|
K6 |
K1 |
K3 |
Composition |
K6 Remarks |
Addition Information After K6 |
|
Anh C 1.01 |
Anh 185 |
Anh 185 |
Mass for 4 Voices and Organ in C |
Novello in London published 17 Masses in voice/organ form under Mozart's name, of which 10 were authentic, 5 misattributed and 2 very doubtful. This Mass (as Nr.17) is very doubtful. Novello gave his source as a copy in the Capelle of Moses and Aaron in Amsterdam. |
Set of parts found in Feldkirch
attributes Mass in slightly altered form to Joseph Aloys
Holzmann 1761-1815 (Reijen-MJB |
|
Anh C 1.02 |
-- |
Anh 235f |
Mass for 4 Voices and Orchestra in g-minor |
Published by Novello in 1831 in London as "Mass of Benedikt Schack [1758-1826] with Additions by Mozart". Novello believed Kyrie, Crucifivus, Sanctus, and first part of Agnus Dei by Mozart; article in 1831 "Harmonicon" already placed Mozart's participation highly in doubt. |
-- |
|
Anh C 1.03 |
Anh 186 |
Anh 186 |
Mass for 4 Voices and Organ in Eb |
Published by Novello as Nr.13 and 16 (See Remarks to Anh C1.01); Novello cited his source as a score in possession of C.J. Latroube. Violin part of Mass in library in Paris (listed in K3 as Anh 235a) identical to this. |
Set of parts found in Ottobeuren Monastary attribute Mass in slightly altered form to J.B. Vanhal. (Reijen-MJB 2001) |
|
Anh C 1.04 |
Anh 232 |
Anh 232 |
Mass for 4 Voices and Orchestra in G |
Numerous issues in early 19th century attribute Mass to Mozart; Jahn showed handling of instruments not in Mozart style; famous as "Mozart's 12th Mass" from Novello's printing (See Anh C1.01) |
Actual composer Wenzesla Müller. Two composers by same name known--one lived 1767 - 1835, other 1736 -1794; first most likely author (Plath-Opera Incerta 1988) |
|
Anh C 1.05 |
-- |
Anh 232a |
Missa solemnis for 4 Voices, Chorus, Orchestra in C |
First reported on in 1932, questionably attributed to Mozart and dated probably around 1776; copy in Vienna already had question mark by Mozart's name |
Entry in Göttweig Monastery catalogue contains note "Probably not by [Mozart], however good". (Landon-MJB 1957) |
|
Anh C 1.06 |
Anh 233 |
Anh 233 |
Mass for 4 Voices and Orchestra in Bb |
Numerous copies and issues in 19th Century attribute to Mozart; Constanze Mozart told Salzburg chorus director Jähndl it was work of Süßmayr; entry in Göttweig Monastary gives author as Pichler |
Music catalogue of Litomyol gives composer name of Walter--dates unknown (Plath-Opera Incerta 1988) |
|
Anh C 1.07 |
-- |
Anh 223a |
Mass for 4 Voices and Orchestra in D |
Parts discovered in monastary in Switzerland in 1901, stated to have been composed by a young Mozart when visiting Kempten. Mass found in archives in Freising under name of Michael Demmler (1748-1785) |
-- |
|
Anh C 1.08 |
Anh 234 |
Anh 234 |
Missa brevis for 4 Voices and Orchestra in C |
Attributed to Mozart first in issue by M. Falter in Munich in beginning of 19th Century and then others; but no doubt a Mass of Franz Gleissner (1761-1818), however not published as one of his 6 Masses Op.2 in 1798. |
-- |
|
Anh C 1.09 |
Anh 235 |
Anh 235 |
Missa brevis for 4 Voices and Orchestra in G |
Attributed to Mozart first in issue by M. Falter in Munich in beginning of 19th Century and then others; parts in Kremsmünster Monastary attribute to Franz Gleissner, not published as one of his Masses Op.2 in 1798. |
-- |
|
Anh C 1.10 |
-- |
Anh 235b |
Mass for 4 Voices and Orchestra in c-minor |
Copy in Holy Cross Monastary in Augsburg headed by "Sigre Wolfgango Mozart"; research by Schmid shows Mass to be the work of an amateur, originating after Mozart's death. |
-- |
|
Anh C 1.11 |
-- |
Anh 235c |
Mass for 4 Voices and Orchestra in C |
Manuscript in Florence found attributed to Mozart, but later found listed in the 1768 Lambach catalogue (and others) under the name Franz Novotny (1743-1773) organist under Haydn's direction in the service of Court Esterhazy. |
It is also listed in 1771 catalogue in Göttweig Monastary under Novotny's name titled "Missa Solemnis Lotarie Filia Siona"; another copy in Count Esterhazy's palace archives was titled "Missa in C. Scti Joannis de Deo…By Sigre Novotni" (Landon-MJB 1957) |
|
Anh C 1.12 |
140 |
Anh 235d |
Missa brevis for 4 Voices and small ensemble in G |
André received copy of Mass from Constanze Mozart and listed under authentic works; Köchel listed as authentic, but in note listed it to be eliminated from future editions. Taken out of K2. |
