The Lost Works of W.A. Mozart
I have attempted here to list the lost works of Wolfgang Mozart, in chronological order. Of course some of these dates are speculation. What I have listed are known lost works, in addition to some compositions that were mentioned in some source, but we have no trace of. It is possible a few of these (such as "Semiramis" or the mentioned "German Opera" in February 1783) were never started.
These compositions are known from a variety of sources, but a few sources come up rather often, and I will give a brief description of these here.
Many early works are mentioned in Leopold Mozart's "List of everything that this 12-year old boy has composed since his 7th year, and can be exhibited in the originals". This list was compiled by father Leopold in 1768 to counter rumors in Vienna that Wolfgang could not compose without substantial assistance from his father. Many of the compositions listed here are not known. This will be usually given below as "Leopold Mozart's list of 12-year old son".
Another cited source will be the Breitkopf and Härtel "Thematic Catalogue of the Complete Works of W.A. Mozart". This was probably compiled by the publisher in conjunction with of their "Oeuvres complettes", and gave the publisher's source in the margins for each work. A copy made of this was called "Breitkopf-Härtel's Old Manuscript Catalogue of W.A. Mozart's Original Compositions", and will be known in the following as "B&H Manuscript Catalogue".
A third frequently cited source is Mozart's own "Catalogue of all my Works from the Month of February 1784 to the Month of...1...". In this well-known catalogue Wolfgang recorded (most of) his compositions with a short incipit and dating. This will be referred to as "Mozart's own Work Catalogue".
And of course the Mozart family letters are a major source. Almost all translations used here are from the edition of the letters by Emily Anderson.
Of course, some of the fragments, sketches, drafts, etc. are possibly from works that were completed and the remaining portion lost, but for the most part I attempted to stay with works that are completely lost--of course there will be a few exceptions.
In 1807 Mozart’s sister Nannerl asked the publisher Breitkopf & Härtel to return to her “a little song which he composed between his 7th and 8th year” that she had sent to them. No mention of title or words.
K.deest Divertimento in C for Piano 4-hands
In numerous letters to Breitkopf & Härtel from 1800 to 1807 Nannerl speaks of sending the firm a 4-hand piano composition of her brother’s written “in London in his eighth year”. In “B&H Manuscript Catalogue” is found two 2-measure incipits with heading “Divertim. a 4” for Cembalo 1 and Cembalo 2. Wolfgang Plath believes this is actually for Piano 4-hands and is piece Nannerl referred to. In his Mozart Biography, Georg Nissen wrote that Leopold Mozart wrote to Salzburg on July 9, 1765: “In London Wolfgangerl composed his first work for 4-hands”. [Until Plath research it was believed this referred to K19d].
In Nannerl’s memoirs of his brother published in the “Allgemeine Musikalische Zeitung” in 1800 she stated while in London and their father was dangerously ill, Wolfgang composed his first symphony and she copied it out. This Symphony was for all the instruments in the orchestra, “but especially for Trumpets and Timpani”. Wolfgang also told Nannerl to remind him to give the Horns something worthwhile to do. Mozart’s first symphony K16 does not have Trumpets and Timpani (although it is possible they were on a separate now lost sheet) and is not in Nannerl’s hand. Neal Zaslaw believes possibly four pieces from the London Sketchbook could be a piano reduction of this, while Stephen Fisher believes a likely candidate is K19b. Leopold Mozart was dangerously ill in July and early August 1764.
K19b = Anh 222 Symphony in C
Known only from an incipit in B&H Manuscript Catalogue. Placed in London in 1765 by Einstein because the “incipit is under the influence of the kind of symphony beginning that is typical for J.C. Bach”. However Neal Zaslaw points out that Bach symphonies post-date Mozart’s stay and the material is common coin of the period. Zaslaw shows Mozart probably did write a C-major Symphony sometime before autumn 1767, but not necessarily in London.
K.deest "Aria for daughter of Joseph Wolf"
In letter of May 28, 1778, Leopold Mozart writes of Wolf, the new Archbishop’s physician. “It was for his little daughter that Wolfgang composed his Aria at Ölmitz long ago”. The Mozart’s went to Ölmitz in November 1767 to flee from a small pox outbreak in Vienna, and left there on December 23, 1767. Einstein believed this was the song “An die Freude” K53. However the poem by Johann Peter Uz was first published in 1768 and it is doubtful Mozart would have known it.
