The indication "K." or "KV" refers to Köchel Verzeichnis (Köchel catalogue), i.e. the (more or less) chronological (i.e. by composition date) catalogue of Mozart's works by Ludwig von Köchel. This catalog has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 25).
The compositions of Mozart listed below are grouped thematically, i.e. by type of composition. Not all thematic groups of Mozart's works have a separate numbering that is generally accepted: Köchel only numbers symphonies (1 to 41), piano concertos (1 to 27, leaving out some early transcriptions by Mozart) and a few other groups. On the other hand, for most chamber music and vocal music there is no such numbering (or at least no generally accepted one).
Only relatively few of Mozart's compositions have opus numbers, as not so many of his compositions were published during his lifetime, so numbering by opus number proves quite impractical for Mozart compositions.
Mozart's symphonic production covers a 24-year interval, from 1764 to 1788. According to most recent investigations, Mozart wrote not just the 41 symphonies reported in traditional editions, but up to 68 complete works of this type. However, by convention, the original numbering has been retained, and so his last symphony is still known as "No. 41". Some of the symphonies (K. 297, 385, 550) were revised by the author after their first versions.
These are the numbered symphonies from Mozart's early childhood.
Symphony No. 1 in E-flat major, K. 16
Symphony No. 2 in B-flat major, K. 17 (spurious, attributed to Leopold Mozart)
Symphony No. 3 in E-flat major, K. 18 (spurious, by Carl Friedrich Abel)
Symphony No. 4 in D major, K. 19
Symphony No. 5 in B-flat major, K. 22
Symphony No. 6 in F major, K. 43
Symphony No. 7 in D major, K. 45
Symphony No. 8 in D major, K. 48
Symphony No. 9 in C major, K. 73/75a
Symphony No. 10 in G major, K. 74
Symphony No. 11 in D major, K. 84/73q
Symphony No. 12 in G major, K. 110/75b
Symphony No. 13 in F major, K. 112
There are also several "unnumbered" symphonies from this time period. Many of them were given numbers past 41 (but not in chronological order) in an older collection of Mozart's works (Mozart-Werke, 1877–1910, referred to as "GA"), but newer collections refer to them only by their entries in the Köchel catalogue. Many of these cannot be definitively established as having been written by Mozart (see here).
Symphony in F major, K. 75 (GA 42)
Symphony in F major, K. 76/42a (GA 43: doubtful)
Symphony in D major, K. 81/73l (GA 44: doubtful)
Symphony in D major, K. 95/73n (GA 45)
Symphony in C major, K. 96/111b (GA 46)
Symphony in D major, K. 97/73m (GA 47)
Symphony in F major, K. 98/Anh.C 11.04 (GA 48/56: doubtful)
Symphony in B-flat major, K. Anh. 214/45b (GA 55: doubtful)
Symphony in B-flat major, K. Anh. 216/74g/Anh.C 11.03 (GA 54: doubtful)
Symphony in G major, "Old Lambach", K. Anh. 221/45a
Symphony in F major, K. Anh. 223/19a
Symphony in A minor, "Odense", K. Anh. 220/16a (doubtful)
These symphonies are sometimes subcategorized as "Early" (1771–1773) and "Late" (1773–1777), and sometimes subcategorized as "Germanic" (with minuet) or "Italian" (without minuet). None of these were printed during Mozart's lifetime.
Although not counted as "symphonies" the three Divertimenti K. 136–138, in 3-movement Italian overture style, are sometimes indicated as "Salzburg Symphonies" too.
Symphony No. 14 in A major, K. 114 (1771)
Symphony No. 15 in G major, K. 124 (1772)
Symphony No. 16 in C major, K. 128 (1772)
Symphony No. 17 in G major, K. 129 (1772)
Symphony No. 18 in F major, K. 130 (1772)
Symphony No. 19 in E-flat major, K. 132 (1772)
Symphony No. 20 in D major, K. 133 (1772)
Symphony No. 21 in A major, K. 134 (1772)
Symphony No. 22 in C major, K. 162 (1773)
Symphony No. 23 in D major, K. 181/162b (1773)
Symphony No. 24 in B-flat major, K. 182/173dA (1773)
Symphony No. 25 in G minor, K. 183/173dB (1773)
Symphony No. 26 in E-flat major, K. 184/161a (1773)
Symphony No. 27 in G major, K. 199/161b (1773)
Symphony No. 28 in C major, K. 200/189k (1774)
Symphony No. 29 in A major, K. 201/186a (1774)
Symphony No. 30 in D major, K. 202/186b (1774)
There are also several "unnumbered" symphonies from this time period that make use of music from Mozart's operas from the same time period. They are also given numbers past 41.
