This is a list of concert arias, songs and canons by Wolfgang Amadeus Mozart.
| K1 | K6 | Composition, score and critical report (NMA) | Librettist | Date | |
|---|---|---|---|---|---|
| 23 | Aria for soprano and orchestra | Metastasio, Artaserse I,1 | October 1765 | ||
| 70 | 61c | Recitative and aria (Licenza) for soprano and orchestra | unknown | 28 February 1767 or 1769 | |
| 74b | Aria for soprano and orchestra | Metastasio, Demofoonte I,7 | early 1771 | ||
| 77 | 73e | Recitative and aria for soprano and orchestra | Metastasio, Demofoonte III, 4&5 | 12 March 1770 | |
| 78 | 73b | Aria for soprano and orchestra | Metastasio, Artaserse I,5 | 1766, or Count Firmian's audition party, Milan, 12 March 1770 | |
| 79 | 73d | Recitative and aria for soprano and orchestra | Metastasio, Artaserse II,11 | 1766, or Count Firmian's audition party, Milan, 12 March 1770 | |
| deest | Aria for soprano and orchestra | unknown | 1769 | ||
| 82 | 73o | Aria for soprano and orchestra | Metastasio, Demofoonte, I, 13 | 25 April 1770 | |
| 83 | 73p | Aria for soprano and orchestra | Metastasio Demofoonte, II, 6 | 1770 | |
| 88 | 73c | Aria for soprano and orchestra | Metastasio, Artaserse I,2 | 1770 | |
| 119 | 382h | Aria for soprano and orchestra (piano reduction) This is possibly (Kunze) the aria for Gretl Marchand from K. deest | unknown | 1782 | |
| 146 | 317b | "Kommet her, ihr frechen Sünder" Aria for soprano and strings | unknown | between March and April 1779 | |
| 152 | 210a | Aria (canzonetta) for voice and piano, transcription of an insertion aria sung by Luigi Marchesi with several texts in several operas. The version with the text "Ridente la calma" was inserted in Francesco Bianchi's Il trionfo della pace (1782).[1] The original author of the music may be Josef Mysliveček. A slightly different version of the aria appears with the text "Il caro mio bene" in a manuscript of Mysliveček's Armida (1779). | Cesare Olivieri, Il trionfo della pace | between 1772 and 1775 | |
| 178 | 417e | Aria for soprano and orchestra (piano reduction) | unknown | June 1783 | |
| 217 | Aria for soprano and orchestra | Carlo Goldoni Le nozze di Dorina I,4 | 26 October 1775 | ||
| 272 | Recitative, aria, recitative and cavatina for soprano and orchestra | Andromeda III,10 | August 1777 | ||
| 294 | Recitative and aria for soprano and orchestra | Metastasio L'Olimpiade III,6 | 24 February 1778 | ||
| 316 | 300b | Recitative and aria for soprano and orchestra | Ranieri de' Calzabigi Alceste I,2 | 8 January 1779 | |
| 365a | "Zittre, töricht Herz" Aria for soprano and orchestra (lost) | Friedrich August Clemens Werthes | November 1780 | ||
| 368 | Recitative and aria for soprano and orchestra | Metastasio Demofoonte, I,4 | January 1781 | ||
| 369 | Recitative and aria for soprano and orchestra | Metastasio Ezio, III, 12 | 8 March 1781 | ||
| 374 | Recitative and aria for soprano and orchestra | Giovanni de Gamerra Sismano nel Mogol III,7 | April 1781 | ||
| 383 | Aria for soprano and orchestra | unknown | 10 April 1782 | ||
| 416 | Recitavo and aria (rondo) for soprano and orchestra | Gaetano Sertor Zemira II,5 | 8 January 1783 | ||
