NMA X/30/3: Sketches (Ulrich Konrad,1998) print page mail a bugreport
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• Skb 1769a: [Sketch sheet] K. Skb 1769a. open score (NMA, p. 1)1-2    
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.
open score (NMA, p. 1)1    
Skb 1769a (2) = Sk 1769a: Part of a sketch for four voices (chorus) in d (?)
open score (NMA, p. 1)1    
Sketch for the Kyrie of the Missa brevis in d K. 65 (61a), mm. 11ff.= mm. 32ff. (facsimile and transcription) KYRIE.
open score (NMA, p. 1)1    
Skb 1769a (4): Eberlin, Johann Ernst: Hosanna in C, copy by Leopold Mozart BENEDICTUS/Osanna.
open score (NMA, p. 2)2    
Skb 1769a (5): Kyrie, part of a sketch for four voices KYRIE.
open score (NMA, p. 2)2    
• Skb 1770ε: [Sketch sheet] K. Anh 109f (417a Anh. b; Skb 1770ε). open score (NMA, p. 3)3    
Aria No. 9: Older version according to the Parisian autograph In faccia all'oggetto.
open score (NMA, p. 3)3    
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).
open score (NMA, p. 3)3    
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>
open score (NMA, p. 3)3    
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).
open score (NMA, p. 3)3    
• Skb 1772a: [Sketch sheet] K. Skb 1772a. open score (NMA, p. 4)4-5    
Minuet in D [clavier version] K. Anh. H** (94; 73h; 1772a/01). <Menuetto>
open score (NMA, p. 4)4   Recordings
Skb 1772a (2a): Riddle canon “Incipe menalios mecum”, sketch [Storia II, 1] Incipe menalios mecum.
open score (NMA, p. 4)4    
• "Sit trium series una" Riddle canon, Martini, Storia II/1 K. Anh. H 9/14 (89a II/01; 73r/01; 1772a/02b) Incipe Menalios. Canon. Sit trium series una open score (NMA, p. 4)4   Recordings
Ter ternis canite vocibus [Storia I, 8] Cantate Domino. Canon. Ter ternis canite vocibus
open score (NMA, p. 4)4   Recordings
Clama ne cessep. Tertia pars si placet [Storia I, 67] Confitebor tibi Domine. Canon ad duodecimam. Clama ne cesses. Tertia pars si placet
open score (NMA, p. 4)4   Recordings
Skb 1772a (4b): Riddle canon “Confitebor tibi Domine”, trial of a clean copy [Storia I, 67] Confitebor tibi Domine.
open score (NMA, p. 4)4    
Ter voce ciemup. Voce ter insonuit [Storia II, 41] Thebana bella cantus / Troiana cantat. Canon. Ter voce ciemus. Voce ter insonuit
open score (NMA, p. 4)4   Recordings
Four-part canon K. Anh. H 10/05 (89a I; 73i; 1772a/06)
open score (NMA, p. 4)4   Recordings
Skb 1772a (7) = Sk 1772a: Two notes of a motive.
open score (NMA, p. 5)5    
For No. 1 K. 89 (73k) KYRIE.
open score (NMA, p. 5)5    
Skb 1772a (9) = Sk 1772b: Note of a motive.
open score (NMA, p. 5)5    
Skb 1772a (10) = Sk 1772g: Riddle canon “Cantabo Deo Jacob” by Padre Martini (Storia I, 27), four-part resolution sketch [Cantabo Deo Jacob].
open score (NMA, p. 5)5    
Skb 1772a (11): Riddle canon “Cantemus Domino” by Padre Martini (Storia I, 28), Resolution sketch Cantemus Domino.
open score (NMA, p. 5)5    
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].
open score (NMA, p. 5)5    
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.
open score (NMA, p. 5)5    
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.
open score (NMA, p. 5)5    
Skb 1772a (15) = Sk 1772k: Three contrapuntual sketches.
open score (NMA, p. 5)5    
Skb 1772a (16) = Sk 1772l: Four-part canon in d.
open score (NMA, p. 5)5    
Skb 1772a (17) = Sk 1772m: Four-part canon in g.
open score (NMA, p. 5)5    
Skb 1772a (18) = Sk 1772c: Aufzeichnung einer Terz-Sextfortschreitung.
open score (NMA, p. 5)5    
Skb 1772a (19): Riddle canon “Hymnum canunt demulcentque” by Padre Martini (Storia II, 57), resolution sketch [Hymnum canunt demulcentque].
open score (NMA, p. 5)5    
Skb 1772a (20a-c): Double canon, resolution sketch of the descant [Storia].
open score (NMA, p. 5)5    
• Skb 1772α: [Sketch sheet] K. Skb 1772alpha. open score (NMA, p. 6)6    
Skb 1772α (1): Twenty minuets, canceled minuet with trio, No. 20.
open score (NMA, p. 6)6    
a) Trio of the minuet No. 12 (?) in a different version
open score (NMA, p. 6)6    
Skb 1772α (3) = Sk 1772n: Exercises for the two-part texture al roverscio in C.
open score (NMA, p. 6)6    
Skb 1772α (4): Riddle canon “Laudabo nomen Dei” by Padre Martini (Storia I, 83), resolution sketch [Laudabo nomen Dei].
open score (NMA, p. 6)6    
Skb 1772α (5) = Sk 1772o: Exercises for the two-part texture al roverscio in C.
open score (NMA, p. 6)6    
• Skb 1772γ: [Sketch sheet] K. Skb 1772gamma. open score (NMA, p. 7)7    
Kyrie in D (fragment) K. 166g (Anh. 19; 166g; 1772b; 1772gamma/01) KYRIE
open score (NMA, p. 7)7    
Skb 1772γ (2) = Sk 1772d: Recording of a six-part chord sequence.
open score (NMA, p. 7)7    
Skb 1772γ (3) = Sk 1772e: Riddle canon “Psallite Domino” by Padre Martini (Storia l, 14), Four-part resolution sketch Psallite Domino.
open score (NMA, p. 7)7    
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.
