How Mozart's compositions are listed

The indication "K." or "KV" refers to "Kchel Verzeichnis", i.e. the (more or less) chronological (i.e. by composition date) catalog of Mozart's works by Ludwig von Kchel. Note that 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: Kchel 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

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

Childhood symphonies (17641771)

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 these can not be completely established as being written by Mozart (see here).

Symphony in F major, K. 75 Symphony in F major, K. 76/42a Symphony in D major, K. 81/73l Symphony in D major, K. 95/73n

Symphony in C major, K. 96/111b Symphony in D major, K. 97/73m Symphony in B-flat major, K. Anh. 214/45b Symphony in B-flat major, K. Anh. 216/C11.03 Symphony in G major, "Old Lambach", K. Anh. 221/45a Symphony in F major, K. Anh. 223/19a

[ Salzburg-era symphonies (17711777)

These symphonies are sometimes subcategorized as "Early" (17711773) 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. 136138, 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)

Late symphonies (17781791)

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)

For years this was categorized as a Mozart symphony, but later scholarship determined that it was actually composed by Michael Haydn (Symphony No. 25), and Mozart wrote only the slow introduction for it.

Symphony No. 38 in D major, "Prague", K. 504 (1786)

The three final symphonies (Nos. 3941) 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)

Piano concertos
Main article: Mozart piano concertos

Wolfgang 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). Concertos 7 and 10 are compositions for three and two pianos respectively. The remaining twenty-one are original compositions for solo piano and orchestra. Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.

Piano Concerto No. 1 in F major, K. 37 Piano Concerto No. 2 in B-flat major, K. 39 Piano Concerto No. 3 in D major, K. 40 Piano Concerto No. 4 in G major, K. 41 Three Piano Concertos in D major, G major and E-flat major, K. 107 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, "Ltzow", K. 246 Piano Concerto No. 9 in E-flat major, "Jeunehomme", K. 271 Piano Concerto No. 10 in E-flat major for Two Pianos, K. 365 Piano Concerto No. 11 in F major, K. 413/387a Piano Concerto No. 12 in A major, K. 414/385p Piano Concerto No. 13 in C major, K. 415/387b Piano Concerto No. 14 in E-flat major, K. 449 Piano Concerto No. 15 in B-flat major, K. 450 Piano Concerto No. 16 in D major, K. 451 Piano Concerto No. 17 in G major, K. 453 Piano Concerto No. 18 in B-flat major, K. 456 Piano Concerto No. 19 in F major, K. 459 Piano Concerto No. 20 in D minor, K. 466 Piano Concerto No. 21 in C major, K. 467 Piano Concerto No. 22 in E-flat major, K. 482 Piano Concerto No. 23 in A major, K. 488 Piano Concerto No. 24 in C minor, K. 491 Piano Concerto No. 25 in C major, K. 503 Piano Concerto No. 26 in D major, "Coronation", K. 537 Piano Concerto No. 27 in B-flat major, K. 595 Rondo for piano and orchestra in D major, K. 382 Rondo for piano and orchestra in A major, K. 386

Violin concertos
Mozart's five violin concertos were written in Salzburg around 1775. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart probably never went through all the violin possibilities like others (e.g. Beethoven and Brahms) did after him. (Alfred Einstein notes that the violin concertolike 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 penned an adagio and two stand-alone rondos for violin and orchestra.

Adagio for violin and orchestra in E major, K. 261 (1776) Rondo for violin and orchestra in B-flat major, K. 269 Rondo for violin and orchestra in C major, K. 373

In addition, there are two works that are spuriously attributed to Mozart.

Violin Concerto in E-flat major , K. 268 (1780) (attributed to Johann Friedrich Eck)[1] Violin Concerto in D major, "Kolb", K. 271a ("No. 7") (1777)

Horn concertos
Arguably the most widely played concertos for horn, the four Horn Concertos are a major part of most professional horn players' repertoire. They were written for Mozart's lifelong friend Joseph Leutgeb. The concertos (especially the fourth) were written as virtuoso vehicles that allow the soloist to show a variety of abilities on the valveless horns of Mozart's day. The Horn Concertos are characterized by an elegant and humorous dialogue between the soloist and the orchestra. Many of the autographs contain jokes aimed at the dedicatee.