| 418 | Aria for soprano and orchestra | unknown | 20 June 1783 | ||
| 419 | Aria for soprano and orchestra | unknown | June 1783 | ||
| 440 | 383h | Aria for soprano and orchestra (sketch) | Metastasio Demofoonte, I,2 | February 1782 | |
| 486a | 295a | Recitative and aria for soprano and orchestra | Metastasio Didone abbandonata, II, 4 | 28 February 1778 | |
| 505 | Recitative and aria (rondo) for soprano, piano obbligato and orchestra | Giambattista Varesco | 26 December 1786 | ||
| 528 | Recitative and aria for soprano and orchestra | Cerere placata II,5 | 3 November 1787 | ||
| 538 | Aria for soprano and orchestra | Metastasio L'eroe cinese, I,2 | 4 March 1788 | ||
| 540c | "In quali eccessi ... Mi tradì quell'alma ingrata" Replacement recitative and aria for the character Donna Elvira (soprano) and orchestra in Don Giovanni | Lorenzo Da Ponte | 1788 | ||
| 569 | "Ohne Zwang aus eignem Triebe" Aria for soprano and orchestra (lost) | Michel-Jean Sedaine, Le roi et le fermier, tr. Johann Heinrich Faber[2] | January 1789 | ||
| 577 | Replacement aria for the character Susanna (soprano) and orchestra in The Marriage of Figaro | Lorenzo Da Ponte | 1789 | ||
| 578 | Aria for soprano and orchestra | I due baroni di Rocca Azzurra I,4 | August 1789 | ||
| 579 | Replacement aria for the character Susanna (soprano) and orchestra in The Marriage of Figaro | Lorenzo Da Ponte | 1789 | ||
| 580 | Aria for soprano and orchestra (fragment) | unknown | 17 September 1789 | ||
| 582 | Aria for soprano and orchestra | Lorenzo Da Ponte Il burbero di buon cuore I,14 | October 1789 | ||
| 583 | Aria for soprano and orchestra | Lorenzo Da Ponte Il burbero di buon cuore II,4 | October 1789 |
| K1 | K6 | Composition, score and critical report (NMA) | Librettist | Date | ||
|---|---|---|---|---|---|---|
| 21 | 19c | Aria for tenor and orchestra | Metastasio Ezio, II,4 | 1765 | ||
| 36 | 33i | Recitative and aria for tenor and orchestra | unknown | December 1766 | ||
| 71 | Aria for tenor and orchestra (fragment) | Metastasio Demofoonte, I,1 | 1769 or 1770 | |||
| 209 | Aria for tenor and orchestra | unknown | 19 May 1775 | |||
| 210 | Aria for tenor and orchestra | unknown | May 1775 | |||
| 256 | Aria for tenor and orchestra | unknown | September 1776 | |||
| 295 | Aria for tenor and orchestra | Antonio Salvi Artaserse, I,14 | 28 February 1778 | |||
| 420 | Aria (rondo) for tenor and orchestra | unknown | 21 June 1783 | |||
| 431 | 425b | Recitative and aria for tenor and orchestra | Caterino Mazzolà[3] | December 1783 | ||
| 435 | 416b | Aria for tenor and orchestra (sketch) | unknown | 1783 | ||
| 490 | "Non più, tutto ascoltai... Non temer, amato bene" Replacement recitative and aria for the character Idamante (tenor) and orchestra in Idomeneo | Giambattista Varesco | 1786 | |||
| 540a | "Dalla sua pace" Replacement aria for the character Don Ottavio (tenor) and orchestra in Don Giovanni | Lorenzo Da Ponte | 1788 |
| K1 | K6 | Composition, score and critical report (NMA) | Librettist | Date | |
|---|---|---|---|---|---|
| 209a | Aria for bass and orchestra (fragment) | unknown | 1775 | ||