open score (NMA, p. 7)7    
• Skb 1773a: [Sketch sheet] K. Anh. H 8/01 (Anh. 23a; 417a Anh. a; 417B1; 1773a). open score (NMA, p. 8)8    
Fragment of a fugue in D K. Anh. H (Anh. 23a; 417a Anh. a; 73w; 1773a (I); 1773a/01). Fuga septimi toni
open score (NMA, p. 8)8    
Skb 1773a (2a) = Sk 1773a (1): Four-part texture over a model bass in a/A.
open score (NMA, p. 8)8    
Skb 1773a (2b) = Sk 1773b (2): Four-part texture over a model bass in e/E.
open score (NMA, p. 8)8    
Skb 1773a (3) = Sk 1773c: Theme in C (of a fugue?) <Fugenthema>
open score (NMA, p. 8)8    
Skb 1773a (4) = Sk 1773g: Theme of a fugue in C. <Fugenthema>
open score (NMA, p. 8)8    
Skb 1773a (5a) = Sk 1773d: Four-part modulation exercise from f sharp to F.
open score (NMA, p. 8)8    
Skb 1773a (5b) = Sk 1773e: Four-part modulation exercise from d flat to C.
open score (NMA, p. 8)8    
Skb 1773a (6) = Sk 1773f: Basso continuo part in C.
open score (NMA, p. 8)8    
• Skb 1773b: [Sketch sheet] K. Anh. H 8/02 (1773b). open score (NMA, p. 9)9    
Skb 1773b (1): Contrapuntual note in F: K. Anh. H 14/10 (Anh. 109d; 626b/36; 1773b/01).
open score (NMA, p. 9)9    
Skb 1773b (2) = Sk 1773h: Four-part double canon (riddle canon) “Incipientesque canunt Deae” by Padre Martini (Storia II, 326), resolution Incipientesque canunt Deae.
open score (NMA, p. 9)9    
Sketch for a contredance “le mottet” {?} K. 664 (626b/44; 1773b/03)
open score (NMA, p. 9)9    
Skb 1773b (4) = Sk 1773i: Four-part double canon in C.
open score (NMA, p. 9)9    
Skb 1773b (5) = Sk 1773k: Exercise for a three-part texture
open score (NMA, p. 9)9    
Skb 1773b (6) = Sk 1773j: Four-part double canon in C.
open score (NMA, p. 9)9    
Skb 1773b (7) = Sk 1773l: Eight-part circle canon.
open score (NMA, p. 9)9    
• Skb 1773α: [Sketch sheet] K. Anh. A 35 (Anh. 109; 135a; 1773alpha). Sinfonia open score (NMA, p. 10)10-13    
Skb 1773α (1): Granier, François: Le cinque Soltane Sinfonia. Allegro assai
open score (NMA, p. 10)10    
Skb 1773α (2): Granier, François: Les jalousies du serail, No. 1.
open score (NMA, p. 10)10    
Skb 1773α (3): Granier, François: Le cinque Soltane, No. 1.
open score (NMA, p. 10)10    
Skb 1773α (4): Granier, François: Les jalousies du serail, No. 8.
open score (NMA, p. 10)10    
Skb 1773α (5): Granier, François: Le cinque Soltane, No. 3.
open score (NMA, p. 10)10-11    
Skb 1773α (15): [Unknown ballet music].
open score (NMA, p. 10)10-13    
Skb 1773α (6): Granier, François: Le cinque Soltane, No. 4.
open score (NMA, p. 11)11    
Skb 1773α (7): Granier, François: Le cinque Soltane, No. 5 and 6
open score (NMA, p. 11)11    
Skb 1773α (8): Granier, François: Le cinque Soltane, No. 8.
open score (NMA, p. 11)11    
Skb 1773α (9): [Unknown ballet music].
open score (NMA, p. 11)11    
Skb 1773α (10): [Unknown ballet music].
open score (NMA, p. 11)11    
Skb 1773α (11): [Unknown ballet music].
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Skb 1773α (12): [Unknown ballet music].
open score (NMA, p. 11)11    
Skb 1773α (13): [Unknown ballet music].
open score (NMA, p. 11)11    
Skb 1773α (14): [Unknown ballet music].
open score (NMA, p. 11)11-12    
Skb 1773α (16): [Unknown ballet music].
open score (NMA, p. 12)12    
Skb 1773α (17): [Unknown ballet music].
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Skb 1773α (18): [Unknown ballet music].
open score (NMA, p. 12)12    
Skb 1773α (19): [Unknown ballet music].
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Skb 1773α (20): [Unknown ballet music].
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Skb 1773α (21): [Unknown ballet music].
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Skb 1773α (22): [Unknown ballet music].
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Skb 1773α (23): [Unknown ballet music].
open score (NMA, p. 12)12    
Skb 1773α (24): [Unknown ballet music].
open score (NMA, p. 12)12    
Skb 1773α (25): [Unknown ballet music].
open score (NMA, p. 12)12-13    
Skb 1773α (26): Granier, François: Les jalousies du serail, No. 9.
open score (NMA, p. 13)13    
Skb 1773α (27): [Unknown ballet music].
open score (NMA, p. 13)13    
Skb 1773α (28): [Unknown ballet music].
open score (NMA, p. 13)13    
Skb 1773α (29): [Unknown ballet music].
open score (NMA, p. 13)13    
Skb 1773α (30): [Unknown ballet music].
open score (NMA, p. 13)13    
Skb 1773α (31): [Unknown ballet music].
open score (NMA, p. 13)13    
Skb 1773α (32): [Unknown ballet music].
open score (NMA, p. 13)13    
• Skb 1776a: [Sketch sheet] K. Skb 1776a. open score (NMA, p. 14)14    
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).
open score (NMA, p. 14)14    
Skb 1776a (2): Ouvertüre per un'opera buffa, course sketch K. 670 (Anh. 109a; 626b/34; 1776a/02).
open score (NMA, p. 14)14    
Sketch for the Aria No. 17 K. 256 (facsimile and transcription) KV2: Anh. 109a (KV6: 626b/35) [Clarice cara mia sposa].
open score (NMA, p. 14)14    
2. Sketch for mm. 80-86, 90-95 of the Credo (”Et incarnatus est”)
open score (NMA, p. 14)14    
3/II. Sketch, not clearly assignable <CREDO>
open score (NMA, p. 14)14    
3/I. Sketch, probably for the Credo (”etiam pro nobis....”?) CREDO.
