Skb 1769a (1): Die Schuldigkeit des ersten Gebots, beginning of the recitative after No. 7 “Er hält mich einem Kranken gleich” Er hält mich einem Kranken gleich.

Skb 1769a (2) = Sk 1769a: Part of a sketch for four voices (chorus) in d (?)

Sketch for the Kyrie of the Missa brevis in d K. 65 (61a), mm. 11ff.= mm. 32ff. (facsimile and transcription) KYRIE.

Skb 1769a (4): Eberlin, Johann Ernst: Hosanna in C, copy by Leopold Mozart BENEDICTUS/Osanna.

Skb 1769a (5): Kyrie, part of a sketch for four voices KYRIE.

Aria No. 9: Older version according to the Parisian autograph In faccia all'oggetto.

Skb 1770ε (2) = Sk 1770a: Imitative part of a sketch in c for SATB (= K.3 417a Appendix, A; K.6 417B2) K. Anh. H 14/01 (Anh 109f; 417a Anh. bA; 417B2; 1770a; 1770epsilon/02).

Skb 1770ε (3) = Sk 1770b: Exposition of a fugue in C for SATB (= K.3 417a Appendix, B K.6: 417B3) K. Anh. H 14/02 (Anh 109f; 417a Anh. bB; 417B3; 1770b; 1770epsilon/03). <Fugenthema>

Skb 1770ε (4) = Sk 1770c: Part of a sketch for four voices in c for SATB (= K.3 417a Appendix, C; K.6 417B4) K. Anh 109f (417a Anh. bC; 417B4; Sk 1770c; Skb 1770ε/04).

Minuet in D [clavier version] K. Anh. H 24/17 (94; 73h; 1772a/01). <Menuetto>

Skb 1772a (2a): Riddle canon “Incipe menalios mecum”, sketch [Storia II, 1] Incipe menalios mecum.

Ter ternis canite vocibus [Storia I, 8] Cantate Domino. Canon. Ter ternis canite vocibus

Clama ne cessep. Tertia pars si placet [Storia I, 67] Confitebor tibi Domine. Canon ad duodecimam. Clama ne cesses. Tertia pars si placet

Skb 1772a (4b): Riddle canon “Confitebor tibi Domine”, trial of a clean copy [Storia I, 67] Confitebor tibi Domine.

Ter voce ciemup. Voce ter insonuit [Storia II, 41] Thebana bella cantus / Troiana cantat. Canon. Ter voce ciemus. Voce ter insonuit

Four-part canon K. Anh. H 10/05 (89a I; 73i; 1772a/06)

Skb 1772a (7) = Sk 1772a: Two notes of a motive.

For No. 1 K. 89 (73k) KYRIE.

Skb 1772a (9) = Sk 1772b: Note of a motive.

Skb 1772a (10) = Sk 1772g: Riddle canon “Cantabo Deo Jacob” by Padre Martini (Storia I, 27), four-part resolution sketch [Cantabo Deo Jacob].

Skb 1772a (11): Riddle canon “Cantemus Domino” by Padre Martini (Storia I, 28), Resolution sketch Cantemus Domino.

Skb 1772a (12) = Sk 1772h: = K.3 Appendix 109d (1. piece) Riddle canon “Cantate Domino” by Padre Martini (Storia I, 53), four-part resolution sketch [Cantate Domino].

Skb 1772a (13) = Sk 1772i: Riddle canon “Omnis terra adoret te” by Padre Martini (Storia I, 74), four-part resolution sketch Omnis terra adoret te.

Skb 1772a (14) = Sk 1772j: Riddle canon “Cantabo Domino in vita mea” by Padre Martini (Storia I, 164), four-part resolution sketch Cantabo Domino in vita mea.

Skb 1772a (15) = Sk 1772k: Three contrapuntual sketches.

Skb 1772a (16) = Sk 1772l: Four-part canon in d.

Skb 1772a (17) = Sk 1772m: Four-part canon in g.

Skb 1772a (18) = Sk 1772c: Aufzeichnung einer Terz-Sextfortschreitung.

Skb 1772a (19): Riddle canon “Hymnum canunt demulcentque” by Padre Martini (Storia II, 57), resolution sketch [Hymnum canunt demulcentque].

Skb 1772a (20a-c): Double canon, resolution sketch of the descant [Storia].

Skb 1772α (1): Twenty minuets, canceled minuet with trio, No. 20.

a) Trio of the minuet No. 12 (?) in a different version

Skb 1772α (3) = Sk 1772n: Exercises for the two-part texture al roverscio in C.

Skb 1772α (4): Riddle canon “Laudabo nomen Dei” by Padre Martini (Storia I, 83), resolution sketch [Laudabo nomen Dei].

Skb 1772α (5) = Sk 1772o: Exercises for the two-part texture al roverscio in C.