Copy found in Holy Cross Monastary in Augsburg with entries and a deletion in Dona nobis by Mozart; another set of parts found in Trostberg shows hand of copyist within Mozart circle (Schulze-Foreward to Caras-Verlag edition 1980, Münster-Acta Mozartiana 1986, Reutter-Forward to Caras edition 1990) |
|
Anh C 1.14 |
-- |
Anh 235g |
Mass for Soloists, Chorus and Orchestra in Bb |
A copy reported to have been found in estate of Ernst Lewicki in Dresden, with sections based on music from Zauberflöte; music not known. |
-- |
|
Anh C 1.15 |
Anh 236 |
Anh 236 |
Missa der Schulmesiter for 3 Voices and 2 Violins in G |
Copy in Berlin library attributed to Mozart; however in several Austrian Monastaries attributed to Franz Joseph Aumann, chorus director at St. Florian; other copies--including one in Mozarteum--attribute to Michael Haydn, but in 1803 he stated it was not his and doubted very much if "the well known comic schoolmaster Mass" was by Mozart; still other sources attribute Mass to Joseph Haydn, Franz Xavier Brixi and Florian Gassmann. |
-- |
|
Anh C 1.16 |
-- |
-- |
Messa Solemnis for 4 Voices and Orchestra in Eb |
Copy found in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.17 |
-- |
-- |
Missa solemnis for 4 Voices and Orchestra in C |
Copy in archive of Gesellschaft der Musikfreunde first attributed to Mozart, but corrected to Josef Preindl (1756-1823) |
-- |
|
Anh C 1.18 |
-- |
-- |
Missa solemnis pastoritia for Voices and Orchestra in G |
Copy attributed to Mozart formerly in possession of H.J. Laufer, London |
-- |
|
Anh C 1.19 |
-- |
-- |
Mass for 4 Voices and small ensemble in A |
Copy found in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.20 |
-- |
-- |
Mass for 4 Voices and Orchestra in C |
Numerous copies from late 18th and 19th Century attribute to Mozart, including one in Bergamo made by Simon Mayr; parts in Salzburg Cathedral attribute to Leopold Mozart; erroneous cover in Prague Nat.Mus. attributes to F.X. Brixi; Benedictus of Mass identical to Salzve Regina KAnh C3.01 |
Carlson (Vocal Music of Leopold Mozart 1976) discovered copy in Florence attributed to Leopold Mozart; Plath (Opera Incerta 1988) reports in several catalogues author given as Cajetan Vogel ca.1750-1794. |
|
Anh C 1.21 |
-- |
-- |
Missa solemnis for 4 Voices and Orchestra in C |
Copy in Dornbach attributed to Mozart; another in Prague Nat.Mus attributed to Giusephe Hayden" |
Catalogue in Monastary Raigern lists author as Heimerich, and found to have been printed in 1795 as Op.2 of Martin Heimerich-died 1813 (Plath Opera Incerta 1988). |
|
Anh C 1.22 |
-- |
-- |
Missa solemnis for Soloists, Chorus and Orchestra in C |
Copy in Wallfahrt church Maria Limbach am Main from about 1803 attributed to Mozart. |
-- |
|
Anh C 1.23 |
-- |
-- |
Mass for 4 Voices and Orchestra in Bb |
Copy in Wallfahrt church Maria Limbach am Main from about 1800 attributed to Mozart; probably work of Georg Joseph Vogler (1749-1814) |
-- |
|
Anh C 1.24 |
-- |
-- |
Mass for 4 Voices and Orchestra in Bb |
Parts in Kremsmünster Monastary originally had Mozart's name, but crossed out and replaced by Süßmayr. |
Attributed in Salzburg Cathedral catalogue to "anonima=Bohemia" i.e. anonymous Bohemian (Plath-Opera Incerta 1988) |
|
Anh C 1.25 |
-- |
-- |
Mass for 4 Voices and Orchestra Bb |
Full score copy in Zittau attributed to Mozart; partially consists of motifs from Zauberflöte |
-- |
|
Anh C 1.26 |
-- |
-- |
Mass for 4 Voices and Orchestra in C |
Copy in archive of Orphanage Church in Vienna attributed to Mozart; actually a work of Johann Georg Lickl (1769-1843) |
-- |
|
Anh C 1.27 |
-- |
-- |
Missa solemnis for 4 Voices and Orchestra in C |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.28 |
-- |
-- |
Missa solemnis for 4 Voices and Orchestra in C |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.29 |
-- |
-- |
Mass for 4 Voices and Orchestra in Eb |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.30 |
-- |
-- |
Mass for 4 Voices and Orchestra in Eb |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.31 |
-- |
-- |
Missa solemnis for 4 Voices and Orchestra in F |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.32 |
-- |
-- |
Mass for 4 Voices and Orchestra in c |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.33 |
-- |
-- |
Mass for 4 Voices and Orchestra in c |
Copy in Prague Nat.Mus. attributed to Mozart |
-- |
|
Anh C 1.34 |
-- |
-- |
Missa solemnis for 4 Voices and Orchestra in C |
Note on full score copy in Krems "Die St. Pöltnerische Mess von Herrn Mozart" |
Pfannhauer (MJB 1970/71) reported a set of parts in Vienna Maria Treu church of this Mass attributed to "Giov: Neubauer"; probably Franz Christoph Neubauer (ca.1760-1795). |
