Not By Mozart in K2, K3, K6 By Gary Smith and dennis

[dennis]

NOT BY MOZART IN K², K³ and K⁶ (From Gary Smith and Dennis Pajot)

The purpose of this posting is to give a thumbnail sketch of the compositions attributed to Mozart in the main section of K², K³ and K⁶, but since shown to be not by him. This is a companion to the "Not By Mozart In K1" posted at MozartForum and now in the Library section. Some of these compositions are flat out not by Mozart, others are very questionable but not proven to be unauthentic, and still others are copies or arrangements made by Mozart of other composer’s works. A much less complete version of this paper was posted at openmozart.net years ago, the present posting containing many more entries. Unless otherwise noted, Köchel Nrs. are from K³. Recordings I know of are listed. Enjoy reading, and if you know of other information--or recordings--feel free to follow-up.
==================

K16a Symphony in a-minor
Composer: Mozart?
Remarks: Manuscript asserting to be by Mozart turned up in 1799 from the Westphal collection and given to Breitkopf & Härtel music publishers. This symphony was offered by Westphal (the Hamburg music dealer Johann Christoph Westphal) for sale as early as the mid-1780’s. B & H listed the incipit of four bars in their manuscript catalogue of Mozart’s works. By Köchel’s time, the manuscript had vanished and hence was assigned Anhang 220 in the appendix for lost works. Einstein, based solely on the incipit, inserted the work into the main catalogue, believing it was closely related in style to the earliest of Mozart’s symphonies and assigned it a number immediately following the first surviving Mozart symphony. A copy turned up in Odense, Denmark in 1983 in a collection of works belonging to the local Collegium Musicum. It is printed on paper dated to 1779, apparently purchased by the Collegium in 1793 (and research shows they purchased music from Westphal), but written out in the hand of a copyist not known to be associated with the Mozarts or people in their circle. Stylistically it has a number of deviations from that of other Mozart works. As well, it would appear to be somewhat later in style (if Mozart’s) than a K16a number would indicate.
Other K Nrs: K¹= Anh 220
Recordings: W. A. Mozart: The Symphonies Vol. VII (421 135-2) The Academy of Ancient Music, Jaap Schroder & Christopher Hogwood
Unicorn (2018) Odense Symphony Orchestra, conductor Tamas Veto
Capriccio (10326) Salzburg Mozartian Orchestra, conductor Hans Graf


K16b Symphony in C
Composer: Leopold Mozart??
Remarks: This Symphony is possibly by Leopold Mozart. Only 1st Violin part is extant. Suggested at one time to be work of a Philip Kajatan Mozart. The Symphony was advertised by Breitkopf in 1766 as a symphony by "Sigr. Mozard. M. di Cam. in Salzb". However attribution to Leopold Mozart is uncertain and the symphony is listed by Eisen in his catalogue of Leopold Mozart's symphonies as "?C3".
Other K Nrs: K⁶ = Anh C11.01


K25a(K²) Menuet and Trio for Orchestra in C
Composer: Kasper Anton Karl Beethoven
Remarks: Manuscript copy found in British Museum. Manuscript had been presented to Sultan Abdul Aziz by Emperor of Austria (although doubt later placed on this story). Köchel made a note on the manuscript , dating it ca.1765. St.Foix found it to be a work of Ludwig Beethoven and piece transferred to Anhang section of K³. Kinsky catalogue of Beethoven lists it as Nr.1 of 12 Menuets for Orchestra WoO 12. Recent research shows WoO 12 Menuets composed by Kasper Anton Karl Beethoven.
Other K Nrs: K³ = Anh 203a; K⁶ = C13.01


K43c Piano Concerto in G (Fragment)
Composer: Leopold Mozart?
Remarks: In State archives in Pressburg is a page with a sketch of 46 measures [Allegro]. Sketch page obtained by Saxon Royal Library in Dresden (from grandson of Robert and Clara Schumann) contained 46 measures [Adagio]. Other compositions in sketch are also on these pages. Both have handwritten remarks on page attributing them to Mozart. Einstein believed their character pointed to a Piano Concerto, but this was not clear. He saw the time as 1768 in Vienna, and Mozart's first attempts at a Piano Concerto. St.Foix and E.H. Müller believed these were Mozart's arrangements of pieces of other composers (such as K37, K39, K40, K41). No composer could be identified, but someone in the circle of C.P.E. Bach was suspected. Wolfgang Plath stated the scattered sources gave no evidence of two sketches being to the same piece. Plath also confirmed (it had been stated in earlier catalogues) handwriting was that of Leopold Mozart, and writer and composer were the same in the first sketch and likely in the second. Even if Leopold was not the composer of the second sketch, Wolfgang was out of question according to Plath from musical contents.
Other K Nrs.: K⁶ = Anh C15.02