Horn Concerto No. 1 in D major, K. 412 (1791) Horn Concerto No. 2 in E-flat major, K. 417 (1783) Horn Concerto No. 3 in E-flat major, K. 447 (c. 178487) Horn Concerto No. 4 in E-flat major, K. 495 (1786)

Woodwind concertos

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) (177778) Concerto for Clarinet and Orchestra in A major, K. 622 (1791) Flute Concerto No. 1 in G major, K. 313 (1778) Flute Concerto No. 2 in D major, K. 314 (1778) (An arrangement of the above Oboe Concerto). Andante for Flute and Orchestra in C major, K. 315 (1778)

Concertante symphonies

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

Other

Concerto for Trumpet, K. 47c (lost) Cello Concerto, K.206a (1775, lost)

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

Solo piano works

Main article: List of solo piano compositions by Wolfgang Amadeus Mozart

Dual piano/performer works

Piano four-hands

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

Two pianos

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

Chamber music

Violin music
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.

Childhood violin sonatas (176366)

Violin Sonatas, KV 69 o Sonata in C for Keyboard and Violin, K. 6 o Sonata in D for Keyboard and Violin, K. 7 o Sonata in B-flat for Keyboard and Violin, K. 8 o Sonata in G for Keyboard and Violin, K. 9 Violin Sonatas, KV 1015 o Sonata in B-flat for Keyboard and Violin (or Flute), K. 10 o Sonata in G for Keyboard and Violin (or Flute), K. 11 o Sonata in A for Keyboard and Violin (or Flute), K. 12 o Sonata in F for Keyboard and Violin (or Flute), K. 13 o Sonata in C for Keyboard and Violin (or Flute), K. 14 o Sonata in B-flat for Keyboard and Violin (or Flute), K. 15 Violin Sonatas, KV 2631 o Sonata in E-flat for Keyboard and Violin, K. 26 o Sonata in G for Keyboard and Violin, K. 27 o Sonata in C for Keyboard and Violin, K. 28 o Sonata in D for Keyboard and Violin, K. 29 o Sonata in F for Keyboard and Violin, K. 30 o Sonata in B-flat for Keyboard and Violin, K. 31

Mature violin sonatas (177888)

Violin Sonata No. 17 in C major, K. 296 Violin Sonata No. 18 in G major, K. 301 Violin Sonata No. 19 in E-flat major, K. 302 Violin Sonata No. 20 in C major, K. 303 Violin Sonata No. 21 in E minor, K. 304 Violin Sonata No. 22 in A major, K. 305 Violin Sonata No. 23 in D major, K. 306 Violin Sonata No. 24 in F major, K. 376 Violin Sonata No. 25 in F major, K. 377 Violin Sonata No. 26 in B-flat major, K. 378 Violin Sonata No. 27 in G major, K. 379 Violin Sonata No. 28 in E-flat major, K. 380 Violin Sonata No. 29 in A major, K. 402 (fragment, completed by M. Stadler) Violin Sonata No. 30 in C major, K. 403 (fragment, completed by M. Stadler) Violin Sonata No. 31 in C major, K. 404 (fragment) Violin Sonata No. 32 in B-flat major, K. 454 Violin Sonata No. 33 in E-flat major, K. 481 Violin Sonata No. 35 in A major, K. 526 Violin Sonata No. 36 in F major, K. 547

Variations for violin and piano

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

String duos and trios

Trio for 2 Violins & Cello in B-flat major, K. 266 Preludes and Fugues for Violin, Viola & Cello, K. 404a Duo for Violin & Viola in G major, K. 423 (1783) Duo for Violin & Viola in B-flat major, K. 424 (1783) Trio for Violin, Viola & Cello in E-flat major, K. 563 (1788)

String quartets

String Quartet No. 1 in G major, "Lodi", K. 80/73f (1770) Milanese Quartets, K. 155160 (17721773) 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 (177273) String Quartet No. 5 in F major, K. 158 (177273) 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. 168173 (1773) Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.

