Самая Большая Дискография Опції

[KISHECHNIK]

Всегда парился тупым вопросом: какая группа больше всех струганула альбомов? Пока насчитал у Дип Пёрпла 18 штук:
1968-Shades of Deep Purple
1968-The Book of Taliesyn
1969-Deep Purple
1970-In Rock
1971-Fireball
1972-Machine Head
1973-Who do We think We Are!
1974-Burn
1974-Stormbringer
1975-Come Taste The Band
1984-Perfect Strangers
1987-The House of Blue Light
1990-Slaves and Masters
1993-The Battle Rages On...
1996-Purpendicular
1998-Abandon
2003-Bananas
2005-Rapture of the Deep
У Скорпионс 17. Может, у кого-то больше?

[SIHAIA]

продолжение.... смори за спам\


Miscellaneous pieces
Nannerl's Music Book
Andante in C, K. 1a
Allegro in C, K. 1b
Allegro in F, K. 1c
Minuet in F, K. 1d
Minuet in G, K. 1e
Minuet in C, K. 1f
Minuet in F, K. 2
Allegro in B-flat, K. 3
Minuet in F, K. 4
Minuet in F, K. 5
Allegro in C, K. 5a
Andante in B-flat, K. 5b
Fantasy No. 1 with Fugue in C major, K. 394 (Vienna, 1782)
Fantasy No. 2 in C minor, K. 396 (Vienna, 1782)
Fantasy No. 3 in D minor, K. 397 (Vienna, 1782)
Fantasy No. 4 in C minor, K. 475 (Vienna, May 20, 1785)
Rondo No. 1 in D major, K. 485
Rondo No. 2 in F major, K. 494 (finale to K.533 above initially published alone)
Rondo No. 3 in A minor, K. 511
Adagio for Piano in B minor, K. 540 (Vienna, 1788)
Allegro and Rondo for piano in F Major, K. 547a (Vienna, Summer 1788) (adapted from K. 547 and K. 545)

[edit] Variations
8 Variations in G major on the Dutch song "Laat ons Juichen, Batavieren!" by Christian Ernst Graaf, K. 24
7 Variations in D major on the Dutch song "Willem van Nassau"", K. 25
6 Variations in F major, K 54 (Anh 138a)
12 Variations in C major on a Menuet by Johann Christian Fischer, K 179
6 Variations in G major on "Mio car Adone" from the opera "La fiera di Venezia" by Antonio Salieri, K. 180
9 Variations in C major on the arietta "Lison dormait" from the opera "Julie" by Nicolas Dezede, K 264 ("Lison dormait")
12 Variations in C major on the French song "Ah, vous virai-je, Maman", K. 265
8 Variations in F major on the choir "Dieu d´amour" from the opera "Les mariages samnites" by Andre-Ernest-Modeste Gretry, K. 352
12 Variations in E flat major on the French song "La belle Françoise", K. 353
12 Variations in E flat major on the Romance "Je suis Lindor" from "Le Barbier de Seville" by Pierre Beaumarchais, music by Antoine-Laurent Baudron, K. 354
6 Variations in F major on the aria "Salve tu, Domine" from the opera "I filosofi immaginarii" by Giovanni Paisiello, K 398
10 Variations in G major on the aria "Unser dummer Pöbel meint" from "La rencontre imprévue" by Christophe Willibald Gluck, K 455
8 Variations in A major on "Come un'agnello" from "Fra i due litiganti il terzo gode" by Giuseppe Sarti, K 460
12 Variations on an Allegretto in B major, K 500
9 Variations in D major on a Menuet by Jean-Pierre Duport, K 573
8 Variations in F major on the song "Ein Weib ist das herrlichste Ding" from the Singspiel "Der dumme Gartner" by Benedikt Schack, K 613

[edit] Dual piano/performer works
Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765)
Sonata for Keyboard Four-hands in D major, K. 381 / 123a
Sonata for Keyboard Four-hands in B flat major, K. 358 / 186c
Sonata for Keyboard Four-hands in F major, K. 497
Sonata for Keyboard Four-hands in C major, K. 521
Sonata for Keyboard Four-hands in G major, K. 357 (incompleted)
Sonata for Two Pianos in D Major, K. 448 / 375a
Fugue for Two Pianos in C minor, K. 426

[edit] Chamber music

[edit] Violin music
He also wrote for piano and violin (16 complete sonatas, plus several fragments and two variation sets), where - mainly in the more mature years - the piano does not play just a support to the other solo instrument, but builds a dialogue with it.


