List of compositions by Wolfgang Amadeus Mozart


Wolfgang Amadeus Mozart 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 Verzeichnis, i.e. the chronological catalogue of Mozart's works by Ludwig von Köchel. This catalogue has been amended several times, leading to ambiguity over some KV 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 had gone out of fashion, his sacred works eventually resulted in the Requiem, which was left unfinished at his early death in 1791.

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 ". 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.
K1K6CompositionDateLocation
626626Requiem in D minorOctober–December 1791Vienna

Theatre music

Operas (1766–1791)

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.
K1K6CompositionPeriodPremiere datePremiere locationNotes
3838Apollo et Hyacinthus176713 May 1767Great Hall, University of SalzburgLatin intermezzo
5146aLa finta semplice17681 May 1769Archbishop's Palace, SalzburgOpera buffa. Originally composed in 1768, by the time Marco Coltellini had completed the libretto, the Mozarts were scheduled to leave Vienna, and so it received its premiere when they arrived back in Salzburg in 1769.
5046bBastien und Bastienne17682 October 1890Architektenhaus, BerlinSingspiel. Possibly premiered in Vienna, October 1768, in the garden of Dr. Franz Mesmer, but this is disputed. The first certified performance was on 2 October 1890 at the Architektenhaus, Wilhelmstraße 92 in Berlin
8774aMitridate, re di Ponto177026 December 1770Teatro Regio Ducale, MilanOpera seria. Libretto by Vittorio Amedeo Cigna-Santi, based on Racine's Mithridate.
111111Ascanio in Alba177117 October 1771Teatro Regio Ducale, MilanFesta teatrale. Libretto by Giuseppe Parini. Commissioned by the Empress Maria Theresa for the marriage of her son, Archduke Ferdinand Karl, to Maria Beatrice d'Este on 15 October 1771.
126126Il sogno di Scipione17721 May 1772Archbishop's Palace, SalzburgAzione teatrale. Libretto by Pietro Metastasio. Composed originally for Prince-Archbishop Sigismund von Schrattenbach, but he died before the work could be performed. Mozart then dedicated it to Schrattenbach's successor, Hieronymus Colloredo.
135135Lucio Silla177226 December 1772Teatro Regio Ducale, MilanOpera seria. Libretto by Giovanni de Gamerra, revised by Metastasio.
196196La finta giardiniera1774–177513 January 1775Salvatortheater, MunichDramma giocoso. Libretto possibly by Giuseppe Petrosellini. Later converted into a German singspiel for performances in Vienna in 1790 . Until 1970, the only version of La finta giardiniera was the German one, until the Italian libretto and score was discovered.
208208Il re pastore177523 April 1775Archbishop's Palace, SalzburgSerenata. Libretto by Metastasio, edited by Giambattista Varesco, based on Tasso's Aminta. Commissioned for a visit by the Archduke Maximilian Francis of Austria to Salzburg.
345336aThamos, König in Ägypten1773 and 17794 April 1774Theater am Kärntnertor, ViennaIncidental music to a play written by Tobias Philipp von Gebler. The 1774 performance in Vienna consisted of only two choruses. The work in its entirety premiered sometime between 1779 and 1780 in Salzburg.
