List of compositions by Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756–1791) was a prolific composer and wrote in many genres. Perhaps his best-admired work is in opera, the piano concerto, sonata, the symphony, the string quartet, and string quintet. Mozart also wrote many pieces for solo piano, other forms of chamber music, masses and other religious music, and numerous dances, divertimentos, and other forms of light entertainment.

How Mozart's compositions are listed

  • 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.

Childhood symphonies (1764–1771)

These are the numbered symphonies from Mozart's early childhood.

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).

Salzburg-era symphonies (1771–1777)

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.

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.

There are also three symphonies from this time period that are based on three of Mozart's serenades:

Late symphonies (1778–1788)

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.


Piano concertos

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.

There are also two isolated rondos for piano and orchestra:

The early arrangements are as follows:

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 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.)

Mozart also wrote a concertone, an adagio and two stand-alone rondos for violin and orchestra.

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

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.

There are some other unfinished Mozart works for horn and orchestra:

  • Horn Concerto, K. 370b+371 in E major (1781)
  • Horn Concerto, K. 494a in E major (c. 1785–6)

Woodwind concertos

Concertante symphonies

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.


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

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 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)

Two pianos

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.

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.

Childhood violin sonatas (1763–66)

  • 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 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 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 for Keyboard and Violin (or Flute) with cello, K. 15
  • Violin Sonatas, KV 26–31 (1766)
    • Violin Sonata No. 11 in E 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 for Keyboard and Violin, K. 31

Mature violin sonatas (1778–88)

Variations for violin and piano

String duos and trios

String quartets

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 major, K. 159 (1773)
  • String Quartet No. 7 in E major, K. 160/159a (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 major, K. 171 (1773)
  • String Quartet No. 12 in B major, K. 172 (1773)
  • String Quartet No. 13 in D minor, K. 173 (1773)
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.
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.
  • String Quartet in E minor, K. 417d (1789; fragment)
  • String Quartet in G minor, K. 587a (1789; fragment)

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 in B major, K. 514a (fragment; 1787 or later)
  • String Quintet in A minor, K. 515c+515a (fragment; 1791)

Piano trios

  • Piano Trio No. 1 – Divertimento à 3 in B 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 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)
  • Piano Trio in D minor for Piano, Violin and Violoncello, K. 442 (1785–91) (incomplete)

Other chamber music


  • Clarinet Quintet fragment in F major, K. 580b/Anh. 90 - Allegro (for clarinet, basset horn, violin, viola and cello)
  • Clarinet Quintet fragment in Bb major, K. 516c/Anh. 91 - Allegro (for clarinet (B♭), 2 violins, viola, cello)

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 major, "Gran Partita", K. 361/370a (1781)
  • Serenade No. 11 for winds in E 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)
  • Cassation in G major, K. 63 (1769)
  • Cassation in B major, K. 99 (1769)



  • Divertimento No. 1 in E 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 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 major, K. 166/159d (1773)
  • Divertimento No. 4 in B 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 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 major, K. 252/240a (1776)
  • Divertimento No. 13 in F major, K. 253 (1776)
  • Divertimento for piano, violin and violoncello in B major, K. 254 ("Piano Trio No. 1") (1776)
  • Divertimento No. 14 in B major, K. 270 (1777)
  • Divertimento No. 15 in B major, K. 287/271h "Lodron No. 2" ("Lodronische Nachtmusik") (1777)
  • Divertimento No. 16 in E major, K. 289/271g (1777)
  • Divertimento No. 17 in D major, K. 334/320b (1779–80)
  • Five Divertimentos (25 pieces) for three basset horns in B 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 major, K. 563 (1788)
  • 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 major, K. 159 ("Divertimento") (1773)


  • 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. 189/167b (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)


  • March in B 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.


  • 7 Menuets, K. 61b/65a* (1769)
    *(not to be confused with Missa brevis No. 2 in D minor, K. 65/61a)
  • 2 Menuets, K. 61g (1769–70)
  • 6 Menuets, K. 61h (including No. 3 Symphony in D major, K. 135+61h) (1769?)
  • Menuet in D major, K. 94/73h (1769–70)
  • 19 Menuets, K. 103/61d (1776)
  • 6 Menuets, K. 104/61e (1770–71)
  • 6 Menuets, K. 105/61f (spurious, by Michael Haydn)
  • Menuet in E major, K. 122/73t (1770)
  • 6 Menuets, K. 164/130a (1772)
  • 16 Menuets, K. 176 (1773)
  • 8 Menuets, K. 315a/315g (1779)
  • 3 Menuets, K. 363 (1783?)
  • Symphonic Minuet in C major, K. 409/383f (1782)
  • 5 Menuets, K. 461/448a (1784)
  • 12 Menuets, K. 568 (1788)
  • 12 Menuets, K. 585 (1789)
  • 6 Menuets, K. 599 (1791)
  • 4 Menuets, K. 601 (1791)
  • 2 Menuets, K. 604 (1791)


  • 2 Quadrilles in F major and B major, K. 463/448c (1784)