[edit] Childhood violin sonatas (1763-66)
Violin Sonata No. 1 in C major, K. 6
Violin Sonata No. 2 in D major, K. 7
Violin Sonata No. 3 in B flat major, K. 8
Violin Sonata No. 4 in G major, K. 9
Violin Sonata No. 5 in B flat major, K. 10
Violin Sonata No. 6 in G major, K. 11
Violin Sonata No. 7 in A major, K. 12
Violin Sonata No. 8 in F major, K. 13
Violin Sonata No. 9 in C major, K. 14
Violin Sonata No. 10 in B flat major, K. 15
Violin Sonata No. 11 in E flat major, K. 26
Violin Sonata No. 12 in G major, K. 27
Violin Sonata No. 13 in C major, K. 28
Violin Sonata No. 14 in D major, K. 29
Violin Sonata No. 15 in F major, K. 30
Violin Sonata No. 16 in B flat major, K. 31

[edit] Mature violin sonatas (1778-88)
Violin Sonata No. 17 in C major, K. 296
Violin Sonata No. 18 in G major, K. 301
Violin Sonata No. 19 in E flat major, K. 302
Violin Sonata No. 20 in C major, K. 303
Violin Sonata No. 21 in E minor, K. 304
Violin Sonata No. 22 in A major, K. 305
Violin Sonata No. 23 in D major, K. 306
Violin Sonata No. 24 in F major, K. 376
Violin Sonata No. 25 in F major, K. 377
Violin Sonata No. 26 in B flat major, K. 378
Violin Sonata No. 27 in G major, K. 379
Violin Sonata No. 28 in E flat major, K. 380
Violin Sonata No. 29 in A major, K. 402 (completed by M. Stadler)
Violin Sonata No. 32 in B flat major, K. 454
Violin Sonata No. 33 in E flat major, K. 481
Violin Sonata No. 35 in A major, K. 526
Violin Sonata No. 36 in F major, K. 547

[edit] Variations for violin and piano
Variations in G major, K. 359, "La bergere Celimene"
6 Variations in G minor on Helas, j'ai perdu mon amant, K. 360

[edit] String duos and trios
Duo for Violin & Viola in G major, K. 423
Duo for Violin & Viola in B flat major, K. 424
Trio for Violin, Viola & Cello in E flat major, K. 563 (1788)
Trio for 2 Violins & Cello in B flat major, K. 266
Preludes and Fugues for Violin, Viola & Cello, K. 404a

[edit] String quartets
Quartetti Milanesi, K. 80 and K. 155-160 (1770-1773)
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. 1 in G major, K. 80/73f (1770)
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 (1772-3)
String Quartet No. 5 in F major, K. 158 (1772-3)
String Quartet No. 6 in B-flat major, K. 159 (1773)
String Quartet No. 7 in E-flat major, K. 160/159a (1773)
Vienna Quartets, K. 168-173 (1773) +
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
String Quartet No. 8 in F major, K. 168 (1773)
String Quartet No. 9 in A major, K. 169 (1773)
String Quartet No. 10 in C major, K. 170 (1773)
String Quartet No. 11 in E-flat major, K. 171 (1773)
String Quartet No. 12 in B-flat major, K. 172 (1773)
String Quartet No. 13 in D minor, K. 173 (1773)
Haydn Quartets K. 387, 421, 428, 458, 464, 465, Opus 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre.
String Quartet No. 14 in G major, ("Spring") K. 387 (1782)
String Quartet No. 15 in D minor, K. 421/417b (1783)
String Quartet No. 16 in E-flat major, K. 428/421b (1783)
String Quartet No. 17 in B-flat major ("Hunt"), K. 458 (1784)
String Quartet No. 18 in A major, K. 464 (1785)
String Quartet No. 19 in C major ("Dissonance"), K. 465 (1785)
String Quartet No. 20 in D major ("Hoffmeister"), K. 499 (1786)
This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.
Prussian Quartets K. 575, 589, 590 (1789-1790)
String Quartet No. 21 in D major, K. 575 (1789)
String Quartet No. 22 in B-flat major, K. 589 (1790)
String Quartet No. 23 in F major, K. 590 (1790)

[edit] 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."[1].

String Quintet in B flat major, K. 174
String Quintet in C major, K. 515
String Quintet in G minor, K. 516
String Quintet in C minor, K. 406 (516b)
This is a transcription for string quintet of the earlier Serenade for wind octet in C minor (K. 388).
String Quintet in D major, K. 593
String Quintet in E flat major, K. 614

[edit] Piano trios
Piano Trio in B flat, K. 254
Piano Trio in G, K. 496
Piano Trio in B flat, K. 502
Piano Trio in E, K. 542
Piano Trio in C, K. 548
Piano Trio in G, K. 564

[edit] Other chamber music
Flute Quartets (flute, violin, viola, cello) K. 285, 285a, 285b, 298 (1777–1778)
Oboe Quartet in F, K. 370
Horn Quintet In E Flat, K. 407
Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784)
Piano Quartet No. 1 in G minor K. 478 (1785)
12 Duets - For Two Basset Horns, K. 487
Piano Quartet No. 2 in E-flat major K. 493 (1786)
Trio for Clarinet, Viola and Piano in E flat major, K. 498 "Kegelstatt" (1786)
Clarinet Quintet in A major, K. 581 (1789)

[edit] Serenades, divertimenti, and other instrumental works
Please help improve this article by expanding this section
with: a complete list of works.
See talk page for details. Please remove this message once the section has been expanded.