Symphony in D major, K. 111+(120/111a) (GA 48)
Symphony in D major, K. (126+(161/163))/141a (GA 50)
Symphony in D major, K. 196+(121/207a) (GA 51)
Symphony in C major, K. 208+(102/213c) (GA 52)
Symphony in D major, K. 135+61h
There are also three symphonies from this time period that are based on three of Mozart's serenades:
Symphony in D major, K. 204 (based on the Serenade No. 5)
Symphony in D major, K. 250 (based on the "Haffner" serenade)
Symphony in D major, K. 320 (based on the "Posthorn" serenade)
Symphony No. 31 in D major, "Paris", K. 297/300a (1778)
Symphony No. 32 in G major, "Overture in the Italian style", K. 318 (1779)
Symphony No. 33 in B-flat major, K. 319 (1779)
Symphony No. 34 in C major, K. 338 (1780)
Symphony No. 35 in D major, "Haffner", K. 385 (1782)
Symphony No. 36 in C major, "Linz", K. 425 (1783)
Symphony No. 37 in G major, K. 444 (1783)
Symphony No. 38 in D major, "Prague", K. 504 (1786)
The three final symphonies (Nos. 39–41) were completed in about three months in 1788. It is quite likely that he hoped to publish these three works together as a single opus, although actually they remained unpublished until after his death. One or two of them might have been played in public in Leipzig in 1789.
Symphony No. 39 in E-flat major, K. 543 (1788)
Symphony No. 40 in G minor, K. 550 (1788)
Symphony No. 41 in C major, "Jupiter", K. 551 (1788)
Mozart's concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works. The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C. P. E. Bach). There are also three unnumbered concertos, K. 107, which are adapted from piano sonatas by J. C. Bach. Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one, listed below, are original compositions for solo piano and orchestra. Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.
Piano Concerto No. 5 in D major, K. 175
Piano Concerto No. 6 in B-flat major, K. 238
Piano Concerto No. 7 in F major for Three Pianos, K. 242
Piano Concerto No. 8 in C major, "Lützow", K. 246
Piano Concerto No. 9 in E-flat major, "Jenamy", K. 271
Piano Concerto No. 10 in E-flat major for Two Pianos, K. 365/316a
Piano Concerto No. 11 in F major, K. 413/387a
Piano Concerto No. 12 in A major, K. 414/385p
Piano Concerto No. 13 in C major, K. 415/387b
Piano Concerto No. 14 in E-flat major, K. 449
Piano Concerto No. 15 in B-flat major, K. 450
Piano Concerto No. 16 in D major, K. 451
Piano Concerto No. 17 in G major, K. 453
Piano Concerto No. 18 in B-flat major, K. 456
Piano Concerto No. 19 in F major, K. 459
Piano Concerto No. 20 in D minor, K. 466
Piano Concerto No. 21 in C major, K. 467
Piano Concerto No. 22 in E-flat major, K. 482
Piano Concerto No. 23 in A major, K. 488
Piano Concerto No. 24 in C minor, K. 491
Piano Concerto No. 25 in C major, K. 503
Piano Concerto No. 26 in D major, "Coronation", K. 537
Piano Concerto No. 27 in B-flat major, K. 595
There are also two isolated rondos for piano and orchestra:
Rondo for piano and orchestra in D major, K. 382
Rondo for piano and orchestra in A major, K. 386
The early arrangements are as follows:
Piano Concerto No. 1 in F major, K. 37
Piano Concerto No. 2 in B-flat major, K. 39
Piano Concerto No. 3 in D major, K. 40
Piano Concerto No. 4 in G major, K. 41
Three Piano Concertos in D major, G major and E-flat major, K. 107
Mozart's five violin concertos were written in Salzburg around 1775. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart likely never went through all the violin possibilities that others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concerto-like sections in the serenades are more virtuosic than in the works titled Violin Concertos.)
Violin Concerto No. 1 in B-flat major, K. 207 (1775)
Violin Concerto No. 2 in D major, K. 211 (1775)
Violin Concerto No. 3 in G major, K. 216 (1775)
Violin Concerto No. 4 in D major, K. 218 (1775)
Violin Concerto No. 5 in A major, K. 219 (1775)
Mozart also wrote a concertone, an adagio and two stand-alone rondos for violin and orchestra.
Concertone in C major, for Two Violins and Orchestra, K. 190/186E (1774)
Adagio for violin and orchestra in E major, K. 261 (1776)
Rondo for violin and orchestra in B-flat major, K. 269/261a (between 1775 and 1777)
Rondo for violin and orchestra in C major, K. 373 (1781)
In addition, there are three works that are spuriously attributed to Mozart.
