Mozart, Wolfgang Amadeus

Mozart, Wolfgang Amadeus [baptized Johannes Chrysostomus Wolfgangus Theophilus] (b Salzburg, 1756; d Vienna, 1791). Austrian composer, keyboard-player, violinist, violist, and conductor. Son of Leopold Mozart, Vice-Kapellmeister to Prince-Archbishop of Salzburg, Mozart showed exceptional musical precocity, playing the klavier at 3 and composing at 5. His elder sister Maria Anna (1751–1829) was also a brilliant kbd. player and in 1762 Leopold decided to present his children's talents at various European courts. They first visited Munich and Vienna in 1762. Wolfgang was now able to play the vn. without having had formal teaching. In 1763 a longer journey began, from Munich, Augsburg, Frankfurt, and other cities to Cologne, Brussels, and Paris. They spent a fortnight at Louis XV's court at Versailles. In Apr. 1764 they arrived in London and were received by George III. While in London, Wolfgang studied with Abel, comp. with J. C. Bach, and singing with the castrato Manzuoli. He wrote his first 3 syms. in London. After visits to Holland and Switzerland, the Mozart family returned to Salzburg in Nov. 1766. Further visits to Vienna were made in 1767 and 1768 and Mozart comp. 2 operas, La finta semplice and Bastien und Bastienne. In Dec. 1769, Leopold took Mozart to It. where the boy's genius was everywhere acclaimed. He was taught by Martini and met Nardini, Jommelli, and Burney. In Rome he heard Allegri's Miserere and wrote it out from memory. His opera Mitridate, Rè di Ponto was successfully prod. in Milan in Dec. 1770. Two further visits to It. speedily followed, but the new prince-archbishop of Salzburg was less well-disposed towards the Mozarts and in 1777 Mozart left on a tour with his mother, Leopold not being well enough to go. They visited Munich, Augsburg, Mannheim (where he heard the famous orch.) and arrived in Paris in 1778. Mozart's mother died there in July of that year. No longer a Wunderkind, Mozart had less appeal for the Parisians, who were engrossed in the Gluck-Piccinni controversy. Unable to obtain a court post, Mozart returned to Salzburg where he spent the next 2 years as court and cath. org. amid growing hostility to the archbishop. In 1780 the Elector of Bavaria commissioned an opera from Mozart (Idomeneo), prod. in Munich, Jan. 1781. On Mozart's return to Salzburg he had a final confrontation with the archbishop and resigned. He went to Vienna, where he married Constanze Weber in Aug. 1782, a few days after the first perf. of his opera Die Entführung aus dem Serail. The last 9 years of his life were a juxtaposition of financial troubles with an astonishing outpouring of masterpieces in almost every genre. In 1785 he frequently played the va. in str. qts. with Dittersdorf and Haydn. To the latter, who regarded Mozart as the greatest composer he knew, Mozart dedicated 6 str. qts. in the autumn of 1785, when he also began work on Le nozze di Figaro. He frequently appeared as soloist in his own kbd. concs. Although Figaro was rapturously received in Vienna in 1786, it was taken off after 9 perfs., but was the rage of Prague when prod. there in 1787. During