Mozart, Wolfgang Amadeus 1756 - 1791
Author: Hisamoto, Yuko
Last updated：January 1, 2010
Author: Hisamoto, Yuko
1. Life as a Composer and Performer
In modern terms, Mozart was a prodigious pianist, and his existence as a composer and as a performer were inextricably linked. Therefore, we will review Mozart's life, focusing on his aspects as a keyboard player and a keyboard music composer.
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1-1. Child Prodigy Era
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg. Salzburg was a religious state where the Catholic Archbishop also governed the secular world. Mozart's father, Leopold, was the Vice-Kapellmeister and a violinist in the Salzburg court orchestra. Leopold's passion was soon generously poured into the musical education of his daughter and son, compiling exercise books, such as those known today as "Nannerl's Music Book," and giving harpsichord lessons. Wolfgang's progress, in particular, was remarkable, and he was soon performing his harpsichord skills before Archbishop Schrattenbach of Salzburg and was allowed to play the organ in the cathedral.
In January 1762, Leopold took Nannerl and Wolfgang to Munich, where they performed before Elector Maximilian Joseph III of Bavaria. Furthermore, in the autumn of the same year, they visited Vienna, and Mozart and his sister Nannerl performed before Empress Maria Theresia and her husband Emperor Francis I at Schönbrunn Palace.
Mozart's name became widely known outside Salzburg due to the grand tour, lasting approximately three and a half years from June 1763 to November 1766. After performing in Wasserburg and Munich, the family visited Leopold's hometown of Augsburg. In Augsburg, there was a keyboard instrument maker, Johann Andreas Stein, whom Leopold knew, and Leopold immediately purchased a travel clavichord from him. Passing through Schwetzingen, Frankfurt, and other cities, they arrived in Paris. The Mozart family was invited to the Palace of Versailles on New Year's Day 1764 and reportedly dined with King Louis XV and his wife. German musicians such as Schobert and Eckard were active in Paris, and Mozart was greatly influenced by their style, publishing a collection of sonatas imitating Schobert's works.
After crossing the English Channel, the Mozart family arrived in London and, without a moment's rest, visited Buckingham Palace, performing before King George III and Queen Charlotte Sophia. Their stay in London lasted over a year, during which the "London Notebook," consisting of 43 pieces, was created. These pieces clearly show the idiom of the 8-year-old Mozart, and some also offer a glimpse into Mozart's later style.
1-2. Activity in Salzburg and Departure
What further enhanced Mozart's fame was his journey to Italy, the home of opera. Mozart and his father Leopold's three trips to Italy occupied a significant portion of Mozart's life from ages 13 to 17. Experiencing Italian music and culture during this impressionable period greatly influenced Mozart. Mozart not only showcased his harpsichord virtuosity in various Italian cities but also received instruction from Padre Martini, an authority on counterpoint, in the ancient university city of Bologna, where he was admitted as the youngest member of the Accademia Filarmonica. In Rome, he gained great prestige, receiving the Order of the Golden Spur from Pope Clement XIV. In Milan, he composed and successfully staged the festive drama Ascanio in Alba for the wedding of Archduke Ferdinand, the Governor of Lombardy and son of Maria Theresia. The day after Mozart and his father returned to Salzburg from their second Italian trip, on December 16, 1771, Archbishop Schrattenbach died, and in March 1772, Count Colloredo was elected Archbishop. Four months after completing their three Italian trips, Mozart and his father went to Vienna. This was likely an attempt to secure employment at the Viennese court, and they were granted an audience with Empress Maria Theresia, but the Empress merely greeted them with superficial cordiality. The new Archbishop Colloredo in Salzburg had already appointed Mozart as concertmaster. He readily permitted the third Italian trip and the Vienna trip, and there is no evidence that Archbishop Colloredo was immediately harsher on Mozart and his father than his predecessor. Upon returning to Salzburg, Mozart, utilizing the knowledge he had gained in Italy and Vienna, successively produced instrumental works such as symphonies, quartets, and divertimentos, as well as religious works like masses. Immediately after returning from Vienna, his first original piano concerto, K. 175 in D major, was composed. From late 1774 to the spring of the following year, Mozart and his father stayed in Munich, where the opera La finta giardiniera and the first group of six piano sonatas were composed. In addition, the piano concertos, violin concertos, symphonies, and divertimentos written in Salzburg are masterpieces brimming with youthful spirit among Mozart's works. Feeling dissatisfied with Salzburg, which lacked an opera house, Mozart submitted his resignation to the Archbishop in September 1777 and set out with his mother, Maria Anna, in search of new opportunities. During their travels, he was able to learn about the cutting-edge fortepiano at the workshop of keyboard instrument maker Stein in Augsburg, and he composed numerous works in Mannheim and Paris. However, the trip ultimately ended in disappointment, as he lost his mother in Paris and completely failed in his job search. The Piano Sonata in A minor, K. 310, composed in Paris, is imbued with tragic tension.