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


[edit] Serenades
Serenade No. 1 in D major, K. 100
Serenade No. 3 ("Antretter") in D major, K. 185
Serenade No. 4 ("Colleredo") in D major, K. 203
Serenade No. 5 in D major, K. 204
Serenade No. 6 ("Serenata Notturna") in D major, K. 239
Serenade No. 7 ("Haffner") in D major, K. 250
Serenade No. 9 ("Posthorn") in D major, K. 320
Serenade No. 10 for winds (Serenade for Thirteen Wind Instruments or "Gran Partita") in B flat major, K. 361
Serenade No. 11 for winds in E flat major, K. 375
Serenade No. 12 for winds in C minor, K. 388
Serenade No. 13, "Eine kleine Nachtmusik" for String Quartet & Bass in G major, K. 525

[edit] Divertimenti
Galimathias Musicum (Quodlibet), K. 32 (1766)
Cassation in G, K. 63 (1769)
Cassation in B flat, K. 99 (1769)
Divertimento in E flat, K. 113 (1771)
Divertimento in D, K. 131 (1772)
Divertimenti, K. 136-138 (1772)
Although sometimes described as string quartets, they are almost certainly for strings with double bass and are like Sinfonias in the Italian style.
Divertimento in D, K. 205 (1773)
Divertimento in F "Lodron", K. 247 (1776)
Divertimento in D, K. 251 (1776)
Notturno in D for Four Orchestras, K. 286 (1776-77)
Divertimento in B flat "Lodron", K. 287 (1777)
Divertimento in D, K. 334 (1779-80)
Divertimento for two horns and strings, A Musical Joke, (Ein Musikalischer Spaß,) K. 522

[edit] Dances
Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler, or German Dances).

In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale K. 534, La Bataille K. 535, Canary K. 600/5, etc.

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

[edit] Sacred music
Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780.

Mozart's sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work.

We include in this genre, for their liturgical character, also the compositions written for the Masonic Lodge, like The Cantata Laut Verkunde unsre Freude K623 and the Maurerische Trauermusik (Masonic Funeral Music) K477.


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

[edit] Other sacred music
Regina Coeli for soprano, chorus and orchestra, K. 108
Regina Coeli for soprano, chorus and orchestra, K. 127
Te Deum, K. 141
Exsultate, jubilate, K. 165
Regina Coeli for soloists, chorus and orchestra, K. 276
Vesperae solennes de confessore, K. 339 (1780)
Kyrie in D minor, K. 341
Ave verum corpus, K. 618




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

[edit] Organ music
Fugue in E flat major, K. 153 (375f)
Fugue in G minor, K. 154 (385k)
Ouverture in C major, K. 399 (385i)
Fugue in G minor, K. 401 (375e)
Adagio un C major, K. 536 (617a)
Eine Kleine Gigue, K. 574
Adagio and Allegro in F minor for a Mechanical Organ , K. 594 (1790)
Fantasia in F minor for a Mechanical Organ , K. 608 (1791)
Andante in F for a Small Mechanical Organ , K. 616 (1791)

