 2 fl, 2 cl, 2 bn, 2 hn, 3 trbn, rev. tpt parts

Vienna, March 1789

— X:28/1/ii

591 591 Handel, Alexander’s Feast

S, T, B, SATB, 2 rec, 2 ob, 3 bn, 2 hn, 2 tpt, timp, str

addl 2 fl, 2 cl, rev. tpt parts

Vienna, July 1790

— X:28/1/iii

Page 244 of 288

592 592 Handel, Ode for St Cecilia’s Day

S, T, SATB, fl, 2 ob, 2 tpt, timp, lute, str

addl fl, 2 cl, 2 bn, 2 hn, rev. tpt parts

Vienna, July 1790

— X:28/1/iv

625 592a Nun liebes Weibchen

— — — — see ‘Duet and Ensembles for Solo Voices and Orchestra’

624 626aII, D–O

Cadenzas kbd various — — D(A61a), F– G, H for Schroeter op. 3 nos.1, 4, 6; K for I. von Beecke, Conc. in D; N, O for unknown conc; L lost; E, I unauthentic

Page 245 of 288

626b, 28

Gluck, gavotte from Paride ed Elena

orch 2 fl, 5 tpt, timp

— — ? Mozart’s contribution to Divertimento K187/C17.12

18 A51 C.F. Abel, Sym. op.7 no.6

orch E♭ addl cls London, 1764–5

— — edn (Basle, 1976)

— — L. Mozart, Litaniae de venerabili altaris sacramento

S, A, T, B, SATB, 2 hn, str

D various changes

— X:28/3–5/i

— — L. Mozart, litany

SATB, orch

E♭ trbn/va solo arr. for ob

Salzburg, ? c1774

— x: 28/3–5/ ii

see Eisen, D1991, 287– 9

— — L. Mozart, litany

SATB, orch

D various changes, esp. to hn part

Vienna, 1781–2

— —

Page 246 of 288

K293e, 19 cadenzas for arias by J.C. Bach and others (unidentified)

see Plath, D1960–61, 106, and in Plath and others, D1971–2, 20

Frag.

K—, Handel, Fugue, kbd, F, HWV427, Vienna, 1782–3

Bibliography A Catalogues, bibliographies, letters, documents, iconography. B Compendia, collective works, congress reports, periodicals. C Exhibition catalogues. D Sources, authenticity, chronology, editions. E Sketches, fragments, compositional process. F Biographies, studies of life and works. G Life: particular aspects and episodes. H Works: style, influences, particular aspects. I Sacred works. J Operas. K Arias, songs and other vocal music. L Symphonies, serenades etc. M Concertos. N Chamber music. O Keyboard music. P Performing practice. Q Reception.

A: Catalogues, bibliographies, letters, documents, iconography L. von Köchel: Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amade Mozarts (Leipzig, 1862; rev. 2/1905 by P. Graf von Waldersee; rev. 3/1937 by A. Einstein, repr. 4/1958, 5/1963, with suppl. 3/1947; rev. 6/1964 by F. Giegling, A. Weinmann and G. Sievers, repr. 7/1965)

C. von Wurzbach: Mozart-Buch (Vienna, 1869) [repr. of articles in ]

H. de Curzon: Essai de bibliographie mozartienne: revue critique des ouvrages relatifs à W.A. Mozart et ses oeuvres (Paris, 1906)

L. Schiedermair, ed.: Die Briefe W.A. Mozarts und seiner Familie (Munich, 1914)

WurzbachL

Page 247 of 288

O. Keller: Wolfgang Amadeus Mozart: Bibliographie und Ikonographie (Berlin, 1927)

R. Tenschert: Wolfgang Amadeus Mozart 1756–1791: sein Leben in Bildern (Leipzig, 1935)

E. Anderson, ed.: The Letters of Mozart and his Family (London, 1938; rev. 2/1966 by A.H. King and M. Carolan; rev. 3/1985 by S. Sadie and F. Smart)

E. Müller von Asow, ed. W.A. Mozart: Verzeichnis aller meiner Werke (Vienna, 1943, 2/1956 with L. Mozart: Verzeichnis der Jugendwerke W.A. Mozarts)

R. Bory: La vie et l’oeuvre de Wolfgang-Amadeus Mozart par l’image (Geneva, 1948) [also Eng. edn]

O.E. Deutsch: ‘Mozart’s Portraits’, in Landon and Mitchell, B1956, 1–9

O.E. Deutsch: Mozart: die Dokumente seines Lebens, gesammelt und erläutert (Kassel, 1961; suppl., 1978, ed. J.H. Eibl; Eng. trans., 1965/R)

M. Zenger and O.E. Deutsch: Mozart und seine Welt in zeitgenössischen Bildern/Mozart and his World in Contemporary Pictures (Kassel, 1961)

W.A. Bauer, O.E. Deutsch and J.H. Eibl, eds.: Mozart: Briefe und Aufzeichnungen (Kassel, 1962–75) [complete edn; for later discoveries see C.B. Oldman, , xvii (1956), 68–9; W. Rehm, Festschrift Rudolf Elvers, ed. F. Herttrich and H. Scheider (Tutzing, 1985), 418–19; A. Goldmann, Acta mozartiana, xxxiv (1987), 62–3; J. Mančal, Acta mozartiana, xxxiv (1987), 77–82; J. Mančal, , xlii (1987), 290–91; A. Briellmann, 1987–8, 233–48; T. Leibnitz and A. Ziffer, Katalog der Sammlung Anton Dermota (Tutzing, 1988), 106–8; R. Angermüller, Festschrift Wolfgang Rehm, ed. D. Berke and H. Heckmann (Kassel, 1989), 155–66; Volek and Bittner, A1991, 36–8, 138–44; U. Walter, Mozart in Kursachsen, ed. B. Richter and U. Oehme (Leipzig, 1991), 133–44]

R. Angermüller and O. Schneider: ‘Mozart-Bibliographie (bis 1970)’, 1975 [whole issue; with 5-year suppls.]

A. Hutchings: Mozart: the Man, the Musician (London, 1976)

H.-G. Klein: Wolfgang Amadeus Mozart, Autographe und Abschriften: Katalog (Laaber, 1982)

N. Zaslaw: ‘Leopold Mozart's List of his Son's Works’, Music in the Classic Period: Essays in Honor of Barry S. Brook, ed. A.W. Atlas (New York, 1985), 323–74

ÖMz MJb

MJb

Page 248 of 288

G. Haberkamp: Die Erstdrucke der Werke von Wolfgang Amadeus Mozart: Bibliographie (Tutzing, 1986)

A. Tyson and A. Rosenthal, eds.: Mozart’s Thematic Catalogue (London, 1990; Ger. trans., Neue Ausgabe sämtlicher Werke, X:33/i, Kassel, 1991) [incl. facs.]

C. Eisen: New Mozart Documents (London and Stanford, SA, 1991); in Ger. with addns, as Mozart: die Dokumente seines Lebens: Addenda, Neue Folge, Neue Ausgabe sämtlicher Werke, X:31/ia (Kassel, 1997) [further suppl. to Deutsch, A1961]

N. Zaslaw and F.M. Fein, eds.: The Mozart Repertory: a Guide for Musicians, Programmers and Researchers (Ithaca, NY, 1991)

A. Tyson, ed.: Wasserzeichen-Katalog, Neue Ausgabe sämtlicher Werke, X:33/ii (Kassel, 1992)

T. Volek and I. Bittner: Mozartovské stopy v českych a moravskych archivech (Prague, 1991); Eng. trans. as The Mozartiana of Czech and Moravian Archives (Prague, 1991)

R. Angermüller: ‘Leopold Mozarts Verlassenschaft’, , 41/3–4 (1993), 1–32

I. Sorensen: ‘Ein Mozart-Porträt in Dänemark’, 1994, 79–88

J. Mančal: Mozartschätze in Augsburg (Augsburg, 1995)

C. Eisen: ‘The Mozart's Salzburg Music Library’, in Eisen, B1997, 85–138

B: Compendia, collective works, congress reports, periodicals Mitteilungen für die Mozart-Gemeinde in Berlin (1895– 1925)

Mozarteums-Mitteilungen (1918–21)

Mozart-Jb 1923–9

Bulletin de la Société d’études Mozartiennes, 1 (1930–32)

Musikwissenschaftliche Tagung der Internationalen Stiftung Mozarteum: Salzburg 1931

Wiener Figaro: Mitteilungen der Mozartgemeinde Wien (1931–54); contd as Mozartgemeinde Wien (1954–85)

MISM

MJb

Page 249 of 288

Neues Mozart-Jb 1941–3

H.F. Deininger, ed.: Augsburger Mozartbuch (Augsburg, 1942–3)

E.F. Schmid: Ein schwäbisches Mozartbuch (Lorch and Stuttgart, 1948)

1950– (1952–)

Acta mozartiana (1954–)

Prefaces and Critical Commentaries to all vols of Wolfgang Amadeus Mozart: Neue Ausgabe sämtlicher Werke (Kassel, 1955–91)

A.H. King: Mozart in Retrospect: Studies in Criticism and Bibliography (London, 1955, 3/1970/R)

Leben und Werk W.A. Mozarts: Prague 1956

Kongress Musikwissenschaftlicher: Vienna 1956

Les influences étrangères dans l’oeuvre de W.A. Mozart: Paris 1956

A. Einstein: Essays on Music (New York, 1956, 2/1958) [incl. 8 on Mozart]

H.C.R. Landon and D. Mitchell, eds.: The Mozart Companion (London and New York, 1956/R)

P. Schaller and H. Kühner, eds.: Mozart: Aspekte (Olten, 1956) [symposium]

H.F. Deininger, ed.: Neues Augsburger Mozartbuch (Augsburg, 1962)

F. Blume: Syntagma musicologicum: gesammelte Reden and Schriften, 1, ed. M. Ruhnke (Kassel, 1963) [‘Haydn und Mozart’, 571–82; ‘Wolfgang Amadeus Mozart’, 583– 669; ‘Wolfgang Amadeus Mozart: Geltung und Wirkung’, 670–86; ‘Mozarts Konzerte und ihre Überlieferung’, 686– 714; ‘Requiem und kein Ende’, 714–34]

P.H. Lang, ed.: The Creative World of Mozart (New York, 1963/R)

Mozartgemeinde Wien, 1913–1963: Forscher und Interpreten (Vienna, 1964)

Idomeneo Conference: Salzburg 1973 [MJb 1973–4]

E. Wellesz and F. Sternfeld, eds.: The Age of Enlightenment, 1745–1790, NOHM, 7 (1973)

Mozart und seine Unwelt: Salzburg 1976 [MJb 1978–9]

MJb

Page 250 of 288

G. Weiss, ed.: Festschrift Erich Valentin (Regensburg, 1976) [incl. 12 essays on Mozart]

Mozart und Italien: Rome 1974 [ , no.18 (1978)]

C. Roleff, ed.: Collectanea mozartiana (Tutzing, 1988)

P. Csobádi, ed.: Wolfgang Amadeus: summa summarum. Das Phänomen Mozart: Leben, Werk (Vienna, 1990)

H.C.R. Landon, ed.: The Mozart Compendium: a Guide to Mozart’s Life and Music (London, 1990)

N. Zaslaw and W. Cowdery, eds.: The Compleat Mozart (New York, 1990)

Mozart e i musicisti italiani del suo tempo: Rome 1991

Mozart: origines et transformations d’un mythe: Clermont- Ferand 1991

Mozart und Mannheim: Mannheim 1991

Musikwissenschaftlicher Kongress zum Mozartjahr: Baden, nr Vienna, 1991

On Mozart: Washington DC 1991

Wolfgang Amadeus Mozart: Leipzig 1991

P. Elder and G. Walterskirchen, eds.: Das Benediktinerstift St. Peter in Salzburg zur Zeit Mozarts (Salzburg, 1991)

C. Eisen, ed.: Mozart Studies (Oxford, 1991)

W.A. Mozart in Wien und Prague: die grossen Opern: Vienna 1992

S. Sadie, ed.: Wolfgang Amadè Mozart: Essays on his Life and Music (Oxford, 1996)

C. Eisen, ed.: Mozart Studies 2 (Oxford, 1997)

C: Exhibition catalogues Mozart en France, Bibliothèque Nationale (Paris, 1956)

F. Hadamowsky and L. Nowak, eds.: Mozart: Werk und Zeit, Österreichische Nationalbibliothek, 30 May – 30 Sept 1956 (Vienna, 1956)

R. Münster, ed.: La finta giardiniera: Mozarts Münchner Aufenthalt, 1774/75, Bayerische Staatsbibliothek, 13 Jan – 28 Feb 1975 (Munich, 1975)