K21a = Anh 206 Variations for Piano
B&H Manuscript Catalogue gave an incipit and the remark “Composed in London”, therefore 1764 or 1765. Wolfgang Plath believed possibly part of a Violin/Piano Sonata. NMA casts doubt on authenticity.
K32a The third Sketchbook "Capricci"
In “Leopold Mozart’s list of 12-year old son”, he cites “2 books of Keyboard pieces composed in London, Holland, etc”. These must be the London Sketchbook works (K15a-ss) and the sketchbook titled “Capricci” Constanze speaks of on several occasions. [The Nannerl notebook containing Mozart’s earliest compositions dates from Salzburg, before Wolfgang’s 7th birthday.] Constanze possessed this now lost notebook in 1799, and lent it to B & H, stating it had the title “Capricci di W. Mozart a Londra nel mese Decembre 1764”. In October 1800 she referred to it again as Capricci in a letter to Andre, stating the compositions date from 1765 or 1766. Einstein numbered the “Capricci” K32a on basis of the advertisement of Mozart’s second concert in Amsterdam of February 26, 1766, which stated “the youth would perform his own caprices, fugues and other pieces of the most profound music on the organ”. Zaslaw believes once the “London Sketchbook” became full, Leopold began a new booklet for him.
K.deest "Quel destrier, che all’albergo e vicino"
Constanze Mozart told B & H in 1799 she owned this Aria, contained in the Capricci booklet, “the original of which is worth too much to me to give it up”. Zaslaw believes it to be one of “15 Italian Arias” listed in “Leopold Mozart’s list of 12-year old son”.
K.deest 15 Italian Arias
In “Leopold Mozart’s list of 12-year old son”., he cites “15 Italian Arias, composed partly in London, partly in The Hague”. Zaslaw has identified 5 of these (K21, K23, K.deest “Quel destrier”, K78, 79).
K33a Solos for Flute
Listed in “Leopold Mozart’s list of 12-year old son” as being for Duke Louis von Wurtemberg in Laussanne, thus in 1766. No doubt composed for Flute and figured or unfigured bass.
K33b Solos for Cello
Listed in “Leopold Mozart’s list of 12-year old son” as for Prince von Fürstenburg, thus in Donaueschingen in 1766. No doubt composed for Cello and figured or unfigured bass.
K.deest Solo for Viola da gamba
Listed in “Leopold Mozart’s list of 12-year old son”. Perhaps written for the Elector of Bavaria, Maximilian Joseph III, during the Mozarts visit in Munich in November 1766.
K33c Stabat mater
Listed in “Leopold Mozart’s list of 12-year old son” as “A brief Stabat Mater for 4 voices without instruments”. Perhaps written in 1766 in Paris, or on the trip back to Salzburg.
K33d = Anh 199 Sonata for Piano in D
In February 1800 Mozart’s sister Nannerl informed Breitkopf & Härtel she had 3 Piano Sonatas and gave the incipits (K33d,e,f). She sent the Sonatas to the publisher in March, who never returned them. Asking for their return, Nannerl told B & H these were “one of the first compositions of my brother”. B & H never did publish these three Sonatas, but their incipits are listed in “B&H Manuscript Catalogue”. As the Sonatas are missing from “Leopold Mozart’s list of 12-year old son”, they must have been composed after 1768, but before the 1775 Sonatas K279-284.
K33e = Anh 200 Sonata for Piano in Bb
See remarks to K33d
K33f = Anh 201 Sonata for Piano in C
See remarks to K33d
K33g = Anh 202 Sonata for Piano in F
This Sonata is also in the “B&H Manuscript Catalogue”, but a note in the margin indicates the manuscript was obtained from Baron Dürnitz, not Nannerl. The Sonata is also found listed in the thematic catalogue of Baron Thaddaus von Dürnitz. It appears this Sonata was composed in Munich in early 1775 for Dürnitz, perhaps as a sample before the composition of the Sonatas K279-284.
K33h Piece for Waldhorn
In a postscript to the letter of February 16, 1778, Leopold Mozart reminds Wolfgang that many years earlier he had written a little Waldhorn piece (“Wäldhornstückl”) for Martin Grassl, servant to Prince von Breuner, dean of the Salzburg cathedral. Possibly one of 2-Horn pieces K41b?