open score (NMA, p. 14)14    
4. Sketch for mm. 117-127 of the Credo (”sub Pontio Pilato passus”) <CREDO>
open score (NMA, p. 14)14    
5. Sketch for mm. 180-183 of the Credo ("cujus regni non erit finis") CREDO.
open score (NMA, p. 14)14    
• Skb 1776α: [Sketch sheet] K. Skb 1776alpha. open score (NMA, p. 15)15    
Skb 1776α (1) = Sk 1776d: Beginning of a canon in a.
open score (NMA, p. 15)15    
Skb 1776α (2): Rondo in B flat for violin and orchestra.
open score (NMA, p. 15)15    
• Melody sketch for the first movement of the oboe concerto K. 314 (285d) (facsimile and transcription) K. Zu 314/01 (Zu 285d/01; Zu 271k/01) = Skb 1777α. open score (NMA, p. 16)16    
• Skb 1778a: [Sketch sheet] K. Skb 1778a. open score (NMA, p. 17)17    
Skb 1778a (1): Sinfonie in D („Pariser“), zweiter Satz (3/4-Takt-Fassung), einstimmige Verlaufsskizze.
open score (NMA, p. 17)17    
Skb 1778a (2) = Sk 1778a: Two marches in D K. 674 (1778a; 1778a/02).
open score (NMA, p. 17)17    
Skb 1778a (3): Symphony in D (“Paris”), conclusion, part of a sketch for several voices.
open score (NMA, p. 17)17    
• Skb 1778b: [Sketch sheet] K. Skb 1778b. open score (NMA, p. 18)18    
Skb 1778b (1): Clavier concerto in D, oboe parts for the second movement (Andante)
open score (NMA, p. 18)18    
Skb 1778b (2) = Sk 1778b: Instrumental piece in B flat, 1. note, new sketch and trial of a clean copy.
open score (NMA, p. 18)18    
• Sketch for the Aria No. 19 K. 294 (facsimile and transcription) K. Zu 294 = Skb 1778α [Non sò d'onde viene]. open score (NMA, p. 19)19    
• I. Sketches for a ballet. Facsimile and transcription K. 299c. open score (NMA, p. 20)20-21    
a) Sketchleave Berlin [12-16]
open score (NMA, p. 20)20    
[Ballet-Intermezzo] {12.}.
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[Ballet-Intermezzo] {13.} Contredanse. Contredanse
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[Ballet-Intermezzo] {14.} Contredanse. Contredanse
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[Ballet-Intermezzo] {15.}.
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[Ballet-Intermezzo] {16.} Tamburino. Tamburino
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Sketches for a ballet. Facsimile and transcription b) Sketch sheet Paris [17-27]
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {17.} le forgeron travaille. Le forgeron travaille
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {18.} pour la femme. Pour la femme
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[Ballet-Intermezzo] {19.}.
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[Ballet-Intermezzo] {20.} un petit travaille il voit que sa femme n’est plup. il prende une autre danseuse. Un petit travaille
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {21.} il danse avec une autre danseuse. Il danse avec une autre danseuse
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {22.} sa femme vient. Sa femme vient
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {23.} Larghetto. la pantomime avec le chapeau. and.[ante]. Larghetto – And<ante>. La pantomime avec le chapeau
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {24.} andante Andante
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[Ballet-Intermezzo] {25.} pantomime avec le baton. Pantomime avec le baton
open score (NMA, p. 21)21    
[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
open score (NMA, p. 21)21    
[Ballet-Intermezzo] {27} Gigue. Gigue
open score (NMA, p. 21)21    
• Skb 1779a: [Sketch sheet] K. Skb 1779a. open score (NMA, p. 22)22    
Cadenza (fragment) for the first movement of a clavier concerto by Johann Samuel Schroeter (op. III, 4)
open score (NMA, p. 22)22    
Skb 1779a (2) = Sk 1779a: Notiz eines Andante-Themenkopfes in F. Andante
open score (NMA, p. 22)22    
[Zaide (The seraglio)] Sketch for the Aria No. 6 [facsimile and transcription] Herr und Freund, wie da[n]k' ich dir.
open score (NMA, p. 22)22   Recordings
• Sketch for a Sanctus in E flat (facsimile and transcription) K. 296c (296c; 1779alpha) SANCTUS open score (NMA, p. 23)23    
• Skb 1779β (1): [Sketch sheet] K. Skb 1779beta (1) open score (NMA, p. 24)24    
Skb 1779β (1) (1): Complete course sketch for the cadenza for the 1st movement of the Sinfonia concertante in E flat.
open score (NMA, p. 24)24    
Skb 1779β (1) (2) = Sketches and varia: Autographic horn part of two instrumental pieces (Contredances?) in F and E flat.
open score (NMA, p. 24)24    
• Skb 1779β (2): [Sketch sheet] K. Skb 1779beta (2) open score (NMA, p. 25)25    
Draft and sketches for K. 364 (320d). 1. Draft (fragment) of the conclusion of the first movement (mm. 349-357) <Allegro maestoso>
open score (NMA, p. 25)25    
<Draft and sketches for K. 364 (320d)> 2. Two sketches for the cadenza for the second movement (facsimile and transcription)
open score (NMA, p. 25)25    
• Skb 1781a: [Sketch sheet] K. Skb 1781a. open score (NMA, p. 26)26    
Autographic sketch of the measures 149-158 from the 1st movement of the flute quartet in C K. Appendix 171 (285b) (facsimile and transcription)
open score (NMA, p. 26)26    
Sketch for No. 2, mm. 176ff. (Facsimile and transcription) Wer ein Liebchen hat gefunden.
open score (NMA, p. 26)26    
1a. K. deest [sketches for a canon].