[edit] Operas

Mozart, at Vienna, playing his Opera "Don Juan" for the first timeDie Schuldigkeit des ersten Gebotes, K. 35 (1767)
Apollo et Hyacinthus, K. 38 (1767)
In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus.
Bastien und Bastienne, K. 50=46b (1768)
With respect to that first attempt, Bastien et Bastienne generates a definitely different result. The young musician is already able to dominate texts and his music emanates pastoral joy and spontaneous fascination.
La finta semplice, K. 51 (1768)
La finta semplice can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre.
Mitridate, rè di Ponto, K. 87 (1770)
Then, the first Italian operas were composed, upon assignments received in Milan and Salzburg: Mitridate, re di Ponto, Ascanio in Alba, Il sogno di Scipione, and Lucio Silla. In all of these works, Mozart still shows some awkwardness while moving in the traditional opera seria frame. The librettos are often dramatically weak and improbable. Nevertheless, one can find in these works some unambiguously Mozartian distinguishing marks, though the weight, substance and formal perfection of the older Mozart are still lacking.
Ascanio in Alba, K. 111 (1771)
Betulia Liberata, an oratorio, K. 118=74c (1771)
On the subject of Judith and Holofernes.
Il sogno di Scipione, K. 126 (1772)
Lucio Silla, K. 135 (1772)
Thamos, König in Ägypten (1773, 1775)
La finta giardiniera, K. 196 (1774-5)
With La finta giardiniera, Mozart comes back to the opera buffa, outranging all previous models of that genre. The libretto is still weak, but characters are not schematic anymore and become real individuals, with music definitely contributing to their definition.
Il rè pastore, K. 208 (1775)
Zaide, K. 344 (1779)
Idomeneo, K. 366 (1781)
Die Entführung aus dem Serail, K. 384 (1782)
After many years from his debut in the German music drama (Singspiel), Mozart came back to this genre with Die Entführung aus dem Serail and, finally, with Die Zauberflöte.
L'oca del Cairo, K. 422 (1783)
Lo sposo deluso, K. 430
Der Schauspieldirektor, K. 486 (1786)
Le nozze di Figaro, K. 492 (1786)
Le nozze di Figaro, the first of the three great operatic works, all belonging to the opera buffa genre (though the Don Giovanni obviously involves tragic elements), that Mozart composed with libretto by Lorenzo da Ponte. Le nozze di Figaro was taken from the comedy Le mariage de Figaro by Pierre Beaumarchais, a work that was hardly accepted - and performed - in France, due to its denunciation contents against the flaws of the higher dominating classes (Clergy and Aristocracy), opposed to the healthy activism of the Third Estate. In Austria, too, Mozart's opera met the opposition of the imperial court, though it should be said that Da Ponte had purged the most shocking aspects from the original text. Actually, the opera was executed during the Spring of 1786 at the Vienna Burgtheater, with enormous success.
Don Giovanni, K. 527 (1787)
The trilogy of Da Ponte librettos continued with Don Giovanni and Così fan tutte, both dealing - but in highly different ways - with the subject of love between men and women.
Così fan tutte, K. 588 (1789)
Die Zauberflöte, K. 620 (1791)
Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. However, it achieved great successes with its premiere. Its music proposes elements of great brightness and spirituality, with the composition of sacred and profane love in unique delight. This work was also influenced by Freemasonry.
La clemenza di Tito, K. 621 (1791)