|
Anh C 1.51 |
-- |
-- |
Kyrie for unknown voices and accompaniment |
Manuscript full score originally in André music archive collection |
-- |
|
Anh C 1.90 |
Anh 237 |
Anh 237 |
Requiem for 4 Voices and Orchestra in d-minor |
Numerous copies and issues from 19th Century attribute to Mozart, including Novello who believed it to a "a very early production". Certainly Mozart did not write another Requiem either earlier or later. |
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|
Anh C 1.91 |
-- |
-- |
Requiem for 4 Voices and Orchestra in Bb |
Copy in Prague Nat.Mus. attributed to Mozart |
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|
Anh C 1.92 |
-- |
-- |
Requiem brevis for 4 Voices and Orchestra in Eb |
Copy in Prague Nat.Mus. attributed to Mozart |
Attributed in St. Veit and numerous other sources to Nerzarth, or Nerzad or Nerzath (Biba-MISM 1974) |
|
Anh C 1.93 |
-- |
-- |
Requiem for solo voices, chorus and orchestra in c |
Set of parts in Parma from beginning of 19th Century attributed to Mozart |
Holschneider (Musikforschung 1962) believes a "style study á la Mozart" of a composer, stimulated by Mozart's Requeim. |
|
Anh C 3.01 |
92 |
Anh 186c |
Salve Regina for 4 Voices and Orchestra in F |
Work listed in Fuchs Mozart manuscript catalogue and several copies found around Europe. Listed in K1 with 1770 compositions, from Jahn's dating of "177?" By 1867 Jahn had doubts and work not in AMA in 1875. Later thought to have been possibly composed for Church of Maria Plain outside Salzburg in May 1768, but dismissed. Pfannhauser then discovered the music of this Salve Regina identical to Benedictus of Mass K.Anh C1.20. |
-- |
|
Anh C 3.02 |
324 |
Anh 186a |
Hymn "Salus infirmorum" for 4 Voices and Organ in c |
Only known from incipit in early André catalogue; text is 3rd movement of Litanei B.M.V.; Köchel placed with 1779 compositions. Einstein stated it was an a-cappella composition of the 17th Century, and possibly a work of Quirino Gasparini, the same as KV 327/Anh A10. |
-- |
|
Anh C 3.03 |
325 |
Anh 186b |
Hymn "Sancta Maria, ora pro nobis" for 4 Voices and Organ in C |
Only known from incipit in early André catalogue; text is 2nd movement of Litanei B.M.V.; Köchel placed with 1779 compositions. (See remarks to Anh C3.02) |
-- |
|
Anh C 3.04 |
142 |
Anh 186d |
Tantum ergo for 4 Voices and Orchestra in Bb |
Work attested as Mozart's by Aloys Fuchs and placed among 1772 works by Köchel. Both Wyzewa/St.Foix and Abert held it for not authentic and K3 placed it in Anh. |
Münster (Acta Mozartiana 1963) reported manuscript parts at Abby St. Veit of this and KV 197 attributed to "Sigre Cavaliere Amadeo Wolfgango Mozart: academico Filarmonico di Bologna e Verona", as Mozart only used the title "Cavaliere" in Salzburg Münster believed copy of authentic work from 1772; then Münster (Acta Mozartiana 1965) found a manuscript of this Tantum ergo attributed to [Johann] Zach (1699-1773) with slightly larger orchestration and no concluding Amen. Appears Mozart slightly revised Zach's work and added an Amen. Gratl (MJB 2005) shows work stylistically most likely not by Zach. Unknown who original composer is--perhaps Mozart? |
|
Anh C 3.05 |
197 |
Anh 186e |
Tantum ergo for 4 Voices and Orchestra in D |
Work attested to by Fuchs and placed among 1774 works; later scholars differed on opinions on authenticity; K3 placed in Anh. |
Manuscript of K.Anh C3.04 discovered at Abby St. Veit (see above K.Anh C3.04) and Münster believes this Tantum also authentic and probably composed in Salzburg in 1772. (Münster-Acta Mozartiana 1963) |
|
Anh C 3.06 |
340 |
Anh 186f |
Kyrie for 4 Voices without instrumentation in C |
Known only from early André catalogue; possibly beginning of a lost Litanei B.M.V. from 1780; Einstein moved it to Anh believing it an a-cappella composition of the 17th Century or an archaisms of 18th Century |
-- |
|
Anh C 3.07 |
-- |
Anh 186g |
Offertorium "Exaudi Domine" for 4 Voices and Orchestra in G |
Copy in Florence Bibl. Luigi Cherubini attributes to Mozart; according to style could be from Milan time of 1773; it would fit well into Leopold Mozart's application to Archduke Leopold of Tuscany to place Wolfgang in his service. K3 and K6 felt the work surely did not belong to Mozart. |
-- |
|
Anh C 3.08 |
198 |
158b |
Offertorium "Sub tuum praesidium" for Soprano,Tenor and Orchestra in F |