his visit to the Bohemian capital, Mozart's Sym. in D (K504, No.38) received its f.p., thereafter being known as the ‘Prague Sym’. He was subsequently commissioned to write an opera for Prague for the following autumn. The result was Don Giovanni, written in a few months while the 2 str. quintets in C major and G minor and Eine kleine Nachtmusik were also composed. In the same year Leopold Mozart died at Salzburg. The new opera was a success in Prague, but initially failed in Vienna, where it was prod. with some extra numbers in May 1788. A month later Mozart began to compose the first of his 3 last syms., completing them between 26 June and 10 Aug. In 1789, under severe financial pressure, he played a conc. in Dresden on the way to Berlin. He visited Leipzig, playing Bach's org. at St Thomas's. In Berlin King Friedrich Wilhelm II, a cellist, commissioned 6 str. qts. of which only 3 were written. In the autumn Emperor Joseph II of Austria commissioned a new comic opera, Così fan tutte, which was prod. early in 1790. Joseph died shortly afterwards, but Mozart's hope of being appointed by Leopold II Kapellmeister in place of Salieri was not fulfilled. In 1791 he was approached by the actor-manager Schikaneder with a view to composing a fairy-tale opera on a lib. concocted by Schikaneder. Die Zauberflöte was almost completed by July, the month in which Mozart received a commission to compose a Requiem for an anonymous patron (Count F. von Walsegg who wished to pass it off as his own). Mozart deferred work on it to compose an adaptation of Metastasio's La clemenza di Tito for Leopold II's coronation as King of Bohemia in Prague in Sept. This prod. was supervised by Mozart, who returned to Vienna, wrote the cl. conc., cond. the f.p. of Die Zauberflöte, and then resumed work on the Requiem. But his health, which had been deteriorating for some time, now became critical and he died on 5 Dec., leaving the Requiem to be completed by his pupil Süssmayr. He was buried in accordance with the Emperor Joseph II's regulations, with others who had died at the same time, and the location of his grave remains unknown. The circumstances of Mozart's death have given rise to many sensational theories, none proved, and there is much medical speculation on the cause of death.

The extent and range of Mozart's genius are so vast and so bewildering that any concise summing-up of his achievement must risk being trite. He took the mus. small-change of his day, learned from childhood in the courts of Europe, and transformed it into a mint of gold. His sense of form and symmetry seems to have been innate and was allied to an infallible craftsmanship which was partly learnt and partly instinctive. In his operas he not only displayed hitherto unequalled dramatic feeling, but widened the boundaries of the singer's art through contact with some of the greatest vv. of his day and, with his amazing insight into human nature, at once perceptive and detached, he created characters on the stage who may be claimed in their context as the equal of Shakespeare's. His music was supranational, combining It., Fr., Austrian, and Ger. elements. Not