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2. K. deest [Sketch for a canon a4].
open score (NMA, p. 26)26    
3. K. deest [Sketch for a canon a4].
open score (NMA, p. 26)26    
• Skb 1781c: [Sketch sheet] K. Skb 1781c. open score (NMA, p. 27)27    
Skb 1781c (1) = Sketches and varia: Beginning of a fugue for clavier in a.
open score (NMA, p. 27)27    
For No. 17. Dismissed version of mm. 79ff. Ich baue ganz auf deine Stärke.
open score (NMA, p. 27)27    
• Skb 1781β: [Sketch sheet] zu K.6 626b/18: part of a sketch for four voices K. Anh. H 14/26 (Anh. 109g/18; 626b/18; 1781beta). open score (NMA, p. 28)28    
• Skb 1782a: [Sketch sheet] K. Skb 1782a. open score (NMA, p. 29)29    
• Skb 1782a (1) = Sketches and varia: three finger exercises (Alberti bass and chords) K. Anh. H 19/01–02 ([Skizzen und Varia]; 1782a/01). open score (NMA, p. 29)29    
Skb 1782a (2a) = Sk 1782s (1): Four-part contrapuntal sketch of a chorus in F.
open score (NMA, p. 29)29    
Skb 1782a (2b) = Sk 1782s (2): Four-part contrapuntal sketch of a chorus in F.
open score (NMA, p. 29)29    
• Skb 1782a (3a-c): Johann Philipp Kirnberger: canon, resolutions in G and in F K. Anh. 109 X (Anh. A 30; Skb 1782a/03). open score (NMA, p. 29)29    
2. Contrapuntual studys on the “Cum sancto Spiritu” theme. K. Anh. 23a (417a Anh. a; 417B1) Cum sancto Spiritu.
open score (NMA, p. 30)30    
• Skb 1782b: [Sketch sheet] K. Skb 1782b. open score (NMA, p. 30)30    
Skb 1782b (1) = Sk 1782f: Theme, probably of a canon
open score (NMA, p. 30)30    
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]
open score (NMA, p. 30)30    
Skb 1782b (3) = Sk 1782g: Two-part contrapuntual study in G respectively C.
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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.
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Cum sancto Spiritu.
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b) Studies on a sketchleaf (privately owned) Cum sancto Spiritu.
open score (NMA, p. 30)30    
• Skb 1782c: [Sketch sheet] K. Skb 1782c. open score (NMA, p. 31)31    
Skb 1782c (1) = Sketches and varia: Two two-part contrapuntual studys by an unknown hand.
open score (NMA, p. 31)31    
c) Studies on a sketchleaf (Central State Archive, Prague) Cum sancto Spiritu.
open score (NMA, p. 31)31    
Skb 1782c (3) = Sk 1782o: Two-part contrapuntual study in C.
open score (NMA, p. 31)31    
Skb 1782c (4) = Sk 1782p: Two-part contrapuntual study (two resolutions) in F.
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Skb 1782c (5) = Sk 1782q: Mirror canon in F.
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Skb 1782c (6) = Sk 1782r: Four-part contrapuntual study in F.
open score (NMA, p. 31)31    
• Skb 1782d: [Sketch sheet] K. Skb 1782d. open score (NMA, p. 32)32    
Skb 1782d (1): Note for one voice for a instrumental part in C K. 467a (467a; 383i; 1782d/01)
open score (NMA, p. 32)32    
Sketch for the first movement of the concerto in A K. 414 (K.3: 386a; K.6: 385p) K. 385o.
open score (NMA, p. 32)32    
• Skb 1782e: [Sketch sheet] K. Skb 1782e. open score (NMA, p. 33)33    
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>
open score (NMA, p. 33)33   Recordings
Skb 1782e (2) = Sk 1782a: Chorus in E flat/c K. Anh. H 17/14 (1782a; 1782e/02).
open score (NMA, p. 33)33    
Skb 1782e (3) = Sketches and varia: scales K. Sk [Skizzen und Varia] (Skb 1782e/03).
open score (NMA, p. 33)33    
• Skb 1782f: [Sketch sheet] K. Skb 1782f. open score (NMA, p. 34)34    
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
open score (NMA, p. 34)34    
Skb 1782f (2) = Sk 1782k: two-part study (two resolution) in C, four editings.
open score (NMA, p. 34)34    
For No. 17 K. Appendix 191 (562c)
open score (NMA, p. 34)34    
• Skb 1782g: [Sketch sheet] K. Skb 1782g. open score (NMA, p. 35)35    
<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].
open score (NMA, p. 35)35    
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.
open score (NMA, p. 35)35    
<Two fragments of a fugue in E flat> <No. 2>
open score (NMA, p. 35)35    
Skb 1782g (4) = Sk 1782t: Beginning of the exposition of a fugue in c.
open score (NMA, p. 35)35    
Skb 1782g (5) = Sk 1782c2: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia I, 25), theme Misericordiam et iudicium cantabo tibi.
open score (NMA, p. 35)35    
• Skb 1782h: [Sketch sheet] K. Skb 1782h. open score (NMA, p. 36)36    
Skb 1782h (1) = Sketches and varia: C major scale over two octaves with fingering.
open score (NMA, p. 36)36    
Skb 1782h (2) = Sk 1782d: Theme of a composition for clavier (?) in F.
open score (NMA, p. 36)36    
Fragment of a fugue in g K. Anh. H 12/11 (154; 385k; 1782j; 1782h/03).
open score (NMA, p. 36)36   Recordings
• Skb 1782i: [Sketch sheet] K. Sk [Skizzen und Varia] (Skb 1782i). open score (NMA, p. 37)37    
Fragments of a fugue in e.
open score (NMA, p. 37)37    
Two fragments of a fugue in E flat No. 1.
open score (NMA, p. 37)37    
<Two fragments of a fugue in E flat> No. 2.
open score (NMA, p. 37)37    
• Skb 1782j: [Sketch sheet] K. Skb 1782j. open score (NMA, p. 38)38    
Skb 1782j (1) = Sk 1782u: Beginning of a fugue for clavier in e.
open score (NMA, p. 38)38    
Skb 1782j (2) = Sk 1782v: Theme of a fugue in e. <Fugenthema>
open score (NMA, p. 38)38    
Skb 1782j (3) = Sk 1782w: Beginning of a fugue for clavier in e.
open score (NMA, p. 38)38    
Skb 1782j (4) = Sk 1782e: Fugue for clavier in e, drafts and clean copy.
open score (NMA, p. 38)38    
Skb 1782j (5) = Sk 1782x: Beginning of a fugue for clavier in F.