Köchel, from copy for Soprano and Tenor in Göttweig, placed in 1774 works; Rosenthal found Offertory by M.Haydn with striking musical resemblance, which was a reworking of Deut from M.Haydn's 1767 pantomine "Der Traum"; on stylistic grounds Einstein moved work to Milan in beginning 1773, believing for 2 Milan Castratos; K6, citing M.Haydn music, believed not by Mozart and stated Massin attributed work to Myslivecek; copy also exists in version for 2 sopranos. |
Federhofer (MJB-1959) believed Mozart's work before M.Haydn's and believed authentic Mozart from 1772 for perhaps 1777; NMA (Federhofer-1962) placed KV 198 in authentic works volume; Münster found copy in St.Peter form end of 18th Century for 2 Sopranos and NMA-Critical Rep (Federhofer-1963) changed opinion and stated original version for 2 young boys; Water/Wade (Quarterly Journal of Music Library Association-1963) reported there is no attribution to Myslivecek in Massin book. |
|
Anh C 3.09 |
177 |
Anh 240a |
Offertorium sub exposito venerabili for Soprano,Tenor and Orchestra |
Köchel only knew copy in Munich Court Libr. and placed in 1773 "according to the manner in which it was handled". Nottebohm in AMA showed chorus "Benedicite" K.Anh C3.09 (K1=342) was final chorus to this Offertorium in Falter & Sohn issue. Einstein cited full score in Pfarr church in Ottobeuren and parts in St.Peter that carried name of Leopold Mozart. |
Eisen (Mozart Studies 1991) assigned Leopold Mozart composition to 1750's or possibly even earlier. |
|
Anh C 3.09 |
342 |
Anh 240a |
Chorus "Benedicite" |
Only known to Köchel from issue of Falter & Sohn in Munich and placed in 1780 "according to the character of the composition". Nottebohm in AMA showed this final chorus to Offertorium K.Anh C3.09 (K1=177) and KV 342 eliminated from K2. (Also see entry for C 3.09/K1=177). |
Eisen (Mozart Studies 1991) assigned Leopold Mozart composition to 1750's or possibly even earlier. |
|
Anh C 3.10 |
Anh 241 |
Anh 241 |
Miserere for 4 Voices and Orchestra in c-minor |
Copy in Berlin St.Libr. from Otto Jahn's collection, without any authentication; has nothing to do with Holzbauer Miserere in Paris in 1778. |
Manuscript in Berlin headed "Miserere/Del Sig. W.Amadei Mozard"; manuscript in Uppsala shows actually a work of Joseph Martin Kraus from 1773 (Boer-MISM 1981) |
|
Anh C 3.11 |
-- |
Anh 241a |
Oratorio "Abramo e Isacco" |
Copy in Florence Bibl. Luigi Cherubini attributes to Mozart; however work is composition of Joseph Myslivecek written for Lent season of 1776 in Florence; probable autograph in Munich where performed in 1777. |
Manuscript in Munich not autograph, but a copy (Münster-Festschrift Walter Senn-1975) |
|
Anh C 3.12 |
-- |
Anh 241b |
Te Deum for 5 Voices and small Orchestra |
Copy in Gesellschaft der Musikfreunde headed "Quartetto….Del Sigre Mozart". This pastorale piece by its setting and character has nothing to do with Mozart. |
-- |
|
Anh C 3.13 |
-- |
-- |
Psalm " O taste and see that the Lord is good" for 4 Voices and Organ |
Attributed in a Collection of Anthems and Services in London 1847 to Mozart; also St. Gregory Hymnal as "Jubilate Deo" |
-- |
|
Anh C 3.14 |
(K2) Within Anh 112 |
Within Anh112 |
"Ah sponse, mi dilecte veni" for Festo cordis Jesu for Soprano,Tenor, Strings |
Parts exist in Vienna National Library, Prussian State Library Berlin, and Cathedral Archive in Salzburg (this copy with Clarinets and Horns); issued by Lotter in Augsburg in 1798 as Nr.2 of "28 Ariae Selectissimae Praeclarorum Virorum" Op.3--Mozart is attributed in all individual parts except the Tenor part and index where Wranitzky (Paul or Anton?) is indicated as composer. Einstein stated this "feeble" piece not by Mozart. |
-- |
|
Anh C 3.15 |
-- |
-- |
Sancta Maria for for Soprano or Tenor and Organ in G |
Attributed to Mozart in 'Motets de Grands Maitres, 1re Series'…Nr.11; however this issue is from around 1900 |
-- |
|
Anh C 3.16 |
-- |
-- |
Offertorium "Ad astra, o Mortales" for Bass and Orchestra |
Parts in Vienna National Library attributed to Mozart |
-- |
|
Anh C 3.17 |
-- |
-- |
Offertorium "Quos hic vides" for Soprano,Tenor and Orchestra |
Copy of voice parts in Moravske museum in Brünn attributed to Mozart |
Parody of last scene of Don Giovanni, Donna Anna/Don Ottavio duet "Or che tutti, o mio tesoro" (Plath-Opera Incerta 1988) |
|
Anh C 3.18 |
-- |
-- |
Pange lingua for 4 Voices and Orchestra |
Copy in Moravske museum Brünn attributed to Mozart |
|
|
Anh C 3.19 |
-- |
-- |
Pange lingua for 4 Voices and Orchestra |
Copy in Moravske museum Brünn attributed to Mozart |
A shortened parody of Kyrie from Mass K275 (Plath-Opera Incerta 1988) |