Kyrie in D (fragment) K. 166g (Anh. 19; 166g; 1772b; 1772gamma/01) KYRIE

Skb 1772γ (2) = Sk 1772d: Recording of a six-part chord sequence.

Skb 1772γ (3) = Sk 1772e: Riddle canon “Psallite Domino” by Padre Martini (Storia l, 14), Four-part resolution sketch Psallite Domino.

Skb 1772γ (4) = Sk 1772f: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia I, 25), Four-part resolution sketch Misericordiam et iudicium cantabo tibi.

Fragment of a fugue in D K. Anh. H 13/01 (Anh. 23a; 417a Anh. a; 73w; 1773a (I); 1773a/01). Fuga septimi toni

Skb 1773a (2a) = Sk 1773a (1): Four-part texture over a model bass in a/A.

Skb 1773a (2b) = Sk 1773b (2): Four-part texture over a model bass in e/E.

Skb 1773a (3) = Sk 1773c: Theme in C (of a fugue?) <Fugenthema>

Skb 1773a (4) = Sk 1773g: Theme of a fugue in C. <Fugenthema>

Skb 1773a (5a) = Sk 1773d: Four-part modulation exercise from f sharp to F.

Skb 1773a (5b) = Sk 1773e: Four-part modulation exercise from d flat to C.

Skb 1773a (6) = Sk 1773f: Basso continuo part in C.

Skb 1773b (1): Contrapuntual note in F: K. Anh. H 14/10 (Anh. 109d; 626b/36; 1773b/01).

Skb 1773b (2) = Sk 1773h: Four-part double canon (riddle canon) “Incipientesque canunt Deae” by Padre Martini (Storia II, 326), resolution Incipientesque canunt Deae.

Sketch for a contredance “le mottet” {?} K. 664 (626b/44; 1773b/03)

Skb 1773b (4) = Sk 1773i: Four-part double canon in C.

Skb 1773b (5) = Sk 1773k: Exercise for a three-part texture

Skb 1773b (6) = Sk 1773j: Four-part double canon in C.

Skb 1773b (7) = Sk 1773l: Eight-part circle canon.

Skb 1773α (1): Granier, François: Les jalousies du serail, No. 1.

Skb 1773α (1): Granier, François: Le cinque Soltane Sinfonia. Allegro assai

Skb 1773α (2): Granier, François: Les jalousies du serail, No. 1.

Skb 1773α (3): Granier, François: Le cinque Soltane, No. 1.

Skb 1773α (4): Granier, François: Les jalousies du serail, No. 8.

Skb 1773α (5): Granier, François: Le cinque Soltane, No. 3.

Skb 1773α (6): [Unbekannte Ballettmusik].

Skb 1773α (6): Granier, François: Le cinque Soltane, No. 4.

Skb 1773α (7): Granier, François: Le cinque Soltane, No. 5 and 6

Skb 1773α (8): Granier, François: Le cinque Soltane, No. 8.

Skb 1773α (9): [Unknown ballet music].

Skb 1773α (10): [Unknown ballet music].

Skb 1773α (11): [Unknown ballet music].

Skb 1773α (12): [Unknown ballet music].

Skb 1773α (13): [Unknown ballet music].

Skb 1773α (14): [Unknown ballet music].

Skb 1773α (15): [Unknown ballet music].

Skb 1773α (16): [Unknown ballet music].

Skb 1773α (17): [Unknown ballet music].

Skb 1773α (18): [Unknown ballet music].

Skb 1773α (18): [Unbekannte Ballettmusik].

Skb 1773α (19): [Unknown ballet music].

Skb 1773α (20): [Unknown ballet music].

Skb 1773α (21): [Unknown ballet music].

Skb 1773α (22): [Unknown ballet music].

Skb 1773α (23): [Unknown ballet music].

Skb 1773α (24): [Unknown ballet music].

Skb 1773α (25): [Unknown ballet music].

Skb 1773α (26): Granier, François: Les jalousies du serail, No. 9.

Skb 1773α (26): Granier, François: Les jalousies du serail, No. 9.

Skb 1773α (27): [Unknown ballet music].

Skb 1773α (28): [Unknown ballet music].

Skb 1773α (29): [Unknown ballet music].

Skb 1773α (30): [Unknown ballet music].

Skb 1773α (31): [Unknown ballet music].

Skb 1773α (32): [Unknown ballet music].

Sketches for the mass in C K. 257= No. 11 (facsimile and transcription) 1. Sketch for the beginning of a Gloria (?) K. 669 (Zu 257/02; 1776a; 1776a/01).

Skb 1776a (2): Ouvertüre per un'opera buffa, course sketch K. 670 (Anh. 109a, Nr. 3; 626b/34; 1776a/02).

Sketch for the Aria No. 17 K. 256 (facsimile and transcription) KV²: Anh. 109a (KV⁶: 626b/35) [Clarice cara mia sposa].