open score (NMA, p. 38)38    
• Skb 1782k: [Sketch sheet] K. Anh. 109g/12 (626b/12; Skb 1782k). Largo open score (NMA, p. 39)39    
Skb 1782k (1): Four-part note Largo in D. Largo
open score (NMA, p. 39)39    
Skb 1782k (2): Two-part course sketch (?) Chorus in c. Largo
open score (NMA, p. 39)39    
• Skb 1782α: [Sketch sheet] K. Skb 1782alpha. open score (NMA, p. 40)40    
Two fragments of a fugue in E flat <No. 1> K. Anh. H 12/14 (153; 375f; 1782p; 1782alpha/01).
open score (NMA, p. 40)40   Recordings
Two contrapuntual sketches in E flat and c
open score (NMA, p. 40)40    
• Skb 1782γ: [Sketch sheet] K. Skb 1782gamma. open score (NMA, p. 41)41    
1. Solfeggio in C K. 393 (K.3 385b), No. 1 Allegro per la mia cara Costanza
open score (NMA, p. 41)41    
Skb 1782γ (2) = Sk 1782b: Melody sketch in C K. 682 (Bei 393/01; Bei 385b/01; 1782b; 1782gamma/02).
open score (NMA, p. 41)41    
• Skb 1782δ: [Sketch sheet] K. Skb 1782delta. <Allegro> open score (NMA, p. 42)42    
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.
open score (NMA, p. 42)42    
Skb 1782δ (2): Klavierkonzert in A, eingelegtes Partiturblatt mit T. 193-197 (2. Fassung) aus dem Finale.
open score (NMA, p. 42)42    
• Gibraltar (“O Calpe! dir donnert's am Fuße”). Sketch of an accompanied recitative with clavier accompaniment K. Anh. 25 (386d) O Calpe! dir donnert's am Fuße open score (NMA, p. 43)43    
• Skb 1782ι: [Sketch sheet] K. Skb 1782iota. open score (NMA, p. 44)44    
Skb 1782ι (1a) = Sk 1782y (1): Beginning of a fugue for clavier in E flat.
open score (NMA, p. 44)44    
Skb 1782ι (1b) = Sk 1782y (2): Beginning of a fugue for clavier in E flat.
open score (NMA, p. 44)44    
Skb 1782ι (2) = Sketches and varia: interval table, partly by a student
open score (NMA, p. 44)44    
• Skb 1783a: [Sketch sheet] K. Skb 1783a. open score (NMA, p. 45)45    
For No. 2 Aria “Nacqui all' aura trionfale” (facsimile and transcription) Nacqui all’aura trionfale.
open score (NMA, p. 45)45    
Skb 1783a (2) = Sk 1783h: Imitating note in C.
open score (NMA, p. 45)45    
Skb 1783a (3) = Sk 1783e: Note of a melody in F.
open score (NMA, p. 45)45    
Skb 1783a (4) = Skizzen und Varia: Beginn einer Intervallunterweisung von fremder Hand.
open score (NMA, p. 45)45    
• Skb 1783b: [Sketch sheet] K. Skb 1783b. open score (NMA, p. 46)46    
Skb 1783b (1) = Skizzen und Varia: Beginn einer Intervallunterweisung und Aufzeichnung von fremder Hand.
open score (NMA, p. 46)46    
For No. 1 Quartet “Ah ah ah ah – oh che ridere” (facsimile and transcription) Ah ah ah ah – oh che ridere!
open score (NMA, p. 46)46    
Skb 1783b (3) = Sk 1783i: Theme of a fugue (?) in f sharp
open score (NMA, p. 46)46    
Skb 1783b (4) = Sk 1783j: Contrapuntual notes in g.
open score (NMA, p. 46)46    
Skb 1783b (5) = Skizzen und Varia: Aufzeichnung einer Intervallunterweisung sowie von mehreren Tonleitern, z. T. von Mozarts Hand, z. T. von Schülerhand
open score (NMA, p. 46)46    
• Skb 1783c: [Sketch sheet] K. Skb 1783c. open score (NMA, p. 47)47    
Fragment of a fugue in F K. Anh. H 12/18 (Anh. 109g/14; 626b/14; 375h; 1783c; 1783c/01)
open score (NMA, p. 47)47    
Skb 1783c (2) = Sk 1783f: Instrumental piece in d/F.
open score (NMA, p. 47)47    
Skb 1783c (3a) = Sketches and varia: Three-part note of a C major grand-, sixth-and six-four chord.
open score (NMA, p. 47)47    
Skb 1783c (3b) = Sketches and varia: Three-part note of a F major six-four chord.
open score (NMA, p. 47)47    
Skb 1783c (3c) = Sketches and varia: Four-part note of a chord sequence in C.
open score (NMA, p. 47)47    
Skb 1783c (3d) = Sketches and varia: Three-part note of a cadenza in D.
open score (NMA, p. 47)47    
Skb 1783c (3e) = Sketches and varia: Three-part note of a B flat major grand-, sixth- and six-four chord.
open score (NMA, p. 47)47    
Skb 1783c (3f) = Sketches and varia: Three-part note of a cadenza in D (partly by an unknown hand)
open score (NMA, p. 47)47    
Skb 1783c (4) = Sk 1783k: Beginning of a double fugue in c.
open score (NMA, p. 47)47    
Skb 1783c (5): Fragment of a five-part imitative note (in B?) K. Anh. H 17/13 (417B/06; 1783c/05).
open score (NMA, p. 47)47    
• Skb 1783d: [Sketch sheet] K. Skb 1783d. open score (NMA, p. 48)48    
“Ah! spiegarti, oh Dio”. Aria for soprano and orchestra [soprano only] Ah! spiegarti, oh Dio. Andante
open score (NMA, p. 48)48   Recordings
Two melody sketches for the Aria No. 30 K. 420. a) [1. version] Per pietà, non ricercate.
open score (NMA, p. 48)48    
Two melody sketches for the Aria No. 30 K. 420. b) [2. version] Per pietà, non ricercate.
open score (NMA, p. 48)48    
Melody sketch for the Aria No. 29 K. 419 No, che non sei capace.
open score (NMA, p. 48)48    
• Skb 1783e: [Sketch sheet] K. Skb 1783e. open score (NMA, p. 49)49    
Skb 1783e (1) = Sk 1783c: Melody sketch of an Aria for bass in B flat.
open score (NMA, p. 49)49    
Skb 1783e (2 ): Minuet, course sketch for one voice.