|
Anh C 3.20 |
-- |
-- |
Tantum ergo for Bass and Organ |
Copy in Moravske museum Brünn arranged by Seidl for Bass and Organ; a note by Seidl states the original was composed for Soprano, Alto, Contrabass and Organ and first heard at the Court in Versailles performed by the young Mozart. |
-- |
|
Anh C 3.21 |
-- |
-- |
Offertorium "Hoc, huc, gentes venite" for 4 Voices and Orchestra |
Copy attributed to Mozart in Prague National Museum; copy in Gerlach-Museum with the text "Ejo chori resonate" has the name "Trazom" on Bass part. |
-- |
|
Anh C 3.22 |
-- |
-- |
Motett "Ecce sacerdos magnus" for voice and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.23 |
-- |
-- |
Credo solemne for 4 Voices and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
Actually the shortened and slightly revised version of Credo to Mass K257 used by B & H in 1803 printing of Oeurves complettes; this version obtained from Nannerl Mozart from inventories of Salzburg Cathedral (Senn-MJB 1978/79 and NMA 1978) |
|
Anh C 3.24 |
-- |
-- |
Offertorium "Laudate Dominum" for 4 Voices and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.25 |
-- |
-- |
Offertorium "Piae mentes properate" for Soprano,Tenor, chorus, Orchestra |
Set of parts attributed to Mozart in Prague National Museum; a second copy in Prague Nat.Mus with different instrumentation with text "Caelestis advolate" |
-- |
|
Anh C 3.26 |
-- |
-- |
Offertorium "Ad festum huc venite" for 4 Voices and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
Parody of last scene of Don Giovanni "Questo e il fin di chi fa mal"" (Plath-Opera Incerta 1988) |
|
Anh C 3.27 |
-- |
-- |
Offertorium "Gaudete omnes gentes" for 4 Voices and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.28 |
-- |
-- |
Grand Offertorium "Inveni David servum meum" for 4 Voices and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.29 |
-- |
-- |
Offertorium "Salve Jesu, Dux Sanctorum" for Soprano, chorus, Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.30 |
-- |
-- |
Aria "Ave, ave, caelorum Regina" for Soprano and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.31 |
-- |
-- |
Aria pro omni festo "Mens sancta" for Tenor or Soprano and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.32 |
-- |
-- |
Aria "Dei pietosi" for Soprano and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.33 |
-- |
-- |
Aria (unknown words) for Soprano or tenor and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.34 |
-- |
-- |
Aria " Exsultet orbis gaudiis" for Bass and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.35 |
-- |
-- |
Aria a Duetto "Ejus festa, ejus gesta" for Soprano or Tenor and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.36 |
-- |
-- |
Aria "Per singulas dies" for Bass and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.37 |
-- |
-- |
Aria " Huc, huc, amantes festinate" for Bass and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
Anh C 3.38 |
-- |
-- |
Aria "Ad arma properate" for Tenor and Orchestra |
Set of parts attributed to Mozart in Prague National Museum |
-- |
|
-- |
-- |
-- |
-- |
-- |
-- |
|
Anh C 4.01 |
Anh 242 |
Anh 242 |
Cantata for Fürst Alois Liechtenstein |
Jahn originally believed a copy in the Berlin Prussian State Library was authentic Mozart from his early Vienna period, but later changed his opinion based on the handling of the material. It no doubt originated after 1800, and perhaps is a work of Franz Xavier Mozart. |
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|
-- |
|||||
|
Anh C 5.01 |
-- |
Anh 292a |
Concert ending for Overture to Gluck's "Iphigenie en Aulide" |
First in Heinse's "Hildegard von Hahenthal" stated Mozart wrote conclusion; issued by Andre in 1804 or 1805 under Mozart's name, with incorrect title "Iphigenie en Tauride"; also published in parts by Zulehner in Mainz before 1810; Marx (1863) attributed to J.P. Schmidt, however as he was born in 1779, so probably not composer. |
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|
-- |
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|
Anh C 7.01 |
Anh 187 |
Anh 187 |
Recitative and Aria for Soprano and Orchestra "Perche t'arresti?…Per te nel carcer nero" |
Copies in Munich State Library, Berlin Prussian State Libr.and Gesellschaft der Musikfreunde; style of Recitative as also weakness of invention and instrumentation of piece make it more than doubtful. Any outside verification lacking. |
-- |
|
Anh C 7.02 |
Anh 243 |
Anh 243 |
2 Choruses to play 'Thamos'--"Schon weichet dir Sonne" & "Gottheit über alle mächtig" |