[edit] Concert arias, songs and canons

[edit] Arias, canzonettas, cavatinas, recitatives

[edit] Soprano
Conservati fedele
Aria with orchestra, K. 23 (1765-10), libretto by Metastasio
Aria with piano, K. Zu 23 (1766-01), libretto by Metastasio
A Berenice, K. 70=61c (1767-02 or 1769-02)
Recitative for soprano and orchestra, librettist unknown
Sol nascente, K. 70=61c (1767-02 or 1769-02)
Aria for soprano and orchestra, librettist unknown
Non curo l'affetto, K⁶ 74b (1771)
Aria for soprano and orchestra, librettist unknown
Misero me!, K. 77=73e (1770-03)
Recitative for soprano and orchestra, libretto by Metastasio
Misero pargoletto, K. 77=73e (1770-03)
Aria for soprano and orchestra, libretto by Metastasio
O temerario Arbace!, K. 78=73b (1766)
Recitative for soprano and orchestra, libretto by Metastasio
Per pietà, bell'idol mio, K. 78=73b (1766)
Aria for soprano and orchestra, libretto by Metastasio
Per quel paterno amplesso, K. 79-73d (1766)
Aria for soprano and orchestra, libretto by Metastasio
Se ardire, e speranza, K. 82=73o (1770-04-25)
Aria for soprano and orchestra, libretto by Metastasio
Se tutti i mali miei, K. 83=73p (1770)
Aria for soprano and orchestra, libretto by Metastasio
Fra cento affanni e cento, K. 88=73c (1770)
Aria for soprano and orchestra, libretto by Metastasio
Der Liebe himmlisches Gefühl, K. 119=382h (1782)
Arrangment of aria for soprano and orchestra, librettist unknown
Ridente la calma, K. 152=210a (Between 1772 and 1775)
Canzonetta for soprano and piano accompaniment, libretto by G. Migliavacca
Piano arrangement of Josef Mysliveček's aria 'Ridente la calma' for the opera Armida
Voi avete un cor fedele, K. 217 (1775-10-26
Aria for soprano and orchestra, libretto by Carlo Goldoni
Ah, lo previdi!, K. 272 (1777-08)
Recitative for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
Ah, t'invola agl'occhi miei, K. 272 (1777-08)
Aria for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
Deh, non varcar quell'onda, K. 272 (1777-08)
Cavatina for soprano and orchestra, libretto by Vittorio Amedio Cigna-Santi
Alcandro, Io confesso, K. 294 (1778-02-24)
Recitative for soprano and orchestra, libretto by Metastasio
Non sò d'onde viene, K. 294 (1778-02-24)
Aria for soprano and orchestra, libretto by Metastasio
Basta, vincesti, K. 295a (1778-02-28)
Recitativo for soprano and orchestra, libretto by Metastasio
Ah, non lasciarmi, no, K. 295a (1778-02-28)
Aria for soprano and orchestra, libretto by Metastasio
Popoli di Tessaglia!, K. 316=300b (1779-01-08)
Recitative for soprano and orchestra, libretto by Ranieri de' Calzabigi.
Io non chiedo, eterni Dei, K. 316=300b (1779-01-08)
Aria for soprano and orchestra, libretto by Ranieri de' Calzabigi.
Ma che vi fece, o stelle, K. 368 (1781-01)
Recitavo for soprano and orchestra, libretto by Metastasio
Sperai vicino il lido, K. 368 (1781-01)
Aria for soprano and orchestra, libretto by Metastasio
Misera, dove son!, K. 369 (1781-03-08)
Recitative for soprano and orchestra, libretto by Metastasio
Ah! non son io che parlo, K. 369 (1781-03-08)
Aria for soprano and orchestra, libretto by Metastasio
A questo seno deh vieni, K. 374 (1781-04)
Recitative for soprano and orchestra, libretto by Giovanni de Gamerra
Or che il cielo a me ti rende, K. 374 (1781-04)
Aria for soprano and orchestra, libretto by Giovanni de Gamerra
Nehmt meinen Dank, ihr holden Gönner, K. 383 (1782-04-10)
Aria for soprano and orchestra, librettist unknown
Mia speranza adorata, K. 416 (1783-01-08)
Recitavo for soprano and orchestra, libretto by Gaetano Sertor
Ah, non sai qual pena, K. 416 (1783-01-08)
Aria for soprano and orchestra, libretto by Gaetano Sertor
Vorrei spiegarvi, oh Dio!, K. 418 (1783-06-20)
Aria for soprano and orchestra, librettist unknown
No, che non sei capace, K. 419 (1783-06)
Aria for soprano and orchestra, librettist unknown
In te spero, oh sposo amato, K. 440=383h (1782-02)
Aria for soprano and orchestra, libretto by Metastasio
Ch'io mi scordi di te?, K. 505 (1786-12-26)
Recitative for soprano and orchestra, librettist unknown
Non temer, amato bene, K. 505 (1786-12-26)
Aria for soprano and orchestra, librettist unknown
Bella mia fiamma, addio!, K. 528 (1787-11-03)
Recitative for soprano and orchestra, libretto by D. Michele Sarcone
Resta, oh cara!, K. 528 (1788-03-04)
Aria for soprano and orchestra, libretto by Metastasio
Ah se in ciel, benigne stelle, K. 538 (1788-03-04)
Aria for soprano and orchestra, libretto by Metastasio
Ohne Zwang aus eignem Triebe, K. 569 (?)
Aria for soprano, LOST
Alma grande e nobil core, K. 578 (1789-08)
Aria for soprano and orchestra, libretto by |Giuseppe Palomba
Schon lacht der holde Fruhling, K. 580 (1789-09-17)
Aria for soprano and orchestra, librettist unknown
Chi sà, chi sà, qual sia, K. 582 (1789-10)
Aria for soprano and orchestra, libretto by Lorenzo Da Ponte
Vado, ma dove? oh Dei!, K. 583 (1789-10)
Aria for soprano and orchestra, libretto by Lorenzo Da Ponte
Io ti lascio, oh cara, addio, NMA II/7/4 Anh III (?)
Cavatina for soprano and orchestra, libretto by Metastasio
Cara, se le mie pene, NMA II/7/1 No. 7 (1769)
Aria with soprano, 2 horns, violin, viola & bass, librettist unknown
"Aria for Gretl Marchard", K. deest
Aria for soprano, LOST
"Aria for daughter of Joseph Wolf", K. deest
Aria for soprano, LOST

[edit] Contralto
Ombra felice!, K. 255 (1776-09)
Recitativo for contralto and orchestra, libretto by Giovanni de Gamerra
Io ti lascio, e questo addio, K. 255 (1776-09)
Aria for contralto and orchestra, libretto by Giovanni de Gamerra