K41a 6 Divertimentos in 4-parts for various instruments
Listed in “Leopold Mozart’s list of 12-year old son”. A tentative dating is Salzburg 1767. A incipit in the Breitkopf Thematic Catalogue for 1767 of “Divert. Di MOZART, a Quatro Instrum. Conc. A Viol. Violone. 2 Corn.B” attributed to Leopold, possibly one of these.
K.deest Six Trios for 2 Violins and Cello
Listed in “Leopold Mozart’s list of 12-year old son”. In February 1772 Leopold offered Breitkopf some of Wolfgang’s compositions for publication, including “trios for two violins and cello”.
K41b Wind pieces of various settings
Listed in “Leopold Mozart’s list of 12-year old son” as “Many pieces for 2 Trumpets; for 2 Horns, for 2 Basset horns, and Processionals for Trumpets and Timpani”. The Trumpet Duets and Processionals were probably composed in Salzburg for Trumpeters attached to court. No doubt the same for the Horn Duets. As the Basset horn was a new invention, these pieces many have something to do with the Mozart’s stay in Passau in September 1762 where the reputed inventors of the Basset horn lived. These pieces however could not have been written in Salzburg.
K41c Marches of various settings
Listed in “Leopold Mozart’s list of 12-year old son” as “for 2 Violins, 2 Horns, 2 Oboes, basso, etc”; “military with 2 Oboes, 2 Horns, Bassoon”; and “for 2 Violins and basso”.
K41d Menuets of various settings
Listed in “Leopold Mozart’s list of 12-year old son”.
K41e Fugue for Piano
Listed in “Leopold Mozart’s list of 12-year old son”. As only complete works were listed, this is not K15ss or K73w. Wolfgang performed “fugues and other pieces on the organ” in Amsterdam on February 26, 1766—perhaps one of these.
K41f 4-part Fugue
Listed in “Leopold Mozart’s list of 12-year old son”.
K41g Nachtmusik for 2 Violins and Bass
Listed in “Leopold Mozart’s list of 12-year old son”. Mozart’s sister wrote to B & H in 1800 she had in her possession “a rather small Nachtmusik, for 2 Violins and basso. This, however, is a very simple composition, written in his early years, such as I dare not send as it appears too insignificant to me”.
K.deest Setting of 5 Metastasio texts
In his letter from Vienna of July 30, 1768, Leopold Mozart wrote: “I asked someone to take any portion of the works of Metastasio, open the book and put before little Wolfgang the first aria which he should hit upon. Wolfgang took up his pen and with the most amazing rapidity wrote, without hesitation and in the presence of several eminent persons, the music for this aria for several instruments. He did this at the houses of Kapellmeister Bonno, Abbate Metastasio, Hasse and the Duke de Braganza and Prince von Kaunitz”. Doubtful if these are same as the 15 Arias Leopold reported in list of 12-year old Wolfgang, or one of the known Arias.
Listed in “Leopold Mozart’s list of 12-year old son” as “A grand Offertory for 4 voices, and Orchestra”. Thought to be identical to the Offertorium K117/66a, but Zaslaw points out K117 is on Salzburg paper used by Mozart in 1769, not on Viennese paper of 1768, so K47b must be regarded as still lost. It should be noted that Nannerl wrote the date 1768 in the margin of the list, presumably in 1799 when she was putting her papers in order.
K47c Trumpet Concerto
On November 12, 1768, Leopold Mozart wrote home to Salzburg telling of music Wolfgang composed for Father Parhammer’s orphanage, including a Trumpet Concerto.
K66c = Anh 215 Sinfonia in D
Known only from an incipit in “B&H Manuscript Catalogue”. Einstein speculated Symphony (with K66d and K66e) originated in Salzburg in late 1769 with a view to the forthcoming Italian trip. Zaslaw states he is unable to determine any date from the incipit alone.
K66d = Anh 217 Sinfonia in Bb
Known only from an incipit in “B&H Manuscript Catalogue”. Einstein speculated Symphony (with K66c and K66e) originated in Salzburg in late 1769 with a view to the forthcoming Italian trip. Zaslaw states he is unable to determine any date from the incipit alone.