by revolutionary deliberation but by the natural superiority of the mus. he wrote, he changed the course of the sym., the pf. conc., the str. qt., the sonata, and much more besides. Perhaps the only element missing from his mus. is the worship of Nature which Beethoven and later 19th-cent. composers were to supply. There are brilliance and gaiety on the surface of Mozart's mus., but underneath a dark vein of melancholy which gives his works (Così fan tutte in particular) an ambivalence which is continually fascinating and provocative. ‘Mozart is music’, a critic said, and most composers since 1791 have agreed. A selective list of prin. works follows. Some of the dates, which are Köchel's, are conjectural:OPERAS: Apollo et Hyacinthus, intermezzo (K38, 1767); Bastien und Bastienne (K50, 1768); La finta semplice (K51, 1769); Mitridate, Rè di Ponto (K87, 1770); Ascanio in Alba (K111, 1771); Il sogno di Scipione (K126, 1771); Lucio Silla (K135, 1772); La finta giardiniera (K196, 1774); Il Rè Pastore (K208, 1775); Zaide (K344, 1779–80); Thamos, König in Ägypten (K345, 1773, rev. 1776 and 1779–80, incid. music); Idomeneo, Rè di Creta (K366, 1780–1); Die Entführung aus dem Serail (K384, 1781–2); L'Oca del Cairo (K422, 1783); Lo sposo deluso (K430, 1783); Der Schauspieldirektor (The Impresario) (K486, 1785–6); Le nozze di Figaro (K492, 1785–6); Don Giovanni (K527, 1787); Così fan tutte (K588, 1789); Die Zauberflöte (The Magic Flute) (K620, 1790–1); La clemenza di Tito (K621, 1791).BALLET MUSIC: Les Petits Riens (K Anh. 10, 1778); for Idomeneo (K367, 1780).SYMPHONIES (numbered according to Breitkopf and Härtel edn.): No.1 in E♭ (K16, 1764); No.4 in D (K19, 1764); No.5 in B♭ (K22, 1765); No.6 in F (K43, 1767); No.7 in D (K45, 1768); No.8 in D (K48, 1768); No.9 in C (K73, 1771); No.10 in G (K74, 1770); No.11 in D (K84, 1770); No.12 in G (K110, 1771); No.13 in F (K112, 1771); No.14 in A (K114, 1771); No.15 in G (K 124, 1772); No.16 in C (K128, 1772); No.17 in G (K129, 1772); No.18 in F (K130, 1772); No.19 in E♭ (K132, 1772); No.20 in D (K133, 1772); No.21 in A (K134, 1772); No.22 in C (K162, 1773); No.23 in D (K181, 1773); No.24 in B♭ (K182, 1773); No.25 in G minor (K183, 1773); No.26 in E♭, ov. for Thamos (K184, 1773); No.27 in G (K199, 1773); No.28 in C (K200, 1773); No.29 in A (K201, 1774); No.30 in D (K202, 1774); No.31 in D (Paris, K297, 1778); No.32 in G, probably ov. to Zaide (K318, 1779); No.33 in B♭ (K319, 1779); No.34 in C (K338, 1780); No.35 in D (Haffner, K385, 1782); No.36 in C (Linz, K425, 1783); No.37 in G (only introduction, rest by M. Haydn) (K444, 1783); No.38 in D (Prague, K504, 1786); No.39 in E♭ (K543, 1788); No.40 in G minor (K550, 1788); No.41 in C (Jupiter, K551, 1788); also various others, some only fragmentary, and some probably of doubtful authenticity.MISC. ORCH.: Cassations: B♭ (K99, 1769); Kontretänze (Country Dances): B♭ (K123, 1770), Set of 6 (K462, 1784), Das Donnerwetter (K534, 1788), La Bataille (K535, 1788), Set of 2 (K565, 1788), Der Sieg vom Helden Koburg (K587, 1789), Set of 2 (K603, 1791), E♭ (K607, 1791), Set of 5 (K609, 1791), G major (K610, 1791); German Dances: Set