Contra dance

  • 4 Contredanses, K. 101/250a (alternative title: Serenade No. 2) (1776)
  • Overture and 3 Contredanses, K. 106/588a (doubtful) (1790)
  • Contredanse in B major, K. 123/73g (1770)
  • 4 Contredanses, K. 267/271c (1777)
  • 2[3] or 4[4] Contredanses for Count Johann Rudolf Czernin, K. 269b (1777)
  • 6 Contredanses, K. 462/448b (1784)
  • Contredanse in D major, "Das Donnerwetter" (The Thunderstorm), K. 534 (1788)
  • Contredanse in C major, "La Bataille", K. 535 (1788)
  • 3 Contredanses, K. 535a (doubtful) (1788)
  • Contredanse in C major, "Der Sieg vom Helden Koburg" (Coburg's Victory), K. 587 (1789)
  • 2 Contredanses, K. 603 (1791)
  • Contredanse in E major, "Il Trionfo delle Donne", K. 607/605a (1791)
  • 5 Contredanses, K. 609 (includes No. 1 "Non più andrai") (1787)
  • Contredanse in G major, "Les filles malicieuses", K. 610 (1791)


  • 6 German Dances, K. 509 (1778)
  • 6 German Dances, K. 536 (1788)
  • 6 German Dances, K. 567 (1788)
  • 6 German Dances, K. 571 (1789)
  • 12 German Dances, K. 586 (1789)
  • 6 German Dances, K. 600 (includes No. 5 Trio: "Der Kanarienvogel" The Canary) (1791)
  • 4 German Dances, K. 602 (includes No. 3 "Die Leirer") (1791)
  • 3 German Dances, K. 605 (includes No. 3 "Die Schlittenfahrt" Sleigh Ride) (1791)
  • 6 Ländler in B major, "Ländlerische Tänze", K. 606 (1791)
  • German Dance in C major, K. 611 "Die Leirer" (1791)


  • Ballet, Les petits riens (The Little Nothings), K. Anh. 10/299b (1778)
  • Sketches for a ballet intermezzo, "Bagatelles Ballet Pantomime", K. Anh. 10/299c (1778, fragment)
  • La Chasse (The Hunt) in A major, K. Anh. 103/299d (320f), (1778)
  • Gavotte in B major, K. 300 (1778)
  • Musik zu einer Pantomime: Pantalon und Colombine (Music to a Pantomime) in D major, K. 446/416d (1783, incomplete)

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. 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.


Liturgical works


  • Kyrie in F major, K. 33, (1766)
  • Kyrie in G major, K. 89/73k (1770 or 1772)
  • Kyrie in D minor for soprano, alto, tenor, bass, K. 90 (doubtful) (1771–72)
  • Kyrie in D major, K. 91/186i/Anh. 17 (1774)
  • Kyrie in D minor, K. 341/368a (1787–91)
  • Kyrie in E major, K. 322/296a, (fragment; completed by M. Stadler) (1787)
  • Kyrie in C major, K. Anh. 15/323 (fragment; completed by M. Stadler) (1779?)



  • 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)



  • Dixit Dominus and Magnificat in C major, K. 193/186g (1774)


  • 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 major, K. 127 (1772)
  • Regina Coeli for soloists, chorus and orchestra in C major, K. 276/321b (1779)


  • Miserere in A minor, K. 85/73s (1770)

Te Deum

  • Te Deum in C major, K. 141/66b (1769)


  • Litaniae Lauretanae in B major, K. 109/74e (1771)
  • Litaniae Lauretenae in D major, K. 195/186d (1774)
  • Litaniae de venerabili altaris sacramento in B major, K. 125 (1772)
  • Litaniae de venerabili altaris sacramento in E major, K. 243 (1776)

Sacred works

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, "Kommet her, ihr frechen Sünder", K. 146/317b (1779)

Church sonatas

  • Church Sonata No. 1 in E, K. 67/41h (1772)
  • Church Sonata No. 2 in B, K. 68/41i (1772)
  • Church Sonata No. 3 in D, K. 69/41k (1772)
  • Church Sonata No. 4 in D, K. 144/124a (1772)
  • Church Sonata No. 5 in F, K. 145/124b (1772)
  • Church Sonata No. 6 in B, K. 212 (1775)
  • Church Sonata No. 7 in F, K. 224/241a (1776)
  • Church Sonata No. 8 in A, K. 225/241b (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. 274/271d (1777)
  • Church Sonata No. 14 in C, K. 278/271e (1777)
  • Church Sonata No. 15 in C, K. 328/317c (1779)
  • Church Sonata No. 16 in C, K. 329/317a (1779)
  • Church Sonata No. 17 in C, K. 336/336d (1780)

Organ music


Oratorios and cantatas



Concert arias, songs and canons

Masonic music

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, male chorus, and orchestra 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)
  • The Little German Cantata (Kleine Deutsche Kantate) entitled Die ihr die unermesslichen Weltalls Schöpfer ehrt, for tenor and piano, 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)

See also


  1. King, Alec Hyatt (1973). "Some Aspects of Recent Mozart Research". Journal of the Royal Musical Association. 100 (1): 9–10. doi:10.1093/jrma/100.1.1. ISSN 0080-4452. OCLC 478409660.
  2. Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven (2nd ed.). New York: W. W. Norton & Company. ISBN 978-0-393-04020-3. OCLC 35095841.
  3. Palmer (ed.), Willard A. (2006). W. A. Mozart: An Introduction to His Keyboard Works (illustrated ed.). Alfred Music Publishing. p. 6. ISBN 9780739038758. Retrieved 27 November 2015.CS1 maint: extra text: authors list (link)
  4. Hinson, Maurice; Roberts, Wesley (2013). Guide to the Pianist's Repertoire (4th ed.). Indiana University Press. p. 707. ISBN 9780253010230. Retrieved 27 November 2015.
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