344336bZaide1779–178027 January 1866FrankfurtSingspiel. Libretto by Johann Andreas Schachtner. Begun in Salzburg 1779, it was later abandoned in 1780. It was never performed in Mozart's lifetime, and received its premiere in Frankfurt on January 27, 1866, for the 110th Anniversary of Mozart's birth. Usually, either Mozart's Symphonies Nos. 26 or 32 are used as the overture, due to both works being in the Italian sinfonia form.
366366Idomeneo, re di Creta1780–8129 January 1781Cuvilliés Theatre, MunichOpera seria. Libretto by Giambattista Varesco. Mozart wrote a ballet to accompany the opera, which he himself considered more of a Lullian divertissement. Regarded as Mozart's first "mature" opera, it is one of his earliest operas to still be regularly performed today.
384384Die Entführung aus dem Serail1781–8216 July 1782Burgtheater, ViennaSingspiel. Libretto by Gottlieb Stephanie, based on Bretzner's Belmont und Constanze, oder Die Entführung aus dem Serail.
422422L'oca del Cairo17836 June 1867Théâtre des Fantaisies-Parisiennes, ParisDramma giocoso. Libretto by Giambattista Varesco. Begun in July 1783 but abandoned in October. Only seven numbers in the first act survive, plus some recitative and a sketch for a further aria. The existing music amounts to around 45 minutes.
430424aLo sposo deluso1783–846 June 1867Théâtre des Fantaisies-Parisiennes, ParisOpera buffa. Libretto once attributed to Lorenzo da Ponte, but may have been by Giuseppe Petrosellini. Begun in 1780 and abandoned in 1783, only the overture and four numbers survive. It received its first stage performance on 6 June 1867 at the Théâtre des Fantaisies-Parisiennes, along with L'oca del Cairo.
486486Der Schauspieldirektor17867 February 1786Schönbrunn Palace, ViennaSingspiel. Libretto by Gottlieb Stephanie. It was written as a musical entry in a competition, with Der Schauspieldirektor competing in the German category, against an Italian opera: Prima la musica e poi le parole by Antonio Salieri.
492492Le nozze di Figaro1785–861 May 1786Burgtheater, ViennaOpera buffa. Libretto by Lorenzo da Ponte, based on Beaumarchais's La folle journée, ou le Mariage de Figaro.
527527Don Giovanni178729 October 1787Estates Theatre, PragueDramma giocoso. Libretto by Lorenzo da Ponte, based on Bertati's Don Giovanni Tenorio. For the Vienna premiere six months later, Mozart composed a new finale, in which the entire ensemble comes together in resolution. Mozart originally intended for the Commendatore scene to end the opera, but the finale had to be changed due to the differing musical tastes between Prague and Vienna.
588588Così fan tutte1789–9026 January 1790Burgtheater, ViennaDramma giocoso. Libretto by Lorenzo da Ponte. The subject of the opera did not offend Viennese audiences at the time, but during the 19th and 20th centuries the opera was considered risqué, vulgar and highly immoral. It was rarely performed, and when it was it was presented in a expurgated version.
592a625Der Stein der Weisen179011 September 1790Theater auf der Wieden, ViennaSingspiel. Libretto by Emanuel Schikaneder. Pasticcio written by Mozart in collaboration with Johann Baptist Henneberg, Franz Xaver Gerl, Benedikt Schack and Emanuel Schikaneder. The only surviving part by Mozart is the duet "Nun, liebes Weibchen, ziehst mit mir", K. 625/592a. Everyone except Mozart contributed to act 1.
621621La clemenza di Tito17916 September 1791Estates Theatre, PragueOpera seria. Libretto by Metastasio, revised by Caterino Mazzolà.
620620Die Zauberflöte179130 September 1791Theater auf der Wieden, ViennaSingspiel''. Libretto by Emanuel Schikaneder.