AnMc

Page 251 of 288

R. Münster, ed.: Wolfgang Amadeus Mozart: Idomeneo, 1781–1981, Bayerische Staatsbibliothek, 27 May – 31 July 1981 (Munich, 1981)

R. Angermüller, ed.: ‘Auf Ehre und Credit’: die Finanzen des W.A. Mozart (Munich, 1983)

T. Volek and J. Peŝková, eds.: Mozartuv Don Giovanni: výstava k 200. výročí světové premiéry v Praze 1787–1987 [exhibition on the 200th anniversary of the world première in Prague] (Prague, 1987)

R. Klein and F. Zorrer, eds.: Bruder Wolfgang Amadeus Mozart: 7. Sonderausstellung 1990–91 des Österreichischen Freimaurermuseums Schloss Rosenau bei Zwettl (Vienna, 1990)

R. Angermüller, ed.: Mozart, Bilder und Klänge: Salzburger Landesausstellung Schloss Klessheim, 6 March – 3 Nov 1991 (Salzburg, 1991)

C.A. Banks and J.R. Turner: Mozart: Prodigy of Nature (London and New York, 1991)

H.-G. Klein and H. Hell: Wolfgang Amadeus Mozart: ‘Componieren, meine einzige Freude und Passion’: Autographe und frühe Drucke aus dem Besitz der Berliner Staatsbibliothek, 5 Dec 1991 – 8 Feb 1992 (Wiesbaden, 1991)

G. Brosche, ed.: Requiem, Wofgang Amadeus Mozart 1791–1991: Ausstellung der Musiksammlung der Österreichisschen Nationalbibliothek, 17 May – 5 Dec 1991 (Graz, 1991)

U. Konrad and M. Staehelin, eds.: Allzeit ein Buch: die Bibliothek Wolfgang Amadeus Mozarts, Biblioteca Augusta, 5 Dec 1991 – 15 March 1992 (Weinheim, 1991)

A. Rohrmoser and J. Neuhardt, eds.: Katalog zur Ausstellung: Salzburg zur Zeit der Mozart (Salzburg, 1991)

A. Rosenthal and P. Ward Jones: Mozart: a Bicentennial Loan Exhibition: Autograph Music Manuscripts, Letters, Portraits, First Editions and Other Documents of the Composer and his Circle, Bodleian Library (Oxford, 1991)

N. Salinger and H.C.R. Landon, eds.: Mozart à Paris, Musée Carnavalet, 13 Nov 1991 – 16 Feb 1992 (Paris, 1991)

M. Schneider, ed.: Mozart in Tirol: Ausstellungskatalog des Tiroler Landesmuseums Ferdinandeum Innsbruck, 29 May – 29 Sept 1991 (Innsbruck, 1991)

Page 252 of 288

G. Stradner, ed.: Die Klangwelt Mozarts: Ausstellungskatalog des Kunsthistorischen Museums, Sammlung alter Musikinstrumente, 28 April – 27 Oct 1991 (Vienna, 1991)

B. Tellini Santoni, ed.: Il teatro di Mozart a Roma, Bibliotheca Vallicelliana (Rome, 1991)

K. von Welck and L. Homering: 176 Tage W.A. Mozart in Mannheim, Reiss-Museum, 19 Sept 1991 – 26 Jan 1992 (Mannheim, 1991)

R. Fuhrmann, ed.: Mozart und die Juden, Haus der Bremischen Bürgerschaft, 12 Oct – 11 Nov 1994 (Bremen, 1994)

D: Sources, authenticity, chronology, editions

L. Schiedermair: W.A. Mozarts Handschrift in zeitlich geordneten Nachbildungen (Bückeburg, 1919)

C.B. Oldman: ‘Mozart and Modern Research’, , 58 (1931–2), 43–66

O.E. Deutsch: ‘Mozarts Nachlass: aus den Briefen Constanzes an den Verlag André’, 1953, 32–7

O.E. Deutsch: ‘Mozarts Verleger’, 1955, 49–55

A.H. King: Mozart in the British Museum (London, 1956/ R)

L. Nowak: ‘Die Wiener Mozart-Autographen’, , 11 (1956), 180–87

M. and C. Raeburn: ‘Mozart’s Manuscripts in Florence’, , 40 (1959), 334–40

L. Finscher: ‘Maximilian Stadler und Mozarts Nachlass’, 1960–61, 168–72

W. Plath: ‘Beiträge zur Mozart-Autographie I: die Handschrift Leopold Mozarts’, 1960–61, 82–118

A. Holschneider: ‘Neue Mozartiana in Italien’, , 15 (1962), 227–36

W. Senn: ‘Die Mozart-Überlieferung im Stift Heilig Kreuz zu Augsburg’, in Deininger, B1962, 333–68

WeinmannWM

PRMA

MJb

ÖMz

MJb

Page 253 of 288

K.-H. Köhler: ‘Die Erwerbung der Mozart-Autographe der Berliner Staatsbibliothek: ein Beitrag zur Geschichte des Nachlasses’, 1962–3, 55–68

W. Plath: ‘Miscellanea Mozartiana I’, Festschrift Otto Erich Deutsch, ed. W. Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 135–40

W. Rehm: ‘Miscellanea Mozartiana II’, Festschrift Otto Erich Deutsch, ed. W. Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 141–54

H. Engel: ‘Probleme der Mozartforschung’, 1964, 38– 54

W. Plath: ‘Der Ballo des “Ascanio” und die Klavierstücke KV Anh., 207’, 1964, 111–29

W. Plath: ‘Der gegenwärtige Stand der Mozart-Forschung’, IX: Salzburg 1964, 1, 47–56; ii, 88–97

G. Rech: ‘Ergebnisse der heutigen Erforschung seines Lebenswerkes’, Universitas [Stuttgart], 19 (1964), 925; Eng. trans. in Universitas, vii (1964–5), 355–60

H. Federhofer: ‘Mozartiana im Musikaliennachlass von Ferdinand Bischoff’, 1965–6, 15–38

D. Kolbin: ‘Autographe Mozarts und seiner Familie in der UdSSR’, 1968–70, 281–303

W. Plath: ‘Mozartiana in Fulda und Frankfurt’, 1968– 70, 333–86

M.H. Schmid, ed.: Die Musiksammlung der Erzabtei St. Peter in Salzburg: Katalog I: Leopold und Wolfgang Mozart, Joseph und Michael Haydn (Salzburg, 1970)

K. Pfannhauser: ‘Epilegomena Mozartiana’, 1971–2, 268–312

W. Plath: ‘Leopold Mozarts Notenbuch für Wolfgang (1762): eine Fälschung?’, 1971–2, 337–41

W. Plath and others: ‘Echtheitsfragen’, 1971–2, 7–67 [incl. discussions]

N. Zaslaw: ‘A Rediscovered Mozart Autograph at Cornell University’, 1971–2, 419–31

D.N. Leeson and D. Whitwell: ‘Mozart’s Thematic Catalogue’, , 114 (1973), 781–3

A.H. King: ‘Some Aspects of Recent Mozart Research’, , 100 (1973–4), 1–18

MJb

IMSCR

MJb

PRMA

Page 254 of 288

W. Senn: ‘Beiträge zur Mozartforschung’, , 48 (1976), 205–27

W. Plath: ‘Beiträge zur Mozart-Autographie II: Schriftchronologie 1770–1780’, 1976–7, 131–73

A. Tyson: Mozart: Studies of the Autograph Scores (Cambridge, MA, 1987)

A. Tyson: ‘A Feature of the Structure of Mozart's Autograph Scores’, Festschrift Wolfgang Rehm, ed. D. Berke and H. Heckmann (Kassel, 1989), 95–105

A. Tyson: ‘Some Features of the Autograph Score of Don Giovanni ’, Israel Studies in Musicology (1990), 7–26

W. Plath: Mozart-Schriften: ausgewählte Aufsätze, ed. M. Danckwardt (Kassel, 1991)

C. Eisen: ‘The Old and New Mozart Editions’, , 19 (1991), 513–32

C. Eisen: ‘The Mozart's Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style and Performance Practice’, in Eisen, B1991, 253–307

E. Warburton, ed.: The Librettos of Mozart’s Operas (New York, 1992)

A. Tyson: ‘Problems in Three Mozart Autographs in the Zweig Collection in the British Library’, Sundry Sorts of Music Books: Essays on the British Library Collections Presented to O.W. Neighbour, ed. C. Banks, A. Searle and M. Turner (London, 1993), 248–55

E: Sketches, fragments, compositional process M. Blaschitz: Die Salzburger Mozart-Fragmente (diss., U. of Bonn, 1924, part pubd in Jb der Dissertationen der philosophischen Fakultät, Bonn, 1924–5)

R. Engländer: ‘Die Mozart-Skizzen der Universitätsbibliothek Uppsala: eine entstehungsgeschichtliche Studie’, , 37 (1955), 96– 118; suppl. in , ix (1956), 307–8

E. Hertzmann: ‘Mozart's Creative Process’, , 43 (1957), 187–200; repr. in Lang, B1963, 17–30

W. Plath: ‘Das Skizzenblatt KV467a’, 1959, 114–26

W. Senn: ‘Mozarts Skizze der Balllettmusik zu Le gelosie del serraglio’, , 33 (1961), 169–92

AcM

MJb

EMc

STMf Mf

MJb

AcM

Page 255 of 288

E. Hess: ‘Ein neu entdecktes Skizzenblatt Mozarts’, 1964, 185–92

W. Plath: ‘Bemerkungen zu einem missdeuteten Skizzenblatt Mozarts’, Festschrift Walter Gerstenberg, ed. G. von Dadelsen and A. Holschneider (Wolfenbüttel, 1964), 143–50

W. Plath: ‘Überliefert die dubiose Klavier-Romanze in As KV-Anh.205, das verschollene Quintett-Fragment KV-Anh. 54 (452a)?’, 1965–6, 71–86

G. Croll: ‘Zu den Verzeichnissen von Mozarts nachgelassenen Fragmenten und Entwurfen’, , 21 (1966), 250–54

C. Wolff: ‘The Challenge of Blank Paper: Mozart the Composer’, On Mozart: Washington DC 1991, 113–29

C. Wolff: ‘Musikalische Gedanken und thematische Substanz: analytische Aspekte der Mozart-Fragmente’,

1991, 922–9

U. Konrad: Mozarts Schaffensweise: Studien zu den Werkautographen, Skizzen und Entwürfen (Göttingen, 1992) [incl. thematic catalogue]

U. Konrad: ‘Neuentdecktes und wiedergefundenes Werkstattmaterial Wolfgang Amadeus Mozarts: Erster Nachtrag zum Katalog der Skizzen und Entwürfe’, 1995, 1–28 [suppl. to Konrad, E1992]

F: Biographies, studies of life and works (F. Blume; iconography by W. Rehm, bibliography

and work-list by F. Lippmann, list of edns by R. Schaal)

F. Schlichtegroll: ‘Johannes Chrysostomus Wolfgang Gottlieb Mozart’, Nekrolog auf das Jahr 1791 (Gotha, 1793), ed. L. Landshoff (Munich, 1924); as Mozarts Leben (Graz, 1794/R)

F.X. Niemetschek: Leben des k.k. Kapellmeisters Wolfgang Gottlieb Mozart nach Originalquellen beschrieben (Prague, 1798/R, enlarged 2/1808/R; Eng. trans., 1956/R); ed. J. Perfahl (Munich, 1984, 4/1991)

I.F. Arnold: Mozarts Geist: seine kurze Biografie und ästhetische Darstellung seiner Werke (Erfurt, 1803)

I.T.F.C. Arnold: ‘W.A. Mozart und Joseph Haydn: Nachträge zu ihren Biografien und ästhetischen Darstellung ihrer Werke: Versuch einer Parallele’, Gallerie der berühmtesten Tonkünstler des achtzehnten und

MJb

ÖMz

MJb

MGG1

Page 256 of 288

neunzehnten Jahrhunderts (Erfurt, 1810/R, 2/1816), i, 2– 168

L.-A.-C. Bombet [Stendhal]: Lettres … sur le célèbre compositeur Haydn, suivies d’une vie de Mozart et considérations sur Métastase (Paris, 1814, rev. 2/1817 as Vies de Haydn, de Mozart et de Métastase, 3/1854; Eng. trans., 1817, 2/1818, as The Life of Haydn; new Eng. trans., 1972, as Lives of Haydn, Mozart and Metastasio)

