Scan 357
Groves Dictionary of Music and Musicians Vol. 3, 1925
45 lines. Read by computer on 12 September 2026. Printed page 313. See the scan on archive.org.
1fund to start this work—the finest possible monument to Mozart, and at the same time an honourable memorial of his most worthy admirer.
3Classified List of Mozart's works; from the Catalogue of Breitkopf & Härtel's Erste kritisch durchgesehene Gesammtausgabe.
5I. VOCAL
6Series 1. 15 Masses.
7Series 2. 4 Litannies, 2 Vespers, 1 Dixit and Magnificat.
8Series 3. 4 Kyries, 1 Madrigal, 1 Veni Sancte, 1 Miserere, 1 Antiphon, 3 Regina celi, 1 Te Deum, 2 Tantum ergo, 2 German Kirchenlieder, 9 Offertories, 1 De profundis, 1 Air for soprano, 1 Motet for ditto, 1 Motet for 4 voices, 1 Graduale, 2 Hymns.
9Series 4. 1 Passions-cantate (Grabmusik); 'La Betulia liberata,' oratorio; 'Davidde penitente,' cantata; 'Die Maurerfreude,' short cantata for tenor with final chorus; 'Eine kleine Freimaurer cantate,' for 2 tenors and bass.
10Series 5. 'Die Schuldigkeit des ersten Gebotes,' sacred Singspiel in three parts (first only by Mozart). 'Apollo et Hyacinthus,' Latin comedy. 'Bastien und Bastienne,' German operetta, 1 act. 'La finta Semplice,' opera buffa, 3 acts. 'Mitridate, Rè di Ponto,' opera, 3 acts. 'Ascanio in Alba,' theatricalische Serenade, 2 acts. 'Il Sogno di Scipione,' dramatische Serenade, 1 act. 'Lucio Silla,' dramma per musica, 3 acts. 'La finta Giardiniere,' opera buffa, 3 acts. 'Il Rè Pastore,' dramatic Cantata, 2 acts. 'Zaide,' German opera, 2 acts. 'Thamos, König in Aegypten,' heroisches Drama; Choruses and Entr'actes. 'Idomeneo Rè di Creta,' ossia, Ilia ed Adamante,' opera seria in 3 acts. Ballet-music to 'Idomeneo.' 'Die Entführung aus dem Serail,' komisches Singspiel, 3 acts. 'Der Schauspiel-director,' comedy with music, 1 act. 'Le Nozze di Figaro,' opera buffa, 4 acts. 'Il Dissoluto punito, ossia, Il Don Giovanni,' opera buffa, 2 acts. 'Cosi fan tutte' ('Weibertreue'), opera buffa, 2 acts. 'La Clemenza di Tito,' opera seria, 2 acts. 'Die Zauberflöte' ('Il Flauto magico') German opera, 2 acts.
11Series 6. 27 airs, 1 rondo for soprano with orchestra obbligato; 1 ditto for alto; 8 ditto for tenor; 5 ditto for bass; 1 ariette for bass; 1 deutsches Kriegslied; 1 duet for 2 sopranis; 1 comic duet for soprano and bass; 6 terzettos; 1 quartet.
12Series 7. 34 Lieder for single voice with PF. accompaniment; 1 Lied with chorus and organ; 1 three-part chorus with organ; comic terzetto with PF.; 20 canons for 2 or more voices.
14II. INSTRUMENTAL
15ORCHESTRAL WORKS
16Series 8. 41 Symphonies.
17Series 9. 28 Divertimenti, Serenades, and Cassationen for orchestra (12 Divertimenti for wind instr.); 3 Divertimenti for 2 violins, viola, 2 horns, and bass.
18Series 10. 9 Nos. Marches for orchestra; 2 symphonic movements; 'Maurerische Trauermusik' for orch.; 'Ein musikalische Spass' for 2 violins, viola, bass, and 2 horns; 1 Sonata for bassoon and v'cello; short Adagio for 2 corni di bassetto and bassoon; Adagio for 2 clarinets and 3 corni di bassetto; Adagio for harmonica; Adagio and Allegretto for harmonica, flute, oboe, viola, and v'cello; Adagio and Allegretto for a musical clock; Fantasia for ditto; Andante for a small barrel-organ.
19Series 11. 25 Nos. various kinds of dance-music for orchestra.
20Series 12. Concertos, and smaller pieces with orch. 6 Concertos for violin; 3 short pieces for ditto; 1 Concertone for 2 solo violins; 1 Symphonie concertante for violin and viola; 1 Concerto for bassoon; 1 ditto for flute and harp; 2 ditto for flute; 1 Andante for ditto; 4 Concertos for horn; 1 ditto for clarinet.
22CHAMBER-MUSIC
23Series 13. 7 Quintets for 2 violins, 2 violas, and v'cello; 1 ditto, for 1 violin, 2 violas, horn, and v'cello (or 2nd v'cello instead of horn); 1 ditto for clarinet, 2 violins, viola, and v'cello.