Violin Concerto in E-flat major, K. 268/365a/Anh.C 14.04 ("No. 6") (1780) (attributed to Johann Friedrich Eck)
Violin Concerto in D major, "Kolb", K. 271a/271i ("No. 7") (1777)
Violin Concerto in D major, "Adélaïde", K. Anh. 294a/Anh.C 14.05 (actually written by Marius Casadesus)
Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. They were written for Mozart's lifelong friend Joseph Leutgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities on the valveless horns of Mozart's day.
The Horn Concertos are characterized by an elegant and humorous dialogue between the soloist and the orchestra. Many of the autographs contain jokes aimed at the dedicatee.
Horn Concerto No. 1 in D major, K. 412 (1791)
Horn Concerto No. 2 in E-flat major, K. 417 (1783)
Horn Concerto No. 3 in E-flat major, K. 447 (c. 1784–7)
Horn Concerto No. 4 in E-flat major, K. 495 (1786)
There are some other unfinished Mozart works for horn and orchestra:
Horn Concerto, K. 370b+371 in E-flat major (1781)
Horn Concerto, K. 494a in E major (c. 1785–6)
Bassoon Concerto in B-flat major, K. 191 (1774)
Concerto for Flute, Harp, and Orchestra in C major, K. 299 (1778)
Oboe Concerto in C major, K. 314 (has come down to us as the second flute concerto, but was almost certainly an oboe concerto) (1777–78)
Flute Concerto No. 1 in G major, K. 313 (1778)
Flute Concerto No. 2 in D major, K. 314 (1778) (an arrangement of the above Oboe Concerto)
Andante for flute and orchestra in C major, K. 315/285e (1778)
Clarinet Concerto in A major, K. 622 (1791)
Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364 (1779)
Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra in E-flat major, K. 297b (Anh. 9 and later Anh. C 14.01) (probably spurious arrangement of lost Sinfonia Concertante for Flute, Oboe, Horn, Bassoon, and Orchestra from 1778)
These were not Mozart's only attempts at the genre; a few other fragmentary works were also composed around the same time, though not completed.
Sinfonia Concertante for Violin, Viola, Cello and Orchestra in A major, K. 320e (Anh. 104) (c. 1779, fragment)
Sinfonia Concertante for Piano, Violin and Orchestra in D major, K. 315f (Anh. 56) (1778, fragment)
Concerto for Trumpet, K. 47c (1768, lost)
Cello Concerto, K. 206a (1775, lost)
Mozart's earliest composition attempts begin with piano sonatas and other piano pieces, as this is the instrument on which his musical education took place. Almost everything that he wrote for piano was intended to be played by himself (or by his sister, also a proficient piano player). Examples of his earliest works are those found in Nannerl's Music Book. Between 1782 and 1786 he wrote 20 works for piano solo (including sonatas, variations, fantasias, suites, fugues, rondo) and works for piano four hands and two pianos.
Piano four-hands
Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765)
Sonata for Keyboard Four-hands in D major, K. 381/123a
Sonata for Keyboard Four-hands in B-flat major, K. 358/186c
Sonata for Keyboard Four-hands in F major, K. 497
Sonata for Keyboard Four-hands in C major, K. 521
Sonata for Keyboard Four-hands in G major, K. 357 (incomplete)
Fugue in G minor, K. 401
Andante and Variations in G major, K. 501
Adagio and Allegro in F minor for a mechanical organ, K. 594
Fantasia in F minor, K. 608 (organ, composer's transcription)
Sonata for Two Pianos in D major, K. 448/375a
Fugue in C minor for Two Keyboards, K. 426 (transcribed in 1788 for strings as K. 546)
Larghetto and Allegretto for Two Pianos in E-flat major, K. deest (completed by Maximilian Stadler)
He also wrote for piano and violin. Note the order of the two instruments: for the most part, these are keyboard-centric sonatas where the violin plays a more accompanying role. In later years, the role of the violin grew to not just a support to the other solo instrument, but to build a dialogue with it.
The 'Violin Sonatas', KV 10–15, are unique in that they include an ad lib. cello part along with the score for violin and keyboard. The Neue Mozart-Ausgabe (1966) therefore includes them along with the other keyboard trios, although the Köchel catalogue (K6, 1964) lists them as normal violin sonatas.