K66e = Anh 218 Sinfonia in Bb
Known only from an incipit in “B&H Manuscript Catalogue”. Einstein speculated Symphony (with K66c and K66d) originated in Salzburg in late 1769 with a view to the forthcoming Italian trip. Zaslaw states he is unable to determine any date from the incipit alone.
K72a Piano Sonata in G
Between December 27, 1769 and January 7, 1770, Mozart had his portrait painted in Verona by Saverio dalla Rosa at the bequest of Pietro Lugiati. This portrait shows Mozart seated in front of a harpsichord that has an open music book with 35 beginning measures of a Molto Allegro—no doubt the 1st movement of a Piano Sonata, the rest lost to us. It has always been believed Mozart would certainly have posed with one of his own compositions in front of him. However we know of no Sonatas from this period. This beginning is held as unMozartian, and in 1971 Daniel Heartz stated it could be a Sonata of Baldassare Galuppi.
K73A = Anh 2 Aria “Misero tu non sei”
Mozart wrote to his sister from Milan on January 26, 1770: ”Just before I began this letter I composed an aria from Demetrio, which begins: “Misero tu non sei: etc.”
K.deest Copy of Gregorio Allegri’s Miserere
Leopold Mozart writes in letter from Rome of April 14, 1770, that Wolfgang copied out this work—supposedly forbidden to be removed or copied-- from memory.
K.deest Cassation in C
In a letter of August 18, 1771, to his wife, Leopold Mozart asks Nannerl to pick out some music including “the little Cassation by Wolfgang in C”.
K.deest Ballet music for Ascanio in Alba
On September 7, 1771, Leopold Mozart reported home that Wolfgang had to compose the ballet to this Serenata which links the two acts together. In the autograph of ‘Ascanio’ after the last number are three pages in a copyist’s hand of the bass part of 8 numbers of a ballet. Nrs.2 and 3 of this ballet correspond to Nrs.4 and 5 of Piano Pieces K.Anh 207. Unknown if the ballet music of Mozart was ever finished, or if so was actually performed. It is possible Mozart’s early drafts did not please and work of another composer was performed, or Mozart used other composer’s music for his ballet sequence.
K206a Cello Concerto in F
According to Ernst Lewicki in 1912 “Mitteilungen fur dem Mozart Gemeinde in Berlin” an autograph of a Cello Concerto dated March 1775 was in the Paris Bibl. Du Conservatoire. However this autograph is not located there. Thus only a 6 measure incipit is known.
K.deest 3 Bassoon Concertos in C, Bb, Bb
Otto Jahn noted 3 Bassoon Concertos were listed in Baron Thaddeus von Dürnitz’s catalogue of music. As Mozart composed a Piano Sonata for Dü0rnitz in Munich in early 1775, it is assumed these Concertos were written at that time. However research has found the that catalogue does not contain any Bassoon Concertos by Mozart.
K.deest Flute Concerto
The diary of Ferdinard von Schiedenhofer of July 25, 1777, tells of a concert in Salzburg in which music including “a Concerto for Transverse Flute” was played, all music was “young Mozart’s work”. If this Concerto is not the Flute Concerto in G K313 (thought to have been composed in January or February 1778 in Mannheim), then it is a lost concerto.
K271k Ferlendis Oboe Concerto
Mozart wrote to his father in a letter of February 14, 1778, from Mannheim: "Ramm played my Oboe Concerto for Ferlendis for the fifth time...". On February 15, 1783, from Vienna, he asked his father to send him the “little book in which is the Oboe Concerto for Ramm, or rather for Ferlendis". In 1920 St. Foix found in Milan an Oboe Concerto in F under the name of Giuseppe Ferlendis that he championed as the lost Concerto for Ferlendis. However also in 1920 Bernhard Paumgartner found in the Mozarteum a copy of an Oboe Concerto in C-major that was apart from minor differences identical to the Flute Concerto K314. K6 still lists the Concerto for Ferlendis (K271k) as being lost, but current scholarship is almost unanimous that the Oboe Concerto version of K314 is Mozart’s Concerto for Ferlendis.
K284a 4 Preämbulum for Piano
Mozart wrote to his father on October 11, 1777, from Munich: “I enclose 4 Preämbulum for my sister, She will see and hear for herself what keys they lead”. This pieces were thought to be lost, however recent research has shown the Capriccio for Piano K395/300g is actually the “4 Preämbulum”.