| 432 | 421a | Recitative and aria for bass and orchestra | Metastasio Temistocle, III,8 | 1783 | |
| 433 | 416c | Aria for bass and orchestra (sketch) | unknown | 1783 | |
| 512 | Recitative and aria for bass and orchestra | Metastasio L'Olimpiade III,6 | 18 or 19 March 1787 | ||
| 513 | Aria for bass and orchestra | Duca Sant'Angioli-Morbilli La disfatta di Dario II,9 | 23 March 1787 | ||
| 539 | Aria for bass and orchestra | Johann Wilhelm Ludwig Gleim | 5 March 1788 | ||
| 541 | Arietta for bass and orchestra | Lorenzo Da Ponte Le gelosie fortunate II,4 | June 1788 | ||
| 584 | "Rivolgete a lui lo sguardo" Aria for bass and orchestra, intended for Così fan tutte, but discarded at the first performance | Lorenzo Da Ponte | December 1789 | ||
| 612 | Aria for bass, contrabass obbligato, and orchestra | unknown | 8 March 1791 | ||
| Anh. 245 | 621a | Aria for bass and orchestra | unknown | 1788 |
| K1 | K6 | Composition, score and critical report (NMA) | Librettist | Date | |
|---|---|---|---|---|---|
| Anh. 24a | 43a | Duet for two sopranos (fragment) | unknown | 15 October 1767 | |
| 346 | 439a | Notturno (terzet) for two sopranos, bass and three basset horns | Angelo Lungi, La Pupilla (some sources attribute libretto to Metastasio) | possibly 1783 | |
| 389 | 384A | "Welch ängstliches Beben" Duet for two tenors and orchestra, intended for Die Entführung aus dem Serail, but discarded at the first performance (fragment) | Christoph Friedrich Bretzner | between April and May 1782 | |
| 434 | 480b | Aria for tenor, two basses and orchestra (fragment) | Giuseppe Petrosellini Il regno delle amazzoni I,1 | end of 1785 | |
| 436 | Notturno (terzet) for two sopranos and bass and three basset horns | Metastasio La partenza | possibly 1783 | ||
| 437 | Notturno (terzet) for two sopranos, bass, two clarinets and basset horn | Metastasio Siroe, II, 1 | possibly 1783 | ||
| 438 | Notturno (terzet) for two sopranos, bass, two clarinets and basset horn (fragment) | Metastasio Strofe per musica | possibly 1783 | ||
| 439 | Notturno (terzet) for two sopranos, bass and three basset horns | Giuseppe Petrosellini, L'incognita perseguitata | possibly 1783 | ||
| 441 | Terzet for soprano, tenor, bass and strings | Wolfgang Amadeus Mozart | possibly 1783 | ||
| 479 | Aria for soprano, tenor, two basses and orchestra | unknown | 5 November 1785 | ||
| 480 | Aria for soprano, tenor, bass and orchestra | unknown | 21 November 1785 | ||
| 483 | Song with voice, 3-part male choir and organ | Augustin Veith Edler von Schittlersberg | December 1785 | ||
| 484 | Song with voice, 3-part male choir and organ | Augustin Veith Edler von Schittlersberg | December 1785 | ||
| 489 | "Spiegarti non poss'io" Duet for soprano and tenor Replacement duet for the characters Ilia (soprano), Idamante (tenor) and orchestra in Idomeneo | Giambattista Varesco | 1786 | ||
| 532 | Terzet for soprano, tenor, bass and orchestra (fragment) | Metastasio La Libertà a Nice | possibly 1787 | ||
| 540b | "Per queste tue manine" Duet for soprano and bass Replacement duet for the characters Zerlina (soprano), Leporello (bass) and orchestra in Don Giovanni | Lorenzo Da Ponte | 1788 | ||