K74g Symphony in Bb
Composer: Unknown; ??Mozart
Remarks: No autograph exists and the first listing of symphony occurs as an incipit in an early Breitkopf and Härtel catalogue. A set of parts turned up in the Berlin Library and the work was published in 1910. Einstein in K³ stated that this work was composed between two Italian journeys, in the early summer of 1771, in Salzburg. Doubtless this was because he heard stylistic traits that he presumed Mozart had picked up during his travels in Italy in 1770. K⁶ removed K74g from the main catalogue, placing it in the Anhang C section of Doubtful or Misattributed Works as K.Anh C11.03. For the reasoning of this move the editors explained “As in the Symphonies of this time (K73, K75, K100/75b) in addition to Salzburg and Vienna echos, especially Italian traits were taken in, this symphony is for interior reasons hardly to be regarded as authentic.” However, Gerhard Allroggen, after dealing with such matters as style, dating, copyist’s work, relationships with other works of the period, admits the possibility of Mozart’s authorship. In his book on Mozart’s Symphonies, Neal Zaslaw points out the source situation of K74g/Anh C11.03 is similar to the above symphonies, and certainly placing authenticity on stylistic grounds is a difficult area.
Other K Nrs: K¹ = Anh216; K⁶ = C11.03
Recordings: W. A. Mozart: The Symphonies Vol. VII (421 135-2) The Academy of Ancient Music, Jaap Schroder & Christopher Hogwood;
Time-Life STL-M17—LP): Mozart The Early Symphonies
Royale (1231—LP) Mozart Symphony Society Orchestra [key mistakenly given as F-major; called Sym #54].


K93a Psalm "Memento Domine David" in F
Composer: Carl Georg Reutter
Remarks: The autograph (32 measures) of this Psalm--scored for 4 voices, 2 Violins, Bass--is in the Mozarteum in Salzburg. Constanze Mozart included this in her list of Mozart fragments in 1800 to B & H. Nissen also listed it in the Anhang of his Mozart biography. Einstein believed it originated in the vicinity of the Psalm K93, summer of 1771. In 1953 Karl Pfannhauser established this is actually Mozart's copy of piece by Carl Georg Reutter; the original piece by Reutter comprises 137 measures. Tyson's paper studies point to a much later time for Mozart's copying, after his return from Prague in December 1787 into 1788 and a little later.
Other K Nrs: K¹= Anh 22; K⁶ = Anh A23


K93c Lacrimosa in c-minor
Composer: Johann Ernst Eberlin
Remarks: The autograph of 16 measures scored for 4 voices, continuo and bass was located in the Prussian St. Library in Berlin, with K221/93b. Köchel and Waldersee thought composition dated from about 1775; Wyzewa/St.Foix believed between April and August 1771. Einstein placed it in summer of 1771. Alois Schmitt used this music in his completion of the c-minor Mass K427 in 1901. Pfannhauser in 1953 showed piece is from Eberlin's Requiem in C. Wolfgang Plath reported handwriting is that of Leopold Mozart.
Other K Nrs: K¹ = Anh 21; K⁶ = Anh A2
Recordings: Everest (SDBR 3191-LP) Soloists, Chorus and Orchestra of L'Anthologie Sonore directed by Felix Raugel
Carus (27.041/99) La Banda, camerata vocale Günzburg directed by Jürgen Rettenmaier--(original Requiem Mass of Eberlin)


K124A(K⁶) Church Sonata in D
Composer: Leopold Mozart?
Remarks: Einstein reported an autograph in Prussian State Library on 4th page with K326/93d containing 15 measures of completed Introduction to a Church Sonata for 2 Violins and Bass. He stated Sonata could not have originated before 1775. Dennerlein believed Sonata dated from 1772, being abandon when K67 written. Wolfgang Plath showed handwriting was Leopold Mozart's. However K⁶ gave it a place in main part of catalogue.
Other K Nrs.: K³ = Anh 65a