P. Lichtenthal: Cenni biografici intorno al celebre maestro Wolfgango Amdeo Mozart (Milan, 1816/R)

G.N. von Nissen: Biographie W.A. Mozart’s nach Originalbriefen (Leipzig, 1828/R)

A.D. Oulibicheff: Nouvelle biographie de Mozart (Moscow, 1843, Ger. trans., 1847, as Mozart’s Leben und Werke)

E. Holmes: The Life of Mozart (London, 1845, rev. 2/1878/ R by E. Prout, rev. 3/1912 by E. Newman)

O. Jahn: W.A. Mozart (Leipzig, 1856, 2/1867; rev. 3/1889– 91, by H. Deiters, 4/1905–7; Eng. trans., 1882) [for later edns see Abert, F1919–21]

L. Nohl: Mozart (Stuttgart, 1863, 2/1877 as Mozarts Leben, rev. 3/1906 by P. Sakolowski)

G. Nottebohm: Mozartiana (Leipzig, 1880/R)

T. de Wyzewa and G. de Saint-Foix: W.-A. Mozart: sa vie musicale et son oeuvre, 1–2 (Paris, 1912, 2/1936/R); iii–v (Paris, 1936–46/R) [iii–v by Saint-Foix alone]

A. Schurig: Wolfgang Amadeus Mozart: sein Leben und sein Werk (Leipzig, 1913, rev. 2/1923 as Wolfgang Amadé Mozart: sein Leben, seine Persönlichkeit, sein Werk)

H. de Curzon: Mozart (Paris, 1914, 2/1938)

J.S.J. Kreitmeier: W.A. Mozart: eine Charakterzeichnung des grossen Meisters nach literarischen Quellen (Düsseldorf, 1919)

H. Abert: W.A. Mozart: neu bearbeitete und erweiterte Ausgabe von Otto Jahns ‘Mozart’ (Leipzig, 1919–21, 3/1955–66)

L. Schiedermair: Mozart: sein Leben und seine Werke (Munich, 1922, enlarged 2/1948)

B. Paumgartner: Mozart (Berlin, 1927, enlarged 6/1967, 10/1993)

Page 257 of 288

R. Haas: Wolfgang Amadeus Mozart (Potsdam, 1933, 2/1950)

E.F. Schmid: Wolfgang Amadeus Mozart (Lübeck, 1934, enlarged 3/1955)

E. Blom: Mozart (London, 1935, rev. 6/1974 by J. Westrup)

A. Einstein: Mozart: his Character, his Work (New York, 1945; Ger. orig., Stockholm, 1947, 3/1968)

E. Schenk: Wolfgang Amadeus Mozart: eine Biographie (Zürich, 1955, rev. 2/1975 as Mozart: sein Leben, seine Welt; Eng. trans., abridged, 1960 as Mozart and his Times)

J. and B. Massin: Wolfgang Amadeus Mozart (Paris, 1959, 3/1990)

A.H. King: Mozart: a Biography with a Survey of Books, Editions & Recordings (London, 1970)

M. Levey: The Life and Death of Mozart (London, 1971, rev. 2/1988)

A. Hutchings: Mozart: the Man, the Musician (London, 1976)

W. Hildesheimer: Mozart (Frankfurt, 1977/R; Eng. trans., 1982)

I. Keys: Mozart: his Music in his Life (London, 1980)

S. Sadie: The New Grove Mozart (London, 1982)

V. Braunbehrens: Mozart in Wien (Munich, 1986; in Eng. trans., 1990)

P.J. Davies: Mozart in Person (New York, 1989)

K. Küster: Mozart: eine musikalische Biographie (Stuttgart, 1990; Eng. trans., 1996)

N. Elias: Mozart: zur Sociologie eines Genies, ed. M. Schröter (Frankfurt, 1991; Eng. trans., 1993, as Mozart: Portrait of a Genius)

G. Knepler: Wolfgang Amadé Mozart: Annäherungen (Berlin, 1991; Eng. trans., 1994)

M. Solomon: Mozart: a Life (New York, 1995)

R. Halliwell: The Mozart Family: Four Lives in a Social Context (Oxford, 1998)

D. Schroder: Mozart in Revolt (London, 1999)

Page 258 of 288

M. Head: ‘Myths of a Sinful Father: Maynard Solomon's “Mozart”’, , 80 (1999), 74–85

G: Life: Particular aspects and episodes F. Rochlitz: ‘Verbürgte Anekdoten aus Wolfgang Gottlieb Mozarts Leben: ein Beitrag zur richtigeren Kenntnis dieses Mannes, als Mensch und Künstler’, , 1 (1798– 9), 17–24, 49–55, 81–6, 113–17, 145–52, 177–80, 289–91, 480–87, 854–6; iii (1800–01), 450–52, 493–7, 590–96

L. Da Ponte: Memorie (New York, 1823–7, 2/1829–30, Eng. trans., 1929/R)

E. Mörike: Mozart auf der Reise nach Prag (Stuttgart, 1856; Eng. trans., 1957) [novel]

C.F. Pohl: Mozart und Haydn in London (Vienna, 1867/R)

A.J. Hammerle: Mozart und einige Zeitgenossen (Salzburg, 1877)

K. Prieger: Urtheile bedeutender Dichter, Philosopher und Musiker über Mozart (Wiesbaden, 2/1886)

R. Procházka: Mozart in Prag (Prague, 1892; enlarged 2/1938 by P. Nettl as Mozart in Böhmen)

E.K. Blümml: Aus Mozarts Freundes und Familien Kreis (Vienna, 1923)

O.E. Deutsch: Mozart und die Wiener Logen: zur Geschichte seiner Freimaurer-Kompositionen (Vienna, 1932)

H.A. Thies: Mozart und München: ein Gedenkbuch (Munich, 1941)

E.F. Schmid: ‘Mozart und das geistliche Augsburg’, in Deininger, B1942–3, 40–202

E. Schenk: ‘Neues zu Mozarts erster Italienreise: Mozart in Verona’, Neues Mozart-Jb 1943, 22–44

I. Hoesli: Wofgang Amadeus Mozart: Briefstil eines Musikgenies (Zürich, 1948)

A.B. Gottron: Mozart und Mainz (Mainz, 1951)

L. Caflisch and M. Fehr: Der junge Mozart in Zürich: ein Beitrag zur Mozart-Biographie auf Grund bisher unbekannter Dokumente (Zürich, 1952)

AMZ

Page 259 of 288

N. Medici di Marignano and R. Hughes, eds.: A Mozart Pilgrimage: Being the Travel Diaries of Vincent and Mary Novello in the Year 1829 (London, 1955/R)

A. Ostoja: Mozart e l’Italia (Bologna, 1955)

E. Schenk: ‘Mozart in Mantua’, , 22 (1955), 1–29

G. Barblan and A. Della Corte, eds.: Mozart in Italia (Milan, 1956)

O.E. Deutsch: ‘Phantasiestücke aus der Mozart- Biographie’, 1956, 46–50

L.E. Staehelin: ‘Neues zu Mozarts Aufenthalten in Lyon, Genf und Bern’, , 96 (1956), 46–8

O.E. Deutsch: ‘Aus Schiedenhofens Tagebuch’, 1957, 15–24

P. Nettl: Mozart and Masonry (New York, 1957/R)

A. Greither: Wolfgang Amadé Mozart: seine Lebensgeschichte an Briefen und Dokumenten dargestellt (Heidelberg, 1958)

W. Hummel, ed.: Nannerl Mozarts Tagebuchblätter, mit Eintragungen ihres Bruders Wolfgang Amadeus (Salzburg, 1958) [see also K.P. Pfannhauser, , viii/1–2 (1959), 11–17]

E. Winternitz: ‘Gnagflow Trazom: an Essay on Mozart’s Script, Pastimes, and Nonsense Letters’, , 11 (1958), 200–216

H.F. Deininger and J. Herz: ‘Beiträge zur Genealogie der ältesten schwäbischen Vorfahren W.A. Mozarts’, in Deininger, B1962, 1–76

O.E. Deutsch: ‘Mozart in Zinzendorfs Tagebüchern’, , 102 (1962), 211–18

H.W. Hamann: ‘Mozarts Schülerkreis’, 1962–3, 115– 39; suppl. by C. Bär, Acta Mozartiana, xi (1964), 58–64

O.E. Deutsch: ‘Die Legende von Mozarts Vergiftung’, 1964, 7–18 [with discussion by C. Bär]

L. Wegele: ‘Die Mozart: neue Forschungen, zur Ahnengeschichte Wolfgang Amadeus Mozarts’, Acta mozartiana, 11 (1964), 18–24; also in , xii/3–4 (1964), 1–6

W. Lievense: De familie Mozart op bezowk in Nederland: een reisverslag (Hilversum, 1965)

SMw

MJb

SMz

MJb

MISM

JAMS

SMz

MJb

MISM

Page 260 of 288

C. Bär: Mozart: Krankheit, Tod, Begräbnis, Schriftenreihe der Internationalen Stiftung Mozarteum, 1 (Kassel, 1966, 2/1972)

A.R. Mohr: Das Frankfurter Mozart-Buch (Frankfurt, 1968)

L.E. Staehelin: Die Reise der Familie Mozart durch die Schweiz (Berne, 1968)

A. Greither: Die sieben grossen Opern Mozarts: mit ein Pathographie Mozarts (Heidelberg, 2/1970, 3/1977) [orig. pubd 1956 without ‘Pathographie’]

E. Hintermaier: Die Salzburger Hofkapelle von 1700 bis 1806: Organisation und Personal (diss., U. of Salzburg, 1972)

H. Schuler: Wolfgang Amadeus Mozarts Vorfahren und Gesamtverwandschaft (Essen, 1974, rev. 2/1980 as Wolfgang Amadeus Mozart: Vorfahren u. Verwandte)

J.H. Eibl: ‘Die Mozarts und der Erzbischof’, , 30 (1975), 329–41

M.H. Schmid: Mozart und die Salzburger Tradition (Tutzing, 1976)

K. Thomson: ‘Mozart and Freemasonry’, , 56 (1976), 25–46

K. Thomson: The Masonic Thread in Mozart (London, 1977)

C. Bär: ‘“Er war … kein guter Wirth”: eine Studie über Mozarts Verhältnis zum Geld’, Acta mozartiana, 25 (1978), 30–53

E. Hintermaier: Die Salzburger Hofkapelle von 1700 bis 1806: Organisation und Personal (diss., U. of Salzburg, 1972)

O. Biba: ‘Grundzüge des Konzertwesens in Wien zu Mozarts Zeit’, Mozart und seine Umwelt: Salzburg 1976 [

1978–9], 132–43

M. Brown: ‘Mozart and After: the Revolution in Musical Consciousness’, Critical Enquiry, 7 (1980–81), 689–706

R. Angermüller: W.A. Mozarts musikalische Umwelt in Paris (1778): eine Dokumentation (Munich, 1982)

H.C.R. Landon: Mozart and the Masons (London, 1982, 2/1991)

P. Autexier: Mozart et Liszt sub rosa (Poitiers, 1984)

ÖMz

MJb

Page 261 of 288

P. Davies: ‘Mozart's Illnesses and Death’, , 125 (1984), 437–42, 554–62

A. Steptoe: ‘Mozart and Poverty: a Re-Examination of the Evidence’, , 125 (1984), 196–201

D. Beales: Joseph II, i: In the Shadow of Maria Theresa 1741–1780 (Cambridge, 1987)

H. Dopsch and H. Spatzenegger, eds.: Geschichte Salzburgs: Stadt und Land, 2/1 (Salzburg, 1988)

H.-J. Irmen: Mozart: Mitglied geheimer Gesellschaften (Mechernich, 1988, 2/1991)

H.C.R. Landon: 1791, Mozart’s Last Year (London, 1988)

P.J. Davies: Mozart in Person: his Character and Health (New York, 1989)

C. Eisen: ‘Salzburg under Church Rule’, Man & Music: the Classical Era, ed. N. Zaslaw (London, 1989), 166–87

K. Komlós: ‘Mozart and Clementi: a Piano Competition and its Interpretation’, Historical Performance, 2 (1989), 3–9; Hung. orig. in Muzsika, xxx/11 (1987), 19–24

H.C.R. Landon: Mozart: the Golden Years, 1781–1791 (London, 1989)

J. Moore: ‘Mozart in the Market-Place’, , 114 (1989), 18–42

M.S. Morrow: Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (Stuyvesant, NY, 1989)

W. Brauneis: ‘“… wegen schuldigen 1435 f 32 xr”: neuer Archivfund zur Finanzmisere Mozarts im November 1791’,

, 39 (1991), 159–64

D. Edge: ‘Mozart's Fee for Così fan tutte’, , 116 (1991), 211–35

H.C.R. Landon: Mozart and Vienna (London, 1991)