String Quartet No. 8 in F major, K. 168 (1773) String Quartet No. 9 in A major, K. 169 (1773) String Quartet No. 10 in C major, K. 170 (1773) String Quartet No. 11 in E-flat major, K. 171 (1773) String Quartet No. 12 in B-flat major, K. 172 (1773) String Quartet No. 13 in D minor, K. 173 (1773)

Haydn Quartets K. 387, 421, 428, 458, 464, 465, Opus 10 (17821785) Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in

returning to the genre. These quartets are often regarded as among the pinnacles of the genre.

String Quartet No. 14 in G major, "Spring", K. 387 (1782) String Quartet No. 15 in D minor, K. 421/417b (1783) String Quartet No. 16 in E-flat major, K. 428/421b (1783) String Quartet No. 17 in B-flat major, "Hunt", K. 458 (1784) String Quartet No. 18 in A major, K. 464 (1785) String Quartet No. 19 in C major, "Dissonance", K. 465 (1785)

String Quartet No. 20 in D major, "Hoffmeister", K. 499 (1786) This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.

Prussian Quartets, K. 575, 589, 590 (17891790)

String Quartet No. 21 in D major, K. 575 (1789) String Quartet No. 22 in B-flat major, K. 589 (1790) String Quartet No. 23 in F major, K. 590 (1790)

String quintets
The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."[2]

String Quintet No. 1 in B-flat major, K. 174 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. String Quintet No. 3 in C major, K. 515 String Quintet No. 4 in G minor, K. 516 String Quintet No. 5 in D major, K. 593 String Quintet No. 6 in E-flat major, K. 614

Piano trios

Divertimento 3 in B-flat for Piano, Violin and Violoncello, K. 254 Trio (Sonata) in G for Piano, Violin and Violoncello, K. 496 Trio in B-flat for Piano, Violin and Violoncello, K. 502 Trio in E for Piano, Violin and Violoncello, K. 542 Trio in C for Piano, Violin and Violoncello, K. 548 Trio in G for Piano, Violin and Violoncello, K. 564

Other chamber music

Flute Quartets (flute, violin, viola, cello) K. 285, 285a, 285b, 298 (17771778) Sonata for Bassoon and Violoncello in B-flat major, K. 292 Oboe Quartet (oboe, violin, viola, cello) in F major, K. 370 (1781) Horn Quintet In E-flat, K. 407 Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784) Piano Quartet No. 1 in G minor K. 478 (1785) 12 Duets For Two 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) Clarinet Quintet in A major, K. 581 (1789) Adagio and Rondo for Glass Harmonica, Flute, Oboe, Viola and Cello, K6. 617 (1791) Adagio in C for Glass Harmonica, K6. 617a (1791)

Serenades, divertimenti, and other instrumental works

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

Serenades

Serenade No. 1 in D major, K. 100 Serenade No. 3 in D major, "Antretter", K. 185 Serenade No. 4 in D major, "Colleredo" K. 203 Serenade No. 5 in D major, K. 204 Serenade No. 6 in D major, "Serenata Notturna", K. 239 Serenade No. 7 in D major, "Haffner", K. 250 Notturno in D for Four Orchestras (Serenade No. 8), K. 286 (177677) Serenade No. 9 in D major, "Posthorn", K. 320 Serenade No. 10 for twelve winds and double bass in B-flat major, "Gran Partita", K. 361 Serenade No. 11 for winds in E-flat major, K. 375 Serenade No. 12 for winds in C minor, K. 388 Serenade No. 13 for String Quartet & Bass in G major, "Eine kleine Nachtmusik", K. 525

