LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS

                    LOST MOZART COMPOSITIONS


                 The Lost Works of W.A. Mozart

                      The MozartForum     

                      July 23rd, 2004

                          And 2008


                        Dennis Pajot

                        Senior Member


                   Updated November, 2016.    

         Updated by Dave Morton (Appearance, Clarity, Additions).  


         Minor cosmetic editing done by Dave Morton in 2016.

         DEEST Numbers (Dnnn) added by Dave Morton.

         Numbers are from the topic "LIST OF DEEST PIECES - NUMBERED"

         at www.mozartsmtm.org on the Home Page.

         A few LOST pieces have been added by Dave Morton in 2016.



         Corrections and comments welcome. 

         Dave Morton:  Dmorton965@aol.com


         Dennis Pajot: denpajot@sbcglobal.net 





The Lost Works of W.A. Mozart



Opening Notes:

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 one 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 text 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.



NOTE FROM DEM: There are more Lost works than are listed.

Dennis used strict criteria for inclusion in the List. 


I have added a few additional Pieces AFTER the list by Dennis.


These are ***MOST*** of the LOST Works.

These are ***MOST*** of the LOST Works.


Thank you, Dennis, for creating this List!! 




K.deest [D16]


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




K.deest [D64]

*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's research, it was believed this

referred to K19d].



K.deest [D32]


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.



K.19b = 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 [D9]

*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 Smallpox 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




K.21a = 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.




*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 [D8]

*Aria: 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 [D7]

*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 (K.21, K.23, K.deest “Quel destrier”,

K.78, K.79).




*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.




*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 [D51]

*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, or

for Prince Joseph Wenzeslaus zu Furstenberg during the Mozart's

visit in Munich in November 1766.




*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.



K.33d = 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.



K.33e = Anh 200

*Sonata for Piano in Bb.

See remarks to K33d



K.33f = Anh 201

*Sonata for Piano in C.

See remarks to K33d



K.33g = 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.




*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?




*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. An 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




K.deest [D53]

*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”.




*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.




*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”.




*Menuets of various settings.

Listed in “Leopold Mozart’s list of 12-year old son”.




*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.




*4-part Fugue.

Listed in “Leopold Mozart’s list of 12-year old son”.




*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 [D105]

*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.




*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.



K.66c = 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.



K.66d = 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.



K.66e = 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.




*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.



K.73A = 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 [D41]

*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 [D4]

*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 the work of another composer

was performed, or Mozart used other composer’s music for his ballet





*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 [D48]

*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 that the 

catalogue does not contain any Bassoon Concertos by Mozart.



K.deest [D49]

*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.




*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.




*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”. These pieces were thought to be lost,

however recent research has shown the Capriccio for Piano K395/300g

is actually the “4 Preämbulum”.




*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.




*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 [D88]

*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.]



K.297a = 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 substitutions -- in the 1950’s.



K.297B = 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.



K.311A = 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.



K.315b = 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.



K.315e = 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 a 1994 article, Laurenz Lutteken believes some of

Thamos music originally for Semiramis project.



K.365a = 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.



K.383g = 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.




*German Opera.

On February 5, 1783, Mozart wrote to his father: "I am now writing a

German opera for myself. I have chosen 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's work catalogue]. K3 and K6

placed the song in the Misattributed Anhang section because it is

not known in any other source.



K.deest [D11]

*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.




*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




K.deest [D43]

*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”.



D43 LOST?    [Partial Duplicate. Piano Arrangement, Wind Arrangement.]

Wind Arrangement of Die Entführung aus dem Serial (Lost) –- In letter of

July 20, 1782, Mozart states he has to arrange his opera for wind

instruments before someone else does. Bastiann Blombert in 1980’s

believed he found this arrangement in Donaueschingen. Doubtful it is

Mozart’s arrangement.

(The piece exists somewhere, but we don't know if the music that was

found in the 1980's was by Mozart. Possibly Lost but not Doubtful. DEM.)



K.477a = Anh 11a

*Cantata for Voice and Piano.

(For Nancy Storace's recovery of her health.)

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.


[DEM NOTE: The "Illness" was a failure of her Voice - her Singing Voice

and Speaking Voice, probably due to years of straining it at a young

Age, taking Prima Donna roles as a Teen. 

She recovered both, evidently in September of 1785, but her Singing

Voice was never the same, and she was unable to hit the High Notes

of her previous range.

Mozart lowered the pitches for her role as Susanna in the Opera

Figaro, to accommodate her lower range.