24Series 14. 26 Quartets for 2 violins, viola, and v'cello; 1 short Nachtmusik for 2 violins, viola, v'cello, and double-bass; Adagio and Fugue for 2 violins, viola, and v'cello; 1 Quartet for oboe, violin, viola, and v'cello.
25Series 15. 2 Duets for violin and viola; 1 Duet for 2 violins; 1 Divertimento for violin, viola, and v'cello.
27PF. MUSIC
28Series 16. 25 Concertos for PF. and orchestra; 1 ditto for 2 PFs.; 1 ditto for 3 PFs.; 1 Concert-rondo for 1 PF.
29Series 17. 1 Quintet for PF., oboe, clarinet, horn, and bassoon; 2 Quartets for PF., violin, viola, and v'cello; 7 Trios for PF., violin, and v'cello; 1 ditto for PF., clarinet, and viola.
30Series 18. 42 Sonatas for PF. and violin; Allegro for ditto; 12 variations for ditto; 6 variations for ditto.
31Series 19. 5 PF. Sonatas for 4 hands; Andante with 5 variations for ditto; Fugue for 2 PFs.; Sonata for ditto.
32Series 20. 17 Sonatas for PF.; Fantasia and Fugue; 3 Fantasias for ditto.
33Series 21. 15 Collections of variations for PF.
34Series 22. 18 short pieces for PF. (Minuets, 3 Rondos, Suite, Fugue, 2 Allegros; Allegro and Andante; Andantino; Adagio; short Gigue; 35 Cadenzas for PF. concertos).
35Series 23. 17 Sonatas for organ with accompaniment (chiefly 2 violins and bass).
36Series 24. Supplement. Contains all the unfinished and doubtful works, etc. Among others: The 'Requiem'; 'L'Oca del Cairo,' opera buffa; 'Lo Sposo deluso,' opera buffa; Handel's 'Acis,' 'Messiah,' 'Alexander's Feast,' and 'Ode on St. Cecilia's Day' (additional accompaniments); 5 Fugues from the 'Wohltemperirtes Clavier' (arranged for 2 violins, viola, and bass); 3 Sonatas of Johann Bach's (arranged as a concerto for PF., 2 violins, and bass); etc.
38C. F. P.; with additions in square brackets by W. H. HW.
40MOZART'S SPURIOUS MASSES
42The notice of Mozart can scarcely be considered complete without some mention of works, undoubtedly spurious, which have been attributed to him, and of those which the best authorities consider at least doubtful, especially as some important works are included in these categories. Of the former class Köchel's Catalogue enumerates sixty-three, of the latter forty-seven. The most important are various masses, published, together with Mozart's genuine ones, by Novello in his arrangement for organ and voices. Those in Eb (Novello's Nos. 13 and 16), and in C (his No. 17), Köchel regards as of doubtful authorship (Appendix Nos. 185, 186). Novello's No. 7 in Bb, of which the score and parts were published by C. F. Peters at Leipzig as by Mozart, is believed by a writer in the Allgemeine musikalische Zeitung (xiv. p. 829) to be spurious, which opinion is shared by O. Jahn (ed. 1, i. 673), who states that there were no clarinets in the Salzburg orchestra when Mozart was there; to which Köchel adds that we know enough of Mozart's subsequent life at Mannheim, Munich, and Vienna before 1784, from his own letters, to be sure that he then wrote no Mass except that in C minor. To which must be added that Mozart's widow stated that this Mass was composed by F. X. Süßmayer. Two short Masses (Novello's Nos. 8 and 9) in C and G were published by M. Falter at Munich as Mozart's, but are said to be by Gleissner of Munich. A short Requiem in D minor was published by Simrock at Bonn (Novello's No. 18) as Mozart's; but Köchel says it is certain that Mozart never wrote any Requiem except his celebrated last composition.
44The most important of these spurious Masses is that which was published in score by N. Simrock at Bonn in 1821, and by Novello for organ and voices as No. 12. This Mass commences in G, but is chiefly in C and its related keys, and ends in C. The reviewer in the Allgemeine musikalische Zeitung, xxiii. p. 648, for Oct. 1821 declares that he had possessed it for thirty years, and argues for its genuineness (notwithstanding that the style is rather showy, more calculated to please the Archbishop of Salzburg than to satisfy Mozart himself). But in July 1826 Ritter Ign. von Seyfried opened a controversy on the subject in the Cacilia (vol. v. Heft 17, p. 77) with 'Scruples concerning the Mass in G published by Simrock in the name of Mozart,' in which he enumerated especially weaknesses in part-writing and tonality, and other faults, and pronounced it spurious. In Heft 22 of the same journal the publisher of the Mass declared that he had received it from Carl Zulehner, who would doubtless explain how he had come into possession of the MS., the handwriting of which was similar to Mozart's, but probably not his. But Zulehner made no answer to the challenge. Jahn (i. 672) agrees with
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