of 6 (K509, 1787), Set of 6 (K536, 1788), Set of 6 (K567, 1788), Set of 6 (K571, 1789), Set of 12 (K586, 1789), Set of 6 (K600, 1791), Set of 4 (K602, 1791), Set of 3 (K605, 1791), C major (K611, 1791); Divertimenti: No.1 in E♭ (K113, 1771), No.2 in D (K131, 1772), D (K136, 1772), B♭ (K137, 1772), F (K138, 1772), No.3 in E♭ (K166, 1773), No.4 in B♭ (K186, 1773), No.5 in C (K187, ?1773), No.6 in C (K188, 1776), No.7 in D (K205, 1773), No.8 in F (K213, 1775), E♭ (K226, 1775), B♭ (K227, 1775), No.9 in B♭ (K240, 1776), No.10 in F (K247, 1776), No.11 in D (K251, 1776), No.12 in E♭ (K252, 1776), No.13 in F (K253, 1776), No.14 in B♭ (K270, 1777), No.15 in B♭ (K287, 1777), F (K288, 1777), No.16 in E♭ (K289, 1777), No.17 in D (K334), 1779); Serenades: G (K63, 1769), No.1 in D (K100, 1769), No.2 in F (Kontretanz) (K101, ?1776), No.3 in D (K195, 1773), No.4 in D (K203, 1774), No.5 in D (K204, 1775), Serenata notturna, No.6 in D for 2 orch. (K239, 1776), No.7 in D (Haffner, K250, 1776), No.8 in D (Notturno for 4 orch., K286, 1776–7), No.9 in D (Posthorn, K320, 1779), No.10 in B♭ for 13 wind instr. (K361, 1784), No.11 in E♭ for wind (K375, 1781), No.12 in C minor for wind (K388, 1782), No.13 in G for str., Eine kleine Nachtmusik (K525, 1787); Maurerische Trauermusik (Masonic Funeral Music) (K477, 1785); Ein musikalischer Spass (A musical joke) (K522, 1787); Sinfonia Concertante in E♭ for ob., cl., bn., hn. (K297b, 1778, considered doubtful attribution by some scholars); also Marches, Minuets, Gavottes.CONCERTOS: PIANO: No.1 in F (arr. of sonata-movts. by Raupach and Honauer, K37, 1767), No.2 in B♭ (arr. of sonata-movts. by Raupach and Schobert, K39, 1767), No.3 in D (arr. of sonata-movts. by Honauer, Eckart, and ?C. P. E. Bach, K40, 1767), No.4 in G (arr. of sonata-movts. by Honauer and Raupach, K41, 1767), No.5 in D (K175, 1773), No.6 in B♭ (K238, 1776), No.7 in F (K242, 1776), No.8 in C (K246, 1776), No.9 in E♭ (K271, 1777), No.10 in E♭ (K365, ?1779), No.11 in F (K413, 1782–3), No.12 in A (K414, 1782), No.13 in C (K415, 1782–3), No.14 in E♭ (K449, 1784), No.15 in B♭ (K450, 1784), No.16 in D (K451, 1784), No.17 in G (K453, 1784), No.18 in B♭ (K456, 1784), No.19 in F (K459, 1784), No.20 in D minor (K466, 1785), No.21 in C (K467, 1785), No.22 in E♭ (K482, 1785), No.23 in A (K488, 1784–6), No.24 in C minor (K491, 1786), No.25 in C (K503, 1786), No.26 in D, Coronation (K537, 1787–8), No.27 in B♭ (K595, 1788–90); 2 PIANOS: E♭ (K365, 1779); 3 PIANOS: F major (K242, 1776); Concert Rondo in D (K382, 1782), in A (K386, 1782).VIOLIN: No.1 in B♭ (K207, 1773), No.2 in D (K211, 1775), No.3 in G (K216, 1775), No.4 in D (K218, 1775), No.5 in A (K219, 1775, with alternative Adagio in E, K261, 1776), Rondo in C (K373, 1781); 2 VIOLINS: Concertone in C (K190, 1773); VIOLIN & VIOLA: Sinfonia Concertante in E♭ (K364, 1779); BASSOON: B♭ (K191, 1774); CLARINET: A major (K622, 1791); FLUTE: No.1 in G (K313, 1778), No.2 in D transcr. from ob. conc. in C (K314, 1778); Andante in C (K315, 1778); FLUTE & HARP: C major (K299, 1778); HORN & STRINGS: No.1 in D (K412, 1791), No.2 in E♭ (K417, 1783), No.3 in E♭ (K447, 1787), No.4 in E♭ (K495, 