Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period who wrote in many genres. Perhaps his best-admired works can be found within the categories of operas, piano concertos, piano sonatas, symphonies, string quartets, and string quintets. Mozart also wrote many violin sonatas; other forms of chamber music; violin concertos, and other concertos for one or more solo instruments; masses, and other religious music; organ music; masonic music; and numerous dances, marches, divertimenti, serenades, and other forms of light entertainment.
How Mozart's compositions are listed The indication "K." or "KV" refers to (Köchel catalogue), i.e. the (more or less) chronological catalogue of Mozart's works by Ludwig von Köchel. This catalogue has been amended several times, leading to ambiguity over some KV numbers (see e.g. Symphony No. 24 and Symphony No. 25, numbered K. 173dA and 173dB in the 6th edition).
The superscipt numbers in the tables (e.g. K6) refer to catalogue edition numbers. The compositions listed below are grouped thematically, i.e. by type of composition. 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.
Sacred choral music Mozart's sacred choral music consists of masses, litanies, vespers, psalms, church music, oratorios, cantatas, a Requiem and other shorter and fragmentary works. Beginning in 1768 and ending in 1791, his sacred works are considered some of the most important and influential ever written. Pulling away from the basis of the sacred works of Bach or Handel, which at the time of his later output (around 1780 to 1791) had gone out of fashion, his sacred works eventually resulted in the Requiem, which was left unfinished at his early death in 1791.
Masses (1768–1783)
K1K6CompositionDateLocation13947aMissa solemnis in C minor, "Waisenhaus"1768–1769Vienna4947dMissa brevis in GOctober – November 1768Vienna6561aMissa brevis in D minor14 January 1769Salzburg6666Mass in C, "Dominicus"October 1769Salzburg140Anh. 235dMissa brevis in G, "Pastoral" (attribution uncertain)"KV 140, Missa in G – Work of doubtful authenticity", Köchel-Verzeichnis, International Mozarteum Foundation1773Salzburg167167Mass in C, "Missa in honorem Sanctissimae Trinitatis"June 1773Salzburg192186fMissa brevis in F24 June 1774Salzburg194186hMissa brevis in D8 August 1774Salzburg220196bMass in C, "Spatzen"1775 or 1776Munich262246aMissa longa in C1776Salzburg257257Mass in C, "Credo"1775Salzburg258258Mass in C, "Piccolomini"1775–1777Salzburg259259Mass in C, "Organ Solo"1775–1777Salzburg275272bMass in B23 September 1777Salzburg317317Mass in C, "Coronation Mass"23 March 1779Salzburg337337Mass in C, "Solemnis"March 1780Salzburg427417aGreat Mass in C minorJuly 1782 – October 1783Vienna
Litanies (1771–1776)
K1K6CompositionDateLocation10974eLitaniae Lauretanae B.M.V. in BMay 1771Salzburg125125Litaniae de venerabili altaris sacramento in BMarch 1772Salzburg195186dLitaniae Lauretanae B.M.V. in DMay 1774Salzburg243243Litaniae de venerabili altaris sacramento in EMarch 1776Salzburg
Vespers and psalms (1774–1780) K1K6CompositionDateLocation193186gDixit Dominus in CJuly 1774Salzburg321321Vesperae solennes de Dominica in C1779Salzburg339339Vesperae solennes de Confessore in C1780Salzburg
Church music (1765–1791) K1K6CompositionDateLocation2020"God is Our Refuge" in G minorJuly 1765London3434Offertory in C, "Scande coeli limina"early 1767Bavaria4747Veni sancte Spiritus in CAutumn 1768Vienna11747bOffertory in C, "Benedictus sit Deus"October – November 1768Vienna14166bTe Deum in C1769Salzburg14373aRecitative and aria for soprano; "Ergo interest"February 1773Salzburg8573sMiserere in A minorJuly – August 1770Bologna4473uAntiphon in A minor; "Cibavit eos"1770Bologna8673vAntiphon in D minor; "Quaerite primum regnum Dei"9 October 1770Bologna10874dRegina coeli in CMay 1771Salzburg7274fOffertorium in G; "Inter natos mulierum"May – June 1771Salzburg127127Regina coeli in BMay 1772Salzburg165158aMotet for soprano in F; "Exsultate, jubilate"January 1773Milan177Anh. C3.09Offertorium; "Sub exposito venerabili" (doubtful)198Anh. C3.08Offertorium; "Sub tuum praesidium" (doubtful)1773Salzburg222205aOffertory in D minor; "Misericordias Domini"January – February 1775Munich260248aOffertorium in D; "Venite populi"June 1776Salzburg277272aOffertorium in F; "Alma Dei creatoris"Summer – Autumn 1777Salzburg273273"Sancta Maria, mater Dei" in F9 September 1777Salzburg276321bRegina coeli in C1779Salzburg618618"Ave verum Corpus" in D17 June 1791Baden
Oratorios, hymns and cantatas (1767–1785) K1K6CompositionDateLocation3535Die Schuldigkeit des ersten Gebots1767Salzburg4235aGrabmusik1767Salzburg11874cLa Betulia liberataMarch – July 1771Italy and Salzburg142Anh. C 3.04Tantum Ergo in B♭146317bAria for soprano; "Kommet her, ihr frechen Sünder"March – April 1779Salzburg197Anh. C 3.05Tantum Ergo in D343336c"Zwei deutsche Kirchenlieder", O Gotteslamm, Als aus Ägypten Israel1779Salzburg469469Davide penitente13 March 1785Vienna
Requiem (1791) The Requiem in D minor was Mozart's last composition, written between October and December of 1791. It was left unfinished at his death on 5 December 1791, and after his burial on 6 December, Constanze asked Franz Xaver Süssmayr to complete the remainder of the work (from bar 9 of the "Lacrimosa" to the final "Communio)". Constanze originally asked Joseph Eybler, but he could not. It is thought that his respect for the late Mozart was too great. Eybler wrote out the existing parts that Mozart had written out prior to his death, and did not go beyond the end of the ninth bar of the "Lacrimosa". Eybler's autograph is the only score of the original version of the Requiem, ending at the ninth bar of the "Lacrimosa".
Süssmayr continued writing the Requiem on Mozart's manuscript, and so it was never specified where Mozart stopped and Süssmayr started. The version by Süssmayr is the most commonly recorded and performed version of the work, with the completed "Offertorium", "Sanctus", "Benedictus" and "Communio". Süssmayr made minor corrections to the "Domine Jesu" and "Hostias", but the "Sanctus" is the first movement entirely by him. The 20th century has seen the appearance of numerous alternative completions that are either trying to simply correct Süssmayr's shortcomings or going so far as eliminating as much of Süssmayr as possible. +K1K6CompositionDateLocation626626Requiem in D minorOctober–December 1791Vienna
Fragments and unfinished works (1766–1791) K9K1K6CompositionDateLocation333333Kyrie in F12 June 1766Paris898973kKyrie in G1772Rome909090Kyrie in D minor1771–1772SalzburgAnh.H 10,01223166eHosanna in GSummer 1773Salzburg166fAnh. 18166fKyrie in C (fragment)1772Salzburg166gAnh. 19166gKyrie in D (fragment)1772Salzburg91Anh. 17186iKyrie in D (by Reutter, completed by Franz Xaver Süssmayr)1774Salzburg196aAnh. 16196aKyrie in G (fragment)1787–1789Munich258aAnh. 13258aKyrie in C (fragment)1787-1791Vienna?322322296aKyrie in E (fragment; completed by M. Stadler)early 1778Mannheim323Anh. 15323Kyrie in C (fragment; completed by M. Stadler)1779?Salzburg323aAnh. 20323aGloria in C (in conjunction with K. 323)1779?Salzburg341341368aKyrie in D minor1787–1791Vienna422aAnh. 14422aKyrie in D (fragment)1787–1789Salzburg
Theatre music Operas (1767–1791)
Mozart's operas, if Die Schuldigkeit des ersten Gebots, Zaide, L'oca del Cairo, Lo sposo deluso and Der Stein der Weisen are included, add up to 23 works. The works mentioned are sometimes excluded from lists of Mozart's operas due to their debatable form. Die Schuldigkeit des ersten Gebots is regarded as a "sacred drama", Zaide, L'oca del Cairo and Lo sposo deluso are unfinished, with only uncompleted fragments making up the latter, and Der Stein der Weisen is a collaborative work.