1-3. Success in Vienna
Thrown out into the streets of Vienna alone, Mozart moved in with the Weber family, whom he had met in Mannheim. Countess Thun, the hostess of the most fashionable salon in Vienna, owned a fortepiano made by Stein and lent it to Mozart. Through Countess Thun's good offices, Emperor Joseph II took notice of Mozart's talent. On Christmas Eve of that year, he summoned Mozart and had him compete with the Italian musician Muzio Clementi, who resided in London, before the Russian Grand Duke and Duchess. On July 16, 1782, the Singspiel Die Entführung aus dem Serail, which he had been composing, premiered at the Burgtheater, solidifying Mozart's reputation. The following month, Mozart married Constanze, the third daughter of the Weber family, at St. Stephen's Cathedral. This marriage was against the wishes of his father Leopold in Salzburg. On March 23, 1783, Emperor Joseph II attended a concert held at the Burgtheater. Its success marked the beginning of a brilliant period of activity in Vienna. At the same time, while leading a glamorous and busy life, Mozart also studied the works of Bach and Handel by accessing the vast collection of Baroque music owned by his influential patron, Baron van Swieten, which deepened his compositional style thereafter. From the summer to the autumn of 1783, Mozart returned to Salzburg with his wife Constanze. He did not seem to reconcile with his father or sister, and Mozart never visited his hometown again until his death. On the way back, in Linz, the Linz Symphony and the Piano Sonata in B-flat major, K. 333, were composed. Upon returning to Vienna from Salzburg, Mozart began a vigorous period of composition and performance. In the autumn of 1785, he began composing Le nozze di Figaro, and the opera premiered in Vienna the following year. He was then invited to Prague in January 1787 for its performance, and these approximately three years represent Mozart's most brilliant peak. The core of his performance activities was subscription concerts, where Mozart successively composed masterpieces of piano concertos and performed them himself. Mozart's schedule, as a popular artist, was packed; mornings were spent giving lessons to his pupils, and evenings were almost nightly spent performing in various salons. In December 1784, during this brilliant peak period, Mozart joined the Freemasons.
1-4. Mozart's Decline and Death
The Rondo in A minor, K. 511, for piano, composed in March 1787, is a masterpiece full of melancholy and clear beauty. Shortly after writing this rondo, Mozart learned that Leopold was gravely ill and wrote, "Death is the best friend." In November 1787, Gluck, who enjoyed the highest reputation in Vienna, passed away, and Joseph II appointed Mozart to the vacant post of court composer. Mozart gained a stable income to some extent, but strangely, around this time, he frequently began to request loans from his Freemason friend Puchberg. Amidst this, masterpieces such as the String Quintets in C major, K. 515, and G minor, K. 516, and the three great symphonies (E-flat major, K. 543; G minor, K. 550; C major, K. 551 "Jupiter") were successively composed.
Around this time, Emperor Joseph II began a war with Turkey, and a revolution erupted in France, where Joseph II's sister Marie Antoinette was married, making the social climate gloomy. In 1789, he visited Dresden, Potsdam, and Berlin for the first time, but with little success. Upon returning to Vienna, Mozart composed the opera Così fan tutte for Emperor Joseph II, who had returned to Vienna ill from the front lines, but when it premiered at the Burgtheater, Joseph II was not there. The ailing emperor ended his 49-year life amidst a dark and turbulent social climate. His younger brother, Leopold, Grand Duke of Tuscany, succeeded Joseph II as Leopold II, and his coronation as Holy Roman Emperor was to take place in Frankfurt. Mozart went to Frankfurt and played the Piano Concerto "Coronation," K. 537, among other works, but gained little.