1786), No.5 in E♭, fragment (K494a, 1786); Concert Rondo for hn. and orch. in E♭ (K371, 1791); OBOE: C major (K271k, 1777, transcr. for fl. as conc. No.2 in D).CHURCH MUSIC: Kyrie in F (K33, 1766), Missa brevis in G (K49, 1768), in D minor (K65, 1769), in C (K115, 1773), in F (K116, 1771), in F (Mass No.6) (K192, 1774), in D (K194, 1774), in C (Mass No.10) (K220, 1775), in C (K258, 1776), in C (Mass No.13) (K259, 1775 or 1776), in B♭ (K275, 1777); Mass in C, Dominicus (K66, 1769), No.4 in C minor, Waisenhausmesse (K139, 1768), No.7 in C, Missa in honorem Sanctissimae Trinitatis (K167, 1773), in C (K257, 1776), in C, Missa longa (K262, 1775), No.16 in C, Coronation (K317, 1779), in C major, Missa solemnis (K337, 1780), No.18 in C minor, unfinished (K427, 1782–3); Regina Coeli (K127, 1772); Motet, Exsultate, jubilate for sop., orch., and organ (K165, 1773); Dixit Dominus (K193, 1774); Litaniae Lauretanae (K195, 1774); Litaniae de venerabili altaris Sacramento (K243, 1776); Vesperae de Dominica (K321, 1779); Kyrie in D minor (K341, 1780–1); Vesperae Solennes de Confessore (K339, 1780); Motet, Ave verum corpus (K618, 1791); Requiem Mass in D minor (unfinished) (K626, 1791).CHORUS & ORCH.: Die Schuldigkeit des ersten Gebotes, pt. I of sacred drama (K35, 1767); Grabmusik, Passion cantata (K42, 1767); La Betulia liberata, oratorio (K118, 1771); Davidde Penitente, oratorio, mainly based on Mass in C minor, K427 (K469, 1785); Die Maurerfreude, cantata (K471, 1785); Eine kleine Freimaurer-Kantate (K623, 1791).UNACC. VOICES: God is our Refuge, sacred madrigal (K20, 1765); 5 Riddle Canons (K89a, 1770); numerous Canons comp. between 1782 and 1788, also various secular trios, qts., and chs.SOLO VOICE & ORCH. (mainly concert arias): Per pietà, bell' idol mio, sop. (K78, c.1766); Scena and aria, Misera, dove son? Ah, non son'io che parlo, sop. (K369, 1781); Scena and rondo (extra number for Idomeneo) Non più, tutto ascoltai. Non temer, amato bene, sop. (K490, 1786); Scena and rondo, Ch'io mi scordi di te. Non temer amato bene, sop. with pf. obbl. (K505, 1786); Scena and aria, Bella mia fiamma. Resta, oh caro, sop. (K528, 1787); aria, Un bacio di mano, for Anfossi's Le gelosie fortunate, for bass (K541, 1788); rondo, extra aria for Susanna in Figaro, Al desio di chi t'adora, sop. (K577, 1789); Un moto di gioia, sop., extra number for Susanna in Figaro (K579, 1789); Schon lacht der holde Frühling, sop. for Paisiello's Il Barbiere di Siviglia (K580, 1789); Vado, ma dove?, sop., for Martin's Il burbero di buon core (K583, 1789); Rivolgete a lui lo sguardo, bass, orig. for Così fan tutte (K584, 1789); Per questa bella mano, bass (K612, 1791).STRING QUARTETS: No.1 in G (K80, 1773–5), No.2 in D (K155, 1772), No.3 in G (K156, 1772), No.4 in C (K157, 1772–3), No.5 in F (K158, 1772–3), No.6 in B♭ (K159, 1773), No.7 in E♭ (K160, 1773), No.8 in F (K168, 1773), No.9 in A (K169, 1773), No.10 in C (K170, 1773), No.11 in E♭ (K171, 1773), No.12 in B♭ (K172, 1773), No.13 in D minor (K173, 1773), Nos. 14–19 ‘Haydn Quartets’: No.14 in G (K387, 1782), No.15 in D minor (K421, 1783), No.16 in E♭ (K428, 1783), No.17 in B♭ (Hunt, K458, 