W. Stafford: Mozart’s Death: a Corrective Survey of the Legends (London, 1991)

H. Strebel: Der Freimaurer Wolfgang Amadé Mozart (Stäfa, 1991)

H. Schuler: Mozart und die Freimaurerei: Daten, Fakten, Biographien (Wilhelmshaven, 1992)

JRMA

MISM

JRMA

Page 262 of 288

Dalhousie Review, 72/2 (1993) [issue on Mozart and contemporary medicine]

P. Clive: Mozart and his Circle: a Biographical Dictionary (London, 1993)

G. Fischer-Colbrie: ‘Die Mitgliederliste der Freimaurerloge “Zur gekrönten Hoffnung” aus Mozarts Sterbejahr aufgefunden’, , 41/3–4 (1993), 35–47

S. McVeigh: Concert Life in London from Mozart to Haydn (Cambridge, 1993)

R. Angermüller and G. Geffray: Delitiae Italiae: Mozarts Reisen in Italien (Bad Honnef, 1994)

B.C. Clarke: ‘Albert von Mölk: Mozart Myth-Maker? Study of an 18th-Century Correspondence’, 1995, 155–91

I. Woodfield: ‘New Light on the Mozarts' London Visit: a Private Concert with Manzuoli’, , 76 (1995), 187–208

D. Beales: ‘Court, Government and Society in Mozart's Vienna’, Wolfgang Amadè Mozart: Essays on his Life and Music, ed. S. Sadie (Oxford, 1996), 3–20

D. Edge: ‘Mozart's Reception in Vienna, 1787–91’, Wolfgang Amadè Mozart: Essays on his Life and Music, ed. S. Sadie (Oxford, 1996), 66–120

N. Zaslaw: ‘The Breitkopf Firm's Relations with Leopold and Wolfgang Mozart’, Bach Perspectives, 2 (1996), 85– 103

R.M. Ridgewell: Mozart and the Artaria Publishing House: Studies in the Inventory Ledgers, 1784–1793 (diss., U. of London, 1999)

H: Works: Style, influences, particular aspects A. Heuss: ‘Das dämonische Element in Mozarts Werken’,

, 7 (1905–6), 175–86

G. Schünemann, ed.: Mozart als achtjähriger Komponist: ein Notenbuch Wolfgangs (Leipzig, 1909)

R. Lach: W.A. Mozart als Theoretiker (Vienna, 1918)

F. Torrefranca: ‘Le origini dello stile Mozartiano’, , 28 (1921), 263–308; xxxiii (1926), 321–42, 505–29; xxxiv (1927), 1–33, 169–89, 493–511; xxxvi (1929), 373–407

W. Lüthy: Mozart und die Tonartencharakteristik (Strasbourg, 1931/R)

MISM

MJb

ZIMG

RMI

Page 263 of 288

D.F. Tovey: Essays in Musical Analysis (London, 1935–9), i, iii, vi [incl. essays on orch works]

C. Thieme: Der Klangstil des Mozartorchesters (Leipzig, 1936)

D.F. Tovey: Essays in Musical Analysis: Chamber Music, ed. H.J. Foss (London, 1944/R)

A. Einstein: ‘Mozart’s Choice of Keys’, , 27 (1941), 415–21; repr. in Einstein, F1945, 175–81

A.H. King: ‘Mozart’s Counterpoint: its Growth and Significance’, , 26 (1945), 12–20; repr. in King, B1955, 3/1970/R, 164–79

D. Bartha: ‘Mozart et le folklore musical de l’Europe centrale’, Les influences étrangères dans l’oeuvre de W.A. Mozart: Paris 1956, 157–81

I.M. Bruce: ‘A Note on Mozart’s Bar-Rhythms’, , 17 (1956), 35–47

H.T. David: ‘Mozartean Modulations’, , 42 (1956), 193– 212; repr. in Lang, B1963, 56–72

H. Engel: ‘Mozarts Instrumentation’, 1956, 51–74

E.E. Lowinsky: ‘On Mozart’s Rhythm’, , 42 (1956), 162–86; repr. in Lang, B1963, 31–55

E.F. Schmid: ‘Mozart and Haydn’, , 42 (1956), 145–61

B. Szabolcsi: ‘Die “Exotismen” Mozarts’, Leben und Werk W.A. Mozarts: Prague 1956, 181–8; Eng. trans., , xxxvii (1956), 323–32

L.F. Tagliavini: ‘L'opéra italien du jeune Mozart’, Les influences étrangères dans l'oeuvre de W.A. Mozart: Paris 1956, 125–56

E.J. Dent and E. Valentin: Der früheste Mozart (Munich, 1956) [in Ger. and Eng.]

E. Valentin, ed.: L. Mozart: Nannerls Notenbuch, 1759 (Munich, 1956)

W. Siegmund-Schultze: Mozarts Melodik und Stil (Leipzig, 1957)

H. Engel: ‘Haydn, Mozart und die Klassik’, 1959, 46– 79

G. Massenkeil: Untersuchungen zum Problem der Symmetrie in der Instrumentalmusik W.A. Mozarts (Wiesbaden, 1962)

MJb

Page 264 of 288

H. Engel: ‘Nochmals: thematische Satzverbindungen und Mozart’, 1962–3, 14–23

I.R. Eisley: ‘Mozart and Counterpoint: Development and Synthesis’, , 24 (1963), 23–9

S.G. Davis: ‘Harmonic Rhythm in Mozart’s Sonata Form’, , 27 (1966), 25–43

W. Kirkendale: Fuge und Fugato in der Kammermusik des Rokoko und der Klassik (Tutzing, 1966), 184–215; Eng. trans., enlarged (Durham, NC, 1979), 152–81

H. Beck: ‘Harmonisch-melodische Modelle bei Mozart’, 1967, 90–99

M.S. Cole: ‘The Rondo Finale: Evidence for the Mozart– Haydn Exchange?’, 1968–70, 242–56

M. Flothuis: Mozarts Bearbearbeitungen eigener and fremder Werke, Schriftenreihe der Internationalen Stiftung Mozarteum, 2 (Salzburg and Kassel, 1969)

K.J. Marx: Zur Einheit der zyklischen Form bei Mozart (Stuttgart, 1971)

C. Rosen: The Classical Style: Haydn, Mozart, Beethoven (London and New York, 1971, enlarged 3/1997 with sound disc)

H. Federhofer: ‘Mozart als Schüler und Lehrer in der Musiktheorie’, 1971–2, 89–106

H. Federhofer and others: ‘Tonartenplan und Motivstruktur (Leitmotivtechnik?) in Mozarts Musik’, Idomeneo Conference: Salzburg 1973 [ 1973–4], 82– 144 [discussions]

D. Heartz: ‘Thomas Attwood’s Lessons in Composition with Mozart’, , 100 (1973–4), 175–83

W. Plath and others: ‘Typus und Modell in Mozarts Kompositionsweise’, Idomeneo Conference: Salzburg 1973 [ 1973–4], 145–78 [discussions]

U. Toeplitz: Die Holzbläser in der Musik Mozarts und ihr Verhältnis zur Tonartwahl (Baden-Baden, 1978)

C. Rosen: Sonata Forms (New York, 1980, 2/1988)

F.K. Grave: ‘“Rhythmic Harmony” in Mozart’, , 41 (1980), 87–102

P.A. Autexier: Les oeuvres témoins de Mozart (Paris, 1982)

MJb

PRMA

MJb

Page 265 of 288

A.P. Brown: ‘Haydn and Mozart's 1773 Stay in Vienna: Weeding a Musicological Garden’, , 10 (1992), 192–230

H. Krones: ‘Barocke Traditionen in der österreichischen Musik des späten 18. und frühen 19. Jahrhunderts’, Alte Musik … Perspektiven der Aufführungspraxiz: Graz 1992, 65–92

E.R. Sisman: Haydn and the Classical Variation (Cambridge, MA, 1993)

C. Wolff: ‘Vollendet und fragmentarisch: Über Mozarts Schaffen der letzten Lebensjahre’, Jb alte Musik, 2 (1993), 61–87

C. Eisen: ‘Mozart e l'Italia: il ruolo di salisburgo’, , 30 (1995), 51–84

J. Garland: ‘Form, Genre, and Style in the Eighteenth- Century Rondo’, Music Theory Spectrum, 17 (1995), 27– 52

D. Heartz: Haydn, Mozart and the Viennese School, 1740– 1780 (New York, 1995)

S.B. Jan: Aspects of Mozart’s Music in G minor: toward the Identification of Common Structural and Compositional Characteristics (New York, 1995)

H.S. Powers: ‘Reading Mozart's Music: Text and Topic, Sense and Syntax’, , no.57 (1995), 5–44

R. Kamien and N. Wagner: ‘Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions’, Music Theory Spectrum, 19 (1997), 1–12

I: Sacred works W. Pole: The Story of Mozart’s Requiem (London, 1879) [first printed in , xiv (1869–71), 39–41, 71–4, 103–7, 135–7, 167–70, 201–4, 237–43]

K.A. Rosenthal: ‘The Salzburg Church Music of Mozart and his Predecessors’, , 18 (1932), 559–77

K.A. Rosenthal: ‘Mozart’s Sacramental Litanies and their Forerunners’, , 27 (1941), 433–55

K.G. Fellerer: Mozarts Kirchenmusik (Salzburg, 1955)

G. Reichert: ‘Mozarts “Credo-Messen” und ihre Vorläufer’, 1955, 117–44

K. Geiringer: ‘The Church Music’, in Landon and Mitchell, B1956, 361–76

RIM

CMc

MJb

Page 266 of 288

H. Federhofer: ‘Probleme der Echtheitsbestimmung der kleineren kirchenmusikalischen Werke W.A. Mozarts’, 1958, 97–108; suppl., 1960–61, 43–51

K. Pfannhauser: ‘Mozarts kirchenmusikalische Studien im Spiegel seiner Zeit und Nachwelt’, , 43 (1959), 155–98

F. Blume: ‘Requiem but no Peace’, , 47 (1961), 147–69; repr. in Lang, B1963, 103–26

O.E. Deutsch: ‘Zur Geschichte von Mozarts Requiem’, , 19 (1964), 49–60

L. Nowak: ‘Das Requiem von W.A. Mozart’, , 20 (1965), 395–9

R. Federhofer-Königs: ‘Mozarts “Lauretanische Litaneien” KV 109 (74e) und 195 (186d)’, 1967, 111–20

A. Holschneider: ‘C.Ph.E. Bachs Kantate “Auferstehung und Himmelfahrt Jesu” und Mozarts Aufführung des Jahres 1788’, 1968–70, 264–80

F. Beyer: ‘“Mozarts Komposition zum Requiem”: zur Frage der Ergänzung’, Acta mozartiana, 18 (1971), 27–33

G. Duda: ‘Neues aus der Mozartforschung: Requiem- Begräbnis-Grabfrage’, Acta mozartiana, 18 (1971), 33–7 [on the Requiem]

C. Rosenthal: ‘Der Einfluss der Salzburger Kirchenmusik auf Mozarts kirchenmusikalische Kompositionen’, 1971–2, 173–81

L. Nowak: ‘Wer hat die Instrumentalstimmen in der Kyrie- Fuge des Requiems von W.A. Mozart geschrieben? Ein vorläufiger Bericht’, Idomeneo Conference: Salzburg 1973 [ 1973–4], 191–201

K.G. Fellerer: ‘Liturgische Grundlagen der Kirchenmusik Mozarts’, Festschrift Walter Senn, ed. E. Egg and E. Fässler (Munich, 1975), 64–74

‘Sektion Kirchenmusik’, 1978–9, 14–29 [4 articles]

R. Maunder: Mozart’s Requiem: on Preparing a New Edition (Oxford, 1988)

P. Moseley: ‘Mozart's Requiem: a Revaluation of the Evidence’, , 114 (1989), 203–37

C. Wolff: Mozarts Requiem: Geschichte, Musik, Dokumente, Partitur des Fragments (Munich and Kassel, 1991; Eng. trans., 1994)

MJb MJb

KJb

ÖMz

MJb

JRMA

Page 267 of 288

R.D. Levin: ‘Zu den von Süssmayr komponierten Sätzen des Requiems KV 626’, Mozart Congress: Salzburg 1991 [

1991], 475–93

W. Brauneis: ‘“Dies irae, dies illa – Tag des Zornes, Tag der Klage: Auftrag, Entstehung und Vollendung von Mozarts “Requiem”’, Jb des Vereins für Geschichte der Stadt Wien, 47–48 (1991–2), 33–50