Violin Sonatas, KV 6–9 (1764)
Violin Sonata No. 1 in C for Keyboard and Violin, K. 6
Violin Sonata No. 2 in D for Keyboard and Violin, K. 7
Violin Sonata No. 3 in B-flat for Keyboard and Violin, K. 8
Violin Sonata No. 4 in G for Keyboard and Violin, K. 9
Violin Sonatas, KV 10–15 (1764)
Violin Sonata No. 5 in B-flat for Keyboard with Violin (or Flute) and cello, K. 10
Violin Sonata No. 6 in G for Keyboard with Violin (or Flute) and cello, K. 11
Violin Sonata No. 7 in A for Keyboard with Violin (or Flute) and cello, K. 12
Violin Sonata No. 8 in F for Keyboard with Violin (or Flute) and cello, K. 13
Violin Sonata No. 9 in C for Keyboard with Violin (or Flute) and cello, K. 14
Violin Sonata No. 10 in B-flat for Keyboard and Violin (or Flute) with cello, K. 15
Violin Sonatas, KV 26–31 (1766)
Violin Sonata No. 11 in E-flat for Keyboard and Violin, K. 26
Violin Sonata No. 12 in G for Keyboard and Violin, K. 27
Violin Sonata No. 13 in C for Keyboard and Violin, K. 28
Violin Sonata No. 14 in D for Keyboard and Violin, K. 29
Violin Sonata No. 15 in F for Keyboard and Violin, K. 30
Violin Sonata No. 16 in B-flat for Keyboard and Violin, K. 31
Violin Sonata No. 17 in C major, K. 296 (1778)
Violin Sonata No. 18 in G major, K. 301 (1778)
Violin Sonata No. 19 in E-flat major, K. 302 (1778)
Violin Sonata No. 20 in C major, K. 303 (1778)
Violin Sonata No. 21 in E minor, K. 304 (1778)
Violin Sonata No. 22 in A major, K. 305 (1778)
Violin Sonata No. 23 in D major, K. 306 (1778)
Violin Sonata No. 24 in F major, K. 376 (1781)
Violin Sonata No. 25 in F major, K. 377 (1781)
Violin Sonata No. 26 in B-flat major, K. 378 (1779)
Violin Sonata No. 27 in G major, K. 379 (1781)
Violin Sonata No. 28 in E-flat major, K. 380 (1781)
Violin Sonata No. 29 in A major, K. 402 (1782; fragment, completed by M. Stadler)
Violin Sonata No. 30 in C major, K. 403 (1782; fragment, completed by M. Stadler)
Violin Sonata No. 31 in C major, K. 404 (1782; fragment, completed by M. Stadler)
Violin Sonata No. 32 in B-flat major, K. 454 (1784)
Violin Sonata No. 33 in E-flat major, K. 481 (1785)
Violin Sonata in B-flat major, K. 372 (1781; fragment, completed by M. Stadler)
Violin Sonata No. 35 in A major, K. 526 (1787)
Violin Sonata No. 36 in F major, K. 547 (1788)
Variations for violin and piano
Variations in G major, "La bergère Célimène", K. 359 (1781)
6 Variations in G minor on "Hélas, j'ai perdu mon amant", K. 360 (1781)
String duos and trios
Trio for 2 Violins and Cello in B-flat major, K. 266
Preludes and Fugues for Violin, Viola and Cello, K. 404a
Duo for Violin and Viola in G major, K. 423 (1783)
Duo for Violin and Viola in B-flat major, K. 424 (1783)
Trio for Violin, Viola and Cello in E-flat major, K. 563 (1788)
Other
Trio for Violin, Viola and Cello in G major, K. 562e (1789–1791; fragment)
String Quartet No. 1 in G major, "Lodi", K. 80/73f (1770)
Milanese Quartets, K. 155–160 (1772–1773)
This cycle, in three movements, is interesting as far as these works can be considered precursors of the later—more complete—string quartets.
String Quartet No. 2 in D major, K. 155/134a (1772)
String Quartet No. 3 in G major, K. 156/134b (1772)
String Quartet No. 4 in C major, K. 157 (1772–73)
String Quartet No. 5 in F major, K. 158 (1772–73)
String Quartet No. 6 in B-flat major, K. 159 (1773)
String Quartet No. 7 in E-flat major, K. 160/159a (1773)
Viennese Quartets, K. 168–173 (1773)
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
String Quartet No. 8 in F major, K. 168 (1773)
String Quartet No. 9 in A major, K. 169 (1773)
String Quartet No. 10 in C major, K. 170 (1773)
String Quartet No. 11 in E-flat major, K. 171 (1773)
String Quartet No. 12 in B-flat major, K. 172 (1773)
String Quartet No. 13 in D minor, K. 173 (1773)
Haydn Quartets, K. 387, 421, 428, 458, 464, 465, Op. 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
String Quartet No. 14 in G major, "Spring", K. 387 (1782)
String Quartet No. 15 in D minor, K. 421/417b (1783)
String Quartet No. 16 in E-flat major, K. 428/421b (1783)
String Quartet No. 17 in B-flat major, "Hunt", K. 458 (1784)
String Quartet No. 18 in A major, K. 464 (1785)
String Quartet No. 19 in C major, "Dissonance", K. 465 (1785)
String Quartet No. 20 in D major, "Hoffmeister", K. 499 (1786)
This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the
Prussian Quartets.