K124c Church Sonata in C (Fragment)
Composer: Leopold Mozart
Remarks: Fragment of 8 (last) measures found in Bologna, scored for 2 Violins, Organ and Bass. Einstein believed piece was completed and beginning portion lost. He thought it was composed same time (1772) as K145/124b. Plath showed handwriting of Leopold Mozart, and corrections in composition show he was also composer.
Other K Nrs: K⁶ = Anh C16.01


K196d Bassoon Concerto in F
Composer: Franz Danzi
Remarks: Known from incipit in Breitkopf und Härtel catalogue. Although not part of the supposed 3 Bassoon Concertos written for Baron Dürnitz in 1775, Einstein thought it best to place in beginning of 1775. Copy found in Germany found to be work of Franz Danzi (Nr.235 in Danzi Thematic Catalogue).
Other K Nrs: K¹ = Anh 230


K196e and K196f Wind Octets in Eb and Bb
Composer: K196e-Giuseppe Puschmann?? K196f-Joseph Fiala (1748 - 1816)???
Remarks: Earliest source is Complete B & H edition of 1801. K¹ listed both in Anhang section for doubtful works. St. Foix believed K196e a Viennese Serenade from 1781 or 1782 for an Augarten Concert. St. Foix placed K196f either in Sextet form for wind-band of Franz Albert mentioned by Mozart in a letter of October 2/3, 1777, or another Viennese Octet. K³ moved both Octets into main section of Catalogue, but changed dating to Carnival season of 1775 in Munich. In 1963 Erik Smith cast doubt on both Divertimenti on stylistic grounds, even doubting the same composer wrote both Divertimenti. K⁶ moved both to Anhang C section due to their inadequate sources. Then in 1972 Daniel Leeson and David Whitwell concluded both have "every appearance of being genuine Mozart". In 1975 Roger Hellyer came out against Mozart's authorship, and reported of the discovery of a copy of K196e attributed to Giuseppe Puschmann at Kremsmunster Monastery. The NMA published the Divertimenti in volume 2 of Works of Doubtful Authenticity in 1993, stating from stylistic grounds neither could be by Mozart. NMA editor Franz Gielging even wondered if Joseph Fiala could be the composer of K196f--again stating it is doubtful both originate from the same composer, but stating both originated essentially later than the 1770's.
Other K Nrs: K¹ = K.Anh 226 and K.Anh 227; K⁶ = Anh C17.01 and Anh C17.02
Recordings: Both on all below CDs and LPs:
Orfeo (C163881A) Berlin Philharmonica Winds
London (STS 15377/81-LP) Jack Brymer with London Wind Soloists
Complete Mozart Edition Vol. 5 (422 505-2) Netherlands Wind Ensemble
EMI (2909943--LP) Consortium Classicum --6 Wind Version
BASF (21107--LP) Consortium Classicum--6 Wind Version


K206a Cello Concerto in F
Composer: Mozart?
Remarks: Heading on (lost) supposed autograph reads "Concerto per il violoncello Del Sigr: Cav. Amadeo Wolfgango Mozart nel Marzo 1775". Thus only known by 6-measure incipit. No other document or mention of piece exists.


K269b(K⁶) Contredances for Count Czernin
Composer: Michael Haydn?
Remarks: Piano versions of Nr.1,2,3,12 of twelve orchestral dances written for Johann Rudoplf Count Czernin. Nrs. 2 and 3 piano reductions of K101/250a. Supposed Mozart autograph actually autograph of Michael Haydn. Doubtful if Nr.1 and 12 are original Mozart dances.
Recordings: Philips Complete Mozart Edition v.6 (422 506-2), Wiener Mozart-Ensemble conducted by Willi Boskovsky