open score (NMA, p. 49)49    
Fragment of a fugue for quartet in g for two violins, viola and violoncello K.3 deest
open score (NMA, p. 49)49    
• Skb 1783f [Sketch sheet] K. Anh. H 17/12 (1783f). open score (NMA, p. 50)50    
Skb 1783f (1a) = Sk 1783g (1): Three-part canon.
open score (NMA, p. 50)50    
Skb 1783f (1b) = Sk 1783g (2): Three-part canon.
open score (NMA, p. 50)50    
Skb 1783f (2) = Sk 1783d: chamber work in c, course sketch for one to three voices K. 686 (1783d; 1783f/02).
open score (NMA, p. 50)50    
• Skb 1783α: [Sketch sheet] K. Skb 1783alpha. open score (NMA, p. 51)51    
Skb 1783α (1): Clavier concerto in E flat, written-out score of the 1st movement (mm.183 to 203)
open score (NMA, p. 51)51    
Skb 1783α (2 ): Aria for tenor (fragment) “Müßt ich auch durch tausend Drachen”, course sketch for one voice Müßt ich auch durch tausend Drachen.
open score (NMA, p. 51)51    
• Skb 1783γ: [Sketch sheet] K. Skb 1783gamma. open score (NMA, p. 52)52    
For Aria No. 3 [facsimile and transcription] Ogni momento dicon le donne.
open score (NMA, p. 52)52    
For the unexecuted Aria of Biondello [facsimile and transcription] Che parli, che dica.
open score (NMA, p. 52)52    
Skb 1783γ (3) = Sk 1783a: Sketch of the score of a work for chorus and orchestra (?)
open score (NMA, p. 52)52    
• Skb 1783δ: [Sketch sheet] K. Skb 1783delta. open score (NMA, p. 53)53    
Skb 1783δ (1) = Sk 1783a1: Sketch for one voice for an instrumental piece.
open score (NMA, p. 53)53    
For Aria No. 2 [facsimile and transcription] Se fosse qui nascoso.
open score (NMA, p. 53)53    
• Skb 1783ε: [Sketch sheet] K. Skb 1783epsilon. open score (NMA, p. 54)54    
For the quartet No. 5 [facsimile and transcription] S'oggi, oh Dei, sperar mi fate.
open score (NMA, p. 54)54    
For the conclusion No. 6 [facsimile and transcription].
open score (NMA, p. 54)54    
• Skb 1783ζ: [Sketch sheet] K. Skb 1783zeta. open score (NMA, p. 55)55    
No. 6
open score (NMA, p. 55)55    
Sketches for a "Dona nobis pacem" (facsimile and transcription) AGNUS / Dona nobis pacem.
open score (NMA, p. 55)55    
Skb 1783ζ (3): Quintet for clavier in E flat, sketch for the 1st movement.
open score (NMA, p. 55)55    
• For No. 4 Terzetto “Che accidenti! che tragedia!” (facsimile and transcription) K. Zu 430/04 (Zu 424a/04) = Skb 1783η Che accidenti! che tragedia! open score (NMA, p. 56)56    
• Skb 1783θ: [Sketch sheet] Quintet in B flat for clavier, oboe, clarinet, basset horn and bassoon (fragment) K. Anh. 54 (452a). open score (NMA, p. 57)57    
• Skb 1783ι: [Sketch sheet] K. Skb 1783iota. open score (NMA, p. 57)57    
Andantino in E flat (Christoph Willibald Gluck) K. Anh. A 41 (36; 236; 588b; 1783iota/01; 1A.37) <Thema>. Andantino
open score (NMA, p. 57)57   Recordings
Duetto [without No.] K. 683 (Zu 422; 1783iota/02) Ho un pensiero. Allegretto vivo
open score (NMA, p. 57)57    
• Skb 1784a: [Sketch sheet] K. Skb 1784a. open score (NMA, p. 58)58    
Sketch for the third movement of K. 450 (facsimile and transcription) Allegro
open score (NMA, p. 58)58    
Skb 1784a (2) = Sk 1784a: Note of a motive in B flat, probably for the conclusion of the clavier concerto K. 450.
open score (NMA, p. 58)58    
Skb 1784a (3): Fugato for eight voices in C K. Anh. H 14/17 (417B5; 1784a/03).
open score (NMA, p. 58)58    
• Skb 1785a: [Sketch sheet] K. Skb 1785a. open score (NMA, p. 59)59    
Skb 1785a (1) = Sk 1785h: Clavier piece in C.
open score (NMA, p. 59)59    
Skb 1785a (2) = Sk 1785l: Drei zweistimmige Kontrapunktübungen (Synkopengattung)
open score (NMA, p. 59)59    
Skb 1785a (3): Clavier concerto in E flat, fragment of the score.
open score (NMA, p. 59)59    
Skb 1785a (4) = Sk 1785g: Melody sketch in D K. 694 (1785g; 1785a/04). Allegro
open score (NMA, p. 59)59    
4. K. deest [Sketch for a canon a4] Canone K. 696 (1785m; 1785a/05). Canone
open score (NMA, p. 59)59    
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.
open score (NMA, p. 59)59    
• Skb 1785b: [Sketch sheet] K. Skb 1785b. open score (NMA, p. 60)60    
Skb 1785b (1): Three sketches for unknown works for clavier (?) in F and E flat KV2: Anh. 109a (KV6: 626b/32).
open score (NMA, p. 60)60    
Sketch for the draft K. 434 (facsimile and transcription) KV2: Anh. 109a (KV6: 626b/33) Del gran regno delle amazzoni
open score (NMA, p. 60)60    
• Skb 1785c: [Sketch sheet] K. Skb 1785c. open score (NMA, p. 61)61    
Skb 1785c (1) = Sk 1785d: Melody sketch in c.
open score (NMA, p. 61)61    
Skb 1785c (2) = Sk 1785e: Melody sketch in c.
open score (NMA, p. 61)61    
Skb 1785c (3) = Sketches and varia: notes of chords by an unknown hand.
open score (NMA, p. 61)61    
Skb 1785c (4) = Sk 1785f: Part of a sketch for several voices for a duet in F for soprano and tenor.