Prussian Quartets, K. 575, 589, 590, Op. 18 (1789–1790)
Mozart's last three quartets, dedicated to the King of Prussia, Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.
String Quartet No. 21 in D major, K. 575 (1789)
String Quartet No. 22 in B-flat major, K. 589 (1790)
String Quartet No. 23 in F major, K. 590 (1790)
Other
String Quartet in E minor, K. 417d (1789; fragment)
String Quartet in G minor, K. 587a (1789; fragment)
The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."
String Quintet No. 1 in B-flat major, K. 174 (1773)
String Quintet No. 2 in C minor, K. 406 (516b) – This is a transcription for string quintet of the earlier Serenade for wind octet in C minor, K. 388. (1787)
String Quintet No. 3 in C major, K. 515 (1787)
String Quintet No. 4 in G minor, K. 516 (1787)
String Quintet No. 5 in D major, K. 593 (1790)
String Quintet No. 6 in E-flat major, K. 614 (1791)
Other
String Quintet in B-flat major, K. 514a (fragment; 1787 or later)
String Quintet in A minor, K. 515c+515a (fragment; 1791)
Piano Trio No. 1 – Divertimento à 3 in B-flat major for Piano, Violin and Violoncello, K. 254 (1776)
Piano Trio No. 2 – Trio (Sonata) in G major for Piano, Violin and Violoncello, K. 496 (1786)
Piano Trio No. 3 – Trio in B-flat major for Piano, Violin and Violoncello, K. 502 (1786)
Piano Trio No. 4 – Trio in E major for Piano, Violin and Violoncello, K. 542 (1788)
Piano Trio No. 5 – Trio in C major for Piano, Violin and Violoncello, K. 548 (1788)
Piano Trio No. 6 – Trio in G major for Piano, Violin and Violoncello, K. 564 (1788)
Other
Piano Trio in D minor for Piano, Violin and Violoncello, K. 442 (1785–91) (incomplete)
Flute Quartets (flute, violin, viola, cello, basso):
Flute Quartet No. 1 in D major K. 285 (1777–1778)
Flute Quartet No. 2 in G major K. 285a(1777–1778)
Flute Quartet No. 3 in C major K. 285b (1781–1782)
Flute Quartet No. 4 in A major K. 298 (1786–1787)
Sonata for Bassoon and Violoncello in B-flat major, K. 292
Oboe Quartet (oboe, violin, viola, basso) in F major, K. 370 (1781)
Horn Quintet (horn, violin, viola, viola, basso) In E-flat, K. 407
Quintet for Piano and Winds (oboe, clarinet, horn, bassoon), K. 452 (1784)
Piano Quartet No. 1 in G minor, K. 478 (1785)
12 Duets – For Two Horns, K. 487 (incorrectly published as being for basset horns)
Piano Quartet No. 2 in E-flat major, K. 493 (1786)
Trio for Clarinet, Viola and Piano in E-flat major, "Kegelstatt", K. 498 (1786)
Adagio and Fugue in C minor, K. 546 (1788) (a transcription from Fugue in C minor for Two Keyboards, K. 426)
Clarinet Quintet in A major, K. 581 (1789)
Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K. 617 (1791)
Adagio in C for Glass Harmonica, K. 356/617a (1791)
Other
Clarinet Quintet in B-flat major, K. 580b (1787; fragment)
Serenades, divertimenti, and other instrumental works
The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, and dances, a quodlibet, besides, of course, his symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind instruments ensembles and the varied combinations of string and wind.