K.271a(K²) Violin Concerto No. 7 in D
Composer: Mozart?
Remarks: The Violin Concerto is handed down in two copies that apparently originated independently of each other:
1) as a full score copy from the collection of Aloys Fuchs (now in Prussian State Library, Berlin); and
2) in a set of parts in Paris that Eugene Sauzay (a Paris Violinist) made in 1837 for his teacher and father-in-law Pierre Baillot, from the autograph that must have been found in the possession of Francois Antonie Habeneck (a famous Paris conductor and Violinist in the 19th Century and also a student of Baillot).
It is unclear from what model Fuchs prepared his copy. The most unusual aspect of the Fuchs copy is that its layout does not correspond to any other copy of a Mozart work. In the Paris set of parts Baillot wrote on the final page "Concerto for Violin, Composed by Wolfgang Amadee Mozart, in Salzburg, on July 16, 1777. Copied by Euguene Sauzay from the full score manuscript of this author belonging to Mr. Habeneck in 1837". The Italian heading "Salisburgo li 16 di Luglio 1777" is similar to numerous autographs of the time, and in a time period that whoever originally placed the heading on the copies could not know a Violin Concerto had probably been written. Robert Levin pointed out that a scrap of paper pasted in this source lists the instruments in the exact order used by Mozart and with the horn solmisation found, e.g., in Mozart's other Violin Concertos. Since none of Mozart's other Violin Concertos were published at this time, this coincidence cannot be explained away easily. K² listed the Concerto as K271a, dating it July 16, 1777, and stating the lost autograph had been in the possession of Habeneck in Paris in 1837. St. Foix did not doubt its authenticity, but believed this version was a later revision made by Mozart himself around 1779 or 1780. Others took the course that Mozart had left a partially completed work and someone else finished it. Ernest Hess believed the large number of compositional errors, un-Mozartian phrases, instrumentation weaknesses, meaningless sequences, such as Mozart had parodied in his "Musical Joke", certainly spoke against Mozart's authorship. Einstein kept the Concerto in the main part of K³ (renumbering it K271i--not because the date changed but because he had renumbered other works from 271b to 271h), believing Mozart wrote out a hasty sketch of a Violin Concerto, but stating the original form of the work of 1777 could not be clearly reconstructed. Many scholars felt the Violin required too much playing in the high register. Others remained uncomfortable with the pizzicato playing in the slow movement (which evokes the theme of the minuet from the “Dance” scene which closes the first act of Don Giovanni), and double-stopping in tenths of the violin. Einstein maintained these were embellishments added in the 19th Century. Friedrich Blume came out strongly in favor of authenticity, stating, “…not one passage allows of any room for doubt in regard to themes, harmony, rhythm, construction and orchestration." In 1963 Carl Bär wrote a paper that firmly believed in Mozart's authorship of the piece. Citing the quotation in Joachim von Schiedenhofen's diary of July 25, 1777, that at Gusset's Mozart works were rehearsed consisting of a Symphony, a Violin Concerto--played by young Mozart--and a Flute Concerto, Bär believed K271a was composed for this occasion. Bär believed the Concerto was composed between June 16--the performance of the second Lodron Nachtmusik K287/271H--and Nannerl's Name Day, July 26, 1777. K⁶ kept the Concerto in the main part of the catalogue, but alluded to Hess' doubts on its authenticity. In 1980 the NMA (edited by Mahling) placed the Concerto in Works of Doubtful Authenticity
Other K Nrs: ; K³ = 271i
Recordings: ESS.A.Y Recordings (ESS.A.Y CD1072 Vol. 3), Mela Tenenbaum, soloist; Czech Philharmonic Chamber Orchestra, Richard Kapp—conductor.
Denon (33CO-1331) Jean-Jacques Kantorow soloist, Leopold Hager conducting Netherlands CO
Magic Talent (48006) Yehudi Menuhin soloist, George Enesco conducting Orchestre Symphonique de Paris.
Sony (SK 44913) Cho-Liang Lin soloist, Raymond conducting English Chamber Orchestra.
Angel (RL-32015—LP) Yehudi Menuhin soloist and conductor or Menuhin Festival Orchestra.


K293e 19 Voice Cadenzas
Composer: Wolfgang Mozart?; Leopold Mozart?
Remarks: In 1932 an autograph sheet of music headed "Cara la dolce Fiamma di Bach Aria Cantabile in F" on the front, and "Quel Caro amabil Volto Aria Allegretto" and "O nel sen di qualche stella dell Sig Bach" on the back was put up for auction in Berlin. Einstein, citing Mozart's letter of February 14, 1778, in which he asked for "some cadenzas which I once jotted down and at least one aria cantabile with colortura indications", placed these 19 Cadenzas to 3 J.C. Bach operas before February 12, 1778, from the statement in this letter "I only taught her (Aloysia Weber) the day before yesterday an Andantino Cantabile by Bach". Wolfgang Plath later reported this "autograph" was actually in the hand of Leopold Mozart. (Of other cadenzas and embellishments discussed by Einstein in his remarks, Plath reported only a very small portion of these were in Wolfgang's hand). K⁶ kept the 19 Cadenzas in the main portion of the Köchel Catalogue, believing the manuscript was Leopold Mozart's copy of his son's voice ornaments for Aloysia Weber. Tyson's paper studies show paper type used by Mozart from 1773, after the last Italian trip, until the middle of 1775.
As rather a footnote, the Aria "Quel caro amabil volto" listed above is perhaps not by J.C. Bach. The Thematic Catalogue of his works by Ernest Warburton states the possible composer is Antonio Sacchini (1730-1786). And a close reading of the above heading by Leopold the 19 Cadenzas shows on "Cara la dolce" and "O nel sen di qualche" attributed to Bach. "Quel caro" is uncredited in the heading.