2. Sketch for mm. 80-86, 90-95 of the Credo (”Et incarnatus est”)

3/II. Sketch, not clearly assignable <CREDO>

3/I. Sketch, probably for the Credo (”etiam pro nobis....”?) CREDO.

4. Sketch for mm. 117-127 of the Credo (”sub Pontio Pilato passus”) <CREDO>

5. Sketch for mm. 180-183 of the Credo ("cujus regni non erit finis") CREDO.

Skb 1776α (1) = Sk 1776d: Beginning of a canon in a.

Skb 1776α (2): Rondo in B flat for violin and orchestra.

Skb 1778a (1): Sinfonie in D („Pariser“), zweiter Satz (3/4-Takt-Fassung), einstimmige Verlaufsskizze.

Skb 1778a (2) = Sk 1778a: Two marches in D K. 674 (1778a; 1778a/02).

Skb 1778a (3): Symphony in D (“Paris”), conclusion, part of a sketch for several voices.

Skb 1778b (1): Clavier concerto in D, oboe parts for the second movement (Andante)

Skb 1778b (2) = Sk 1778b: Instrumental piece in B flat, 1. note, new sketch and trial of a clean copy.

a) Sketchleave Berlin [12-16]

[Ballet-Intermezzo] {12.}.

[Ballet-Intermezzo] {13.} Contredanse. Contredanse

[Ballet-Intermezzo] {14.} Contredanse. Contredanse

[Ballet-Intermezzo] {15.}.

[Ballet-Intermezzo] {16.} Tamburino. Tamburino

Sketches for a ballet. Facsimile and transcription b) Sketch sheet Paris [17-27]

[Ballet-Intermezzo] {17.} le forgeron travaille. Le forgeron travaille

[Ballet-Intermezzo] {18.} pour la femme. Pour la femme

[Ballet-Intermezzo] {19.}.

[Ballet-Intermezzo] {20.} un petit travaille il voit que sa femme n’est plup. il prende une autre danseuse. Un petit travaille

[Ballet-Intermezzo] {21.} il danse avec une autre danseuse. Il danse avec une autre danseuse

[Ballet-Intermezzo] {22.} sa femme vient. Sa femme vient

[Ballet-Intermezzo] {23.} Larghetto. la pantomime avec le chapeau. and.[ante]. Larghetto – And<ante>. La pantomime avec le chapeau

[Ballet-Intermezzo] {24.} andante Andante

[Ballet-Intermezzo] {25.} pantomime avec le baton. Pantomime avec le baton

[Ballet-Intermezzo] {26.} elle lui dit de se mettre en genoux lui ne veut pas obeïr – d’abord il se mette en genoux – elle lui dite de baiser la main – lui baise la main – ils font la paix Elle lui dit

[Ballet-Intermezzo] {27} Gigue. Gigue

Skb 1779a (2) = Sk 1779a: Notiz eines Andante-Themenkopfes in F. Andante

[Zaide (The seraglio)] Sketch for the Aria No. 6 [facsimile and transcription] Herr und Freund, wie da[n]k' ich dir.

Skb 1779ß (1) (1): Complete course sketch for the cadenza for the 1st movement of the Sinfonia concertante in E flat.

Skb 1779ß (1) (2) = Sketches and varia: Autographic horn part of two instrumental pieces (Contredances?) in F and E flat.

Draft and sketches for K. 364 (320d). 1. Draft (fragment) of the conclusion of the first movement (mm. 349-357) <Allegro maestoso>

<Draft and sketches for K. 364 (320d)> 2. Two sketches for the cadenza for the second movement (facsimile and transcription)

Autographic sketch of the measures 149-158 from the 1st movement of the flute quartet in C K. Appendix 171 (285b) (facsimile and transcription)

Sketch for No. 2, mm. 176ff. (Facsimile and transcription) Wer ein Liebchen hat gefunden.

1a. K. deest [sketches for a canon].

2. K. deest [Sketch for a canon a4].

3. K. deest [Sketch for a canon a4].

Skb 1781c (1) = Sketches and varia: Beginning of a fugue for clavier in a.

For No. 17. Dismissed version of mm. 79ff. Ich baue ganz auf deine Stärke.

Skb 1782a (2a) = Sk 1782s (1): Four-part contrapuntal sketch of a chorus in F.

Skb 1782a (2b) = Sk 1782s (2): Four-part contrapuntal sketch of a chorus in F.

2. Contrapuntual studys on the “Cum sancto Spiritu” theme. K. Anh. 23a (417a Anh. a; 417B1) Cum sancto Spiritu.

Skb 1782b (1) = Sk 1782f: Theme, probably of a canon

Skb 1782b (2): Händel, Georg Friedrich: Ninth suite in G major (Prelude and Chaconne) for Cembalo, HWV 442, Variation 62 (copy by Mozart) Chaconne/ [Variation 62]

Skb 1782b (3) = Sk 1782g: Two-part contrapuntual study in G respectively C.

a) Beginning of a fugue = K.6: 417B, No. 1 K. Anh. 23a (417a, Anh. a; 417B1)= Anh. 109g/13; Skb 1786a, 1785d, 1773a Cum sancto Spiritu.