Cassation in D major (Serenade No. 1), K. 100/62a (1769)
4 Contredanses in F major (Serenade No. 2), K. 101/250a (1776)
Serenade No. 3 in D major, "Antretter", K. 185/167a (1773)
Serenade No. 4 in D major, "Colloredo", K. 203/189b (1774)
Serenade No. 5 in D major, K. 204/213a (1775)
Serenade No. 6 in D major, "Serenata Notturna", K. 239 (1776)
Serenade No. 7 in D major, "Haffner", K. 250/248b (1776)
Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (1776–77) (each of the four "orchestras" composed of 2 French horns in D, 2 violins, viola and basso)
Serenade No. 9 in D major, "Posthorn", K. 320 (1779)
Serenade No. 10 for twelve winds and double bass in B-flat major, "Gran Partita", K. 361/370a (1781)
Serenade No. 11 for winds in E-flat major, K. 375 (1781–82)
Serenade No. 12 for winds in C minor, K. 388/384a (1782)
Serenade No. 13 for string quartet and bass in G major, "Eine kleine Nachtmusik", K. 525 (1787)
Others
Cassation in G major, K. 63 (1769)
Cassation in B-flat major, K. 99 (1769)
Gallimathias musicum, in D major, K. 32 (1766)
Divertimento No. 1 in E-flat major, K. 113 (1771)
Divertimento No. 2 in D major, K. 131 (1772)
Divertimento for string quartet or string orchestra in D major, K. 136/125a ("Salzburg Symphony No. 1") (1772)
Divertimento for string quartet or string orchestra in B-flat major, K. 137/125b ("Salzburg Symphony No. 2") (1772)
Divertimento for string quartet or string orchestra in F major, K. 138/125c ("Salzburg Symphony No. 3") (1772)
Divertimento No. 3 in E-flat major, K. 166/159d (1773)
Divertimento No. 4 in B-flat major, K. 186/159b (1773)
Divertimento No. 5 in C major, K. 187 (Anh. C 17.12) (spurious, composer unknown)
Divertimento No. 6 in C major, K. 188/240b (1773)
Divertimento No. 7 in D major, K. 205/167A (1773)
Divertimento No. 8 in F major, K. 213 (1775)
Divertimento No. 9 in B-flat major, K. 240 (1776)
Divertimento No. 10 in F major, K. 247, "Lodron No. 1" ("Lodronische Nachtmusik") (1776)
Divertimento No. 11 in D major, K. 251 (1776)
Divertimento No. 12 in E-flat major, K. 252/240a (1776)
Divertimento No. 13 in F major, K. 253 (1776)
Divertimento for piano, violin and violoncello in B-flat major, K. 254 ("Piano Trio No. 1") (1776)
Divertimento No. 14 in B-flat major, K. 270 (1777)
Divertimento No. 15, K. 287/271h "Lodron No. 2" ("Lodronische Nachtmusik") (1777)
Divertimento No. 16 in E-flat major, K. 289/271g (1777)
Divertimento No. 17, K. 334/320b (1779–80)
Five Divertimentos (25 pieces) for three basset horns in B-flat major, K. 439b (Anh. 229) (1783)
Divertimento for two horns and strings in F major, "A Musical Joke" ("Ein Musikalischer Spaß"), K. 522 (1785–87?)
Divertimento for string trio in E-flat major, K. 563 (1788)
Others
March and Divertimento in C major; the music title when the two marches of K. 214 are played before and after the three movements of Symphony in C major, K. 208+(102/213c) (Il re pastore) (1772, 1775)
Three Milanese Quartets called "Divertimento":
String Quartet No. 2 in D major, K. 155/134a ("Divertimento") (1772)
String Quartet No. 5 in F major, K. 158 ("Divertimento") (1772–73)
String Quartet No. 6 in B-flat major, K. 159 ("Divertimento") (1773)
Incomplete
Divertimento in F major, K. 288/246c (unknown date) (incomplete)
Divertimento in D major, K. 320B (1772–73) (incomplete)
March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) (1769)
March in D major, K. 189 (probably to open/close K. 185 Serenade) (1773)
March in C major, K. 214 (two marches opening and closing the divertimento—three movements of Symphony in C major, K. 208+(102/213c)—Il re pastore) (1775)
March in D major, K. 215/213b (to open and/or close Serenade, K. 204) (1775)
March in D major, K. 237/189c (to open and/or close Serenade, K. 203) (1774)
March in F major, K. 248 (for use with Divertimento No. 10, K. 247) (1776)
March in D major, K. 249 (to open and/or close Serenade, "Haffner", K. 250) (1776)
March in D major, K. 290 (for use with Divertimento No. 7, K. 205/167A) (1772)
March in D major, K. 335/320a, No. 1 (probably to open Serenade, "Posthorn", K. 320) (1779)
March in D major, K. 335/320a, No. 2 (probably to close Serenade, "Posthorn", K. 320) (1779)
March in C major, K. 408/383e, No. 1 (1782)
March in D major, K. 408/385a, No. 2 (1782)
March in C major, K. 408/383F, No. 3 (1782)
March in D major, K. 445/320c (for use with Divertimento No. 17, K. 334) (1780)
Others
Cassation in G major, K. 63, first movement march (1769)
Divertimento No. 11 in D major, K. 251, sixth movement (1776)
Kleiner Trauermarsch ("Little Funeral March") in C minor, K. 453a (1784)
March in D major, K. 544 (1788; lost)
Incomplete
March in B-flat major, K. 384b (1782?) (incomplete)
Mozart left a huge production of dances for orchestra in different genres, including more than 100 minuets, two quadrilles, over 30 contra dances, over 50 allemandes (Teitsch, Ländler, or German Dances), a gavotte (French folk dance) and ballet and pantomime music.