The last year, 1791, was a tumultuous one. In January, his last piano concerto, K. 595 in B-flat major, was completed, and he played it at a concert in March. Immediately after, he developed the concept for Die Zauberflöte with Emanuel Schikaneder and began composing it, but in the middle of composition, he received an order from the court for a celebratory opera for Emperor Leopold II's coronation as King of Bohemia. He hastily composed the opera seria La clemenza di Tito and premiered it in Prague. He then immediately returned to composing Die Zauberflöte, an energetic work ethic for someone with so little life left. Die Zauberflöte premiered on September 30 and quickly gained popularity, being performed repeatedly.
The success of Die Zauberflöte brought Mozart considerable income, but ironically, Mozart's health rapidly deteriorated. Countless works have been written about Mozart's illness and sudden death, but the truth remains unresolved to this day, with new theories being published almost every year even recently.
On November 20, 1791, Mozart, confined to his deathbed, continued composing the Requiem, but his condition worsened, and in the early hours of December 5, 1791, he closed his short life of less than 36 years. Mozart's funeral was held at St. Stephen's Cathedral, but it is unclear who attended. It is said that no one, including Constanze, attended the burial at St. Marx Cemetery, and only the gravedigger witnessed the interment. This episode is said to tell the tragedy of Mozart's final moments, but there are also theories that it was not customary for many people to attend burials at the time, and that the Viennese city authorities restricted attendance at burials due to fear of infectious diseases. Thus, whether Mozart died in poverty remains a mystery to this day.<toggle>
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2. Mozart and Keyboard Instruments
The era in which Mozart lived coincided with a period of transition for keyboard instruments. Within a short period in the latter half of the 18th century, the era shifted from one where only the harpsichord was exclusively used, to one where the fortepiano, the predecessor of the piano, began to be used, then to an era where the fortepiano was used more than the harpsichord, and finally to an era where instruments closer to the modern "piano" were exclusively used. Mozart lived through this transitional period but died before seeing the full-fledged "piano" era.
Thus, in Mozart's time, three types of keyboard instruments were in use: the harpsichord, the fortepiano, and another type of instrument, the clavichord. These three types of keyboard instruments were collectively called "Clavier" in Germany and Austria. Mozart's keyboard works are generally believed to have been playable on any of these three instruments, and broadly speaking, his early works were likely composed with the harpsichord in mind, while as time progressed, he increasingly composed for the fortepiano.
As is well known, the instrument that is the predecessor of today's piano was invented around 1700 by Bartolomeo Cristofori, a Clavier maker serving the Medici family in Florence. It was German keyboard instrument makers who developed Cristofori's invention, made improvements, and further popularized this new instrument. The most important figure among them was Johann Andreas Stein, who had a deep connection with Mozart and his father. Mozart's familiarity with Stein was the background for him to quickly learn about this new instrument and compose works with it in mind.
Soon after arriving in Vienna, Mozart played Stein's fortepiano, but he soon acquired an Anton Walter fortepiano. Walter was a Clavier maker who suddenly appeared in Vienna in the 1780s and was an unknown figure compared to Stein. The Walter instrument used by Mozart passed from Constanze to their son after his death and is now preserved in the Mozart Museum in Salzburg.
Whether Stein's or Walter's, fortepianos of this era were very light instruments. Modern grand pianos are quite heavy, and borrowing and immediately returning one is almost unthinkable, but performers in Vienna at the time, including Mozart, frequently transported their instruments. The lightness of these instruments was due to their wooden frames, unlike modern grand pianos, and their strings were much thinner, their hammers much lighter, and covered with leather instead of felt. The touch of such an instrument is very light, and the key depth is less than half that of a modern piano, allowing fingers to move with surprising agility. Fast passages that would be a struggle on a modern piano with its heavy touch can be played with ease and freedom on this type of instrument. When immersed in performance, the tempo tends to fluctuate, especially in intricate passages, making it easy to play as one pleases. One might encounter such performances at fortepiano recitals, but it is a point to be mindful of when playing Mozart, especially on the fortepiano.
Another type of instrument that Mozart was familiar with from childhood was the clavichord. The sound production principle of the clavichord is simple: when a key is pressed, a wooden lever lifts, and a brass tangent attached to its end strikes the string. When the string is "struck" by this simple mechanism, the vibration is directly transmitted to the key, allowing the performer to feel as if they are "directly touching the string." A slight trembling of the finger immediately produces a vibrato-like sound.