R. Münster: ‘Die beiden Fassungen der Motette Exsultate, jubilate KV 165’, Mozart-Studien, 2 (1993), 119–33

W.-D. Seiffert: ‘Wolfgang Amadeus Mozart: Requiem’, Werkanalyse in Beispielen: grosse Chorwerke, ed. S. Helms and R. Schneider (Kassel, 1994), 72–97

D. Leeson: ‘Franz Xaver Süssmayr and the Mozart Requiem: a Computer Analysis of Authorship based on Melodic Affinity’, 1995, 111–53

M. Schuler: ‘Mozarts Requiem in der Tradition gattungsgeschichtlicher Topoi’, Studien zur Musikgeschichte: eine Festschrift für Ludwig Finscher, ed. A. Laubenthal and K. Kusan-Windweh (Kassel, 1995), 317–27

B.C. Clarke: ‘From Little Seeds: what were the Circumstances Surrounding the Inception of Mozart's Requiem and its Aftermath?’, , 137 (1996), 13–17

J: Operas A.D. Oulibicheff: Mozarts Opern: kritische Erläuterungen (Leipzig, 1848) [trans. of part of Oulibicheff, B1843]

C. Gounod: Le Don Juan de Mozart (Paris, 1890/R, Eng. trans. of 3rd edn, 1895/R)

E. Komorzynski: Emanuel Schikaneder: ein Beitrag zur Geschichte des deutschen Theaters (Vienna, 1901, 2/1951)

E.J. Dent: Mozart’s Operas: a Critical Study (London, 1913, 2/1947/R)

A. Lorenz: ‘Das Finale in Mozarts Meisteropern’, Die Musik, 19 (1926–7), 621–32

E. Blom: ‘The Literary Ancestry of Figaro’, , 13 (1927), 528–39

P. Stefan: Die Zauberflöte: Herkunft, Bedeutung, Geheimnis (Vienna, 1937)

MJb

Page 268 of 288

E. Komorzynski: ‘“Die Zauberflöte”: Entstehung und Bedeutung des Kunstwerkes’, Neues Mozart-Jb 1941, 147– 74

H.F. Redlich: ‘L’oca del Cairo’, , 2 (1941), 122–31

E. Wellesz: ‘Don Giovanni and the dramma giocoso’, , 4 (1943), 121–6

C. Benn: Mozart on the Stage (London, 1946)

S. Levarie: Mozart’s “Le nozze di Figaro”: a Critical Analysis (Chicago, 1952/R)

H. Engel: ‘Die Finali der Mozartschen Opern’, 1954, 113–34

Les influences étrangères dans l’oeuvre de W.A. Mozart: Paris 1956

A. Greither: Die sieben grossen Opern Mozarts: Versuche über das Verhältnis der Texte zur Musik (Heidelberg, 1956, enlarged 2/1970, 3/1977)

C. Raeburn: ‘Die textlichen Quellen des “Schauspieldirektor”’, , 13 (1958), 4–10

T. Volek: ‘Über den Ursprung von Mozarts Oper “La clemenza di Tito”’, 1959, 274–86

C. Bitter: Wandlungen in den Inszenierungsformen des ‘Don Giovanni’ von 1787 bis 1928 (Regensburg, 1961)

S. Kunze: ‘Mozarts Schauspieldirektor’, 1962–3, 156– 67

F.-H. Neumann: ‘Zur Vorgeschichte der Zaide’, 1962– 3, 216–47

B. Brophy: Mozart the Dramatist: a New View of Mozart, his Operas and his Age (London, 1964, rev. 1988 as Mozart the Dramatist: the Value of his Operas to him, to his Age, and to Us)

C. Floros: ‘Das “Programm” in Mozarts Meisterouvertüren’, , 26 (1964), 140–86

C. Raeburn: ‘Die Entführungsszene aus “Die Entführung aus dem Serail”’, 1964, 130–37

A. Rosenberg: Die Zauberflöte: Geschichte und Deutung (Munich, 1964, 3/1981)

R. Moberly and C. Raeburn: ‘Mozart’s “Figaro”: the Plan of Act III’, , 46 (1965), 134–6; repr. in 1965–6, 161–3

MJb

ÖMz

MJb

SMw

MJb

ML MJb

Page 269 of 288

R. Münster: ‘Die verstellte Gärtnerin: neue Quellen zur authentischen Singspielfassung von W.A. Mozarts La finta giardiniera’, , 18 (1965), 138–60

D.J. Keahey: ‘Così fan tutte: Parody or Irony?’, Paul A. Pisk: Essays in his Honor, ed. J. Glowacki (Austin, 1966), 116–30

A.A. Abert: ‘Beiträge zur Motivik von Mozarts Spätopern’, 1967, 7–11

F. Giegling: ‘Zu den Rezitativen von Mozarts Oper “Titus”’, 1967, 121–6

G. Gruber: ‘Das Autograph der “Zauberflöte”’, 1967, 127–49; 1968–70, 99–110

D. Heartz: ‘The Genesis of Mozart’s “Idomeneo”’, 1967, 150–64; repr. in , lv (1969), 1–19

K.-H. Köhler: ‘Mozarts Kompositionsweise: Beobachtungen am Figaro-Autograph’, 1967, 31–45

R.B. Moberly: Three Mozart Operas: Figaro, Don Giovanni, The Magic Flute (London, 1967)

A.A. Abert: ‘“La finta giardiniera” und “Zaide” als Quellen für spätere Opern Mozarts’, Musik und Verlag: Karl Vötterle zum 65. Geburtstag, ed. R. Baum and W. Rehm (Kassel, 1968), 113–22

J. Chailley: La flûte enchantée, opéra maçonnique: essai d’explication du livret et de la musique (Paris, 1968, 2/1983; Eng. trans., 1971/R, 2/1992 as The Magic Flute Unveiled: Esoteric Symbolism in Mozart’s Masonic Opera)

F.R. Noske: ‘Musical Quotation as a Dramatic Device: the Fourth Act of “Le nozze di Figaro”’, , 54 (1968), 185– 98; repr. in Noske, J1977

L.F. Tagliavini: ‘Quirino Gasparini and Mozart’, New Looks at Italian Opera: Essays in Honor of Donald J. Grout, ed. W.W. Austin (Ithaca, NY, 1968), 151–71 [on Mitridate]

S. Döhring: ‘Die Arienformen in Mozarts Opern’, 1968–70, 66–76

H. Federhofer: ‘Die Harmonik als dramatischer Ausdrucksfaktor in Mozarts Meisteropern’, 1968–70, 77–87

F. Giegling: ‘Metastasios Oper “La clemenza di Tito” in der Bearbeitung durch Mazzola’, 1968–70, 88–94

MJb

MJb MJb

MJb MQ

MJb

Page 270 of 288

K.-H. Köhler: ‘Figaro-Miscellen: einige dramaturgische Mitteilungen zur Quellensituation’, 1968–70, 119–31

C.-H. Mahling: ‘Typus und Modell in Opern Mozarts’, 1968–70, 145–58

C. Henning: ‘Thematic Metamorphoses in Don Giovanni’, , 30 (1969), 22–6

F. Noske: ‘Social Tensions in “Le nozze di Figaro”’, , 50 (1969), 45–62; repr. in Noske, J1977, 18–38

A.A. Abert: Die Opern Mozarts (Wolfenbüttel, 1970); abridged Eng. trans., , vii (1973), 97–171

B. Brophy: ‘“Figaro” and the Limitations of Music’, , 51 (1970), 26–36

F.R. Noske: ‘“Don Giovanni”: Musical Affinities and Dramatic Structure’, , 12 (1970), 167–203; repr. in Theatre Research/ Recherches téâtrales, viii (1973), 60–74 and in Noske, J1977, 39–75

A. Williamson: ‘Who was Sarastro?’, Opera, 21 (1970), 297–305; see also 695–6

H. Keller: ‘Mozart’s Wrong Key Signature’, Tempo, no.98 (1971), 21–7 [on Così fan tutte]

H.H. Eggebrecht: Versuch über die Wiener Klassik: die Tanzszene in Mozarts ‘Don Giovanni’ (Wiesbaden, 1972)

S. Kunze: Don Giovanni vor Mozart: die Tradition der Don- Giovanni-Opern im italienischen Buffo-Theater des 18. Jahrhunderts (Munich, 1972)

H. Goldschmidt: ‘Die Cavatina des Figaro: eine semantische Analyse’, , 15 (1973), 185–207

S. Kunze: ‘Über das Verhältnis von musikalisch autonomer Struktur und Textbau in Mozarts Opern’, Idomeneo Conference: Salzburg 1973 [ 1973–4], 217–32

R.B. Moberly: ‘Mozart and his Librettists’, , 54 (1973), 161–9

B. Williams: ‘Passion and Cynicism: Remarks on “Così fan tutte”’, , 114 (1973), 361–4

D. Heartz: ‘Raaff’s last Aria: a Mozartian Idyll in the Spirit of Hasse’, , 60 (1974), 517–43 [from Idomeneo]

D. Heartz: ‘Tonality and Motif in Idomeneo’, , 115 (1974), 382–6

MJb

NOHM

SMH

BMw

MJb

Page 271 of 288

K. Hortschansky: ‘Mozarts “Ascanio in Alba” und der Typus der Serenata’, Mozart und Italien: Rome 1974 [

, no.18 (1978)], 148–59

H. Lühning: ‘Zur Entstehungsgeschichte von Mozarts “Titus”’, , 27 (1974), 300–318; see also xxviii (1975), 75–81, 311–14

R.B. Moberly: ‘The Influence of French Classical Drama on Mozart’s “La clemenza di Tito”’, , 55 (1974), 286–98

G. Gruber: ‘Bedeutung und Spontaneität in Mozarts “Zauberflöte”’, Festschrift Walter Senn, ed. E. Egg and E. Fässler (Munich, 1975), 118–30

D. Koenigsberger: ‘A New Metaphor for Mozart’s Magic Flute ’, European Studies Review, 5 (1975), 229–75

H.L. Scheel: ‘“Le mariage de Figaro” von Beaumarchais und das Libretto der “Nozze di Figaro” von Lorenzo Da Ponte’, , 28 (1975), 156–73

C. Gianturco: Le opere del giovane Mozart (Pisa, 1976, 2/1978)

R. Angermüller: ‘Wer war der Librettist von Mozarts “La finta giardiniera”?’, 1976–7, 1–20

W. Mann: The Operas of Mozart (London, 1977)

F. Noske: The Signifier and the Signified: Studies in the Operas of Mozart and Verdi (The Hague, 1977)

D. Heartz: ‘Mozart, his Father and “Idomeneo”’, , 119 (1978), 228–31

D. Heartz: ‘Mozart’s Overture to Titus as Dramatic Argument’, , 64 (1978), 29–49

C. Osborne: The Complete Operas of Mozart (London, 1978)

S. Vill, ed.: Così fan tutte: Beiträge zur Wirkungsgeschichte von Mozarts Oper (Bayreuth, 1978)

D. Heartz: ‘Mozart and his Italian Contemporaries: “La clemenza di Tito”’, Mozart und seine Umwelt: Salzburg 1976 [ 1978–9], 275–93

C. Floros: Mozart-Studien, i: Zu Mozarts Sinfonik, Opern- und Kirchenmusik (Wiesbaden, 1979)

J. Parakilas: Mozart’s ‘Tito’ and the Music of Rhetorical Strategy (diss., Cornell U., 1979)

AnMc

MJb

Page 272 of 288

D. Heartz: ‘The Great Quartet in Mozart’s Idomeneo ’, Music Forum, 5 (1980), 233–56

K. Pahlen, ed.: Wolfgang Amadeus Mozart: Die Entführung aus dem Serail (Munich, 1980, 4/1997) [text and commentary]

‘Mozart und die Oper seiner Zeit’, , 5 (1981), 115– 266 [incl. articles by S. Kunze, C. Floros, G. Gruber, F. Lippmann, C.-H. Mahling, H. Lühning]

J. Rushton: W.A. Mozart: Don Giovanni (Cambridge, 1981)

W.J. Allanbrook: ‘Pro Marcellina: the Shape of “Figaro”, Act IV’, , 63 (1982), 69–84

R. Münster: ‘Neues zum Müncher Idomeneo 1781’, Acta mozartiana, 39 (1982), 10–20

S. Puntscher Riekmann: Mozart, ein bürgerlicher Künstler: Studien zu den Libretti ‘Le nozze di Figaro’, ‘Don Giovanni’ und ‘Così fan tutte’ (Vienna, 1982)

L’avant-scène opéra, no.54 (1983) [Mitridate issue]