[edit] Tenor
Va, dal furor portata, K. 21=19c (1765)
Aria with Orchestra, libretto by Metastasio
Or che il dover, K. 36=33i (1766-12)
Recitative for tenor and orchestra, librettist unknown
Tali e cotanti sono, K. 36=33i (1766-12)
Aria for tenor and orchestra, librettist unknown
Ah, più tremar non voglio, K. 71 (1769 or 1770)
Aria for tenor and orchestra, libretto by Metastasio
Si mostra la sorte, K. 209 (1775-05-19)
Aria for tenor and orchestra, librettist unknown
Con ossequio, con rispetto, K. 210 (1775-05)
Aria for tenor and orchestra, librettist unknown
Clarice cara mia sposa, K. 256 (1776-09)
Aria for tenor and orchestra, librettist unknown
Se al labbro mio non credi, KV 295 (1778-02-28)
Aria for tenor and orchestra, libretto by Antonio_Salvi
Per pietà, non ricercate, K. 420 (1783-06-21)
Aria for tenor and orchestra, librettist unknown
Misero! O sogno, K. 431=425b (1783)
Recitative for tenor and orchestra, librettist unknown
Aura, che intorno spiri, K. 431=425b (1783)
Aria for tenor and orchestra, librettist unknown
Müßt ich auch durch tausend Drachen, K. 435=416b (1783)
Aria for tenor and orchestra, librettist unknown

[edit] Bass
Un dente guasto e gelato, K⁶ 209a (1775)
Aria for bass and orchestra, librettist unknown
Così dunque tradisci, K. 432=421a (1783)
Recitative for bass and orchestra, libretto by Metastasio
Aspri rimorsi atroci, K. 432=421a (1783)
Aria for bass and orchestra, libretto by Metastasio
Warnung: "Maenner suchen stets zu naschen", K. 433=416c (1783)
Aria for bass and orchestra, librettist unknown
Alcandro, Io confesso, K. 512 (1787-03-[18 or 19])
Recitativo for bass and orchestra, libretto by Metastasio
Non so d'onde viene, K. 512 (1787-03-[18 or 19])
Aria for bass and orchestra, libretto by Metastasio
Mentre ti lascio, oh figlia, K. 513 (1787-03-23)
Aria for bass and orchestra, libretto by Duca Sant' Angioli-Morbilli
Ich möchte wohl der Kaiser sein, K. 539 (1788-03-05)
German War Song for bass and orchestra, libretto by Johann Wilhelm Ludwig Gleim
Un bacio di mano, K. 541 (1788-06)
Arietta for bass and orchestra, libretto by Lorenzo Da Ponte
Io ti lascio, oh cara, addio, K⁶ 621a (1791)
Aria for bass and orchestra, librettist unknown

[edit] Group
Del gran regno delle amazzone, K. 434=480b (End of 1785)
Aria for tenor, 2 basses, and orchestra, libretto by Guiseppe Petrosellini
Dite almeno, in che mancai, K. 479 (1785-11-05)
Aria for soprano, tenor, 2 basses, and orchestra, librettist unknown
Mandina amabile, K. 480 (1785-11-21)
Aria for soprano, tenor, bass, and orchestra, librettist unknown
Per questa bella mano, K. 612 (1791-03-08)
Aria for bass, contrabass, and orchestra, librettist unknown