Cum sancto Spiritu.

b) Studies on a sketchleaf (privately owned) Cum sancto Spiritu.

Skb 1782c (1) = Sketches and varia: Two two-part contrapuntual studys by an unknown hand.

c) Studies on a sketchleaf (Central State Archive, Prague) Cum sancto Spiritu.

Skb 1782c (3) = Sk 1782o: Two-part contrapuntual study in C.

Skb 1782c (4) = Sk 1782p: Two-part contrapuntual study (two resolutions) in F.

Skb 1782c (5) = Sk 1782q: Mirror canon in F.

Skb 1782c (6) = Sk 1782r: Four-part contrapuntual study in F.

Skb 1782d (1): Note for one voice for a instrumental part in C K. 467a (467a; 383i; 1782d/01)

Sketch for the first movement of the concerto in A K. 414 (K.3: 386a; K.6: 385p) K. 385o.

Six-part canon (“Wo der perlende Wein im Glase blinkt”, Breitkopf) K. Anh. H 10/13 (347; 382f; 1782e/01) <Wo der perlende Wein im Glase blinkt>

Skb 1782e (2) = Sk 1782a: Chorus in E flat/c K. Anh. H 17/14 (1782a; 1782e/02).

Skb 1782e (3) = Sketches and varia: scales K. Anh. H 2/01 (bei 382f; [Skizzen und Varia]; 1782e/03).

Beginning of a slow movement (Andante?) in E flat for two oboes, two clarinets, two horns and two bassoons K. 384B (384B; 1782g; 1782f/01). Andante

Skb 1782f (2) = Sk 1782k: two-part study (two resolution) in C, four editings.

For No. 17 K. Appendix 191 (562c)

<For No. 21 (Finale II). a) For the armoured men scene> a3) Counterpoint study of a cantus firmus (fragment) K. Anh. H 24/04 (Anh. 78; Anh. 109e; 620b; 1782g/01) [Ach Gott vom Himmel sieh darein].

Skb 1782g (2) = Sk 1782c1: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia I, 25), resolution sketch Misericordiam et iudicium cantabo tibi.

<Two fragments of a fugue in E flat> <No. 2>

Skb 1782g (4) = Sk 1782t: Beginning of the exposition of a fugue in c.

Skb 1782g (5) = Sk 1782c2: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia I, 25), theme Misericordiam et iudicium cantabo tibi.

Skb 1782h (1) = Sketches and varia: C major scale over two octaves with fingering.

Skb 1782h (2) = Sk 1782d: Theme of a composition for clavier (?) in F.

Fragment of a fugue in g K. Anh. H 12/11 (154; 385k; 1782j; 1782h/03).

Fragments of a fugue in e.

Two fragments of a fugue in E flat No. 1.

<Two fragments of a fugue in E flat> No. 2.

Skb 1782j (1) = Sk 1782u: Beginning of a fugue for clavier in e.

Skb 1782j (2) = Sk 1782v: Theme of a fugue in e. <Fugenthema>

Skb 1782j (3) = Sk 1782w: Beginning of a fugue for clavier in e.

Skb 1782j (4) = Sk 1782e: Fugue for clavier in e, drafts and clean copy.

Skb 1782j (5) = Sk 1782x: Beginning of a fugue for clavier in F.

Skb 1782k (1): Four-part note Largo in D. Largo

Skb 1782k (2): Two-part course sketch (?) Chorus in c. Largo

Two fragments of a fugue in E flat <No. 1> K. Anh. H 12/14 (153; 375f; 1782p; 1782alpha/01).

Two contrapuntual sketches in E flat and c

1. Solfeggio in C K. 393 (K.3 385b), No. 1 Allegro per la mia cara Costanza

Skb 1782γ (2) = Sk 1782b: Melody sketch in C K. 682 (Bei 393/01; Bei 385b/01; 1782b; 1782gamma/02).

Skb 1782δ (1) = Sk 1782c: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia I, 25), three-part resolution sketch Misericordiam et iudicium cantabo tibi.

Skb 1782δ (2): Klavierkonzert in A, eingelegtes Partiturblatt mit T. 193-197 (2. Fassung) aus dem Finale.

Skb 1782ι (1a) = Sk 1782y (1): Beginning of a fugue for clavier in E flat.

Skb 1782ι (1b) = Sk 1782y (2): Beginning of a fugue for clavier in E flat.

Skb 1782ι (2) = Sketches and varia: interval table, partly by a student

For No. 2 Aria “Nacqui all' aura trionfale” (facsimile and transcription) Nacqui all’aura trionfale.