Ballet music (1778–1783)

Mozart's small amount of ballet music are regarded as minor works, and a majority of them are either fragmented, incomplete or spurious. His only full-scale ballets are K. Anh. 10 and K. 367, the rest are all either small stand-alone works or incomplete works. The Gavotte in B-flat, K. 300, isn't technically ballet music, but a dance, and so would nowadays be catalogued with Mozart's other dance music. But the Neue Mozart-Ausgabe regards it as ballet music.
K9K1K6CompositionDateLocation
299bAnh. 10299bLes petits riens11 July 1778Paris
299c299cBallet Summer 1778Paris
320fAnh. 103299dLa Chasse in A Autumn 1778Paris
300300300Gavotte in B-flat1778Paris
367367367Ballet for Idomeneo29 January 1781Salzburg and Munich
446446416dMusic to a Pantomime February 1783Vienna

Arias, songs and vocal ensembles (1765–1791)

Throughout Mozart's life, he wrote a large number of stand-alone arias and vocal ensembles. Most of these are concert arias, with some being alternative arias or ensembles to operas. His first work in this field was written in 1765 and the last in 1791. He also wrote two works for multiple vocalists, either intended to be played alone or as an interjection ensemble in an operatic work. His other "secular" vocal works include canons and lieder.
K9K1K6CompositionDateLocation
212119cAria for tenor; "Va, dal furor portata"1765London
232323Aria for soprano; "Conservati fedele"October 1765The Hague
787873bAria for soprano; "Per pietà, bell'idol mio"1766Milan
797973dRecitative and aria for soprano; "O temerario arbace...Per quel paterno amplesso"1766Milan
363633iRecitative and aria for tenor; "Or che il dover...Tali e cotanti sono"December 1766Salzburg
707061cRecitative and aria for soprano; "A Berenice...Sol nascente"28 February 1767Salzburg
646Aria for soprano; "Cara, se le mie pene"1769Salzburg
888873cAria for soprano; "Fra cento affanni"February – March 1770Milan
777773eRecitative and aria for soprano; "Misero me...Misero pargoletto"March 1770Milan
828273oAria for soprano; "Se ardire, e speranza"25 April 1770Rome
838373pAria for soprano; "Se tutti i mali miei"April – May 1770Rome
74b74bAria for soprano; "Non curo l'affetto"early 1771Milan or Pavia
209209209Aria for tenor; "Si mostra la sorte"19 May 1775Salzburg
210210210Aria for tenor; "Con ossequio, con rispetto"May 1775Salzburg
217217217Aria for soprano; "Voi avete un cor fedele"26 October 1775Salzburg
Anh.A 36152210aAria for soprano and piano; "Ridente la calma" 1772 and 1775Salzburg?
255255255Recitative and aria for alto; "Ombra felice...Io ti lascio, e questo addio"September 1776Salzburg
256256256Aria for tenor; "Clarice cara mia sposa"September 1776Salzburg
272272272Recitative and aria for soprano; "Ah, lo previdi...Ah, t'invola agl'occhi miei"August 1777Salzburg
294294294Recitative and aria for soprano; "Alcandro lo confesso...Non sò d'onde viene"24 February 1778Mannheim
295295295Aria for tenor; "Se al labbro mio non credi"27 February 1778Mannheim
486486a295aRecitative and aria for soprano; "Basta, vincesti...Ah, non lasciarmi, no"27 February 1778Mannheim
316316300bRecitative and aria for soprano; "Popoli di Tessaglia!...Io non chiedo"8 January 1779Mannheim
368368368Recitative and aria for soprano; "Ma che vi fece, o stelle...Sperai vicino il lido"January 1781Munich
369369369Recitative and aria for soprano; "Misera, dove son!...Ah! non son io che parlo"8 March 1781Munich
374374374Recitative and aria for soprano; "A questo seno deh vieni...Or che il cielo"April 1781Vienna
383383383Aria for soprano; "Nehmt meinen Dank, ihr holden Gönner!"10 April 1782Vienna
416416416Recitative and rondo for soprano; "Mia speranza adorata...Ah non sai"8 January 1783Vienna
418418418Aria for soprano; "Vorrei spiegarvi, oh Dio!"20 June 1783Vienna
419419419Aria for soprano; "No, no, che non sei capace"June 1783Vienna
420420420Aria for tenor; "Per pietà, non ricercate"21 June 1783Vienna
432432421aRecitative and aria for bass; "Così dunque tradisci...Aspri rimorsi atroci"1783Vienna
431431425bRecitative and aria for tenor; "Misero! O sogno...Aura, che intorno spiri"December 1783Vienna?
479479479 for soprano, tenor and two basses, for La villanella rapita 5 November 1785Vienna
480480480 for soprano, tenor and bass, for La villanella rapita 21 November 1785Vienna
505505505Recitative and aria for soprano; "Ch'io mi scordi di te?...Non temer, amato bene"26 December 1786Vienna
119119382hAria for soprano; "Der Liebe himmlisches Gefühl"1782Vienna
178178417eAria for soprano; "Ah, spiegarti, oh Dio"June 1783Vienna?
512512512Aria for bass; "Alcandro lo confesso"19 March 1787Vienna
513513513Aria for bass; "Mentre ti lascio"23 March 1787Vienna
528528528Recitative and aria for soprano; "Bella mia fiamma...Resta, oh cara"3 November 1787Prague
538538538Aria for soprano; "Ah se in ciel, benigne stelle"4 March 1788Vienna
539539539A German battle song for bass; "Ich möchte wohl der Kaiser sein"5 March 1788Vienna
541541541Arietta for bass; "Un bacio di mano"May 1788Vienna
577577577Rondo for soprano; "Al desio, di chi t'adora"July 1789Vienna
578578578Aria for soprano; "Alma grande e nobil core"August 1789Vienna
582582582Aria for soprano; "Chi sà, chi sà, qual sia"October 1789Vienna
583583583Aria for soprano; "Vado, ma dove? oh Dei!"October 1789Vienna
612612612Aria for bass; "Per questa bella mano"8 March 1791Vienna
717171Aria for tenor; "Ah più tremar non voglio" early 1770Salzburg
209a209aAria for bass; "Un dente guasto e gelato" 1775Salzburg
440440383hAria for soprano; "In te spero, o sposo amato"May 1782Vienna?
433433416cAria for bass; "Männer suchen stets zu naschen" 1783Vienna
434434480bAria for tenor and 2 basses; "Del gran regno delle amazzone"End of 1785Vienna
435435416bAria for tenor; "Mußt' ich auch durch tausend Drachen" 1783Vienna
580580580Aria for soprano; "Schon lacht der holde Frühling"17 September 1789Vienna