K297b 4-Wind Sinfonia Concertante in Eb
Composer: Unknown; Mozart?
Remarks: Mozart reported numerous times in his letters from Paris in 1778 he composed a Sinfonia Concertante for 4-Winds (Flute, Oboe, Horn, Bassoon). He claimed it was never performed and he did not get autograph back, but he had it all in his head. In 1870s copy of Sinfonia Concertante for 4-Winds (Clarinet, Oboe, Horn, Bassoon) found in Otto Jahn estate. Mozart's authorship never doubted until 1960s. Theories include Mozart later rewrote piece for different instruments; this is a "2nd" Mozart Sinfonia Concertante, someone else rearranged Mozart's solo instruments, someone had only solo parts and reconstructed orchestration, and this has nothing to do with Mozart.
Other K Nrs: K¹ = Anh 9; K⁶ = K. Anh C14.01 (Jahn copy), K297B (lost work)
Recordings: London (421393-2) Barry Tuckwell conducting English CO
Virgin (LC7873) Christopher Warren-Green conducting London CO
Deustche Harmonia mundi (77505-2) Josef Maier conducting Collegium Aureum
MDG (301 1000-2) Pavel Prantl conducting Czech Philharmonic CO
EMI (Mozart a Paris v.1)--Fernand Oubradous conducting
Philips (411 1324-2) Neville Marriner conducting Academy of St. Martin in the Fields--Robert Levin reconstruction
Nonesuch (H1068--LP) Karl Restenpart conducting Chamber Orchestra of Saare--Joseph Bopp reconstruction


K311a Symphony in Bb
Composer: Unknown
Remarks: Mozart mentions in letter from Paris in 1778 to his father of composing a second symphony for the Concert spirituel, for whom he had composed the “Paris” Symphony. A brief newspaper report of the time mentions such a second work. The Concert spirituel never had the work published, and all its archives were apparently destroyed in the tumult of the French Revolution. A work surfaced in Paris at the turn of the 19th century that possibly could fit the part of this lost symphony. It was published sometime between 1802-06 in a limited printing. A copy survived and was rediscovered and published in 1937. Wyzewa and St-Foix, Paumgartner, Tenschert and (early on) H. C. Robbins Landon all believed it was authentic Mozart. Einstein, following the lines of Wyzewa and St. Foix, placed it in K³ as K311a, but modern scholars are almost unanimous in declaring it at best misidentified (and at worst a fake) and moved to Anh C in K⁶. Neal Zaslaw, for example, describes it as “…two movements in a third rate imitation of a French operetta overture…” It is scored identical with the 1st "Paris" Symphony K297. Looking more closely at this layout, there are several things that do not seem right. First of all, it opens with a slow introduction. No other Mozart orchestral work so begins until the "Linz" Symphony some six years later. This introduction opens with a solo oboe carrying the tune. As well, there are many bars throughout this work where the winds carry the melodies. Mozart didn't give woodwinds such prominence until the early Vienna piano concerti, also about six years later. Musically, the work incorporates some counterpoint, which is fine, but several commentators have noted an affinity towards examples from the opera La Clemenza di Tito, which of course is almost 13 years off. And, who puts an introduction onto what is essentially an overture, which is an introduction itself of sorts, anyway? As noted, this introduction is reprised at the end of the overture proper, again not a Mozart trait.
Other K Nrs: K⁶ = C11.05
Recordings: Lyrichord (LL 3—LP), Chamber Orchestra of the Vienna State Academy of Music, Hans Swarowsky conducting.
EMI (7243 5 73590 23), Orchestre de Chambre Fernand Oubradous—Fernand Oubradous conductor.
AURA (238) Orchestra della Radiotelevisione della Svizzera Italiana, Hermann Scherchen conductor. Original recording June 21, 1956. CD produced in 2002.