Issued by Simrock in Bonn about 1829 as two choruses from Thamos by Mozart; nothing to do with Mozart's Thamos music, possibly choruses of Johann Tobias Sattler from 1773. |
-- |
|
Anh C 7.03 |
-- |
Anh 243a |
Terzetto "Tremer mi sento" for Soprano, Tenor, Bass and Orchestra |
Copy in Berlin Prussian State Library from Otto Jahn headed "Terzetto-Mozart"; from names in text probably from a setting of 'La Circe', but not those known from Cimarosa or Gazzaniga |
-- |
|
Anh C 7.04 |
Anh 244 |
Anh 244 |
Canto "O come lieto" for 2 Sopranos, 2 Tenors, Bass and Orchestra |
Copy attributed to Mozart in Gesellschaft der Musikfreunde; parts issued by Artaria in 1856 with forward remarks stating Mozart wrote this "little vocal pleasantry" during his stay in Warsaw and left the manuscript with his friend Dibowski, and then in 1820 Mozart's son obtained the manuscript and it passed on to Baroni Cavalcabo. Work had been published by Artaria in 1805 in piano reduction under name of actual composer, Antonio Cartellieri (1772-1807); it is from Cartellieri's opera "Il Segreto' first performed in Vienna in 1804. |
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Anh C 7.05 |
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584a |
Soprano Aria and Orchestra "Donne vaghe" |
Copy found in Prague University Library in 1891; Wyzewa/St.Foix believed it authentic and composed in Prague around time of Don Giovanni and Einstein placed in main part of K3; actually work of Giovanni Paisiello from his operetta 'La serva pardrona'. |
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Anh C 7.06 |
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Mentioned within K588 |
Aria for Soprano and Orchestra "Angst, Qual und herber Gram" |
Copy in Berlin Prussian State Library with remark of Aloys Fuchs it was composed in Munich for as an insert in Act I, Nr.8 for a German version of 'Cosi fan tutte'; no known performances of Cosi in German in Mozart's lifetime, although there was one in Vienna in 1794 which perhaps Fuchs confused with Munich; Aria listed in Rellstab of Berlin catalogue in 1792 "for piano". (See Remarks to Anh C7.07) |
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Anh C 7.07 |
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Mentioned with K588 |
Duet for 2 Sopranos and Orchestra "Treu schwör ich dich stets zu lieben" |
Copy in Berlin Prussian State Library with remark by Aloys Fuchs it was composed for 2 women in Munich for German version of 'Cosi fan tutte'. Duet listed in Rellstab of Berlin catalogue in 1793 "for piano". (See remarks to Anh C7.06) |
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Anh C 7.08 |
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Scene "Non tradirmi" for Tenor and chorus |
Full score found in Kremsier Monastary with no author indication; in solo part the name "Antinoo" crossed out and replaced by "Tito"; however has nothing to do with Mozart's opera. |
Aria is from Simon Mayr's opera 'I Misteri Elsusine'--aria of Antinoo--and has been inserted into Mozart's "La Clemenza ti Tito" in copy in Lokowitz archive in Prague, and also a German version of opera in Melk (Giegling-NMA Critical Report 1994) |
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Anh C 7.09 |
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Mentioned with Anh 243a |
Terzett for a comic scene |
Copy in Paris private possession; Einstein remarked surely not Mozart. |
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Anh C 8.01 |
(K2) Anh187a |
Anh 260a |
Song with Piano Accompaniment "Die Nase" Text: "Schlaf, süßer Knabe, süß und mild" |
Published in 1840 in 'Caecilia' attributed to Mozart; in Dec 1845 Frankfurt Konversations-Blattes announced a manuscript of this Wiegenlied that Mozart composed for his wife after the birth of their son Karl, was given to them by Countess Clemens von Eiz; the original was supposed to be in possession of Music Director Geissler in Zschopau. Friedlaender (1902) called it a "crude forgery". It actually is a composition of Joseph Martin Kraus, and had been published in Stockkholm. |
Kraus Thematic Catalogue (1998) shows autograph of Kraus preserved; it was published in 1796 by Breitkopf und Härtel as Nr.2 in "Airs et Chansons pour le Clavecin, composes par Joseph Kraus, Maitre de Chapelle de S.M. le Roi de Suede". |
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Anh C 8.02 |
(K2) Anh187b |
Anh 260b |
Song with Piano Accompaniment "Die Nase" Text: "Schlaf, süßer Knabe, süß und mild" |