Orchestral works

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 were revised by the author after their first versions.

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. 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, except the first around 1773. 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 did after him.
Mozart also wrote a concertone for two violins and orchestra, 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 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
  • Horn Concerto, K. 494a in E major

Woodwind concertos

;Others

Concertante symphonies

These were not Mozart's only attempts at the genre; another fragmentary work was also composed around the same time, though not completed.

Other concertos

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. Examples of his earliest works are those found in Nannerl's Music Book. Between 1782 and 1786, Mozart wrote 20 works for piano solo and works for piano four hands and two pianos.

Dual piano/performer works

Piano four-hands

;Others
  • Allegro in G major, K. 357/497a

Two pianos

  • Sonata for Two Pianos in D major, K. 448/375a
  • Fugue in C minor for Two Keyboards, K. 426
  • Larghetto and Allegretto for Two Pianos in E major, K. 681
;Others
  • Allegro in C minor for Two Pianos, K.Anh. 44/426a

Chamber music

Chamber music with piano

Violin music

Mozart also wrote sonatas for keyboard and violin. 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 therefore includes them along with the other keyboard trios, although the Köchel catalogue lists them as normal violin sonatas.
Violin sonatas
Childhood violin sonatas (1762–66)

Piano trios

;Others
  • Piano Trio in D minor, K. 442
  • Piano Trio in B major, K.Anh. 51/501a
  • Piano Trio in G major, K.Anh. 52/495a

Piano quartets

Other chamber music with piano

;Fragments

Chamber music without piano

String duos

String trios

;Others
  • Preludes and Fugues for Violin, Viola and Cello, K. 404a
  • Trio for Violin, Viola and Cello in G major, K. Anh. 66/562e

String quartets

;Others

String quintets

The string quintets, 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."
;Others
  • String Quintet in B major, K. 514a
  • String Quintet in A minor, K. 515c+515a

Other chamber music without piano

;Fragments
  • Andante in B major, K. 384B
  • Allegro in C major for basset horn and ??, K. 484e
  • Clarinet Quintet fragment in B major, K. 516c/Anh. 91 – Allegro
  • Clarinet Quintet fragment in E major, K. 516d – Andante
  • Clarinet Quintet fragment in E major, K. 516e/Anh. 89 – Rondò
  • Clarinet Quintet fragment in F major, K. 580b/Anh. 90 – Allegro

Serenades, divertimenti, and other instrumental works

The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, dances, and a quodlibet, besides, of course, his symphonies. Mozart's production for orchestra is written for string ensembles, as well as for wind ensembles and the varied combinations of strings and winds.