[edit] Songs
Abendempfindung an Laura: Abend ist's, die Sonne ist verschwunden: K. 523 (1787-06-24)
Ach, was müssen wir erfahren! K. 43a (1767-10-15)
Ah, spiegarti, oh Dio: K. 417e (1783)
Als aus Ägypten Israel: K. 336c/2 (1787-02)
Als Luise die Briefe ihres ungetruen Liebhabers verbrannte: Erzeugt von heißer Phantasie: K. 520 (1787-05-26)
An Chloe: Wenn die Lieb’ aus deinen blauen, hellen, offnen Augen sieht: K. 524 (1787-06-24)
An die Freude: Freude, Königin der Weisen: K. 47e (1768-11)
Auf die feierliche Johannisloge: O heiliges Band der Freundschaft treuer Brüder: K. 125h (1772)
Caro mio Druck und Schluck: K. 571a (1789)
Dans un bois solitaire: K. 295b (1777-10-30 to 1778-03-14)
Das Kinderspiel: Wir Kinder, wir schmecken der Freuden recht viel! K. 598 (1791-01-14)
Das Lied der Trennung: Die Engel Gottes weinen: K. 519 (1787-05-23)
Das Traumbild: Wo bist du, Bild: K. 530 (1787-11-06)
Das Veilchen: Ein Veilchen auf der Wiese stand: K. 476 (1785-06-08)
Der Frühling: Erwacht zum neuen Leben: K. 597 (1791-01-14)
Der Zauberer: Ihr Mädchen, flieht Damöten: K. 472 (1785-05-07)
Des kleinen Friedrichs Geburtstag: Es war einmal, ihr Leute: K. 529 (1787-11-06)
Die Alte: Ein bißchen aus der Nase: K. 517 (1787-05-18)
Die betrogene Welt: Der reiche Tor: K. 474 (1785-05-07)
Die kleine Spinnerin: Was spinnst du? K. 531 (1787-12-11)
Die Verschweigung: Sobald Damötas Chloen sieht: K. 518 (1787-05-20)
Die Zufriedenheit: Was frag' ich viel nach Geld und Gut: K. 367a (1777-11-8 to 1778-03-14)
Die Zufriedenheit: Wie sanft, wie ruhig: K. 473 (1785-05-07)
Due pupille amabili: K. 439 (1783)
Ecco quel fiero istante: K. 436 (1783)
Einsam bin ich, meine Liebe: K. 475a (Possibly 1785)
Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fusse: K. 386d (1782-12)
God is our refuge: K. 20 (1765-07)
Grazie agl'inganni tuoi: K. 532 (1787)
Ich würd' auf meinem Pfad: K. 340c (1781-08 to 1782-05)
Ihr unsre neuen Leiter: K. 484 (1785-12)
Komm, libe Zither, komm: K. 367b (1780-11 to 1781-03)
Leid beim Auszugin in das Feld: Dem hohen Kaiserworte treu K. 552: (1788-08-11)
Liebes Manndel, wo ist's Bandel? K. 441 (1783)
Lied der Freiheit: Wer unter eines Mädchens Hand: K. 506 (end of 1785)
Lied zur Gesellenreise: Die ihr einem neuen Grad: K. 468 (1785-03-26)
Luci care, luci belle: K. 439a (1783)
Mi lagnerò tacendo: K. 437 (1783)
O Gotteslamm: K. 336c/1 (1787-02)
Oiseaux, si tous les ans: K. 284d (1777-10-30)
Più non si trovano: K. 549 (1788-07-16)
Ridente la calma: K. 210a (Between 1772 and 1775)
Se lontan, ben mio, tu sei: K. 438 (1783)
Sehnsucht nach dem Frühling: Komm, lieber Mai, und mache: K. 596 (1791-01-14)
Sei du mein trost: K. 340b (1781-08 to 1782-05)
Verdankt sei es dem Glanz der Großen: K. 340a (1781-08 to 1782-05)
Wie unglücklich bin ich nit: K. 125g (1772)
Zerfließet heut', geliebte Brüder: K. 483 (1785-12)