W.J. Allanbrook: Rhythmic Gesture in Mozart: Le nozze di Figaro & Don Giovanni (Chicago, 1983)

S. Kunze: Mozarts Opern (Stuttgart, 1984)

J. Platoff: Music and Drama in the Opera Buffa Finale: Mozart and his Contemporanies in Vienna, 1781–1790 (diss., U. of Pennsylvania, 1984)

C. Wolff: ‘“O ew'ge Nacht! Wann wirst du schwinden?” Zum Verständnis der Sprecherszene im ersten Finale von Mozarts Zauberflöte’, Analysen: Beiträge zu einer Problemgeschichte des Komponierens: Festschrift für Hans Heinrich Eggebrecht, ed. W. Breig, R. Brinkmann and E. Buddle (Wiesbaden, 1984), 234–47

W. Allanbrook: ‘Mozart's Happy Endings: a New Look at the “Convention” of the “lieto fine”’, 1984–5, 1–5

M.P. McClymonds: ‘Mozart's “La clemenza di Tito” and opera seria in Florence as a Reflection of Leopold II's Musical Taste’, 1984–5, 61–70

I. Nagel: Autonomie und Gnade: über Mozarts Opern (Munich, 1985, 3/1988; Eng. trans., 1991)

S. Henze-Döhring: Opera seria, opera buffa, und Mozarts Don Giovanni, AnMc, no.24 (1986)

HJbMw

MJb

Page 273 of 288

B.A. Brown: ‘Beaumarchais, Mozart and the Vaudeville: Two Examples from “The Marriage of Figaro”’, , 127 (1986), 261–5

M. Freyhan: ‘Toward the Original Text of Mozart's Die Zauberflöte ’, , 39 (1986), 355–80

T. Bauman: W.A. Mozart: Die Entführung aus dem Serail (Cambridge, 1987)

T. Carter: W.A. Mozart: Le nozze di Figaro (Cambridge, 1987)

J.A. Rice: Emperor and Impresario: Leopold II and the Transformation of Viennese Musical Theater, 1790–92 (diss., U. of California, Berkeley, 1987)

J. Webster: ‘To Understand Verdi and Wagner we must Understand Mozart’, , 11 (1987–8), 175–93

W.J. Allanbrook: ‘ Opera seria Borrowings in Le nozze de Figaro: the Count's “Vedrò mentr'io”’, Studies in the History of Music, 2 (1988), 83–96

D. Neville: ‘Cartesian Principles in Mozart's La clemenza di Tito ’, Studies in the History of Music, 2 (1988), 97–123

J. Platoff: ‘Writing about Influences: Idomeneo, a Case Study’, Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, ed. E. Narmour and R.A. Solie (Stuyvesant, NY, 1988), 43–65

A. Steptoe: The Mozart – Da Ponte Operas (Oxford, 1988)

A. Tyson: ‘The 1786 Prague Version of Mozart's “Le nozze di Figaro”’, , 69 (1988), 321–33

R. Farnsworth: ‘Così fan tutte as Parody and Burlesque’, , 6/2 (1988–9), 50–68

P. Gallarati: ‘Music and Masks in Lorenzo Da Ponte's Mozartian Librettos’, , 1 (1989), 225–47

V. Mattern: Das dramma giocoso La finta giardiniera: ein Vergleich der Vertonungen von Pasquale Anfossi und Wolfgang Amadeus Mozart (Laaber, 1989)

J. Platoff: ‘Musical and Dramatic Structure in the Opera Buffa Finale’, , 7 (1989), 191–230

L’avant-scène opéra, no.131 (1990) [Il re pastore and Il sogno di Scipione issue]

C. Abbate and R. Parker: ‘Dismembering Mozart’, , 2 (1990), 187–95

JAMS

19CM

COJ

Page 274 of 288

D. Heartz and T. Bauman: Mozart’s Operas (Berkeley, 1990) [incl. T. Bauman: ‘At the North Gate: Instrumental Music in Die Zauberflöte ’, 277–97]

D. Link: ‘The Viennese Operatic Canon and Mozart's Così fan tutte ’, , 38 (1990), 111–21

J. Platoff: ‘The Buffa Aria in Mozart's Vienna’, , 2 (1990), 99–120

L.L. Tyler: ‘ Bastien und Bastienne: the Libretto, its Derivartion, and Mozart's Text-Setting’, , 8 (1990), 520– 52

J. Webster: ‘Mozart's Operas and the Myth of Musical Unity’, , 2 (1990), 197–218

P. Branscombe: W.A. Mozart: Die Zauberflöte (Cambridge, 1991)

C. Ford: Così? Sexual Politics in Mozart’s Operas (Manchester, 1991)

J. Platoff: ‘Tonal Organization in the “Buffo” Finales and the Act II Finale of Le nozze di Figaro ’, , 72 (1991), 387–403

J.A. Rice: W.A. Mozart: La clemenza di Tito (Cambridge, 1991)

L. Tyler: ‘“Zaide” in the Development of Mozart's Operatic Language’, , 72 (1991), 214–35

J. Webster: ‘The Analysis of Mozart's Arias’, in Eisen, B1991, 101–99

R.R. Subotnik: ‘Whose Magic Flute? Intimations of Reality at the Gates of Enlightenment’, , 15 (1991–2), 132– 50

D.J. Buch: ‘Fairy-Tale Literature and Die Zauberflöte ’, , 64 (1992), 30–49

J.A. Eckelmeyer: The Cultural Context of Mozart’s Magic Flute: Social, Aesthetic, Philosophical (Lewiston, NY, 1992)

N. Till: Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas (London, 1992)

W. Allanbrook: ‘Human Nature in the Unnatural garden: Figaro as Pastoral’, no.51 (1993), 82–93

W. Brauneis: ‘Das Frontispiz im Alberti-Libretto von 1791 als Schlüssel zu Mozarts Zauberflöte’, , 41/3–4 (1993), 49–59

MISM

COJ

19CM

AcM

CMc

MISM

Page 275 of 288

S. Durante: Mozart and the Idea of vera opera: a Study of La clemenza di Tito (diss., Harvard U., 1993)

P. Gallarti: La forza della parole: Mozart drammaturgo (Turin, 1993)

E.J. Goehring: The Comic Vision of ‘Così fan tutte’: Literary and Operatic Traditions (diss., Columbia U., 1993)

J. Rushton: W.A. Mozart: Idomeneo (Cambridge, 1993)

G.A. Wheelock: ‘Schwarze Gredel and the Engendered Minor Mode in Mozart's Operas’, Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. R.A. Solie (Berkeley, 1993)

H.J. Wignall: ‘Guglielmo d'Ettore: Mozart's First Mitridate’, , 10/3 (1993–4), 93–112

S.G. Burnham: ‘Mozart's felix culpa: Così fan tutte and the Irony of Beauty’, , 78 (1994), 77–98

J. Waldoff: ‘The Music of Recognition: Operatic Enlightenment in The Magic Flute’, , 75 (1994), 214– 35

J. Rice: ‘Mozart and his Singers: the Case of Maria Marchetti Fantozzi, the First Vitellia’, , 11/4 (1994–5), 31–52

B.A. Brown: W.A. Mozart: Così fan tutte (Cambridge, 1995)

J.E. Everson: ‘Of Beaks and Geese: Mozart, Varesco, and Francesco Cieco’, , 76 (1995), 369–83

E. Goehr: ‘Despina, Cupid and the Pastoral Mode of Così fan tutte ’, , 7 (1995), 107–33

D. Heartz: ‘Mozart and Da Ponte’, , 79 (1995), 700–18

U. Konrad: ‘“…mithin liess ich meinen gedanken freyen lauf”: erste Überlegungen und Thesen zu den “Fassungen” von W.A. Mozarts Die Entführung aus dem Serail KV 384’, Opernkomposition als Prozess: Bochum 1995, 47–64

J.A. Rice: ‘Leopold II, Mozart, and the Return to a Golden Age’, Opera and the Enlightenment, ed. T. Bauman and M. McClymonds (Cambridge, 1995), 271–96

P.L. Gidwitz: ‘Mozart's Fiordiligi: Adriana Ferrarese dal Bene’, , 8 (1996), 199–214

COJ

Page 276 of 288

R. Peiretti: ‘“Vado incontro al fato estremo”: eine bisher fälschlich Mozart zugeschriebene Arie der Oper “Mitridate, re di Ponto”’, , 44/3–4 (1996), 40–41

R.J. Rabin: Mozart, Da Ponte, and the Dramaturgy of Opera Buffa (diss., Cornell U., 1996)

J. Waldoff: The Music of Recognition in Mozart’s Operas (diss., Cornell U., 1995)

M. Hunter: ‘Rousseau, the Countess, and the Female Domain’, in Eisen, B1997, 1–26

M. Hunter and J. Webster, eds.: Opera Buffa in Mozart’s Vienna (Cambridge, 1997)

J. Platoff: ‘Tonal Organization in the opera buffa of Mozart's Time’, in Eisen, B1997, 139–74

M. Hunter: The Culture of Opera Buffa in Mozart’s Vienna: a Poetics of Entertainment (Princeton, NJ, 1999)

K: Arias, songs and other vocal music M.J.E. Brown: ‘Mozart’s Songs for Voice and Piano’, , 17 (1956), 19–28

A. Orel: ‘Mozarts Beitrag zum deutschen Sprechtheater: die Musik zu Geblers “Thamos”’, Acta mozartiana, 4 (1957), 43–53, 74–81

H. Engel: ‘Hasses Ruggiero und Mozarts Festspiel Ascanio’, 1960–61, 29–42

C.B. Oldman: ‘Mozart’s Scena for Tenducci’, , 42 (1961), 44–52

S. Kunze: ‘Die Vertonungen der Arie “Non sò d’onde viene” von J.Chr. Bach und von W.A. Mozart’, , no.2 (1965), 85–111

A. Dunning: ‘Mozarts Kanons’, 1971–2, 227–40

S. Dahms: ‘Mozarts festa teatrale “Ascanio in Alba”’, , 31 (1976), 15–24

E.A. Ballin: Das Wort-Ton-Verhältnis in den klavierbegleiteten Liedern Mozarts (Kassel, 1984)

P. Autexier: ‘La musique maçonnique’, Dix-huitième siècle, 19 (1987), 97–104

J. Page and D. Edge: ‘A Newly Uncovered Autograph Sketch for Mozart's Al desio di chi t'adora K.577’, , 132 (1991), 601–6

MISM

MJb

AnMc

MJb

ÖMz

Page 277 of 288

P.A. Autexier: ‘Cinq Lieder inconnus de W.A. Mozart’, International Journal of Musicology, 1 (1992), 67–79

D. Edge: ‘A Newly Discovered Autograph Source for Mozart's Aria K.365a (Anh. 11a)’, 1996, 177–96

D.J. Buch: ‘Mozart and the Theater auf der Wieden: New Attributions and Perspectives’, , 9 (1997), 195–232

L: Symphonies, serenades etc. D. Schultz: Mozarts Jugendsinfonien (Leipzig, 1900)

S. Sechter: Das Finale der Jupiter-Symphonie (C dur) von W.A. Mozart, ed. F. Eckstein (Vienna, 1923)

H. Schenker: ‘Mozart: Sinfonie g-moll’, Das Meisterwerk in der Musik, 2 (Munich, 1926/R), 105–57; Eng. trans. (Cambridge, 1996), 59–96

A.E.F. Dickinson: A Study of Mozart’s Last Three Symphonies (London, 1927/R, 2/1939)

G. de Saint-Foix: Les symphonies de Mozart (Paris, 1932; Eng. trans., 1947/R)

N. Broder: ‘The Wind-Instruments in Mozart’s Symphonies’, , 19 (1933), 238–59

G. de Saint-Foix: ‘La jeunesse de Mozart: 1771: les diverses orientations de la symphonie’, 1950, 14–23, 116–26

H. Engel: ‘Über Mozarts Jugendsinfonien’, 1951, 22– 33

G. Hausswald: Mozarts Serenaden: ein Beitrag zur Stilkritik des 18. Jahrhunderts (Leipzig, 1951/R)

H. Engel: ‘Der Tanz in Mozarts Kompositionen’, 1952, 29–39

J.N. David: Die Jupiter-Symphonie: eine Studie über die thematisch-melodischen Zusammenhänge (Göttingen, 1953, 4/1960)

H. Beck: ‘Zur Entstehungsgeschichte von Mozarts D-Dur- Sinfonie, KV. 297: Probleme der Kompositionstechnik und Formentwicklung in Mozarts Instrumentalmusik’, 1955, 95–112