open score (NMA, p. 61)61    
• Skb 1785d: [Sketch sheet] KV3: 417a Anh. a (417B1) = Skb 1785d. open score (NMA, p. 62)62    
Skb 1785d (1) = Sk 1785n: Two contrapuntual exercises for three voices in C; cp, Skl782j
open score (NMA, p. 62)62    
Skb 1785d (2) = Sk 1785o: Two counterpoints in the octave.
open score (NMA, p. 62)62    
Skb 1785d (3) = Sk 1785p: Four-part double canon in C.
open score (NMA, p. 62)62    
Skb 1785d (4) = Sk 1785q: Two-part canon in F.
open score (NMA, p. 62)62    
Skb 1785d (5) = Sk 1785i: Duet in A for soprano and tenor, course sketch for several voices.
open score (NMA, p. 62)62    
Skb 1785d (6) = Sk 1785j: Composition in G with German text, course sketch for three voices.
open score (NMA, p. 62)62    
Skb 1785d (7) = Sk 1785r: Contrapuntual note.
open score (NMA, p. 62)62    
Skb 1785d (8) = Sk 1785s: Three-part cantus firmus study.
open score (NMA, p. 62)62    
Skb 1785d (9) = Sk 1785k: Instrumental theme in B flat.
open score (NMA, p. 62)62    
Skb 1785d (10) = Sk 1785t: Two-part canonical study (two resolutions)
open score (NMA, p. 62)62    
• Skb 1785β: [Sketch sheet] K. Skb 1785beta. open score (NMA, p. 63)63    
Skb 1785β (1): Maurerische Trauermusik, Stimmenparticell Corno di bassetto I, II.
open score (NMA, p. 63)63    
Skb 1785β (2): Masonic funeral music, course sketch for one voice of the cantus firmus.
open score (NMA, p. 63)63    
• Skb 1785δ: [Sketch sheet] K. Skb 1785delta. open score (NMA, p. 64)64    
Draft (beginning) of an alternative composition for No. 15 [Aprite presto aprite].
open score (NMA, p. 64)64    
Melody sketch for the conclusion version of No. 28 (Aria) Deh vieni non tardar.
open score (NMA, p. 64)64    
Detailed sketch for the Sinfonia. <Sinfonia>
open score (NMA, p. 64)64    
• Sketch for No. 16, mm. 803ff. (facsimile and transcription) K. Zu 492/16 = Skb 1785ε Esci omai garzon malnato. open score (NMA, p. 65)65    
• Skb 1785ζ: [Sketch sheet] K. Skb 1785zeta. open score (NMA, p. 66)66    
Melody sketch for No. 20 (Aria) E Susanna non vien! – Dove sono i bei momenti.
open score (NMA, p. 66)66    
Melody sketch for No. 18 (Aria) Hai già vinta la causa! – Vedrò mentre io sospiro.
open score (NMA, p. 66)66    
• Sketch for No. 23 K. Zu 492/23 = Skb 1785η Ecco la marcia, andiamo. open score (NMA, p. 67)67    
• Skb 1785θ: [Sketch sheet] K. Skb 1785theta. open score (NMA, p. 68)68    
• Melody sketch for an early version of No. 28 (Aria) K. 700 (Zu 492/28; 1785theta/01) Non tardar amato bene. open score (NMA, p. 68)68    
Skb 1785θ (2) = Sketches and varia: Draft-like note of a movement a trio (minuet) in E flat (by an unknown hand)
open score (NMA, p. 68)68    
• Skb 1785κ (1): [Sketch sheet] K. Skb 1785kappa (1) open score (NMA, p. 69)69    
Two fragments of a draft for No. 6 Non so più cosa son, cosa faccio.
open score (NMA, p. 69)69    
Skb 1785κ (1) (2) = Sk 1785b: Instrumental movement in e.
open score (NMA, p. 69)69    
Skb 1785κ (1) (3) = Sk 1785c: Vocal movement in C.
open score (NMA, p. 69)69    
• Entwurf zu No. 21 (mit vorangehendem Rezitativschluß) K. Zu 492/21 = Skb 1785λ Che soave zeffiretto. open score (NMA, p. 70)70    
• Skb 1785ν: [Sketch sheet] [Le nozze di Figaro] Cavatina of the Contessa = No. 11, course draft for one voice K. Zu 492/11 = Skb 1785ν. open score (NMA, p. 71)71    
• Skb 1785ξ: [Sketch sheet] K. Skb 1785xi. open score (NMA, p. 72)72    
Aria in D for soprano with orchestra Text unknown Cadenza by Wolfgang Amadeus Mozart.
open score (NMA, p. 72)72    
Skb 1785ξ (2): String quartet in A, two parts of a sketch for several voices for the development in the conclusion.
open score (NMA, p. 72)72    
• Skb 1786a: [Sketch sheet] K. Anh. 23a (417a Anh. a; 417B1; Skb 1786a). open score (NMA, p. 73)73    
Skb 1786a (1) = Sk 1786f: Fugue in a.
open score (NMA, p. 73)73    
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).
open score (NMA, p. 73)73    
Skb 1786a (3a) = Sk 1786g (1): Three-part cantus firmus editing
open score (NMA, p. 73)73    
Skb 1786a (3b) = Sk 1786g (1): Three-part cantus firmus editing
open score (NMA, p. 73)73    
Skb 1786a (3c) = Sk 1786g (1): Three-part cantus firmus editing
open score (NMA, p. 73)73    
Skb 1786a (4) = Sk 1786a: Theme of a fugue in C. <Fugenthema>
open score (NMA, p. 73)73    
<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).
open score (NMA, p. 73)73    
Skb 1786a (6) = Sk 1786h: Two-part complied canon.
open score (NMA, p. 73)73    
Skb 1786a (7) = Sk 1786l: Two-part canon in the upper third.
open score (NMA, p. 73)73    
Skb 1786a (8) = Sk 1786m: Two-part canon in the upper fourth.
open score (NMA, p. 73)73    
Skb 1786a (9) = Sk 1786n: Two-part canon in the upper fifth.
open score (NMA, p. 73)73    
Skb 1786a (10) = Sk 1786o: Two-part canon in the upper sixth.
open score (NMA, p. 73)73    
Skb 1786a (11) = Sk 1786p: Two-part canon in the upper seventh
open score (NMA, p. 73)73    
Skb 1786a (12) = Sk 1786q: Beginning of a two-part canon in the octave.