Skb 1783a (2) = Sk 1783h: Imitating note in C.

Skb 1783a (3) = Sk 1783e: Note of a melody in F.

Skb 1783a (4) = Skizzen und Varia: Beginn einer Intervallunterweisung von fremder Hand.

Skb 1783b (1) = Skizzen und Varia: Beginn einer Intervallunterweisung und Aufzeichnung von fremder Hand.

For No. 1 Quartet “Ah ah ah ah – oh che ridere” (facsimile and transcription) Ah ah ah ah – oh che ridere!

Skb 1783b (3) = Sk 1783i: Theme of a fugue (?) in f sharp

Skb 1783b (4) = Sk 1783j: Contrapuntual notes in g.

Skb 1783b (5) = Skizzen und Varia: Aufzeichnung einer Intervallunterweisung sowie von mehreren Tonleitern, z. T. von Mozarts Hand, z. T. von Schülerhand

Fragment of a fugue in F K. Anh. H 12/18 (Anh. 109g/14; 626b/14; 375h; 1783c; 1783c/01)

Skb 1783c (2) = Sk 1783f: Instrumental piece in d/F.

Skb 1783c (3a) = Sketches and varia: Three-part note of a C major grand-, sixth-and six-four chord.

Skb 1783c (3b) = Sketches and varia: Three-part note of a F major six-four chord.

Skb 1783c (3c) = Sketches and varia: Four-part note of a chord sequence in C.

Skb 1783c (3d) = Sketches and varia: Three-part note of a cadenza in D.

Skb 1783c (3e) = Sketches and varia: Three-part note of a B flat major grand-, sixth- and six-four chord.

Skb 1783c (3f) = Sketches and varia: Three-part note of a cadenza in D (partly by an unknown hand)

Skb 1783c (4) = Sk 1783k: Beginning of a double fugue in c.

Skb 1783c (5): Fragment of a five-part imitative note (in B?) K. Anh. H 17/13 (417B/06; 1783c/05).

“Ah! spiegarti, oh Dio”. Aria for soprano and orchestra [soprano only] Ah! spiegarti, oh Dio. Andante

Two melody sketches for the Aria No. 30 K. 420. a) [1. version] Per pietà, non ricercate.

Two melody sketches for the Aria No. 30 K. 420. b) [2. version] Per pietà, non ricercate.

Melody sketch for the Aria No. 29 K. 419 No, che non sei capace.

Skb 1783e (1) = Sk 1783c: Melody sketch of an Aria for bass in B flat.

Skb 1783e (2 ): Minuet, course sketch for one voice.

Fragment of a fugue for quartet in g for two violins, viola and violoncello K.3 deest

Skb 1783f (1a) = Sk 1783g (1): Three-part canon.

Skb 1783f (1b) = Sk 1783g (2): Three-part canon.

Skb 1783f (2) = Sk 1783d: chamber work in c, course sketch for one to three voices K. 686 (1783d; 1783f/02).

Skb 1783α (1): Clavier concerto in E flat, written-out score of the 1st movement (mm.183 to 203)

Skb 1783α (2 ): Aria for tenor (fragment) “Müßt ich auch durch tausend Drachen”, course sketch for one voice Müßt ich auch durch tausend Drachen.

For Aria No. 3 [facsimile and transcription] Ogni momento dicon le donne.

For the unexecuted Aria of Biondello [facsimile and transcription] Che parli, che dica.

Skb 1783γ (3) = Sk 1783a: Sketch of the score of a work for chorus and orchestra (?)

Skb 1783δ (1) = Sk 1783a1: Sketch for one voice for an instrumental piece.

For Aria No. 2 [facsimile and transcription] Se fosse qui nascoso.

For the quartet No. 5 [facsimile and transcription] S'oggi, oh Dei, sperar mi fate.

For the conclusion No. 6 [facsimile and transcription].

No. 6

Sketches for a "Dona nobis pacem" (facsimile and transcription) AGNUS / Dona nobis pacem.

Skb 1783ζ (3): Quintet for clavier in E flat, sketch for the 1st movement.

Andantino in E flat (Christoph Willibald Gluck) K. Anh. A 41 (36; 236; 588b; 1783iota/01; 1A.37) <Thema>. Andantino

Duetto [without No.] K. 683 (Zu 422; 1783iota/02) Ho un pensiero nel cervello. Allegretto vivo

Sketch for the third movement of K. 450 (facsimile and transcription) Allegro

Skb 1784a (2) = Sk 1784a: Note of a motive in B flat, probably for the conclusion of the clavier concerto K. 450.

Skb 1784a (3): Fugato for eight voices in C K. Anh. H 14/17 (417B5; 1784a/03).

Skb 1785a (1) = Sk 1785h: Clavier piece in C.

Skb 1785a (2) = Sk 1785l: Drei zweistimmige Kontrapunktübungen (Synkopengattung)

Skb 1785a (3): Clavier concerto in E flat, fragment of the score.