| 549 | Notturno (terzet) for two sopranos, bass and three basset horns | Metastasio L'Olimpiade, I, 7 | 16 July 1788 | ||
| Anh. 5 | 571a | Quartet for soprano, two tenors, bass and piano (fragment) | Wolfgang Amadeus Mozart | beginning of 1789 | |
| 615 | "Viviamo felici in dolce contento" Choir of amateurs and strings (fragment) | Tommaso Grandi | 1791 | ||
| 625 | 592a | "Nun, liebes Weibchen" Duet for soprano, bass and orchestra | Emanuel Schikaneder | August 1790 |
| K1 | K6 | Composition, score and critical report (NMA) | Librettist | Date | |
|---|---|---|---|---|---|
| 53 | 47e | Freude, Königin der Weisen Possibly (Einstein) the aria for the daughter of Joseph Wolf from K. deest | Johann Peter Uz (1720–1796) | November 1768 | |
| 147 | 125g | unknown | 1772 | ||
| 148 | 125h | O heiliges Band der Freundschaft treuer Brüder | Ludwig Friedrich Lenz (1717–1780) | 1772 | |
| 307 | 284d | Antoine Houdart Ferrand (1678–1719) | 30 October 1777 | ||
| 308 | 295b | Antoine Houdar de la Motte (1672–1731) | between 30 October 1777 and 13/14 March 1778 | ||
| 343 | 336c | O Gotteslamm, Als aus Ägypten Israel | unknown | Spring 1787 | |
| 349 | 367a | Was frag' ich viel nach Geld und Gut | Johann Martin Miller (1750–1814) | between 8 November 1780 and mid-March 1781 | |
| 351 | 367b | unknown | between 8 November 1780 and mid-March 1781 | ||
| 390 | 340c | Johann Timotheus Hermes (1738–1821) | between August 1781 and May 1782 | ||
| 391 | 340b | Johann Timotheus Hermes (1738–1821) | between August 1781 and May 1782 | ||
| 392 | 340a | Johann Timotheus Hermes (1738–1821) | between August 1781 and May 1782 | ||
| Anh. 25 | 386d | O Calpe! Dir donnert's am Fusse (sketch) | Michael Denis (1729–1800) | end of December 1782 | |
| 468 | Die ihr einem neuen Grad | Joseph Franz von Ratschky (1757–1810) | 26 March 1785 | ||
| 472 | Ihr Mädchen, flieht Damöten [Damoetas] ja! | Christian Felix Weiße (1726–1804) | 7 May 1785 | ||
| 473 | Wie sanft, wie ruhig | Christian Felix Weiße (1726–1804) | 7 May 1785 | ||
| 474 | Der reiche Tor | Christian Felix Weiße (1726–1804) | 7 May 1785 | ||
| 476 | Ein Veilchen auf der Wiese stand | Johann Wolfgang von Goethe | 8 June 1785 | ||
| 506 | Wer unter eines Mädchens Hand | Aloys Blumauer (1755–1798) | end of 1785 | ||
| Anh. 26 | 475a | fragment | Johann Martin Miller (1750–1814)[4] | possibly 1785 | |
| 517 | Zu meiner Zeit, zu meiner Zeit | Friedrich von Hagedorn (1708–1754) | 18 May 1787 | ||
| 518 | Sobald Damötas Chloen sieht | Christian Felix Weiße (1726–1804) | 20 May 1787 | ||
| 519 | Die Engel Gottes weinen | Klamer Eberhard Karl Schmidt (1746–1824) | 23 May 1787 | ||
| 520 | Erzeugt von heißer Phantasie | Gabriele von Baumberg (1766–1839) | 26 May 1787 | ||
| 523 | Abend ist's, die Sonne ist verschwunden | unknown | 24 June 1787 | ||
| 524 | Wenn die Lieb' aus deinen blauen, hellen, offnen Augen sieht | Johann Georg Jacobi (1740–1814) | 24 June 1787 | ||
| 529 | Es war einmal, ihr Leute | Johann Eberhard Friedrich Schall (1742–1790), last verse by Joachim Heinrich Campe (1746–1818) | 6 November 1787 | ||
| 530 | Wo bist du, Bild | Ludwig Christoph Heinrich Hölty (1748–1776) | 6 November 1787 | ||