1784), No.18 in A (K464, 1785), No.19 in C (Dissonanzen, K465, 1785), No.20 in D (Hoffmeister, K499, 1786), Nos. 21–23 (‘King of Prussia Quartets’): No.21 in D (K575, 1789), No.22 in B♭ (K589, 1790), No.23 in F (K590, 1790); Adagio and Fugue in C minor, fugue identical with K426 for 2 pf. of 1783 (K546, 1788).STRING QUINTETS: No.1 in B♭ (K174, 1773), No.2 in C minor, arr. of Serenade No.12 for wind, K388 (K406, 1786), No.3 in C (K515, 1787), No.4 in G minor (K516, 1787), No.5 in D (K593, 1790), No.6 in E♭ (K614, 1791).CLARINET QUINTET: A major (K581, 1789); CLARINET TRIO, E♭ for cl., va., pf. (K498, 1786).FLUTE QUARTETS: No.1 in D (K285, 1777), No.2 in G (K285a, 1777), No.3 in C (K285b, 1777), No.4 in A (K298, 1778); FLUTE (or vn.) SONATAS, with hpd.: No.1 in B♭ (K10, 1764), No.2 in G (K11, 1764), No.3 in A (K12, 1764), No.4 in F (K13, 1764), No.5 in C (K14, 1764), No.6 in B♭ (K15, 1764).HORN QUINTET: E♭ (K407, 1782).OBOE QUARTET: F major (K370, 1781).PIANO QUARTETS: No.1 in G minor (K478, 1785), No.2 in E♭ (K493, 1786).PIANO & WIND QUINTET (pf., ob., cl., hn., bn.): E♭ (K452, 1784).PIANO TRIOS: No.1 in B♭ (K254, 1776), No.2 in G (K496, 1786), No.3 in B♭ (K502, 1786), No.4 in E (K542, 1788), No.5 in C (K548, 1788), No.6 in G (K564, 1788); in D minor/major, completed by Stadler (K442, 1783).MISC. CHAMBER WORKS: Adagio and Rondo in C minor for glass armonica, fl., ob., va., vc. (K617, 1791); Adagio for cor anglais and str. (K580a, 1789); Adagio in Canon in F for 2 basset hn. and bn. (K410, 1783); Adagio in F for 2 cl. and 3 basset hns. (K411, 1783); 12 Duets for 2 basset hns. (K487, 1786); Duo for vn. and va., No.1 in G (K423, 1783), No.2 in B♭ (K424, 1783); 5 Divertimenti for 2 cl. and bn. (K229, 1783); Minuet in D, 2 vn., 2 hn., bass (K64, 1769); 7 Minuets with Trio, 2 vn. and bass (K65a, 1769); Adagio in C for glass armonica (K356, 1791).SONATAS: BASSOON & CELLO: B♭ (K292, 1775); PIANO: No.1 in C, No.2 in F, No.3 in B♭, No.4 in E♭, No.5 in G, No.6 in D (K279–284, 1774, No.6, 1775), No.7 in C (K309, 1777), No.8 in A minor (K310, 1778), No.9 in D (K311, 1778), No.10 in C, No.11 in A, No.12 in F, No.13 in B♭ (K330–333, 1778), No.14 in C minor (K457, 1784), No.15 in C (K545, 1788), No.16 in B♭ (K570, 1789), No.17 in D (K576, 1789); VIOLIN & PIANOFORTE: No.1 in C (K6, 1762–4), No.2 in D (K7, 1763–4), No.3 in B♭ (K8, 1763–4), No.4 in G (K9, 1764), Nos. 5–10, K10–15 (see under flute), No.11 in E♭, No.12 in G, No.13 in C, No.14 in D, No.15 in F, No.16 in B♭ (K26–31, 1766), No.17 in C (K296, 1778), No.18 in G, No.19 in E♭, No.20 in C, No.21 in E minor, No.22 in A, No.23 in D (K301–306, 1778), No.24 in F (K376, 1781), No.25 in F (K377, 1781), No.26 in B♭ (K378, 1779), No.27 in G major/minor (K379, 1781), No.28 in E♭ (K380, 1781), No.29 in A (K402, 1782, completed by Stadler), No.30 in C (K403, 1782, unfinished), No.31 in C (K404, 1782, unfinished), No.32 in B♭ (K454, 1784), No.33 in E♭ (K481, 1785), No.34 in A (K526, 1787), No.35 in F (K547, 1788). Also sonata movt. in C minor (K396, 1782, completed by Stadler).STRING TRIOS: B♭, 2 vn. and bass, (K266, 1777), Divertimento in E♭, vn., va., vc. (K563, 1788). Also 6 