Mozart became familiar with the clavichord early on and kept one at hand, often using it for composition. Even for works for which there is no such record, for example, playing the famous "Sonata facile" in C major (K. 545), composed in Vienna, on a clavichord is very enjoyable, as it feels like one can express subtle nuances that cannot be conveyed on a modern grand piano. Sometimes, I even feel that this masterpiece might have been primarily conceived for the clavichord.<toggle>
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3. Genres of Piano Works
Mozart's piano works can be divided into certain genres: solo pieces for piano (piano sonatas, variations for piano, short pieces for piano (rondos, adagios, minuets, gigues, preludes, fugues, etc.)), pieces for two pianos or four hands (piano sonatas, etc.), sonatas for piano and violin, variations and short pieces for the same combination, chamber music including piano (trios, quartets, chamber music with piano and wind instruments or other combinations), and piano concertos. Mozart's works have been compiled and classified through years of research as the Neue Mozart-Ausgabe, and scores of Mozart's works can also be downloaded from the International Mozarteum Foundation's website. The classification above is fundamentally the same as that of this new complete edition. Furthermore, Köchel numbers, assigned chronologically, are used for Mozart's works; please refer to the work list description for Köchel numbers. It should be noted that some specialized books, when describing Mozart's keyboard music, do not use the term "piano," but rather, for example, refer to piano sonatas as "Clavier sonatas," which is strictly speaking considered correct. However, it should not be denied that Mozart's works, including his early ones, are played on modern pianos, and in this paper, Mozart's keyboard music works are also referred to as Piano XX.
3-1. Piano Sonatas
The core of Mozart's solo piano works consists of 18 piano sonatas. In Mozart's time, there was no performance practice like today's piano recitals, and solo pieces such as piano sonatas were primarily performed in salons. Therefore, the purpose of their composition is thought to have been primarily for publication, targeting amateurs. The first group of piano sonatas consists of six pieces written in Munich when he was 19, showing traces of his study of works by Haydn and Johann Christian Bach. Subsequently, during his Mannheim-Paris journey, two piano sonatas were composed in Mannheim and one in Paris. The Sonata in A minor, K. 310, composed in Paris, exhibits a rather unique style and is a work shrouded in mystery. It is noteworthy that not a single piano sonata was composed in Salzburg. After moving to Vienna, nine piano sonatas were composed. The four early works, K. 330 to K. 333, were previously thought to have been composed in Paris, but as a result of scientific analysis of the autograph manuscripts, their composition dates were changed to the early Vienna period. Including the remaining sonatas composed in Vienna, such as the C minor, K. 457, all are masterpieces. Looking at sonatas composed in the latter half of the 18th century, there were two-movement, four-movement, and a few single-movement or five-or-more-movement sonatas, but a characteristic of Mozart's 18 piano sonatas is that all are written in a three-movement form. And looking at the arrangement of the three movements, with a few exceptions, the basic style is a fast first movement written in sonata form, a slow second movement, and a fast third movement written in sonata-rondo form. The charm of Mozart's piano sonatas lies in their ability to exude diverse personalities while adhering to this form.
3-2. Variations for Piano
Variations for piano is a genre that Mozart continued to compose throughout his life. Variations are based on a simple form where a theme is successively varied, and thus it is a genre with a strong improvisational character.
In his childhood, at the age of 10, two sets of variations were composed and published in the Netherlands. Leopold himself said they were "nothing special," and indeed, they are hardly worth performing. At the age of 17, he composed variations in Vienna using a theme by Antonio Salieri (K. 183); Mozart boldly altered Salieri's theme from the first variation, varying it so freely that the traces of the original theme are barely perceptible.
Upon returning to Salzburg, Mozart composed another set of variations the following year based on a theme by an oboist named Fischer. It is a rather lengthy work with many opportunities for technical display, but in terms of natural musical flow, the distance from the next group of works still seems considerable.
Previously, it was thought that Mozart composed five sets of variations in Paris when he was 22. Like the piano sonatas previously thought to have been composed in Paris, the composition dates of these variations have been revised through the study of watermarks in the autograph manuscripts.
On March 23, 1783, at a concert held at the Burgtheater in Vienna, Mozart performed variations based on melodies by Paisiello and Gluck, both of which were later written down and published based on the improvisations from that time.