K284e Instrumentation of a Flute Concerto of Johann Baptist Wendling
On November 21, 1777, Mozart wrote from Mannheim he was at Cannabich’s home, where Wendling was rehearsing a Concerto which Mozart had scored (“instrumente gesetzt habe”). As the only two Flute Concertos by Wendling known to Einstein were for string orchestra, it appeared apparently that Mozart added winds. However the recent New Grove lists 14 Flute concertos by Wendling, some being lost and most composed before 1777.
K284f Rondeau for Piano
On November 29, 1777, Mozart wrote from Mannheim “I have composed a Rondeau for the Countess”. [The natural daughter of Elector Karl Theodor.] On December 3 he played it for the Elector, who “liked it very much”.
K.deest Arrangement of Contredance for Piano
On December 6, 1777, from Mannheim Mozart writes his father he has already transcribed a contredance for piano for Cannabich. [Mozart also writes that Cannabich finds him useful to transcribe selections of his ballet music, as Cannabich cannot. However Mozart does not specifically write that he does this.]
K297a = Anh 1 Eight pieces in a Miserere of Ignaz Holzbauer
In letter of April 5, 1778, Mozart writes he had been asked and did compose new choruses for Holzbauer’s Miserere for the Concert Spirituel in Paris. He also made other changes in the work. Mozart reported in May the work was too long and only two of his four choruses were performed, ”and they left out the best”. Work was possibly performed again in Paris in 1783. Robert Münster believed he found Holzbauer’s original Miserere in Eb—before Mozart’s additions and substitutes--in the 1950’s.
K297B = Anh 9 Sinfonia Concertante for Flute, Oboe, Horn and Bassoon
In letter from Paris of April 5, 1778, Mozart reports he is going to compose a Sinfonia Concertante for Flute, Oboe, Horn, and Bassoon. On May 1, he reports of problems with LeGros, but stated he completed it. On July 9 he reported it was not performed, and in October stated LeGros kept the manuscript, but he will rewrite it from memory. In 1860’s a Sinfonia Concertante for Clarinet, Oboe, Horn, Bassoon found in estate of Otto Jahn. Much debate whether this is some form of Mozart’s 4-wind Concertante.
K311A = Anh 8 2nd Paris Symphony
Mozart wrote to his father from Paris on September 11, 1778, he has made a name for himself with his two symphonies, the second one having been performed only three days before. Telling his father on October 3, 1778, he would be bringing home little music, he wrote that “LeGros purchased from me the two Overtures”. Of course the first Symphony is the “Paris Symphony” K297, the other considered lost. In 1901 in Paris a “Grand Overture” was found with Mozart listed as the author on the title page and considered as this 2nd Paris Symphony, and listed as K311a in K3. By K6 it was removed to the Anhang for Misattributed works. It is now believed there was no 2nd Paris Symphony, that it was only an older Salzburg Symphony that Mozart had brought with him.
K315b = Anh 3 Scena for Tenducci
Mozart letter of August 27, 1778, reports he is composing a Szene for Tenducci for Piano, Oboe, Horn and Bassoon. In 1780 it was reported Mozart composed in Paris in 1778 a Szene in 14 parts for Tenducci. Nothing of this music was ever found.
K315e = Anh 11 Music to Gemmingen’s "Semiramis"
On December 3, 1778, from Mannheim, Mozart wrote to his father: “To please Herr von Gemmingen and myself I am now composing the first act of the declaimed opera (which I was commissioned to write) and I am also doing this for nothing; I shall bring it with me and finish it at home…Herr von Gemmingen is the poet, of course—and the duodrama is called Semiramis”. Nothing else is known of this duodrama. In an 1994 article Laurenz Lutteken believes some of Thamos music originally for Semiramis project.
K365a = Anh 11a Recitative and Aria "Warum, o Liebe…Zittre, toricht Herz"
In a letter of November 8, 1780, Wolfgang wrote apologizing for not having yet finished an Aria for Schikaneder. Then on November 22 he tells his father he is sending this Aria, which was performed at the Mozart’s home in Salzburg on December 1, 1780 in a play by Schikaneder’s troupe. One page of 30 measures of the transition to and the recapitulation of the second theme (with words “Die neugeborne Ros’ entzückt”) was discovered in 1996.