Fugue arrs. from J. S. and W. F. Bach, with orig. introductions (K404A, 1782).PIANO (4 HANDS): Sonatas: in B♭ (K358, 1774), D (K381, 1772), F (K497, 1786), C (K521, 1787); Fugue in G minor (K401, 1782); Andante and Variations (K501, 1786).2 PIANOS: Fugue in C minor (K426, 1783, arr. for str., with short Adagio as preface, 1788), Sonata in D (K448, 1781).SOLO PIANO (except Sonatas): Minuet and Trio in G, Minuet in F, Allegro in B♭, Minuet in F, Minuet in F (K1–5, 1761–2), 8 Variations on ‘Laat ons juichen’ (air by C. E. Graaff) in G (K24, 1766), 7 Variations on ‘Wilhelmus van Nassouwe’ (K25, 1766), 12 Variations on a Minuet by Fischer (K179, 1774), Andantino in E♭ (K236, 1790), 9 Variations on ‘Lison dormait’ from Dezède's Julie (K264, 1778), 12 Variations on ‘Ah, vous dirai-je, maman’ (K265, 1778), 8 Variations on a March in Grétry's ‘Mariages Samnites’ (K352, 1781), 12 Variations on ‘La Belle Françoise’ (K353, 1778), 12 Variations on ‘Je suis Lindor’ in Beaumarchais's ‘Le Barbier de Séville’ (K354, 1778), Minuet in D (K355, c.1786), Fantasia and Fugue in C (K394, 1782), Capriccio in C (K395, 1778), Fantasia in D minor (K397, 1782), 6 Variations on Paisiello's ‘Salve tu, Domine’ (K398, 1783), Suite in C (K399, 1782), 1st movt. of Sonata in B♭ (K400, 1782), Kleiner Trauermarsch in C minor (K453a, 1784), 10 Variations on Unser dummer Pöbel meint from Gluck's La rencontre imprévue (K455, 1784), Fantasia in C minor (K475, 1785), Rondo in D (K485, 1786), Rondo in F (K.494, 1786), 12 Variations on an Allegretto in B♭ (K500, 1786), Rondo in A minor (K511, 1787), Allegro and Andante (K533, 1788, often used with Rondo, K494, as finale to make ‘Sonata No.18’), Adagio in B minor (K540, 1788), 9 Variations on a Minuet by Duport (K573, 1789), Gigue in G (K574, 1789), 8 Variations on Schack's ‘Ein Weib ist das herrlichste Ding’ (K613, 1791).ORGAN: Sonatas with orch: C major (K263, 1776), C major (K278, 1777), C major (K329, 1779); 14 Sonatas for org. and str., comp. between 1767 and 1780.MECHANICAL ORGAN: Adagio and Allegro in F minor (K594, 1790), Fantasia in F minor (K608, 1791), Andante in F (K616, 1791).SONGS (v. and pf.): Mozart wrote about 40 solo songs and Lieder, of which the best known are: Die Zufriedenheit (K349, 1780), Ah, spiegarti, O Dio (K178, 1772), Oiseaux, si tous les ans (K307, 1777), Komm, liebe Zither (with mandolin) (K351, 1780), An die Hoffnung (K390, 1782), Gesellenreise (K468, 1785), Der Zauberer (K472, 1785), Die betrogene Welt (K474, 1785), Das Veilchen (K476, 1785), Lied der Freiheit (K506, 1786), Die Alte (K517, 1787), Die Verschweigung (K518, 1787), Das Lied der Trennung (K519, 1787), Als Luise (K520, 1787), Abendempfindung (K523, 1787), An Chloe (K524, 1787), Des kleinen Freidrichs Geburtstag (K529, 1787), Das Traumbild (K530, 1787), Die kleine Spinnerin (K531, 1787), Sehnsucht nach dem Frühlinge (K596, 1791), Das Kinderspiel (K598, 1791), Eine kleine deutsche Kantate, ‘Die ihr des unermesslichen Weltalls’ (K619, 1791).ADDITIONAL ACCOMPANIMENTS TO WORKS BY HANDEL: Acis and Galatea (K566, 1788), Messiah (K572, 1789), Alexander's Feast (K591, 1790), Ode for St Cecilia's Day (K592, 1791).