Later works include 9 Variations on a Minuet by J. P. Duport, K. 573, composed in Potsdam during his travels, and 8 Variations on the Lied 'Ein Weib ist das herrlichste Ding' from Schack's 'Der dumme Gärtner,' K. 613, composed in the year of his death, showing a deeper compositional style.
3-3. Piano Pieces
Piano pieces consist of a diverse group of works given various titles such as Rondo, Adagio, Andante, Fugue, Prelude, Fantasy, and Minuet. Among the early studies in the London Notebook, some pieces show the budding genius. Among them, the Rondo in A minor, K. 511, written around the time of his father Leopold's death, and the Adagio in B minor, K. 540, which also appears in Romain Rolland's Jean-Christophe, can be considered exceptional masterpieces among all of Mozart's piano works.
Many piano pieces were left unfinished or exist only as fragments. A prime example is the Fantasia in D minor, K. 397, the first edition of which, published posthumously by Mozart's hand, ended unfinished at measure 97. However, when it was published two years later, 10 measures by another person were added, and today it is usually performed in this form, although it is highly unlikely that Mozart played it this way.
3-4. Works for Two Pianos and Four Hands
When the piano reached its golden age in the 19th century, many works for two pianos and four hands (i.e., duets) were composed, primarily for amateurs to enjoy playing the piano in salons and homes. Mozart's era was still at the beginning of this trend, and his Sonata for Keyboard Four Hands in C major, K. 19d, composed in London when he was nine, is one of the earliest examples in this genre.
Of course, not all these works can be definitively categorized as being solely for amateurs. The Sonata for Two Pianos, K. 448, composed soon after he moved to Vienna, is a masterpiece full of flowing beauty and brilliance, brimming with rich fulfillment. Among his later works, the Sonata for Four Hands in C major, K. 521, offers opportunities for technical display and interplay, overflowing with dynamic power and rich sound.
3-5. Violin Sonatas
Mozart's works in the genre simply called "Violin Sonatas" today give the piano a greater role compared to works by Beethoven, Brahms, or Ravel. They are truly "Sonatas for Piano and Violin."
The first collection of Mozart's works to be published was in this genre. It was Sonatas for Harpsichord with Violin Accompaniment (K. 6-7), published in Paris in 1764 with the title Opus 1, and soon after, Opus 2 (K. 8-9) in the same style was also published. These were early studies modeled after works by Johann Schobert and others active in Paris at the time.
The substantial works in this genre are the six sonatas (K. 301-306) written during his Mannheim-Paris journey, which are a group of excellent works full of rich fulfillment. Unlike the early studies from his child prodigy era, in all six sonatas, the violin is given a clear position and is necessarily integrated into the musical flow. Soon after moving to Vienna, the next six pieces were published as "Opus 2" by Artaria (K. 296, K. 376-380). Furthermore, on April 29, 1784, he performed with the female violinist Regina Strinasacchi from Mantua at a concert held at the Kärntnertortheater, attended by the Emperor. The work performed at this time was K. 454 in B-flat major. It is a masterpiece where the richness of Mozart's music at its peak flows freely. After this, three more sonatas, including K. 481 in E-flat major, were composed in Vienna, and in his early Vienna period, variations for piano and violin (K. 359, K. 360) were created.
3-6. Chamber Music with Piano
Piano trios are a genre of works mostly performed by piano, violin, and cello, but sometimes wind instruments such as flute or clarinet were added instead of the violin or cello. The combination of instruments seems to have been considered quite flexible.
Mozart's piano trios begin with the six sonatas of "Opus 3" (K. 10-15) published in London. In early works of this genre, the cello was given only a passive role, merely reinforcing the bass of the Clavier, but as time progressed, the cello part became more active. In K. 254 in B-flat major, composed in Salzburg, the cello is still restrained, but in K. 496 in G major, composed in Vienna in 1786, the cello also plays an active role, and a lively dialogue takes place among the three instruments.
During the Vienna period, five more works in this genre were composed, but the Kegelstatt Trio, K. 498 in E-flat major, stands out. It features a unique combination of piano, viola, and clarinet, and is a masterpiece that fully utilizes the subdued instrumental colors.
Only two piano quartets, for piano, violin, viola, and cello, composed in Vienna (K. 478 in G minor, K. 493 in E-flat major), remain. They were published by Hoffmeister in Vienna, but the fact that only two were published is likely because, despite being a genre for amateurs, Mozart's works were too difficult for amateurs to handle, causing the publisher to turn away. The G minor piece, in particular, is full of tension and at the same time offers glimpses of heavenly beauty.