Skb 1785a (4) = Sk 1785g: Melody sketch in D K. 694 (1785g; 1785a/04). Allegro

4. K. deest [Sketch for a canon a4] Canone K. 696 (1785m; 1785a/05). Canone

Skb 1785a (6): Terzett Madame Herz/Mademoiselle Silberklang/Monsieur Vogelsang = No. 3, part of a sketch for one to two voices Ich bin die erste Sängerin.

Skb 1785b (1): Three sketches for unknown works for clavier (?) in F and E flat.

Sketch for the draft K. 434 (facsimile and transcription) Del gran regno delle amazzoni

Skb 1785c (1) = Sk 1785d: Melody sketch in c.

Skb 1785c (2) = Sk 1785e: Melody sketch in c.

Skb 1785c (3) = Sketches and varia: notes of chords by an unknown hand.

Skb 1785c (4) = Sk 1785f: Part of a sketch for several voices for a duet in F for soprano and tenor.

Skb 1785d (1) = Sk 1785n: Two contrapuntual exercises for three voices in C; cp, Skl782j

Skb 1785d (2) = Sk 1785o: Two counterpoints in the octave.

Skb 1785d (3) = Sk 1785p: Four-part double canon in C.

Skb 1785d (4) = Sk 1785q: Two-part canon in F.

Skb 1785d (5) = Sk 1785i: Duet in A for soprano and tenor, course sketch for several voices.

Skb 1785d (6) = Sk 1785j: Composition in G with German text, course sketch for three voices.

Skb 1785d (7) = Sk 1785r: Contrapuntual note.

Skb 1785d (8) = Sk 1785s: Three-part cantus firmus study.

Skb 1785d (9) = Sk 1785k: Instrumental theme in B flat.

Skb 1785d (10) = Sk 1785t: Two-part canonical study (two resolutions)

Skb 1785ß (1): Maurerische Trauermusik, Stimmenparticell Corno di bassetto I, II.

Skb 1785ß (2): Masonic funeral music, course sketch for one voice of the cantus firmus.

Draft (beginning) of an alternative composition for No. 15 [Aprite presto aprite].

Melody sketch for the conclusion version of No. 28 (Aria) Deh vieni non tardar.

Detailed sketch for the Sinfonia. <Sinfonia>

Melody sketch for No. 20 (Aria) E Susanna non vien! – Dove sono i bei momenti.

Melody sketch for No. 18 (Aria) Hai già vinta la causa! – Vedrò mentre io sospiro.

Skb 1785θ (2) = Sketches and varia: Draft-like note of a movement a trio (minuet) in E flat (by an unknown hand)

Two fragments of a draft for No. 6 Non so più cosa son, cosa faccio.

Skb 1785κ (1) (2) = Sk 1785b: Instrumental movement in e.

Skb 1785κ (1) (3) = Sk 1785c: Vocal movement in C.

Aria in D for soprano with orchestra Text unknown Cadenza by Wolfgang Amadeus Mozart K. Anh. G 46 (Bei Anh. 28; Bei 416a; Anh. 109g/09 und 109g/21; 626b/09 und 626b//21 und 626b/41; 1785xi/01).

Skb 1785ξ (2): String quartet in A, two parts of a sketch for several voices for the development in the conclusion.

Skb 1786a (1) = Sk 1786f: Fugue in a.

7. K. deest two canons in the upper and lower second. a) K. Anh. H 11/04 (Anh. 23a; 417a Anh. a; 417B1; 1786i; 1786a/02).

Skb 1786a (3a) = Sk 1786g (1): Three-part cantus firmus editing

Skb 1786a (3b) = Sk 1786g (1): Three-part cantus firmus editing

Skb 1786a (3c) = Sk 1786g (1): Three-part cantus firmus editing

Skb 1786a (4) = Sk 1786a: Theme of a fugue in C. <Fugenthema>

<7. K. deest> Two canons in the upper and lower second. b) K. Anh. H 11/05 (Anh. 23a; 417a Anh. a; 417B1; 1786j; 1786a/05).

Skb 1786a (6) = Sk 1786h: Two-part complied canon.

Skb 1786a (7) = Sk 1786l: Two-part canon in the upper third.

Skb 1786a (8) = Sk 1786m: Two-part canon in the upper fourth.

Skb 1786a (9) = Sk 1786n: Two-part canon in the upper fifth.

Skb 1786a (10) = Sk 1786o: Two-part canon in the upper sixth.

Skb 1786a (11) = Sk 1786p: Two-part canon in the upper seventh

Skb 1786a (12) = Sk 1786q: Beginning of a two-part canon in the octave.

Skb 1786a (13) = Sk 1786k: Two-part canon in the upper second.

Sketches for the clavier concerto in C. Original continuance after measure 95, crossed in the autograph.