K383g = Anh 100 Sinfonia in Eb fragment
Nissen in the Appendix of his Mozart biography mentions an Adagio consisting of 14 measures entirely complete and fully instrumented. The first portion of the following Allegro was also complete and mostly instrumented and consisted of 83 measures. As Nissen gives an orchestra of strings, horns, flute, oboes and bassoon, Einstein gave it an origin in Mozart’s early Vienna time, perhaps even for the same concert in the Augarten of May 26, 1782 in which the Menuet K409/383f supposedly was premiered.
K416a German Opera
On February 5, 1783, Mozart wrote to his father: "I am now writing a German opera for myself. I have chose Goldoni's comedy 'Il servitore di due padroni', and the whole of the first act has now been translated” by Baron Binder. Nothing further is known of this. Scholars are divided whether Mozart ever started the opera, or whether parts are found in other known compositions, such as the Arias K435 and K433.
K.Anh A15 Copy of Michael Haydn’s "Lauda Sion"
In a letter of March 12, 1783, Wolfgang asked his father for his copy of Michael Haydn’s “Lauda Sion. ” Michael Haydn had composed this piece in 1775. [Sherman’s MH 215]
K.Anh 255a/Anh C8.14 Song “Meine weise Mutter spricht: Küssen, Küssen, Kind, is Sünde”
In a letter of July 8, 1799, to B & H, Georg Nissen tells the publisher that Constanze knows nothing of a song, “which is very pretty”, by this title, but it must have been composed before 1784 [no doubt as it was not listed in Mozart work catalogue]. K3 and K6 placed the song in the Misattributed Anhang section because it is not known in any other source.
K.deest Aria for Gretl Marchard
On July 21, 1784, Mozart wrote home “As for the Aria she must exercise a little patience. But what I do advise her to do, if she wants to have the Aria soon and without fail, is to choose a text which suits her and send it to me, as it is impossible for me to find time to wade through all sorts of operas”. Gretl and her brother Heinrich were receiving music lessons from Leopold Mozart. Most commentators believe Aria was either lost or never started. Kunze in NMA believed possible piano reduction of Soprano Aria “Der Liebe himmlishces Gehühl” K119 is this Aria.
K470 Andante in A to a Violin Concerto
The incipit is entered in “Mozart’s own Work Catalogue” under April 1, 1785. Einstein originally thought it was most likely written to replace the original slow movement of the Violin Concerto K218. He later followed the opinion of St.Foix that K470 was meant as a replacement for the middle movement of Viotti's Violin Concerto in e-minor #16 (K470a). However Chapell White reported the Viotti Concerto was probably written in Paris in 1789-90, but possibly for Versailles around 1784-86. Its first edition was in Paris 1789-90. Highly unlikely Mozart would have had access to Viotti’s Concerto in 1785.
K.deest Piano Arrangement of Entführung aus dem Serial
On December 28, 1782, Mozart told his father he was finishing the piano arrangement of this opera. However on May 12, 1785, Leopold told Nannerl that Wolfgang has not finished arranging it yet: he may have only completed Act I. On December 16, 1785 Leopold reported to Nannerl someone else arranged the opera and it had appeared in print, so Wolfgang wasted his time arranging the whole of the first two acts. Preserved to us are only the (complete) Overture, and portions of “Martern aller Arten” and “Welche Wonne, welche Lust”.
K477a = Anh 11a Cantata for Voice and Piano
A notice in the "Wienerblättchen" of September 26, 1785, reports of an “Italian song of joy: Per la recuperata saulute di Ophelia”, words by da Ponte, music by Salieri, Mozart and Cornetti, to be sung at the piano on sale at Artaria’s firm in Vienna. This was a song for the recovery of Nancy Storace from an illness. It is not listed in Mozart’s work catalogue, da Ponte does not mention it in his Memorie, Salieri does not include it in the index of works, and no copies of this printing by Artaria are known to exist.
K516e = Anh 89 Rondo for Clarinet Quintet in Eb
In K1 listed under Anhang 89 a was "Rondo for Clarinet, 2 Violins, Viola, Cello in Eb, Andante, 3/4, 7 measures”, as of 1860 in the possession of Julius Andre. In 1929 a newly found Rondo for Clarinet and String Quartet in 2/4 time of 8 measures surfaced and later listed as K516d in K6. The editors of K6 renumbered K.Anh 89 as K516e, believing the two short fragments were not the same, as Koechel would not make mistakes in both measure count and time signature.