A masterpiece that shines uniquely among all of Mozart's chamber music works is the Quintet for Piano and Winds, K. 452, which premiered on April 1, 1784, at the Burgtheater in Vienna.
3-7. Piano Concertos
Piano concertos are the most popular genre among Mozart's works, but the first group of works (K. 37, 39-41) are arrangements of works by other composers such as Raupach and Honauer. Additionally, three piano concertos, K. 107, were composed between his Italian trips, but these are arrangements of Johann Christian Bach's Piano Sonatas, Op. 5. The instrument intended was the harpsichord.
Mozart's first original piano concerto, not an arrangement by others, was K. 175 in D major, composed in 1773, and a total of six were composed during his Salzburg period. Among them, K. 271 in E-flat major, created in early 1777 when he was 20, stands out and can even be described as a towering masterpiece.
Mozart then stayed away from composing piano concertos for a while, and the next works were composed six years later, after he moved to Vienna, with a set of three pieces (K. 413-415) being the first group. In 1784, the subscription concert series began, and Mozart's new piano concertos were successively premiered. There are 12 pieces from K. 449 in E-flat major, composed on February 9, 1784, to K. 503 in C major, composed on December 4, 1786, and this period marks Mozart's brief peak.
Including K. 537 in D major and K. 595 in B-flat major, composed after this period, the series of piano concertos composed by Mozart during his Vienna period can be said to belong to the greatest works produced by European music. The genre of Clavier concertos, where the Clavier performs with an orchestra, existed since the Baroque era and was also composed by Mozart's contemporaries, but the piano concertos Mozart composed during his Vienna period were an art entirely different from the works of previous composers.
Mozart fully incorporated symphonic elements into this genre. The impetus for this was partly his study of Haydn's symphonies, but at the same time, Mozart's use of wind instruments in his piano concertos is completely different from Haydn's. Here, Mozart's experience and talent as an opera composer are fully displayed, giving the music drama, depth, and even sensuality. Sometimes, the string instruments fall completely silent, and the wind instruments each speak and sing, playing with the solo, creating a musical world no one had heard before.
H. C. Robbins Landon noted that these concertos are "written in his peculiar, mysterious language, which is neither sorrow nor happiness" (Landon, Mozart and the Role of Genius in Music, translated by Hiroshi Ishii: Chuko Shinsho), which is a keen insight. No one before or after Mozart wrote such music.<toggle>
Author : Hara, Akiho
Last Updated: March 12, 2018
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Author : Hara, Akiho
Works(223)
Concerto (3)
concerto (30)
Konzert für Klavier und Orchester Nr.1 K.37
Key: F-Dur Composed in: 1767 Playing time: 15 min 00 sec
Konzert für Klavier und Orchester Nr.2 K.39
Key: B-Dur Composed in: 1767 Playing time: 14 min 30 sec
Konzert für Klavier und Orchester Nr.3 K.40
Key: D-Dur Composed in: 1767 Playing time: 12 min 00 sec
Konzert für Klavier und Orchester Nr.4 K.41
Key: G-Dur Composed in: 1767 Playing time: 13 min 00 sec
Konzert für Klavier und Orchester Nr.5 K.175
Key: D-Dur Composed in: 1773 Playing time: 21 min 30 sec
Konzert für Klavier und Orchester Nr.6 K.238