Sketches for the clavier concerto in C. Drafts of a sketch sheet.

Clavier concerto in C, part of a sketch for the 1st movement.

a) Line 1 and 2, measure 7-10.

b) Line 7, two measures, and line 9, measures 1-4.

c) Line 8 and 9, two measures, and line 10 and 11, measures 1-5.

d) Line 10 and 11, measures 6-9.

Sketches for the first movement of the symphony in D K. 504. 1. “Berlin sketch sheet” (facsimile and transcription)

Original draft for the last movement of K. 493 for violin, viola, violoncello and clavier (fragment) K. Appendix 53 (493) K. 493a (Anh. 53; Zu 493/03; 493a; 1786j; 1786c/01).

Three-part canon (“Heiterkeit und leichtes Blut”, Härtel) {Mozart/Attwood} K. Anh. H 11/15 (Anh. H; 507; 1786c/02) <Heiterkeit und leichtes Blut>

Skb 1786c (3) = Sk 1786r: Three-part contrapuntual study, phrygian K. Anh. H 7/31 (1786r; 1786c/03).

Canon for three voices (“Auf das Wohl aller Freunde”, Härtel) {Mozart/Attwood} K. Anh. H 11/16 (508; 1786c/04) <Auf das Wohl aller Freunde>

6. K. deest [Sketch for a canon a3] K. Anh. H 11/17 (1786s; 1786c/05).

5. K.6: 508A a-c) K. Anh. H 11/18 (Anh. H; 508A; 1786c/06a-e).

For No. 25 K. 508a No. 1.

<Canone a tre soprani>

<Canoni in seconda di sotto> 4. {Mozart and Attwood}. <Canoni in seconda di sotto>

<Canoni in terza di sotto> 6. {Mozart/Attwood}. <Canoni in terza di sotto>

Canone a tre soprani

Final draft of the last movement from K. 493 for violin, viola, violoncello and clavier (fragment). K.3 at 493.

<Canoni in quarta di sotto> 8. {Mozart/Attwood}. <Canoni in quarta di sotto>

<Canoni in quinta di sotto> 10. {Mozart/Attwood}. <Canoni in quinta di sotto>

<Canoni in sesta di sotto> 12. {Mozart and Attwood}. <Canoni in sesta di sotto>

<Canoni in settima di sotto> 14. {Mozart/Attwood}. <Canoni in settima di sotto>

Skb 1786e (1): Arietta of Madame Herz = No. 1, conclusion (mm. 39 f.) of a draft Da schlägt die Abschiedsstunde.

Skb 1786e (2): Contredance “La Bataille”, course sketch for several voices.

Skb 1786e (3) = Sk 1788e: Theme of a fugue in E flat. <Fugenthema>

Skb 1786e (5) = Sk 1788g: Allegretto (Contredance?) in B flat K. 710 (1788g; 1786e/05). Allegretto

Skb 1787a (1) = Sk 1787h: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia l, 25), theme Misericordiam et iudicium cantabo tibi.

11. K. deest [sketches for a canon a4].

For No. 7 K. 553 a-e)

For No. 27 K. 228 (516b)

9. K. deest [Sketch for a canon a4].

Skb 1787a (5b) = Sk 1787k (2): Four-part canon in g.

10. K. deest [Sketch for a canon a4].

For No. 11 K. 553 a-c) Nascoso e il mio sol.

Fragment of a (first) movement of a Sonata in A K. 526a (Anh. 50; 526a; 1787o; 1787b/01)

Skb 1787b (2) = Sk 1787a: Note of a melody in G.

II. Sketch for the ball scene of the conclusion I (No. 13, Scena XX). (facsimile and transcription) Presto presto pria ch'ei venga.

<Appendix III> Sketches Sketch for a slow movement of the clavier concerto in D. Romance

Skb 1787c (2) = Sk 1787b: Theme in A flat with figured bass.

Skb 1787c (3) = Sk 1787c: Melody sketch in g.

<For the quintet in g K. 516> 3. Sketch of an alleged original version of the 4th movement.

Skb 1787c (5) = Sk 1787d: part of a sketch for two voices in E flat.

Skb 1787c (6) = Sk 1787e: part of a sketch for two voices in D with figured bass.

Skb 1787c (7) = Sk 1787f: Idees pour L’Opera serieuse, two parts of a sketch in d and a

Andante Rondo in E flat of a quintet for clarinet, two violins, viola and bass (fragment) K. 516d (516d; 1787l; 1787c/08). Rondo. Andante

Skb 1787c (9) = Sk 1787g: Note of a dorian cantus firmus.

Drafts for the notturnos K. 438 and 436. 1. Autographic draft for K. 438 (Voice, measure 1-7) Se lontan, ben mio, tu sei. Andante

Drafts for the notturnos K. 438 and 436. 2. Autographic draft f K. 436 (Voice) Ecco quel fiero istante.