Issued in the Beethoven-Album in 1845, and then printed as "Reliquie von Mozart" for his 100th birthday. According to Halberger's album of 1849 performed and sent from Music Director Geissler in Zaschopau; as Anh C8.01 no doubt not authentic. |
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Anh C 8.03 |
(K2) Anh187c |
Anh 260c |
Song with piano accompaniment "Das Angedenke" Text: "Nimm dies kleine Angedenken" |
Copy in Paris Conserv. De Musique with title page attributing to Mozart; a different hand wrote "By Leopold Mozart"; other copies attribute to Mozart and well as F.J. Haydn; a copy in Austrian National Library in Vienna under name of Gyrowetz. Issued in 1798 by Mollo in Vienna as part of Adalbert Gyrowetz's IX Deutsche Lieder for Piano or Harp. |
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Anh C 8.04 |
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Anh 245a |
Song with Choral-refrain Text: "Schön ist es auf Gottes Welt" |
Issued by Cappi in Vienna in 1801 with title "An Menschen" as Nr.3 of 4 German Arias--along with K597, K598 and Anh C8.05. |
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Anh C 8.05 |
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Anh 245b |
Choral song with Solo "Wohl dem Mann" |
Issued by Cappi in Vienna in 1801 with title "Lob des guten Weines" as Nr.4 of 4 German Arias--along with K597, K598 and Anh C8.04. |
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Anh C 8.06 |
Anh 246 |
Anh 246 |
Song with piano accompaniment "Vergiß mein nicht" |
Issued by Schott in Mainz in 1794, Artaria in 1795 and numerous others; in the 'Caecilia' of 1829 Capellmesiter Lorenz Schneider of Coburg explained the composition was his, written in 1792 and first published by Götz in Mannheim under his name in 1793. |
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Anh C 8.07 |
Anh 247 |
Anh 247 |
Song with piano accompaniment "Phyllis an das Klavier" Text: "Bestes kleines Clavier!" |
Copy in Michaelbeuren Benedictine Monastary, and published numerous times under Mozart's name, first by Simrock in Bonn in 1798. Allgemeine musikalische Zeitung of 1798 reported this song originated from Lorenz Schneider. |
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Anh C 8.08 |
Anh 248 |
Anh 248 |
Song with piano accompaniment "Das Mädchen und er Vogel" Text:"Ein Vogel kam geflogen" |
Issued by Günther & Böhme in Hamburg in 1795 and then Artaria in 1799 (with Anh C8.09) as "Zwey Deutsche Arien 3ter Teil", and numerous further; Allgemeine musikalische Zeitung of 1798 named A.E. Müller as composer |
Angermüller (MISM 1986) states the AMZ does not make it clear if they are referring to a manuscript or a printing. If it is an autograph of Mozart's referred to, then the song would be authentic. |
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Anh C 8.09 |
Anh 249 |
Anh 249 |
Song with piano accompaniment "Minnas Augen" Text: "Zwei Augeb sind's aus deren Blikern" |
See Anh C8.08; AMZ of 1798 named A.E. Müller as composer. |
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Anh C 8.10 |
Anh 250 |
Anh 250 |
Song with piano accompaniment "Eheliche gute Nacht" |
First issued by Günther & Böhme in Hamburg with C8.11 and numerous times after; review in 1798 Allgemeine musikalische Zeitung of a 1798 Rellstab in Berlin issue of 33 Mozart Lieder reported this Lieder (and C8.11) originated from Johann Fr. Dalberg (1760-1812); only 7 Lieder authentic Mozart in this Rellstab issue. |
In letter to B & H in 1799 Constanze stated Dalberg had also composed these words "but to another melody", as did Bornbard [J.H.C. Bornhardt]. Dalberg composed music to text, but it is a Duet--published in 1790 by Götz and Schott--is different music; in 1796 advertisement Friedrich Franz Hurka from Berlin also published song to this text, possibly song attributed to Mozart is by Hurka (Weinmann-Die Musikforschung 1967). |
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Anh C 8.11 |
Anh 251 |
Anh 251 |
Song with piano accompaniment "Ehelicher guter Morgen" |
(See remarks to C8.10) |
(See remarks to C8.10) |
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Anh C 8.12 |
Anh 252 |
Anh 252 |
Song with piano accompaniment "Selma" Text: "Kühlt, o schmeichelnde Lüfte" |
First issued by Andre in 1793, and then numerous others after; reviewer in 1798 AMz believed authentic. |
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Anh C 8.13 |
Anh 253 |
Anh 253 |
Song with piano accompaniment "Heida lustig, ich bin Hanns" |