Serenades

;Others

Divertimenti

;Others
Three Milanese Quartets called "Divertimento":
  • String Quartet No. 2 in D major, K. 155/134a
  • String Quartet No. 5 in F major, K. 158
  • String Quartet No. 6 in B major, K. 159
Incomplete
  • Divertimento in F major, K. 288/246c
  • Divertimento in D major, K. 320B

Marches

  • March in D major, K. 62
  • March in D major, K. 189/167b
  • March in C major, K. 214
  • March in D major, K. 215/213b
  • March in D major, K. 237/189c
  • March in F major, K. 248
  • March in D major, K. 249
  • March in D major, K. 290
  • March in D major, K. 335/320a, No. 1
  • March in D major, K. 335/320a, No. 2
  • March in C major, K. 408/383e, No. 1
  • March in D major, K. 408/385a, No. 2
  • March in C major, K. 408/383F, No. 3
  • March in D major, K. 445/320c
  • March, K. 676
;Others
  • Cassation in G major, K. 63, first movement march
  • Divertimento No. 11 in D major, K. 251, sixth movement
  • March in D major, K. 544
Incomplete
  • March in B major, K. 384b

Dances

Mozart left a huge production of dances for orchestra in different genres, including more than 100 minuets, over 30 contra dances, over 50 allemandes, a gavotte 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.
Minuet
  • 7 Menuets, K. 61b/65a
  • 2 Menuets, K. 61g
  • 6 Menuets, K. 61h
  • 20 Menuets, K. 103/61d
  • 6 Menuets, K. 104/61e
  • 6 Menuets, K. 105/61f
  • Menuet in E major, K. 122/73t
  • 6 Menuets, K. 164/130a
  • 16 Menuets, K. 176
  • 3 Menuets, K. 363
  • Symphonic Minuet in C major, K. 409/383f
  • 5 Menuets, K. 461/448a
  • 2 Minuets with Contredanses in F major and B major, K. 463/448c
  • 12 Menuets, K. 568
  • 12 Menuets, K. 585
  • 6 Menuets, K. 599
  • 4 Menuets, K. 601
  • 2 Menuets, K. 604
Contra dance
  • 4 Contredanses, K. 101/250a
  • Overture and 3 Contredanses, K. 106/588a
  • Contredanse in B major, K. 123/73g
  • 4 Contredanses, K. 267/271c
  • 2 or 4 Contredanses for Count Johann Rudolf Czernin, K. 269b
  • 6 Contredanses, K. 462/448b
  • 9 Countredanses, K. 510/Anh.C 13.02
  • Contredanse in D major, "Das Donnerwetter", K. 534
  • Contredanse in C major, "La Bataille", K. 535
  • 3 Contredanses, K. 535a
  • Contredanse in B K. 535b
  • 2 Contredanses, K. 565
  • Contredanse in D K. 565a
  • Contredanse in C major, "Der Sieg vom Helden Koburg", K. 587
  • 2 Contredanses, K. 603
  • Contredanse in E major, "Il Trionfo delle Donne", K. 607/605a
  • 5 Contredanses, K. 609
  • Contredanse in G major, "Les filles malicieuses", K. 610
Allemande
  • 6 German Dances, K. 509
  • 6 German Dances, K. 536
  • 6 German Dances, K. 567
  • 6 German Dances, K. 571
  • 12 German Dances, K. 586
  • 6 German Dances, K. 600
  • 4 German Dances, K. 602
  • Three German Dances, K. 605
  • 6 Ländler in B major, "Ländlerische Tänze", K. 606
  • German Dance in C major, K. 611 "Die Leirer"
Others
  • Sketch of a ballet, Le gelosie del Serraglio, K. Anh. 109/135a
  • Ballet, Les petits riens, K. Anh. 10/299b
  • Sketches for a ballet intermezzo, "Bagatelles Ballet Pantomime", K. 299c La Chasse in A major, K. Anh. 103/299d,
  • Gavotte in B major, K. 300
  • Ballet music for Idomeneo, K. 367 Musik zu einer Pantomime: Pantalon und Colombine in D major, K. 446/416d

Sacred music

Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the seventeen Sonate da chiesa, composed between 1772 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.