| 531 | Was spinnst du? | unknown | 11 December 1787 | ||
| 552 | Dem hohen Kaiserworte treu | unknown | 11 August 1788 | ||
| 596 | Komm, lieber Mai, und mache | Christian Adolph Overbeck (1755–1821) | 14 January 1791 | ||
| 597 | Erwacht zum neuen Leben | Christoph Christian Sturm (1740–1786) | 14 January 1791 | ||
| 598 | Wir Kinder, wir schmecken der Freuden recht viel! | Christian Adolph Overbeck (1755–1821) | 14 January 1791 |
| K1 | K6 | Composition, score and critical report (NMA) | Librettist | Date | |
|---|---|---|---|---|---|
| 89 | 73k | Kyrie a cinque con diversi canoni | liturgical text | May 1770 | |
| 89a II | 73r | Sit trium series una: Incipe Menalios for 3 voices; Ter ternis canite vocibus: Cantate Domino for 9 voices; Canon ad duodecimam: Confitebor tibi Domine for 3 voices; Canon. Ter voce ciemus: Thebana bella for 6 voices | unknown | Summer 1770 | |
| 89a | 73i | — | April 1770 | ||
| 228 | 515b | Double canon for 4 voices | unknown | before 24 June 1787 | |
| 229 | 382a | Canon for 3 voices | Ludwig Heinrich Christoph Hölty (1748–1776) | 1782 | |
| 230 | 382b | Canon for 2 voices | Ludwig Heinrich Christoph Hölty (1748–1776) | 1782 | |
| 231 | 382c | Canon for 6 voices | probably WA Mozart himself | 1782 | |
| 232 | 509a | Canon for 4 voices | probably WA Mozart himself | after 4 June 1787 | |
| 233 | 382d | / "Nichts labt mich mehr als Wein" – Canon for 3 voices | probably WA Mozart himself | 1782 | |
| 234 | 382e | / "Essen, Trinken" – Canon for 3 voices | probably WA Mozart himself | 1782 | |
| 347 | 382f | Canon for 6 voices | unknown | 1782 | |
| 348 | 382g | Quadruple canon for 12 voices (3 choirs) | unknown | 1782 | |
| deest | — | 1781/82 or later | |||
| deest | — | 1781/82 or later | |||
| deest | — | 1781/82 or later | |||
| deest | — | end of 1785/1786 | |||
| 507 | Canon for 3 voices | after 3 June 1786 | |||
| 508 | Canon for 3 voices (sopranos) | unknown | after 3 June 1786 | ||
| 508a | Canons for various voices (sketches) | — | after 3 June 1786 | ||
| deest | — | after 3 June 1786 | |||
| deest | — | after 3 June 1786 | |||
| deest | — | Summer 1786 | |||
| 553 | Canon for 4 voices | liturgical text | 2 September 1788 | ||
| 554 | Canon for 3 voices | liturgical text | 2 September 1788 | ||
| 555 | Canon for 4 voices | liturgical text | 2 September 1788 | ||
| 556 | Canon for 4 voices | unknown | 2 September 1788 | ||
| 557 | Canon for 4 voices | unknown | 2 September 1788 | ||
| 558 | Canon for 4 voices | unknown | 2 September 1788 | ||
| 559 | Canon for 3 voices | probably WA Mozart himself | 2 September 1788 | ||
| 560a | 559a | Canon for 3 voices | probably WA Mozart himself | between 1785 and 1787 | |
| 560b | 560 | Canon for 4 voices | probably WA Mozart himself | 2 September 1788 | |
| deest | — | 1787 or 1788 | |||
| deest | — | 1787 or 1788 | |||
| deest | — | 1787 or 1788 | |||
| 561 | Canon for 4 voices | WA Mozart | 2 September 1788 | ||
| 562 | Canon for 4 voices | unknown | 2 September 1788 | ||
| 562a | — | unknown | |||
| 562c | Canon for 2 violins, viola, bass | — | unknown | ||
| 616b | — | Summer 1787 |