Draft for a terzet without text for soprano, tenor and bass with an accompaniment of a flute, two clarinets, bassoons, horns and bass, based on Michael Kelly's melody for the canzonetta La Libertà a Nice (“Grazie agl'inganni tuoi”) by Pietro Metastasio K. Anh. A 54 (532; 1784k; 1787beta/01) [Grazie agl’inganni tuo]

Autographic sketch for the trio of No. 9 from K. 568.

First half of the trio of a minuet mentioned at K. 532. <Menuetto / Trio>

Memento Domine David (Georg von Reutter the Younger) K. Anh. A 23 (143/124; Anh. 22; 93a; Anh. A 23; 1787gamma/01) Memento Domine David.

Skb 1787γ (2) = Sk 1787l: Contrapuntual note in C.

Fragment of a movement of a divertimento in F for two violins, viola, bass and two horns K. 522a (Anh. 108; 522a; 1787m; 1787delta/01). Rondo. Allegretto

8. Canonical study K.6: 626b/31 KV²: Bei Anh. 108 (KV⁶: 626b/31a-b) = Skb 1787δ/02-03.

Skb 1788a (1) = Sk 1788a: Exercise for a four-part, contrapuntual texture in B flat.

Skb 1788a (2) = Sk 1788b: Exercise for a four-part, contrapuntual texture in F.

Skb 1788a (3) = Sk 1788c: Exercise for a four-part, contrapuntual texture in G.

Skb 1788a (4): Händel, Georg Friedrich, Joshua, HWV 64, Beginning of the chorus “See, the conqu'ring hero comes” (copy by Mozart) See, the conqu'ring hero comes.

For No. 12 K. 558 a-c) Gehn wir im Prater.

Skb 1788b (1) = Sketches and varia: Beginning of the clean copy of two horn parts of a not identified overture in B flat.

Skb 1788b (2) = Sk 1788d: Exposition of a four-part fugue in C.

For No. 13 K. 559 Difficile lectu mihi Mars“

Fragment of a first movement of a quartet in g for two violins, viola and violoncello K. Appendix 74 (587a) K. 587a (Anh. 85; Anh. 74; 587a; 1789i; 1789beta/01)

Sketches for No. 31 1. For mm. 173-204 (facsimile and transcription) a-d) p. 634-635. E nel tuo, nel mio bicchiero.

Fantasy in f (fragment) K. Anh. 32 (383C). Adagio

Sketches for No. 31 2. for mm. 545-574 (facsimile and transcription) p. 636-637 Idol mio, se questo e vero.

Skb 1789ζ (1): Quartet for strings in F (“Third prussian quartet”), minuet, course sketch for several voices.

Skb 1789ζ (2) = Sketches and varia: Notes by an unknown hand.

b) Sketch (facsimile and transcription)

Skb 1791a (2) = Sk 1791a: Part of a sketch for several voices of a composition in F.

Sketch of an "Amen" fugue (= probably the conclusion movement of the Sequence) Amen

Sketch of the “Rex tremendae” measure 7ff. Rex tremendae majestatis

Overture (?) in E flat for orchestra [fragment, mm. 19-26] Andante

Cantata "Die ihr des unermeßlichen Weltalls Schöpfer ehrt". deleted (mm. 128A-134A) respectively sketched (mm. 135ff.) passage. Die ihr des unermeßlichen Weltalls Schöpfer ehrt.

Skb 1791b4 (2): Quintetto <con coro> quintet = No. 12, part of a sketch for one to two voices Deh conservate, oh Dei.

<For No. 21 (conclusion II)> c) Fragment of a draft for the measures 736-738 Pa-Pa-Pa-Papageno.

For No. 1. b) Sketch for mm. 46-74 Come ti piace imponi.

<For No. 21 (conclusion II)> d) Draft of mm. 744-758 Nur stille! stille! stille!

For No. 10. a) Sketch for mm. 1-9. b) Sketch for mm. 33-44. Vengo ... aspettate...

For No. 15. Sketch for mm. 28-34 Ah grazie si rendano.

Skb 1791b9 (1): Andante for a small organ (fragment) K. 615a (615a; 1791e; 1791b9/01). Andante

For No. 8 (conclusion I). a) Sketch for mm. 9-38 and b) Sketch for mm. 39-85 Die Weisheitslehre dieser Knaben. Adagio

For No. 11: Sketch for mm. 18-21 Bewahret euch vor Weibertücken.

<For No. 21 (conclusion II). a) For the heavy infantry scene> a1) Different sketch for a cantus firmus Bald prangt, den Morgen zu verkünden.

<For the heavy infantry scene> a2) Sketch for a cantus firmus Bald prangt, den Morgen zu verkünde.

Skb 1791b9 (5): The magic flute, conclusion II = No. 21 = 28. appearance (march), part of a sketch for one voice. Marsch