In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes written between 1787 and 1791 were mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale, K. 534, La Bataille, K. 535, Canary, K. 600/5, etc.
Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780. His sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work.
Missa brevis in G major, K. 49 (1768)
Missa brevis in D minor, K. 65 (1769)
Missa solemnis in C major, Dominicusmesse, K. 66 (1769)
Missa solemnis in C minor, Waisenhausmesse, K. 139 (1768)
Missa brevis in G major, Pastoralmesse, K. 140 (1773; attribution uncertain)
Missa brevis in F major, K. 192 (1774)
Missa in honorem Sanctissimae Trinitatis, K. 167 (1773)
Missa brevis in D major, K. 194 (1774)
Sparrow Mass in C major, Spatzenmesse, K. 220 (1775–6)
Credo Mass in C major, Credo Mass, K. 257 (1776)
Missa brevis in C major, Piccolomesse, K. 258 (1775)
Missa brevis in C major, Organ Solo, K. 259 (1775–6)
Missa longa in C major, K. 262 (1776)
Missa brevis in B-flat major, K. 275 (1777)
Coronation Mass, K. 317 (1779)
Missa solemnis, Missa aulica, K. 337 (1780)
Great Mass in C minor, K. 427 (1782–3; unfinished)
Requiem Mass in D minor, K. 626 (1791; unfinished, completed by Franz Xaver Süssmayr after Mozart's death)
Kyrie
Kyrie in F major, K. 33, (1766)
Kyrie in D minor for soprano, alto, tenor, bass, K. 90 (doubtful) (1771–72)
Kyrie in D minor, K. 341/368a (1787–91)
Kyrie in E-flat major, K. 322/296a, (fragment; completed by M. Stadler) (1787)
Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)
Kyrie in G major, K. 89 (73k)
Gradual
Sancta Maria, mater Dei in F major, K. 273 (1777)
Offertory
Scande Coeli Limina in C major, K. 34 (1767)
Inter natos mulierium in G major, K. 72/74f (1774)
Benedictus sit Deus in C major, K. 117; 66a/47b (1768)
Sub tuum praesidium in F major, K. 198/Anh C 03.08 (doubtful) (1775)
Misericordias Domini in D Minor, K. 222/205a (1775)
Venite populiin D major, K. 260/248a (1775)
Alma Dei creatoris in F major, K. 277/272a (1777)
Vespers
Vesperae solennes de Dominica in C major, K. 321 (1779)
Vesperae solennes de confessore in C major, K. 339 (1780)
Magnificat
Dixit Dominus and Magnificat in C major, K. 193/186g (1774)
Antiphon
Cibavit eos in A Minor, K. 44/73u (1770)
Quaerite primum regnum Dei in D Minor, K. 86/73v (1770)
Three settings of the Marian antiphon Regina coeli:
Regina Coeli for soprano, chorus and orchestra in C major, K. 108/74d (1771)
Regina Coeli for soprano, chorus and orchestra in B-flat major, K. 127 (1772)
Regina Coeli for soloists, chorus and orchestra in C major, K. 276/321b (1779)
Miserere
Miserere in A minor, K. 85/72s (1770)
Te Deum
Te Deum in C major, K. 141/66b (1769)
Litany
Litaniae Lauretanae in B-flat major, K. 109/74e (1771)
Litaniae Lauretenae in D major, K. 195/186d (1774)
Litaniae de venerabili altaris sacramento in B-flat major, K. 125 (1772)
Litaniae de venerabili altaris sacramento in E-flat major, K. 243 (1776)
Motet
God is Our Refuge in G minor, K. 20 (1765)
Veni Sancte Spiritus in C major, K. 47 (1768)
Ergo interest (″Quaere superna″) for Soprano in G major, K. 143/73s (1773)
Exsultate, jubilate for Soprano in F major, K. 165/158a (1773)
Ave verum corpus in D major, K. 618 (1791)
Hymns and aria
Tantum Ergo in D major, K. 197/Anh. C 3.05 (doubtful) (1775)