K525 Missing 1st Menuet to Eine kleine Nachtmusik
“Mozart’s own Work Catalogue” states that this work is in 5 movements with 2 Menuets. The 1st Menuet was torn from the autograph. Once Piano piece K498a was speculated as a transcription of this missing piece, but in reality nothing is known of the missing Menuet.
K544 Little March in D for chamber setting
Entered in “Mozart’s own Work Catalogue” under June 26, 1788. Occasion and intent unknown.
K565 2 Contradances
Entered in “Mozart’s own Work Catalogue” under October 30, 1788.
K569 Aria for Soprano “Ohne Zwang aus eignem Triebe”
Listed in “Mozart’s own Work Catalogue” in January 1789 as “A German Aria” etc. Recently Dexter Edge has shown the first words match an Aria in Johann Heinrich Faber’s translation of opera comique ‘Le roi et le fermier”—“Der König und er Pachter”.
K571A = Anh 106 Menuet fragment
In the Appendix of his Mozart biography Nissen lists a Menuet in A-major scored for 2 Violins, 2 Oboes, Flauto piccolo, Bassoon, 2 Horns and Tamburin, of which the first part (8 measures) is complete, but only 3 measures of the second part are. K3 stated it no doubt belonged to K571, thus February 1789 in Vienna.
K572a = Anh 4 6-part Double Canon
In an anecdote of Mozart’s life from March 1801 Friedrich Rochlitz told of a visit by Mozart to the home of Friedrich Doles, at that time Cantor of the Thomasschule in Leipzig, in April 22, 1789. When it was time for Mozart to leave all were sad and Mozart asked for a piece of paper. He tore it in half and in 5 or 6 minutes wrote out a 3-part canon in long notes, without words, on one half and gave it to Doles. On the other half he wrote out another 3-part canon, this one in quavers again without words, and gave it to Doles’ son. When sung together they made a 6-part canon. Then Mozart added words: “Lebet wohl, wir sehn uns wieder” (Farewell, we shall meet again) to the first; “Heult noch gar wie alte Weiher” (Go on howling like old women) to the second. Rochlitz lamented it was a shame these pages should have become lost. Even though Rochlitz’s anecdotes are at times very unreliable this one has been accepted and the Canon placed in the main part of the Koechel Catalogue.
K.deest 5 Masonic Songs
From printed librettos of Masonic Lodges Philippe Autexier found Mozart set the following texts to music for ceremonies:
Zur Eröffnung der Meisterloge (“Des Todes Werk, der Faulniss Grauen”)
Zum Schluss der Arbeit der Meister (“Vollbracht ist die Arbeit der Meister”)
Bey Eröffnung der Tafelloge (“Legt fur heut des Werkzeug nieder!”)
Lied im Nahmen der Armen (“Brüder! Hort das Flehn der Armen”)
Kettenlied (“Wir singen, und schlingern zur Wette”)
Texts of the first two songs were formerly attributed to Gottlieb Leon, but now known to be by August Veit von Schittlersberg. Two different datings appear in sources for these 2 songs: 1786 or 1790. The last three songs were written in June 1790 on poems of Gottlieb Leon.
K.deest Clarinet Variations for Joseph Beer on March from “Les Marriages Samnites”
In a review in a 1808 issue of the “Allgemeine Musikalische Zeitung” it was reported on April 19 Beer gave a concert that included variations by Mozart on the March of the Samnites that “he alone possessed”. In February 1809 another review stated Beer will be heard playing “Variations by Mozart on the Clarinet”. Nothing known of these variations in any other source. Carl Bär believes Mozart wrote out variations for Beer after a Vienna concert on March 4, 1791—they most likely were an arrangement of his Piano Variations on this theme, now for Clarinet and Piano.
K615 Final chorus “Viviamo felici” to Sarti opera ‘Le geloise villane’
Mozart entered this work in his “own Work Catalogue” on April 20, 1791, stating it was for “Dilitanti” (amateurs). No performance is known in Vienna other than in 1777 and 1783 at the Burgtheater. Mozart writes the text as “Viviamo felici in colce contento etc etc”. The libretto by Tommaso Grandi reads “Viviamo felici in mezzo ai contentoi”.
As always, any additions, subtractions, or comments are welcome.