H. Keller: ‘KV.503: the Unity of Contrasting Themes and Movements’, , 17 (1956), 48–58, 120–29

MJb

COJ

MJb

Page 278 of 288

E.F. Schmid: ‘Zur Entstehungszeit von Mozarts italienischen Sinfonien’, MJB 1958, 71–8

A.A. Abert: ‘Stilistischer Befund und Quellenlage: zu Mozarts Lambacher Sinfonie KV Anh.221 = 45a’, Festschrift Hans Engel, ed. H. Heussner (Kassel, 1964), 43–56

W. Plath and others: ‘Echtheitsfragen’, 1971–2, 17–67 [with discussions of KAnh.9/Anh.C14.01 and K84/73q]

P. Benary: ‘Metrum bei Mozart: zur metrischen Analyse seiner letzten drei Sinfonien’, , 114 (1974), 201–5

S. Wollenberg: ‘The Jupiter Theme: New Light on its Creation’, , 116 (1975), 781–3

L. Meyer: ‘Grammatical Simplicity and Relational Richness: the Trio of Mozart’s G minor Symphony’, Critical Inquiry, 2 (1975–6), 693–761

R. Dearling: The Music of Wolfgang Amadeus Mozart: the Symphonies (London and Rutherford, NJ, 1982)

R. Münster: ‘Neue Funde zu Mozarts symphonischen Jugendwerk’, , 30.1–2 (1982), 2–11

E. Smith: Mozart Serenades, Divertimenti and Dances (London, 1982)

Die Sinfonie KV 16a ‘del Sigr. Mozart’: Odense 1984

R.R. Subotnik: ‘Evidence of a Critical World View in Mozart's Last Three Symphonies’, Music and Civilisation: Essays in Honor of Paul Henry Lang, ed. E. Strainchamps, M.R. Maniates and C. Hatch (New York, 1984), 29–43

P. Autexier: ‘Wann wurde di Maurerische Trauermusik uraufgeführt?’, 1984, 56–8

N. Zaslaw and C. Eisen: ‘Signor Mozart's Symphony in A minor K. Anh. 220 = 16a’, , 4 (1985–6), 191–206

C. Eisen: ‘New Light on Mozart's “Linz” Symphony, K. 425’, , 113 (1988), 81–96

L. Treitler: ‘Mozart and the Idea of Absolute Music’, Das musikalische Kunstwerk: Festschrift Carl Dahlhaus, ed. H. Danuser and others (Laaber, 1988), 413–40; repr. in Music and the Historical Imagination (Cambridge, MA, 1989), 176–214

N. Zaslaw: Mozart’s Symphonies: Context, Performance Practice, Reception (Oxford, 1989)

MJb

SMz

MISM

MJb

JRMA

Page 279 of 288

C. Eisen: ‘Problems of Authenticity Among Mozart's Early Symphonies: the Examples of K.Anh.220 (16a) and 76 (42a)’, , 70 (1989), 505–16

L. Dreyfus: ‘The Hermeneutics of Lament: a Neglected Paradigm in a Mozartian Trauermusik’, Music Analysis, 10 (1991), 329–43

D. Blazin: ‘The Two Versions of Mozart's Divertimento K. 113’, , 73 (1992), 32–47

W. Gersthofer: Mozarts frühe Sinfonien (bis 1772): Aspekte frühklassischer Sinfonik (Kassel, 1993)

S. Sechter: ‘Analysis of the Finale of Mozart's Symphony no.41 in C (K.551, “Jupiter”) (1843)’, Music Analysis in the Nineteenth Century, i: Fugue, form and style, ed. I. Bent (Cambridge, 1993), 79–96

A. Lindmayr-Brandl: ‘Mozarts frühe Tänze fur Orchester’, 1995, 29–58

C. Eisen: ‘The Salzburg Symphonies: a Biographical Interpretation’, Wolfgang Amadè Mozart: Essays on his Life and Music, ed. S. Sadie (Oxford, 1996), 178–212

C. Eisen: ‘Another Look at the “Corrupt Passage” in Mozart's G minor Symphony K550: its Sources, “Solution” and Implications for the Composition of the Final Trilogy’,

, 25 (1997), 373–81

A. Kearns: ‘The Orchestral Serenade in Eighteenth- Century Salzburg’, , 16 (1997), 163–97

E. Sisman: ‘Genre, Gesture, and Meaning in Mozart's “Prague” Symphony’, in Eisen, B1997, 27–84

R. Münster: ‘Zwei Versetten von Johann Ernst Eberlin im Gallimathias musicum KV 32’, , 46/3–4 (1998), 1–3

D. Chua: ‘Haydn as Romantic: a Chemical Experiment with Instrumental Music’, Haydn Studies, ed. D.W. Sutcliffe (Cambridge, 1999), 120–51

M: Concertos C.M. Girdlestone: Mozart et ses concertos pour piano (Paris, 1939; Eng. trans., 1948, 3/1978)

G. Dazeley: ‘The Original Text of Mozart's Clarinet Concerto’, , 9 (1948), 166–72; see also Kratochovíl, N1956, and E. Hess, 1967, 18–30

MJb

EMc

JMR

MISM

MR MJb

Page 280 of 288

A. Hutchings: A Companion to Mozart’s Piano Concertos (London, 1948, 2/1950/R)

H.C.R. Landon: ‘The Concertos, II: their Musical Origin and Development’, The Mozart Companion, ed. H.C.R. Landon and D. Mitchell (London and New York, 1956/R), 234–82

E.J. Simon: ‘Sonata into Concerto: a Study of Mozart's First Seven Concertos’, , 31 (1959), 170–85

H. Tischler: A Structural Analysis of Mozart’s Piano Concertos (Brooklyn, NY, 1966)

I. Kecskeméti: ‘Opernelemente in den Klavierkonzerten Mozarts’, 1968–70, 111–18

M.W. Cobin: ‘Aspects of Stylistic Evolution in Two Mozart Concertos: K.271 and K.482’, , 31 (1970), 1–20

J. Kerman, ed. W.A. Mozart: Piano Concerto in C Major, K. 503 (New York, 1970) [score and essays]

D. Forman: Mozart’s Concerto Form: the First Movements of the Piano Concertos (London, 1971/R)

R. Strohm: ‘Merkmale italienischer Versvertonung in Mozarts Klavierkonzerten’, Mozart und Italien: Rome 1974 [ , no.18 (1978)], 219–36

C. Wolff: ‘Zur Chronologie der Klavierkonzert-Kadenzen Mozarts’, Mozart und seine Umwelt: Salzburg 1976 [ 1978–9], 235–46

A.H. King: Mozart String and Wind Concertos (London, 1978/R with revs.)

S. McClary: ‘A Musical Dialect from the Enlightenment: Mozart's Piano Concerto in G major, K.453, Movement 2’, Cultural Critique, 4 (1986), 129–69

A. Tyson: ‘Mozart's Horn Concertos: New Datings and the Identification of Handwriting’, 1987–8, 121–37

R.D. Levin: Who Wrote the Mozart Four-Wind Concertante? (Stuyvesant, NY, 1988)

U. Konrad: ‘Mozarts “Gruppenkonzerte” aus den letzten Salzburger Jahren: Probleme der Chronologie und Deutung’, Beiträge zur Geschichte des Kozerts: Festschrift Siegfried Kross, ed. R. Emans and M. Wendt (Bonn, 1990), 141–57

W. Steinbeck: ‘Zur Entstehung der Konzertsatzform in den Pasticcio-Konzerten Mozarts’, Beiträge zur Geschichte des

AcM

MJb

AnMc

MJb

Page 281 of 288

Kozerts: Festschrift Siegfried Kross, ed. R. Emans and M. Wendt (Bonn, 1990), 125–39

J. Kerman: ‘Mozart's Piano Concertos and their Audience’, On Mozart: Washington DC 1991, 151–68

M. Brück: Die langsamen Sätze in Mozarts Klavierkonzerten: Untersuchungen zur Form und zum musikalischen Satz (Munich, 1994)

M. Feldman: ‘Staging the Virtuoso: Ritornello Procedure in Mozart, from Aria to Concerto’, in Zaslaw, M1996, 149– 86

C. Lawson: Mozart: Clarinet Concerto (Cambridge, 1996)

J. Webster: ‘Are Mozart's Concertos “Dramatic”? Concerto Ritornellos versus Aria Introductions in the 1780s’, in Zaslaw, M1996, 107–38

N. Zaslaw, ed.: Mozart’s Piano Concertos: Text, Context, Interpretation (Ann Arbor, 1996)

S. Keefe: ‘Koch's Commentary on the Late Eighteenth- Century Concerto: Dialogue, Drama and Solo/Orchestral Relations’, , 79 (1998), 368–85

S. Keefe: ‘The Stylistic Significance of the First Movement of Mozart's Piano Concerto No.24 in C minor, K.491: a Dialogic Apotheosis’, , 18 (1999), 1–37

N: Chamber music T.F. Dunhill: Mozart’s String Quartets (London, 1927/R)

A. Einstein: ‘Mozart’s Ten Celebrated String Quartets’, , 3 (1942), 159–69

R.S. Tangemann: ‘Mozart’s Seventeen Epistle Sonatas’, , 32 (1946), 588–601

W. Fischer: ‘Mozarts Weg von der begleiteten Klaviersonate zur Kammermusik mit Klavier’, 1956, 16–34

J. Kratochvíl: ‘Betrachtungen über die Urfassung des Konzerts für Klarinette und des Quintetts für Klarinette und Streicher von W.A. Mozart’, Leben und Werk W.A. Mozarts: Prague 1956, 262–7

S.T.M. Newman: ‘Mozart’s G minor Quintet (KV.516) and its Relationship to the G minor Symphony (KV.550)’, , 17 (1956), 287–303

JMR

MJb

Page 282 of 288

A.-E. Cherbuliez: ‘Bemerkungen zu den “Haydn” Streichquartetten Mozarts und Haydns “Russischen” Streichquartetten’, 1959, 28–45

C. Bär: ‘Die “Musique vom Robinig”’, , 9/3–4 (1960), 6–11

C. Bär: ‘Die Lodronschen Nachtmusiken’, 10/1–2 (1961), 19–22

E. Hess: ‘Die “Varianten” im Finale des Streichquintettes KV.593’, 1960–61, 68–77

K. Marguerre: ‘Mozarts Klaviertrios’, 1960–61, 182– 94

C. Bär: ‘Zum “Nannerl-Septett” KV 251’, Acta mozartiana, 9 (1962), 24–30

M. Whewell: ‘Mozart’s Bassethorn Trios’, , 103 (1962), 19 only

A. Palm: ‘Mozarts Streichquartett d-moll, KV 421, in der Interpretation Momignys’, 1962–3, 256–79

C. Bär: ‘Die “Andretterin-Musik”: Betrachtungen zu KV 205’, Acta mozartiana, 10 (1963), 30–37

W. Kirkendale: ‘More Slow Introductions by Mozart to Fugues of J.S. Bach?’, , 17 (1964), 43–65

L. Finscher: ‘Mozarts “Mailänder” Streichquartette’, , 19 (1966), 270–83

A.H. King: Mozart Chamber Music (London, 1968)

K. Marguerre: ‘Die beiden Sonaten-Reihen für Klavier und Geige’, 1968–70, 327–32

G. Croll and K. Birsak: ‘Anton Stadlers “Bassettklarinette”, und das “Stadler-Quintett” KV581: Versuch einer Anwendung’, , 24 (1969), 3–11

W.J. Mitchell: ‘Giuseppe Sarti and Mozart’s Quartet K. 421’, , no.9 (1969), 147–53

W.S. Newman: ‘The Duo Texture of Mozart’s K.526: an Essay in Classic Instrumental Style’, Essays in Musicology in Honor of Dragan Plamenac, ed. G. Reese and R.J. Snow (Pittsburgh, 1969/R), 191–206

W. Hümmeke: Versuch einer strukturwissenschaftlichen Darstellung der ersten und vierten Sätze der zehn letzten Streichquartette von W.A. Mozart (Münster, 1970)

MJb

MISM

MJb

JAMS

MJb

ÖMz

CMc

Page 283 of 288

I. Hunkemöller: W.A. Mozarts frühe Sonaten für Violine und Klavier (Berne, 1970)

F. László: ‘Untersuchungen zum Mozarts ’‘zweiten” Opus 1, Nr.1’, 1971–2, 149–56

D.N. Leeson and D. Whitwell: ‘Mozart’s “Spurious” Wind Octets’, , 53 (1972), 377–99