K387d 4 incipits to symphonies
Composer: Franz Joseph Haydn
Remarks: Mozart jotted down 4 symphony incipits on back of sheet of paper containing Cadenza to Piano concerto (probably K415). Paper also appears to be used by Mozart only in 1784. Einstein originally thought they were 4 incipits to unknown Mozart symphonies. First 3 incipits are of Haydn's symphonies Nr.75, 47, 62. 4th incipit possibly from exposition portion of 1st movement (or Andante) of a symphony; possibly a memorandum of a work of another composer.
Other K Nrs: K⁶ = Anh A59


K404a 6 Keyboard Fugues of JS Bach and W.F. Bach arranged for String Trio with Added Adagios
Arranger: Johann Georg Albrectsberger(?)
Remarks: The main source for these arrangements is a copy now in the Gesellschaft der Musikfreunde from 1801. Arranged are 5 Fugues of J.S. Bach (WTC II, Nr.3,12,l4, one from Art of Fugue, Fugue from an Organ Sonata) and one of W.F. Bach. Two of the fugues have slow introductions from J.S. Bach and the other 4 have anonymous Adagio introductions. In 1860 it was suggested by W. Rust these were by Mozart for the van Swieten "Bach-a-thons", like K405. Einstein included them in K³, believing "no other master than Mozart could have written them". In 1964 Kirkendale and Holschneider wrote no source positively identifies Mozart and nothing compelling to place their dating before ca. 1800. In 1969 Flothuis stated Adagio introductions showed striking quality difference to Mozart. In 1996 Tomita reported sources indicate K404a written after K405 and in 2000 showed perhaps written around 1801, and taken from an original source of Albrechtsberger.
Recordings: Philips (422 513-2) Complete Mozart Edition v.13, Grimiaux Trio
Antes Concerto (BM-CD 961037), Quartetto Elisa
Sony (SK46497), L'Archibudelli; only #1,2,3,6


K441a Scherzhatfes Lied for Bass "Ja! grüß dich Gott liebes Schatzel"
Remarks: A copy by Aloys Fuchs of this song had remark "copied from W.A. Mozart's own handwritten draft". Einstein saw no reason to doubt authenticity and dated it 1783 in Vienna. Ernst Ballin in NMA doubted authenticity from lack of documentation and compositional grounds. Thought it possible this was a hasty sketch by Mozart of another composer's work from a singspiel for variations; also possible Fuchs incorrect in his attribution.


K441c Terzett "Liebes Mädchen, hör mir zu" with instrumental accompaniment
Composer: Michael Haydn
Remarks: Had been printed numerous times in 18th and 19th Century under (also attributed to Franz Haydn). Copy of piece in National Library Vienna. Einstein thought from inner grounds Mozart's authorship was likely and placed it in Vienna in 1783. However in K^3a he changed his mind and stated because of its poor documentation should be placed in Anhang. A very similar piece with Piano accompaniment was known to Köchel from the B & H manuscript catalogue. Piece is by Michael Haydn, carried in Shermann's Michael Haydn Work Catalogue as MH 749, composed ca. 1795-1799.
Other K Nrs: K⁶ = Anh C9.04


K485a Menuetto without trio in C
Composer: Thomas Attwood/Mozart
Remarks: Actually a page connected with Attwood study book. Attwood wrote out Menuet and Mozart then rewrote Menuet directly after it.
Other K Nrs: K⁶ = 506a
Recording: Harmonia mundi (907280), The English Concert conducted by Andrew Manze


K511a(K²) Rondo for Piano in Bb
Composer: Beethoven? Leopold Kozeluch?
Remarks: Manuscript copy found in British Museum. Manuscript had been presented to Sultan Abdul Aziz by Emperor of Austria (although doubt later placed on this story). Placed by Waldersee in K² directly behind Rondo in a-minor K511, in 1786. St.Foix believed piece by Beethoven; moved to Anhang in K³. Listed by Kinsky in Beethoven Catalogue as Anh 6. Einstein had declared in K^3a that O.E. Deutsch had proved the Rondo was by Leopold Kozeluch. No such "proof" ever printed. K⁶ stated Rondo by Kozeluch.
Other K Nrs: K³ = Anh 284i; K⁶ = C25.02
Recordings: Etcetera (KTC 1018) Roger Brautigam playing Beethoven