First issued by Andre in 1795, then Rellstab in 1798 (see remarks C8.10); reviewer in 1798 AMz believed authentic. |
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Anh C 8.14 |
Anh 254 |
Anh 254 |
Song with piano accompaniment "Der este Kuss" Text: "Leiser namt ich deinen Namen" |
First issued Josef Eder am Graben in Vienna in 1794, numerous others including Rellstab in 1798 (see remarks C8.10 and C8.12) |
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Anh C 8.15 |
Anh 255 |
Anh 255 |
Song with piano accompaniment "Die zu späte Ankunft der Mutter" Text: "Beschattet von kühlenden Aesten" |
First issued by Andre in 1795, Rellstab in 1798 (see remarks to C8.10 and C8.12) |
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Anh C 8.16 |
Anh 255a |
Song with piano accompaniment "Meine weise Mutter spricht: Küssen, küssen, Kind, ist Sünde" |
In a letter of July 1799 Constanze wrote of this song saying it was very lovely, and that it must have been composed before 1784 as she knew nothing of it. |
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Anh C 8.17 |
Anh 256 |
Anh 256 |
Song with piano accompaniment "Am Grabe meines Vaters" Text: "Hier sein Grab bei diesen kleinen Hügeln" |
First issued by Andre in 1795, Rellstab in 1798 (see remarks to C8.10 and C8.12) |
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Anh C 8.18 |
Anh 257 |
Anh 257 |
Song with piano accompaniment "Minna" Text: "Schon fesselt Lieb und Ehre mich" |
First issued by Andre in 1793, then others in Rellstab in 1798 (see remarks to C8.10 and C8.12) |
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Anh C 8.19 |
Anh 258 |
Anh 258 |
Song with piano accompaniment "An die Natur" Text: "Süße heilige Natur" |
Listed in B & H manuscript catalogue; published by Andre in 1795 |
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Anh C 8.20 |
Anh 259 |
Anh 259 |
Song with piano accompaniment "Lied der Freundschaft" Text: "Wenn ich der Kaiser wäre" |
Listed in B & H manuscript catalogue; published by Böhme in Hamburg |
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Anh C 8.21 |
Anh 260 |
Anh 260 |
Song with piano accompaniment "Gegenliebe" Text: "Wüßt ich, wüßt ich, daß du mich" |
Listed in B & H manuscript catalogue; published Andre, Götz and Rellstab in 1798 (See remarks C8.10 and C8.12) |
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Anh C 8.22 |
Anh 261 |
Anh 261 |
Song with piano accompaniment "Mailied" Text: "Willkommen, schöner, lieber Mai" |
Published by Rellstab in Berlin in 1798; reviewer of 1798 AMZ of Rellstab's issue of 33 Mozart Lieder believed authentic. Listed in B & H Manuscript catalogue |
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Anh C 8.23 |
Anh 262 |
Anh 262 |
Song with piano accompaniment "Frühlingslied" Text: "Unsre wiesen grünen wieder" |
(See remarks to C8.22) |
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Anh C 8.24 |
Anh 263 |
Anh 263 |
Song with piano accompaniment "Mailied" "Wie herrlich leuchtet mir die Natur" |
(See remarks to C8.22) |
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Anh C 8.25 |
Anh 264 |
Anh 264 |
Song with piano accompaniment "Frühlingslied" Text: "Freude jubelt, Liebe waltet" |
(See remarks to C8.22) |
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Anh C 8.26 |
Anh 265 |
Anh 265 |
Song with piano accompaniment "Frühlingslied" Text: "Der Frühling ist gekommen, es" |
(See remarks to C8.22) |
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Anh C 8.27 |
Anh 266 |
Anh 266 |
4-part song with piano accompaniment "Aufmunterung zur Freude" Text: "Wer wollte sich mit Grillen" |
(See remarks to C8.22) |
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Anh C 8.28 |
Anh 267 |
Anh 267 |
Song with piano accompaniment "Trinklied im Mai" Text: "Heute will ich fröhlich" |
(See remarks to C8.22)--published in Reichardt's Liedern geselliger Freude with heading "Der Frühling--Am ersten Maimorgen", composed by Reichardt. |
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Anh C 8.29 |
Anh 268 |
Anh 268 |
Song with piano accompaniment "Mailied" Text: "O der schöner Maiemond" |
(See remarks to C8.22) |
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Anh C 8.30 |
Anh 269 |
Anh 269 |
Song with piano accompaniment "Frühlinglied" Text: "Blickt auf, wie sehr das lichte Blau" |
(See remarks to C8.22) |
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Anh C 8.31 |
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Anh 269a |
Song with piano accompaniment "Elis und Elide" Text: "Wie sign ichs, Holder?" |