Masses

Oratorios

Cantatas

Church sonatas

  • Church Sonata No. 1 in E, K. 67/41h
  • Church Sonata No. 2 in B, K. 68/41i
  • Church Sonata No. 3 in D, K. 69/41k
  • Church Sonata No. 4 in D, K. 144/124a
  • Church Sonata No. 5 in F, K. 145/124b
  • Church Sonata No. 6 in B, K. 212
  • Church Sonata No. 7 in F, K. 224/241a
  • Church Sonata No. 8 in A, K. 225/241b
  • Church Sonata No. 9 in G, K. 241
  • Church Sonata No. 10 in F, K. 244
  • Church Sonata No. 11 in D, K. 245
  • Church Sonata No. 12 in C, K. 263
  • Church Sonata No. 13 in G, K. 274/271d
  • Church Sonata No. 14 in C, K. 278/271e
  • Church Sonata No. 15 in C, K. 328/317c
  • Church Sonata No. 16 in C, K. 329/317a
  • Church Sonata No. 17 in C, K. 336/336d
;Others
  • Church Sonata in C major, K. 124c
  • Church Sonata in D major, K. Anh. 65a
  • Church Sonata in C, K. 677

Other sacred works

Kyrie
;Others
  • Kyrie in C major, K. 166f/Anh. 18
  • Kyrie in D major, K. 166g/Anh. 19
  • Kyrie in E major, K. 322/296a,
  • Kyrie in C major, K. Anh. 15/323
  • Kyrie in G major, K. 196a/Anh. 16
  • Kyrie in D major, K. 422a/Anh. 14
  • Kyrie in C major, K. 258a/Anh. 13
Gradual
Offertory
  • Scande Coeli Limina in C major, K. 34
  • Inter natos mulierium in G major, K. 72/74f
  • Benedictus sit Deus in C major, K. 117; 66a/47b
  • Convertentur sedentes in D major, K. 177/Anh. C 3.09
  • Sub tuum praesidium in F major, K. 198/Anh. C 03.08
  • Misericordias Domini in D Minor, K. 222/205a
  • Venite populi in D major, K. 260/248a
  • Alma Dei creatoris in F major, K. 277/272a
Vespers
Magnificat
  • Dixit Dominus and Magnificat in C major, K. 193/186g
Antiphon
  • Cibavit eos in A Minor, K. 44/73u
  • Quaerite primum regnum Dei in D Minor, K. 86/73v
Three settings of the Marian antiphon Regina coeli:
  • Regina coeli for soprano, chorus and orchestra in C major, K. 108/74d
  • Regina coeli for soprano, chorus and orchestra in B major, K. 127
  • Regina coeli for soloists, chorus and orchestra in C major, K. 276/321b
Miserere
  • Miserere in A minor, K. 85/73s
Te Deum
  • Te Deum in C major, K. 141/66b
Litany
  • Litaniae Lauretanae in B major, K. 109/74e
  • Litaniae de venerabili altaris sacramento in B major, K. 125
  • Litaniae Lauretenae in D major, K. 195/186d
  • Litaniae de venerabili altaris sacramento in E major, K. 243
Motets
Hymns and arias
  • Tantum Ergo in B major, K. 142/Anh. C 3.04
  • Tantum Ergo in D major, K. 197/Anh. C 3.05
  • Kommet her, ihr frechen Sünder for Soprano in B, K. 146/317b
  • "Zwei deutsche Kirchenlieder", O Gotteslamm, Als aus Ägypten Israel, K. 343/336c

Organ music

Masonic music

The following are compositions written for the Masonic Lodge:
  • Song for tenor and piano, "Lobegesang auf die feierliche Johannisloge", K. 148/125h,
  • Cantata for two tenors, male chorus, and orchestra, Dir, Seele des Weltalls, K. 429/468a
  • Song for tenor and piano, "Lied zur Gesellenreise: Die ihr einem neuen Grad", K. 468, "for use at installation of new journeymen"
  • Cantata for tenor, male chorus, and orchestra, Die Maurerfreude K. 471
  • The Masonic Funeral Music, K. 477/479a, for orchestra, which was composed for an actual Masonic funeral
  • Two songs for tenor, male chorus and organ used for the opening and closing ceremonies of the lodge in Austria "Zur Neugekrönten Hoffnung":
  • *"Zerfließet Heut, Geliebter Brüder", K. 483
  • *"Ihr Unsre Neuen Leiter", K. 484
  • The Little German Cantata, for tenor and piano, for use at meetings of the Colony of the Friends of Nature, K. 619
  • The Kleine Freimaurer-Kantate "Laut verkünde unsre Freude", for two tenors, bass, male chorus, and orchestra, K. 623
  • Song for male chorus and orchestra, "Laßt uns mit geschlungnen Händen", K. 623a,

Handel adaptations