Key: B-Dur Composed in: 1776 Playing time: 19 min 30 sec
Konzert für 3 Klaviere und Orchester (Nr.7) 'Lodron' K.242
Key: F-Dur Composed in: 1776 Playing time: 25 min 40 sec
Konzert für Klavier und Orchester Nr.8 'Lützow' K.246
Key: C-Dur Composed in: 1776 Playing time: 20 min 30 sec
Konzert für Klavier und Orchester Nr.9 'Jeunehomme' K.271
Key: Es-Dur Composed in: 1777 Playing time: 30 min 00 sec
Konzert für 2 Klaviere und Orchester (Nr.10) K.365 K6.316a
Key: Es-Dur Composed in: 1779 Playing time: 24 min 30 sec
Konzert für Klavier und Orchester Nr.11 K.413 K6.387a
Key: F-Dur Composed in: 1782 Playing time: 22 min 30 sec
Konzert für Klavier und Orchester Nr.12 K.414 K6.385p
Key: A-Dur Composed in: 1782 Playing time: 24 min 00 sec
Konzert für Klavier und Orchester Nr.13 K.415 K6.387b
Key: C-Dur Composed in: 1782 Playing time: 25 min 30 sec
Konzert für Klavier und Orchester Nr.14 K.449
Key: Es-Dur Composed in: 1784 Playing time: 21 min 30 sec
Konzert für Klavier und Orchester Nr.15 K.450
Key: B-Dur Composed in: 1784 Playing time: 24 min 30 sec
Konzert für Klavier und Orchester Nr.16 K.451
Key: D-Dur Composed in: 1784 Playing time: 23 min 00 sec
Konzert für Klavier und Orchester Nr.17 K.453
Key: G-Dur Composed in: 1784 Playing time: 29 min 00 sec
Konzert für Klavier und Orchester Nr.18 K.456
Key: B-Dur Composed in: 1784 Playing time: 28 min 00 sec
Konzert für Klavier und Orchester Nr.19 K.459
Key: F-Dur Composed in: 1784 Playing time: 28 min 30 sec
Konzert für Klavier und Orchester Nr.20 K.466
Key: d-moll Composed in: 1785 Playing time: 30 min 30 sec
Konzert für Klavier und Orchester Nr.21 K.467
Key: C-Dur Composed in: 1785 Playing time: 26 min 30 sec
Konzert für Klavier und Orchester Nr.22 K.482
Key: Es-Dur Composed in: 1785 Playing time: 32 min 00 sec
Konzert für Klavier und Orchester Nr.23 K.488
Key: A-Dur Composed in: 1786 Playing time: 25 min 00 sec
Konzert für Klavier und Orchester Nr.24 K.491
Key: c-moll Composed in: 1786 Playing time: 29 min 00 sec
Konzert für Klavier und Orchester Nr.25 K.503
Key: C-Dur Composed in: 1786 Playing time: 30 min 30 sec
Konzert für Klavier und Orchester Nr.26 'Krönung' K.537
Key: D-Dur Composed in: 1788 Playing time: 30 min 30 sec
Konzert für Klavier und Orchester Nr.27 K.595
Key: B-Dur Composed in: 1791 Playing time: 29 min 00 sec
Works with orchestral accompaniment (2)
Piano Solo (15)
sonata (19)
Sonate für Klavier Nr.6 'Dürnitz' K.284 K6.205b
Key: D-Dur Composed in: 1775 Playing time: 26 min 30 sec
Sonate für Klavier Nr.18 (Allegro und Andante) K.533(K.494)
Key: F-Dur Composed in: 1788 Playing time: 22 min 00 sec
rondo (3)
sonatina (4)
pieces (6)
42 Stücke "Londoner Skizzenbuch" K3.Anh109b K6.15a-15ss
Composed in: 1765 Playing time: 1 hr 12 min 00 sec
suite (1)
Suite für Klavier (unvollendet) K.399 K6.385i
Key: C-Dur Composed in: 1782 Playing time: 12 min 00 sec
prelude (1)
fantasy (4)
variation (17)
SECHS VARIATIONEN über ein Thema aus dem Klarinettenquintett K.581 K. Anh. 137
Playing time: 9 min 40 sec
8 Variationen über ein holländisches Lied 'Laat ons juichen' von C.E.Graaf K.24
Key: G-Dur Composed in: 1766 Playing time: 6 min 30 sec
7 Variationen über ein niederländisches Lied von Willem van Nassau K.25
Key: D-Dur Composed in: 1766 Playing time: 7 min 00 sec
5(6) Variationen über ein Allegretto K.54 K6.547b
Key: F-Dur Composed in: 1788 Playing time: 7 min 30 sec
12 Variationen über ein Menuett von J.Ch.Fischer K.179 K6.189a
Key: C-Dur Composed in: 1774 Playing time: 21 min 00 sec