K528a Fantasy for organ in g-minor (Fragment)
Remarks: Robt I. Loehmann wrote to F.X. Niemetschek in 1818 a letter telling of Mozart's visit to the Prague Strahov Church in June 1787 in which Mozart improvised a piece a the organ. He included a music sheet in his (Loehmann's) hand of 57 measures of "Mozart's theme" played that day. As Mozart was not in Prague in June 1787, Einstein placed the Fantasy in autumn 1787. Plath found the piece "musically dreadfully feeble and anything but compelling". Plath concluded the story is plausible, that this is the piece played is not.
[i]Other K Nrs: K⁶ = Anh C27.03
Recordings: -- Musical Heritage Society (MHS 1399), Johannes Pröger-organ


K535a 3 Contredances
Remarks: Found in a collection of 24 Contredances attributed to Mozart arranged for piano in Vienna. Other authentic Mozart dances in collection. However later another source found for these 24 dances and first 16 (including 3 of K535a) clearly not by Mozart on musical grounds.
Recordings: Philips Complete Mozart Edition v.6 (422 506-2), Wiener Mozart-Ensemble conducted by Willi Boskovsky (arranged for orchestra by Erik Smith)


K562b Cannon study
Composer: Michael Haydn
Remarks: Facsimile of autograph published in auction catalogue in 1909. Einstein could not date piece with any accuracy, but placed it (without date) in time of Canons of 1788. In K^3a Einstein followed Rudopf Bernhardt in bringing this piece (if by Mozart) in connection with his Handel studies. Canon is actually by Michael Haydn with words ""Adam hat sieben Sohn" (Sherman-MH 569). Albert Dunn believed (lost) autograph is Mozart's copy of this canon. However Sherman's proposed dating of ca.1795-1799 would not allow for this.


K562d Canon "Darum so trinkt"
Remarks: Reported in 1900 Jos. Baer catalogue, with authentication by Julius André. Suggested it belonged most likely to a later worked out Canon. By K^3a manuscript was in New York Public Library and found to be last 29 measure of a Duet for 2 Sopranos and instrumental Bass in copyist hand on the reverse of Mozart autograph to a Menuet (formerly thought to be Trio of K315g Nr.8). Text of Duet begins "Herzen, er lernt uns weiser seyn und scherzen". It appears Mozart did not use the entire sheet for his Menuet conclusion and a Salzburg or Vienna copyist wrote a Singspiel duet on the Mozart autograph.


K584a Rondo "Donne vaghe" for Soprano
Composer: Giovanni Paisiello
Remarks: A copy of this Rondo was found in Prague in 1891. Wyzewa/St.Foix believed it fell in the time period of the Don Giovanni performance in October or November 1787. Einstein believed it belonged to the time of Cosi fan tutte and had been intended for Despina, and taken out of opera, similar to Bass Aria "Rivolgete a lui lo sguardo" K584. The Rondo is actually by Paisiello, from his opera "La serva padrona".
Other K Nrs: K⁶ = Anh C7.05
Recordings: Frequenz (011-053) "La Serva Padrona", Warsaw Sinfonietta conducted by Wojciech Czepiel


K623a(K⁶) "Lasst uns mit geschlungnen Händen" Finale song of Cantata K623
Composer: Paul Wranitsky? (1756 - 1808)
Remarks: Mozart wrote Cantata "Laut verkunde unsre Freude" for Masonic lodge in November 1791. Cantata published in 1792 with this song as an appendix; it is not in Mozart's autograph. From old published broadsides (pamphlets with the words only, necessary because Masonic ceremonies required the "congregation" to sing in unison or two parts in response to a soloist) it has been found the text of K623a dates from before Mozart's activities as composer to the Viennese Masons. Philip Autexier believes very likely it was composed by Paul Wranitsky from a dozen or so years before the publication of K623 and remained in use at the Crowned-Hope Lodge, including after Mozart had become a member. Nothing rules out the possibility that it may also have been sung on the day that Mozart's cantata was performed and that that may have been the reason it was published as an appendix. If Mozart directed its performance several times from the organ, it is entirely possible that his lodge brothers might have forgotten who its true author was.
Other K. Nrs: K^1-3 = K623
Recordings: London (425722-2) Istvan Kertesz conducting London Symphony Orchestra
Vox (CDX 5055) Complete Masonic Music, Peter Maag conducting the Vienna Volksoper Orchestra
Complete Mozart Edition Vol. 22 (422 522-2), Peter Schreier conducting the Staatskapelle Dresden