R. Hellyer: ‘Mozart’s Harmoniemusik’, , 34 (1973), 146–56

M. Flothuis: ‘Die Bläserstücke KV439b’, Idomeneo Conference: Salzburg 1973 [ 1973–4], 202–10

J.A. Vertrees: ‘Mozart’s String Quartet K.465: the History of a Controversy’, , no.17 (1974), 96–114

D.N. Leeson and D. Whitwell: ‘Concerning Mozart’s Serenade in B♭ for Thirteen Instruments, K.361 (370a)’,

1976–7, 97–130

The String Quartets of Haydn, Mozart and Beethoven: Cambridge, , 1979

V.K. Agawu: Playing with Signs: a Semiotic Interpretation of Classic Music (Princeton, NJ, 1991) [on the string quintets]

W.-D. Seiffert: Mozarts frühe Streichquartette (Munich, 1992)

C. Eisen and W.-D. Seiffert, eds.: Mozarts Streichquintette: Beiträge zum musikalischen Satz, zum Gattungskontext und zu Quellenfragen (Stuttgart, 1994)

W. Pfann: ‘“Ein bescheidener Platz in der Sonatenform …”: zur formalen Gestaltung des Menuetts in den Haydn- Quartetten Mozarts’, , 52 (1995), 316–36

W.-D. Seiffert: ‘Mozart's “Haydn” Quartetts: an Evaluation of the Autographs and First Edition, with Particular Attention to mm.125–42 of the Finale of K.387’, in Eisen, B1997, 175–200

J. Irving: Mozart: the ‘Haydn’ Quartets (Cambridge, 1998)

O: Keyboard music F. Lorenz: W.A. Mozart als Clavier-Componist (Breslau, 1866)

H. Schenker: ‘Mozart: Sonate a-moll’, Der Tonwille, no.2 (1922), 7–24

MJb

CMc

MJb

AMw

Page 284 of 288

H. Schenker: ‘Mozart: Sonate C-dur’, Der Tonwille, no.4 (1923), 19 only

N. Broder: ‘Mozart and the “Clavier”’, , 27 (1941), 422–32; repr. in Lang, B1963, 76–85

H. Ferguson: ‘Mozart’s Duets for One Pianoforte’, , 73 (1946–7), 35–44

W. Mason: ‘Melodic Unity in Mozart’s Piano Sonata K332’, , 22 (1961), 28–33

K. von Fischer: ‘Mozarts Klaviervariationen: zur Editions- und Aufführungspraxis des späten 18. und frühen 19. Jahrhunderts’, Hans Albrecht in memoriam, ed. W. Brennecke and H. Haase (Kassel, 1962), 168–73

G. Croll: ‘Zu Mozarts Larghetto und Allegro Es-dur für 2 Klaviere’, 1964, 28–37

H. Neumann and C. Schachter: ‘The Two Versions of Mozart’s Rondo K494’, Music Forum, 1 (1967), 1–34

R. Rosenberg: Die Klaviersonaten Mozarts: Gestalt- und Stilanalyse (Hofheim, 1972)

W. Plath: ‘Zur Datierung der Klaviersonaten KV 279–284’, Acta mozartiana, 21 (1974), 26–30

Piano Quarterly, no.95 (1976) [Mozart issue]

M.H. Schmid: ‘Klaviermusik in Salzburg um 1770’, Mozart und seine Umwelt: Salzburg 1976 [ 1978–9], 102–12

C. Wolff: ‘Mozarts Präludien für Nannerl: zwei Rästel und ihre Lösung’, Festschrift Wolfgang Rehm, ed. D. Berke and H. Heckmann (Kassel, 1989), 106–18

W.J. Allanbrook: ‘Two Threads through the Labyrinth: Topic and Process in the First Movements of K.332 and K. 333’, Convention in Eighteenth- and Nineteenth-Century Music: Essays in honor of Leonard G. Ratner, ed. W. Allanbrook, J.M. Levy, and W.P. Mahrt (Stuyvesant, NY, 1992), 125–71

E.K. Wolff: ‘The Rediscovered Autograph of Mozart's Fantasy and Sonata in C minor, K.475/457’, , 10 (1992), 3–47

M.R. Mercado: The Evolution of Mozart's Pianistic Style (Carbondale, IL, 1992)

D.E. Freeman: ‘Josef Mysliveček and Mozart's Piano Sonatas K.309 (284b) and 311 (284c)’, 1995, 95–109

PRMA

MJb

Page 285 of 288

D. Heartz: Verona Portrait of Mozart and the Molto Allegro in G (KV 72A) (Ala, 1995)

J. Irving: Mozart’s Piano Sonatas: Contexts, Sources, Styles (Cambridge, 1997)

C. Eisen: ‘Mozart and the Sonata K.19d’, Haydn, Mozart, & Beethoven: Essays in Honour of Alan Tyson, ed. S. Brandenburg (Oxford, 1998), 91–9

C. Eisen and C. Wintle: ‘Mozart's C minor Fantasy, K475: An Editorial “Problem” and its Analytical and Critical Consequences’, , 124 (1999), 26–52

P: Performing practice R. Elvers: Untersuchungen zu den Tempi in Mozarts Instrumentalmusik (diss., free U. of Berlin, 1952)

W. Fischer: ‘Selbstzeugnisse Mozarts für die Aufführungsweise seiner Werke’, 1955, 7–16

H. Albrecht, ed.: Die Bedeutung der Zeichen Keil, Strich und Punkt bei Mozart (Kassel, 1957)

E. and P. Badura-Skoda: Mozart-Interpretation (Vienna, 1957; Eng. trans., 1962/R as Interpreting Mozart on the Keyboard)

P. Mies: ‘Die Artikulationszeichen Strich und Punkt bei Wolfgang Amadeus Mozart’, , 11 (1958), 428–55

A.B. Gottron: ‘Wie spielte Mozart die Adagios seiner Klavierkonzerte?’, , 13 (1960), 334 only

C. Bär: ‘Zum Begriff des “Basso” in Mozarts Serenaden’, 1960–61, 133–55

W. Gerstenberg: ‘Authentische Tempi für Mozarts “Don Giovanni”?’, 1960–61, 58–61

R. Münster: ‘Authentische Tempi zu den sechs letzten Sinfonien W.A. Mozarts?’, 1962–3, 185–99

C. Bär: ‘Zu einem Mozart’schen Andante-Tempo’, Acta mozartiana, 10 (1963), 78–84

Z. Śliwiński: ‘Ein Beitrag zum Thema: Ausführung der Vorschläge in W.A. Mozarts Klavierwerken’, 1965–6, 179–94

S. Babitz: ‘Some Errors in Mozart Performance’, 1967, 62–89

JRMA

MJb

Page 286 of 288

C.-H. Mahling: ‘Mozart und die Orchesterpraxis seiner Zeit’, 1967, 229–43

E. Melkus: ‘Über die Ausführung der Stricharten in Mozarts Werken’, 1967, 244–65

H. Engel: ‘Interpretation und Aufführungspraxis’, 1968–70, 7–16 [followed by proceedings of colloquium of Zentralinstitut für Mozartforschung, 1968, pp.20–46]

E. Melkus: ‘Zur Auszierung der Da-capo-Arien in Mozarts Werken’, 1968–70, 159–85

T. Harmon: ‘The Performance of Mozart’s Church Sonatas’, , 51 (1970), 51–60

N. Zaslaw: ‘Mozart’s Tempo Conventions’, XI: Copenhagen 1972, 720–33

M. Bilson: ‘Some General Thoughts on Ornamentation in Mozart’s Keyboard Works’, Piano Quarterly, no.95 (1976), 26–8

F. Ferguson: ‘The Classical Keyboard Concerto: some Thoughts on Authentic Performance’, , 12 (1984), 437–45

J. Webster: ‘The Scoring of Mozart's Chamber Music for Strings’, Music in the Classic Period: Essays in Honor of Barry S. Brook, ed. A.W. Atlas (New York, 1985), 259–96

F. Neumann: Ornamentation and Improvisation in Mozart (Princeton, NJ, 1986)

J. Eppelsheim: ‘Bassetthorn-Studien’, Studia organologica: Festschrift für John Henry van der Meer, ed. F. Hellwig (Tutzing, 1987), 69–126

W. Malloch: ‘Carl Czerny's Metronome Marks for Haydn and Mozart Symphonies’, , 16 (1988), 72–82

J.-P. Marty: The Tempo Indications of Mozart (New Haven CT, 1988)

S. Rosenblum: Performance Practices in Classic Piano Music (Bloomington, IN, 1988)

W.-D. Seiffert: ‘Anmerkungen zur Mozarts “Serenadenquartet”’, Gesellschaftsgebundene instrumentale Unterhaltungsmusik des 18. Jahrhunderts: Eichstätt 1988, 105–18

H.M. Brown and S. Sadie, eds.: Performance Practice: Music after 1600 (London and New York, 1989) [incl. articles by N. Zaslaw, M. Bilson, R. Stowell, D. Charlton, R.D. Levin, W. Crutchfield]

MJb

IMSCR

EMc

Page 287 of 288

W. Crutchfield: ‘The Prosodic Appoggiatura in the Music of Mozart and his Contemporaries’, , 42 (1989), 229– 74

P. Le Huray: Authenticity in Performance: Eighteenth- Century Case Studies (Cambridge, 1990)

R.L. Todd and P. Williams, eds.: Perspectives on Mozart Performance (Cambridge, 1991)

M. Bilson: ‘Execution and Expression in the Sonata in E flat, K.282’, , 20 (1992), 237–43

B. Brauchli: ‘Christian Baumann's Square Pianos and Mozart’, , 45 (1992), 29–49

D. Edge: ‘Mozart's Viennese Orchestras’, , 20 (1992), 64–88

C. Eisen: ‘Mozart's Salzburg Orchestras’, , 20 (1992), 89–103; repr. in Journal of the Conductor’s Guild, xvii (1996), 9–21

C. Brown: ‘Dots and Strokes in Late 18th- and 19th- Century Music’, , 21 (1993), 593–610

M.H. Schmid: ‘Zur Mitwirkung des Solisten am Orchester- Tutti bei Mozarts Konzerten’, Basler Jb für historische Musikpraxis, 17 (1993), 89–112

W.-D. Seiffert: ‘Punkt und Strich bei Mozart’, Mozart als Text: Freiburg 1993, 133–43

R. Maunder and D.E. Rowland: ‘Mozart's Pedal Piano’, , 23 (1995), 287–96

S. Rampe: Mozarts Claviermusik: Klangwelt und Aufführungspraxis (Kassel, 1995) [incl. discography and list of works]

R. Taruskin: Text and Act: Essays on Music and Performance (Oxford, 1995)

C. Eisen: ‘The Orchestral Bass Part in Mozart's Salzburg Keyboard Concertos: the Evidence of the Authentic Copies’, in Zaslaw, M1996, 411–25

R. Riggs: ‘Authenticity and Subjectivity in Mozart Performance: Türk on Character and Interpretation’, College Music Symposium, 36 (1996), 33–58

Q: Reception K. Werner-Jensen: Studien zur ‘Don Giovanni’-Rezeption im 19. Jahrhundert (1800–1850) (Tutzing, 1980)

JAMS

EMc

GSJ

EMc

Page 288 of 288

S. Dudley: ‘Les premières versions françaises du Mariage de Figaro de Mozart’, , 69 (1983), 55–83

G. Gruber: Mozart und die Nachwelt (Salzburg, 1985, 2/1987; Eng. trans., 1991)

Mozart: origines et transformations d’un mythe: Clermont- Ferrand 1991 [incl. J.-R. Mongrédien: ‘La France à la dećouverte de Mozart ou le veritable enjeu d'une mythification (1791–1815)’, 71–8; E. Kocevar: ‘L'évolution de la biographie mozartienne, de Friedrich von Schlichtegroll (1793) a Pierre Petit (1991): où la réalité devient mythe’, 57–67; G. Gefen: ‘Légendes maçonniques autour de Mozart’, 43–55; J.-L. Jam: ‘Wolfgang est grand, et Leopold est son prophète’ 15–31]

P. Csobadi and others, eds.: Das Phänomen Mozart im 20. Jahrhundert: Wirkung, Verarbeitung und Vermarktung in Literature, bildender Kunst und den Medien (Salzburg, 1991)

B. Hiltner: La clemenza di Tito von Wolfgang Amadé Mozart im Spiegel der musikalischen Fachpresse zwischen 1800 und 1850 (Frankfurt, 1994)

H. Jung, ed.: Mozart: Aspekte des 19. Jahrhunderts (Mannheim, 1995)

F. Senici: La clemenza di Tito di Mozart: i primi trent’anni (1791–1821) (Turnhout, 1997)

RdM