6 Variationen über 'Mio caro Adone' aus der Oper 'La fiera di Venezia' von Salieri K.180 K6.173c
Key: G-Dur Composed in: 1773 Playing time: 9 min 30 sec
9 Variationen über 'Lison dormait' aus Dezede's 'Julie' K.264 K6.315d
Key: C-Dur Composed in: 1778 Playing time: 18 min 00 sec
12 Variationen über ein französisches Lied 'Ah,vous dirai-je, maman' K.265 K6.300e
Key: C-Dur Composed in: 1781 Playing time: 15 min 30 sec
Key: F-Dur Composed in: 1781 Playing time: 14 min 00 sec
12 Variationen über das französisches Lied 'La belle Francoise' K.353 K6.300f
Key: Es-Dur Composed in: 1781 Playing time: 16 min 30 sec
Key: Es-Dur Composed in: 1778 Playing time: 17 min 00 sec
Key: F-Dur Composed in: 1783 Playing time: 8 min 00 sec
Key: G-Dur Composed in: 1784 Playing time: 13 min 00 sec
Key: A-Dur Composed in: 1784 Playing time: 4 min 00 sec
9 Variationen über ein Menuett von Duport K.573
Key: D-Dur Composed in: 1789 Playing time: 14 min 00 sec
8 Variationen über ein Lied 'Ein Weib ist das herrlichste Ding' K.613
Key: F-Dur Composed in: 1791 Playing time: 14 min 30 sec
fuga (3)
menuetto (11)
character pieces (2)
Various works (19)
Piano Ensemble (7)
sonata (7)
Sonate für Klavier zu 4 Händen K.357 K6.497a,500a
Key: G-Dur Composed in: 1788 Playing time: 12 min 16 sec
Sonate für Klavier zu 4 Händen K.358 K6.186c
Key: B-Dur Composed in: 1773 Playing time: 13 min 30 sec
Sonate für Klavier zu 4 Händen K.381 K6.123a
Key: D-Dur Composed in: 1772 Playing time: 15 min 00 sec
variation (1)
fuga (2)
transcription (7)
Symphonie Nr.40 für Pianoforte zu vier Händen von H.Urlich K.550
Key: g-moll Composed in: 1788 Playing time: 25 min 00 sec
Various works (2)
Chamber Music (8)
sonata (37)
Sonate für Klavier, Violine(oder Flöte) und Violoncello KV 10
Key: B-Dur Composed in: 1764 Playing time: 11 min 30 sec
Sonate in G für Klavier, Violine (oder Flöte) und Violoncello K. 11
Key: G-Dur Composed in: 1764 Playing time: 8 min 20 sec
Sonate für Klavier, Violine(oder Flöte) und Violoncello KV 12
Key: A-Dur Composed in: 1764 Playing time: 6 min 50 sec
Sonate für Klavier, Violine(oder Flöte) und Violoncello KV 13
Key: F-Dur Composed in: 1764 Playing time: 7 min 30 sec
Sonate für Klavier, Violine(oder Flöte) und Violoncello KV14
Key: C-Dur Composed in: 1764 Playing time: 8 min 30 sec
Sonate für Klavier, Violine(oder Flöte) und Violoncello KV 15
Key: B-Dur Composed in: 1764 Playing time: 9 min 00 sec
variation (2)
Zwölf Variationen über das französische Lied "La Bergère Célimène" KV 359(374a)
Key: G-Dur Composed in: 1781 Playing time: 15 min 00 sec
Key: g-moll Composed in: 1781 Playing time: 12 min 10 sec
menuetto (1)
Various works (13)
Andantino für Klavier und Violoncello KV Anh.46(374g)
Key: B-Dur Composed in: 1782 Playing time: 7 min 10 sec
Quintett für Klavier, Oboe, Klarinette, Horn und Fagott KV 452
Key: Es-Dur Composed in: 1784 Playing time: 24 min 20 sec
Drei fragmentarische Triosätze für Klavier, Violine und Violoncello KV 442
Key: d-moll Composed in: 1783 Playing time: 23 min 00 sec
Trio für Klavier, Violine und Violoncello KV 502
Key: B-Dur Composed in: 1786 Playing time: 23 min 50 sec
Trio für Klavier, Violine und Violoncello KV 548
Key: C-Dur Composed in: 1788 Playing time: 20 min 00 sec
Trio für Klavier, Violine und Violoncello KV564
Key: G-Dur Composed in: 1788 Playing time: 16 min 30 sec
Chamber music (2)
Lied (2)
Various works (6)
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K.520
Composed in: 1787 Playing time: 1 min 50 sec
etc (3)
opera (3)
Symphony (6)