The audiences didn't seem to mind, as her talent and fame was based

more on her Personality than on her Voice. 

Modern performances of Figaro are sung at the Original, Higher


Cantata now discovered in late 2015.

Performed in 2016.

Possibly not the Artaria version.]



K.516e = 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





*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. Piano piece K498a was speculated as a transcription

of this missing piece, but in reality nothing is known of the

missing Menuet.




*Little March in D for Chamber Setting.

Entered in “Mozart’s own Work Catalogue” under June 26, 1788.

Occasion and intent unknown.




*2 Contradances.

Entered in “Mozart’s own Work Catalogue” under October 30, 1788.




*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”.



K.571A = 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.



K.572a = 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 [D20, D21, D22, D23, D24]

*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


Zum Schluss der Arbeit der Meister (“Vollbracht ist die Arbeit der


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



D20 LOST. Song 1.

Zur Eröffnung der Meisterloge (“Des Todes Werk, der Faulniss Grauen”).


D21 LOST. Song 2.

Zum Schluss der Arbeit der Meister (“Vollbracht ist die Arbeit der



D22 LOST. Song 3.

Bey Eröffnung der Tafelloge (“Legt für heut des Werkzeug nieder!”).


D23 LOST. Song 4.

Lied im Nahmen der Armen (“Brüder! Hört das Flehn der Armen”).


D24 LOST. Song 5.

Kettenlied (“Wir singen, und schlingern zur Wette”).



K.deest [D63]

*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.




*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 dolce contento etc

etc”. The libretto by Tommaso Grandi reads “Viviamo felici in mezzo

ai contentoi”.



As always, any additions, subtractions, or comments are welcome.

Dennis Pajot


[End of Dennis Pajot's List of LOST Works]





Additional Entries by Dave Morton.

There are undoubtedly more Compositions - Pieces and Fragments, Sketches and

Drafts - which could be added to this list.

All Entries below are Deest.








"Alexis und Naide".

(Also designated K.626b/26, assigned later by Unknown.)

Sketch. Vocal Duet. Half page.

This sketch contains 7-1/2 measures of Mozart’s music to the first

strophe of a Weisse poem with the title “Alexis und Naide” for Soprano

and Piano. Remainder of Fragment missing. Evidently torn off.

Other sketch on page dates from 1785.

Paper dated to 1785-1787.

My estimate of the composition date: Almost certainly 1785.

Both the 7-1/2 measures (seen after Mozart's death) and the rest of the

Fragment are Missing and are designated as LOST FRAG.




2 "Arie scocesi".


Autograph purchased in auction in 1929 and since unlocatable.

Contents known from copy made for Otto Jahn.

One side contained small portion of "Se vuol ballare, signor contino"

from 'Le Nozze di Figaro'. Other side contained 16 measure sketch to

Scottish song “Roslin Castle” and 18 measure sketch to Scottish song

"Queen Mary's Lamentation".

Possible dating = 1785 [Konrad Sk 1785a].




Piano Arrangement of Entfuhrung aus dem Serial (Lost?) --

On December 28, 1782, Mozart told his father he was finishing the piano

arrangement of this opera. 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”.



D103 LOST (except for 1 page).

Meistermusik. Theorized.

Officially for a Masonic Ceremony of a promotion to Master Mason.

Probably composed for other reasons, as well as the Official reason.

Same as The Masonic Funeral Music but with a male chorus.

This version preceded the MFM (K.477) and was composed for a different


Chorus sings "Tonus Lamentatorium" for 20 bars in Gregorian Chant

"cantus firmus" style. No choral harmony (except at the end). 

Music was re-used without the chorus to create the funeral version

  (Masonic Memorial Service version), K.477.

Autograph score: We apparently have ONE page of it (for the Basset

Horns), with a compressed sketch of the Tonus Lamentatorium melody

on the other side of the page, re-used for the MFM (without a chorus)

with additional Basset Horns added to the page, for the 2nd version

of the MFM written in December 1785 (the version we hear today).

(A Contrabassoon - Deep Bassoon - was also added to the 2nd version

of the MFM in December.)

Meistermusik was probably composed for multiple reasons, all similar,

and Mozart re-used the music as the foundation (and near duplicate)

of The Masonic Funeral Music 4 months later in a Private or Semi-Private

Memorial Service for 2 deceased Freemasons at a Masonic Lodge in Vienna,

in November 1785, and again in December 1785 for uncertain reasons, with

the 3 instruments added.

No K number assigned yet.

Related to K.477/479a.




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.




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