Divertimenti

Galimathias Musicum (Quodlibet), K. 32 (1766) Cassation in G, K. 63 (1769) Cassation in B-flat, K. 99 (1769) Divertimento in E-flat, K. 113 (1771) Divertimento in D, K. 131 (1772) Divertimenti, K. 136138 (1772) Divertimento in D, K. 205 (1773) Divertimento in F, "Lodron", K. 247 (1776) Divertimento in D, K. 251 (1776) Divertimento in B-flat, "Lodron", K. 287 (1777) Divertimento in D, K. 334 (177980) 25 Pieces (five divertimenti) for three basset horns, K. 439b (K. Anh. 229) Divertimento for two horns and strings, "A Musical Joke", ("Ein Musikalischer Spa"), K. 522 Divertimento for string trio in E-flat major K. 563 (1788)

Marches

March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) March in D major, K. 189 (probably to open/close K. 185 Serenade) March in C major, K. 214 March in D major, K. 215 (to open and/or close Serenade, K. 204) March in D major, K. 237 (to open and/or close Serenade, K. 203) March in F major, K. 248 (for use with Divertimento, K. 247) March in D major, K. 249 (to open and/or close Serenade, "Haffner", K. 250) March in D major, K. 290 March in D major, K. 335, No. 1 (probably to open Serenade, "Posthorn", K. 320) March in D major, K. 335, No. 2 (probably to close Serenade, "Posthorn", K. 320) March in C major, K. 408, No. 1 March in D major, K. 408, No. 2 March in C major, K. 408, No. 3 March in D major, K. 445 (for use with Divertimento, K. 334)

Dances
See also: Mozart and dance

Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler, or German Dances). In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale, K. 534, La Bataille, K. 535, Canary, K. 600/5, etc.

6 Menuets, K. 61h

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

Sacred music
Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780. Mozart's sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work. We include in this genre, for their liturgical character, also the compositions written for the Masonic Lodge, like the cantata Laut Verkunde unsre Freude K623 and the Maurerische Trauermusik (Masonic Funeral Music), K. 477.

Masses
Main article: List of masses by Wolfgang Amadeus Mozart

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

Other sacred music

Mozart's other sacred music includes:

God is Our Refuge, K. 20 Scande Coeli Limina in C, K. 34 Kyrie in D minor for soprano, alto, tenor and bass, K. 90

Three settings of the Marian antiphon Regina coeli:

Regina Coeli for soprano, chorus and orchestra, K. 108 Regina Coeli for soprano, chorus and orchestra, K. 127 Regina Coeli for soloists, chorus and orchestra, K. 276 Te Deum, K. 141 Exsultate, jubilate, K. 165

Two Vesper services:

Vesperae de Dominica in C, K. 321 Vesperae solennes de confessore, K. 339 (1780)

Kyrie in D minor, K. 341 Ave verum corpus, K. 618

as well as four litanies, numerous offertories, psalms, motets, and other mass fragments.

Church sonatas

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

Organ music

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)

Operas

Main article: List of operas by Mozart

Die Schuldigkeit des ersten Gebots, K. 35 (1767) 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) Betulia liberata, an oratorio, K. 118=74c (1771) Il sogno di Scipione, K. 126 (1772) Lucio Silla, K. 135 (1772) Thamos, Knig in gypten (1773, 1775) La finta giardiniera, K. 196 (177475) Il re pastore, K. 208 (1775) Zaide, K. 344 (1779) Idomeneo, K. 366 (1781) Die Entfhrung 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) Cos fan tutte, K. 588 (1789) Die Zauberflte, K. 620 (1791) La clemenza di Tito, K. 621 (1791)

Concert arias, songs and canons

Main article: List of concert arias, songs and canons by Wolfgang Amadeus Mozart

Recordings
In 1991, in honor of the bicentenary of Mozart's death, Philips Classics gathered recordings considered to be the best performances from the extensive catalog of their parent company Universal Music and issued a set in a number of multi-disc volumes, collectively called the Complete Mozart Edition, on a total of 180 CDs. These were also made available as a unitary boxed set of the entire collection. The Philips set is no longer in print, but in either format much of it may still be available, primarily from various online sources.[3]