[edit] Canons
14 Interval Canons No. 1 for 2 in 1: Canoni in unisono: NMA III/10 No. 26 No. 1 (1786-06-03)
14 Interval Canons No. 2 for 2 in 1: Canoni in seconda di sopra: NMA III/10 No. 26 No. 2 (1786-06-03)
14 Interval Canons No. 3 for 2 in 1: Canoni in seconda di sotto: NMA III/10 No. 26 No. 3 (1786-06-03)
14 Interval Canons No. 4 for 2 in 1: Canoni in terza di sopra: K. 508a No. 3 (1786-06-03)
14 Interval Canons No. 5 for 2 in 1: Canoni in terza di sotto: NMA III/10 No. 26 No. 5 (1786-06-03)
14 Interval Canons No. 6 for 2 in 1: Canoni in quarta di sopra: K. 508a No. 4 (1786-06-03)
14 Interval Canons No. 7 for 2 in 1: Canoni in quarta di sotto: NMA III/10 No. 26 No. 7 (1786-06-03)
14 Interval Canons No. 8 for 2 in 1: Canoni in quinta di sopra: K. 508a No. 5 (1786-06-03)
14 Interval Canons No. 9 for 2 in 1: Canoni in quinta di sotto: NMA III/10 No. 26 No. 9 (1786-06-03)
14 Interval Canons No. 10 for 2 in 1: Canoni in sesta di sopra: K. 508a No. 6 (1786-06-03)
14 Interval Canons No. 11 for 2 in 1: Canoni in sesta di sotto: NMA III/10 No. 26 No. 11 (1786-06-03)
14 Interval Canons No. 12 for 2 in 1: Canoni in settima di sopra: K. 508a No. 7 (1786-06-03)
14 Interval Canons No. 13 for 2 in 1: Canoni in settima di sotto: K. 508a NMA III/10 No. 26 No. 13 (1786-06-03)
14 Interval Canons No. 14 for 2 in 1: Canoni in settima di sotto: K. 508a No. 8 (1786-06-03)
2 Canons for 2 in 1: NMA III/10 Anh II No. 7a (1786-06-03)
2 Canons for 2 in 1: NMA III/10 Anh II No. 7b (1786-06-03)
4 Riddle Canons No. 1 for 3 Male Voices in 1: Ter ternis canite vocibus: Incipe Menalios: K. 73r (July or August 1770)
4 Riddle Canons No. 2 for 9 Female Voices in 1: Clama ne cesses. Tertia pars si placet: Cantate Domino: K. 73r (July or August 1770)
4 Riddle Canons No. 3 for 2 Mixed Voices and 1 additional Voice: Ter voce ciemus. Voce ter insonuit: Confitebor tibi Domine: K. 73r (July or August 1770)
4 Riddle Canons No. 4 for 6 Mixed Voices in 2: Thebana bella cantus / Troiana cantat: K. 73r (July or August 1770)
Canon for 2 Voices in 1: Selig, selig: K. 382b (1782)
Canon for 3 in 1: K. 508A (1786-06-03)
Canon for 3 in 1: NMA III/10 Anh II No. 6 (1786-06-03)
Canon for 3 in 3: NMA III/10 Anh II No. 1b (1781 or 1782)
Canon for 4 Instruments in 1 for 2 Violins, Viola & Bass: K. 562c (?)
Canon for 3 Voices in 1: Canone a tre soprani: Auf das Wohl aller Freunde: K. 508 (1786-06-03)
Canon for 3 Voices in 1: Ave Maria: K. 554 (1888-09-02)
Canon for 3 Voices in 1: Bei der Hitz im Sommer eß ich: K. 382e (1782)
Canon for 3 Voices in 1: Essen, Trinken / Bei der Hitz im Sommer eß ich: K. 382e (1782)
Canon for 3 Voices in 1: Heiterkeit und leichtes Blut: K. 507 (1786-06-03)
Canon for 3 Voices in 1: Leck mir den Arsch fein recht schön sauber / Nichts labt mich mehr als Wein: K. 233/382d (1782)
Canon for 3 Voices in 1: Nichts labt mich mehr als Wein: K. 382d (1782)
Canon for 3 Voices in 1: O du eselhafter Peierl: K. 559a (some point between 1785 and 1787)
Canon for 3 Voices in 1: Sie ist dahin: K. 382a (1782)
Canon for 3 Voices in 1: V'amo di core: K. 382g (1782)
Canon for 4 in 1: K. 562a (?)
Canon for 4 in 1: NMA III/10 No. 28 (Summer 1786)
Canon for 4 in 3: NMA III/10 Anh II No. 11 (1787 or 1888)
Canon for 4 in 4: NMA III/10 Anh II No 2 (1781 or 1782)
Canon for 4 in 4: NMA III/10 Anh II No. 10 (1787 or 1888)
Canon for 4 in 4: NMA III/10 Anh II No. 3 (1781 or 1782)
Canon for 4 in 4: NMA III/10 Anh II No. 4 (end of 1785 or 1786)
Canon for 4 in 4: NMA III/10 Anh II No. 9 (1787 or 1888)
Canon for 4 Instruments in 1: K. 73i (1770-04)
Canon for 4 Voices in 1: Alleluia K. 553 (1888-09-02)
Canon for 4 Voices in 1: Bona nox! bist a rechta Ox K. 561 (1888-09-02)
Canon for 4 Voices in 1: Caro bell'idol mio K. 562 (1888-09-02)
Canon for 4 Voices in 1: Difficile lectu mihi mars K. 559 (1888-09-02)
Canon for 4 Voices in 1: Gehn wir im Prater, gehn wir in d'Hetz K. 558 (1888-09-02)
Canon for 4 Voices in 1: Grechtelt's enk K. 556 (1888-09-02)
Canon for 4 Voices in 1: Lacrimoso son'io K. 555 (1888-09-02)
Canon for 4 Voices in 1: Nascoso è il mio sol K. 557 (1888-09-02)
Canon for 4 Voices in 1: O du eselhafter Martin (Jakob) K. 560 (1888-09-02)
Canon for 5 in 5: NMA III/10 Anh II No. 1a (1781 or 1782)
Canon for 6 Voices in 1: Laßt froh uns sein K. 382c (1782)
Canon for 6 Voices in 1: Wo der perlende Wein im Glase blinkt K. 382f (1782)
Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 1 (1786-06-03)
Canon in 3 Parts for 3 Female Voices in 1: Canone a tre soprani: K. 508a No. 2 (1786-06-03)
Canonical Study for 4 in 2: K. 616b/31 (Summer 1887)
Double Canon for 4 Voices in 2: K. 515b (1787-04-24)
Kyrie K. 73k (1770-05)
Canon for 6 voices in 1: Leck mich im Arsch / Laßt froh uns sein: K. 231/382c (1782)
Triple Canon for 12 Voices in 3: Lieber Freistädtler, lieber Gaulimauli: K. 509a (1787-07-04)
Untexted Canon for 4 (or 5) Voices in 1: Sit trium series una: K. 73i (1770-04)