"Zwei deutsche Kirchenlieder" (Two German Hymns), O Gotteslamm, Als aus Ägypten Israel, K. 343/336c (c. 1787)
Aria for Soprano in B-flat, "Kommet her, ihr frechen Sünder", K. 146/317b (1779)
Fugue in E-flat major, K. 153 (375f)
Fugue in G minor, K. 154 (385k)
Ouverture in C major, K. 399 (385i)
Fugue in G minor, K. 401 (375e)
Eine kleine Gigue, K. 574
Adagio and Allegro in F minor for a Mechanical Organ, K. 594 (1790)
Fantasia in F minor for a Mechanical Organ, K. 608 (1791)
Andante in F for a Small Mechanical Organ, K. 616 (1791)
Apollo et Hyacinthus, K. 38 (1767)
Bastien und Bastienne, K. 50/46b (1768)
La finta semplice, K. 51 (1768)
Mitridate, re di Ponto, K. 87 (1770)
Ascanio in Alba, K. 111 (1771)
Il sogno di Scipione, K. 126 (1772)
Lucio Silla, K. 135 (1772)
Thamos, König in Ägypten, K. 345/336a (1773, 1775)
La finta giardiniera, K. 196 (1774–75)
Il re pastore, K. 208 (1775)
Zaide, K. 344 (1779)
Idomeneo, K. 366 (1781)
Die Entführung aus dem Serail, K. 384 (1782)
L'oca del Cairo, K. 422 (1783)
Lo sposo deluso, K. 430
Der Schauspieldirektor, K. 486 (1786)
Le nozze di Figaro, K. 492 (1786)
Don Giovanni, K. 527 (1787)
Così fan tutte, K. 588 (1789)
Die Zauberflöte, K. 620 (1791)
La clemenza di Tito, K. 621 (1791)
Oratorios and cantatas
Oratorio
Die Schuldigkeit des ersten Gebots, K. 35 (1767)
Betulia liberata, K. 118/74c (1771)
Kommet her, ihr frechen Sünde, Aria (Passionslied) for Soprano in B-flat, K. 146/317b (1779)
Cantata
Grabmusik (Cantata on the Holy Grave of Christ), K. 42/35a (1767)
"Dir, Seele des Weltalls", K. 429 (fragment, completed by M. Stadler) (1783)
Davide penitente, K. 469/468a (1785)
Die Maurerfreude (The Freemason's Joy), K. 471 (1785)
Per la ricuperata salute di Ofelia, K. 477a (1785)
Kleine deutsche Kantate: "Die ihr des unermeßlichen Weltalls Schöpfer ehrt" (Little German Cantata), K. 619 (1791)
Freimaurerkantate: "Laut verkünde unsre Freude" (Little Masonic Cantata), K. 623 (1791)
The following are compositions written for the Masonic Lodge:
Song, Lobegesang auf die feierliche Johannisloge: "O heiliges Band der Freundschaft treuer Brüder" (O sacred bond of friendship between true brothers), K 148/125h, (1772)
Cantata "Dir, Seele des Weltalls", K. 429/468a (fragment, completed by M. Stadler) (1783)
Song, "Lied zur Gesellenreise: Die ihr einem neuen Grad," K. 468, "for use at installation of new journeymen" (1785)
Cantata for tenor and male chorus Die Maurerfreude ("The Mason's Joy") K. 471 (1785)
The Masonic Funeral Music (Maurerische Trauermusik), K. 477/479a (1785)
Two songs for tenor and organ used for the opening and closing ceremonies of the lodge in Austria "Zur Neugekrönten Hoffnung":
Zur Eröffnung der Freimaurerloge: "Zerfließet Heut, Geliebter Brüder", K. 483 (1786)
Zur Eröffnung der Freimaurerloge: "Ihr Unsre Neuen Leiter", K. 484 (1786)
Cantata for tenor and piano, Die ihr die unermesslichen Weltalls Schöpfer ehrt, for use at meetings of the "Colony of the Friends of Nature," K. 619 (1791)
The Little Masonic Cantata (Kleine Freimaurer-Kantate) entitled Laut verkünde unsre Freude, for soloists, male chorus, and orchestra, K. 623 (1791)
Song, "Laßt uns mit geschlungen Händen," K. 623a, ("for the close of the lodge" and intended final chorus to K. 623) (1791; attribution uncertain)