open score (NMA, p. 73)73    
Skb 1786a (13) = Sk 1786k: Two-part canon in the upper second.
open score (NMA, p. 73)73    
• Skb 1786b: [Sketch sheet] K. Skb 1786b. open score (NMA, p. 74)74    
Sketches for the clavier concerto in C. Original continuance after measure 95, crossed in the autograph.
open score (NMA, p. 74)74    
Sketches for the clavier concerto in C. Drafts of a sketch sheet.
open score (NMA, p. 74)74    
Clavier concerto in C, part of a sketch for the 1st movement.
open score (NMA, p. 74)74    
a) Line 1 and 2, measure 7-10.
open score (NMA, p. 74)74    
b) Line 7, two measures, and line 9, measures 1-4.
open score (NMA, p. 74)74    
c) Line 8 and 9, two measures, and line 10 and 11, measures 1-5.
open score (NMA, p. 74)74    
d) Line 10 and 11, measures 6-9.
open score (NMA, p. 74)74    
Sketches for the first movement of the symphony in D K. 504. 1. “Berlin sketch sheet” (facsimile and transcription)
open score (NMA, p. 74)74    
• Skb 1786c: [Sketch sheet] K. Skb 1786c. open score (NMA, p. 75)75    
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).
open score (NMA, p. 75)75    
Three-part canon (“Heiterkeit und leichtes Blut”, Härtel) {Mozart/Attwood} K. Anh. H 11/15 (Anh. H; 507; 1786c/02) <Heiterkeit und leichtes Blut>
open score (NMA, p. 75)75   Recordings
Skb 1786c (3) = Sk 1786r: Three-part contrapuntual study, phrygian K. Anh. H 7/27 (1786r; 1786c/03).
open score (NMA, p. 75)75    
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>
open score (NMA, p. 75)75   Recordings
6. K. deest [Sketch for a canon a3] K. Anh. H 11/17 (1786s; 1786c/05).
open score (NMA, p. 75)75    
5. K.6: 508A a-c) K. Anh. H 11/18 (Anh. H; 508A; 1786c/06a-e).
open score (NMA, p. 75)75   Recordings
• Skb 1786d: [Sketch sheet] K. Skb 1786d. open score (NMA, p. 76)76    
• Fourteen interval canons K. deest and K. 508a No. 3-8 K. Anh. H (508a). open score (NMA, p. 76)76    
For No. 25 K. 508a No. 1.
open score (NMA, p. 76)76    
<Canone a tre soprani>
open score (NMA, p. 76)76   Recordings
<Canoni in seconda di sotto> 4. {Mozart and Attwood}. <Canoni in seconda di sotto>
open score (NMA, p. 76)76   Recordings
<Canoni in terza di sotto> 6. {Mozart/Attwood}. <Canoni in terza di sotto>
open score (NMA, p. 76)76   Recordings
Canone a tre soprani
open score (NMA, p. 76)76   Recordings
Final draft of the last movement from K. 493 for violin, viola, violoncello and clavier (fragment). K.3 at 493.
open score (NMA, p. 76)76    
<Canoni in quarta di sotto> 8. {Mozart/Attwood}. <Canoni in quarta di sotto>
open score (NMA, p. 76)76   Recordings
<Canoni in quinta di sotto> 10. {Mozart/Attwood}. <Canoni in quinta di sotto>
open score (NMA, p. 76)76   Recordings
<Canoni in sesta di sotto> 12. {Mozart and Attwood}. <Canoni in sesta di sotto>
open score (NMA, p. 76)76   Recordings
<Canoni in settima di sotto> 14. {Mozart/Attwood}. <Canoni in settima di sotto>
open score (NMA, p. 76)76   Recordings
• Skb 1786e: [Sketch sheet] K. Skb 1786e. open score (NMA, p. 77)77    
Skb 1786e (1): Arietta of Madame Herz = No. 1, conclusion (mm. 39 f.) of a draft Da schlägt die Abschiedsstunde.
open score (NMA, p. 77)77    
Skb 1786e (2): Contredance “La Bataille”, course sketch for several voices.
open score (NMA, p. 77)77    
Skb 1786e (3) = Sk 1788e: Theme of a fugue in E flat. <Fugenthema>
open score (NMA, p. 77)77    
Skb 1786e (4) = Sk 1788f: Contredance in C. <Kontretanz>
open score (NMA, p. 77)77    
Skb 1786e (5) = Sk 1788g: Allegretto (Contredance?) in B flat K. 710 (1788g; 1786e/05). Allegretto
open score (NMA, p. 77)77    
• <Sketches for the first movement of the symphony in D K. 504> 2. “Salzburg sketch sheet” (facsimile and transcription) K. Zu 504/01 = Skb 1786γ. open score (NMA, p. 78)78    
• Skb 1787a: [Sketch sheet] K. Skb 1787a. open score (NMA, p. 79)79    
Skb 1787a (1) = Sk 1787h: Riddle canon “Misericordiam et iudicium cantabo tibi” by Padre Martini (Storia l, 25), theme Misericordiam et iudicium cantabo tibi.
open score (NMA, p. 79)79    
11. K. deest [sketches for a canon a4].
open score (NMA, p. 79)79    
For No. 7 K. 553 a-e)
open score (NMA, p. 79)79    
For No. 27 K. 228 (516b)
open score (NMA, p. 79)79    
9. K. deest [Sketch for a canon a4].
open score (NMA, p. 79)79    
Skb 1787a (5b) = Sk 1787k (2): Four-part canon in g.
open score (NMA, p. 79)79    
10. K. deest [Sketch for a canon a4].
open score (NMA, p. 79)79    
For No. 11 K. 553 a-c) Nascoso e il mio sol.
open score (NMA, p. 79)79    
• Skb 1787b: [Sketch sheet] K. Skb 1787b. open score (NMA, p. 80)80    
Fragment of a (first) movement of a Sonata in A K. 526a (Anh. 50; 526a; 1787o; 1787b/01)
open score (NMA, p. 80)80    
Skb 1787b (2) = Sk 1787a: Note of a melody in G.
open score (NMA, p. 80)80    
II. Sketch for the ball scene of the conclusion I (No. 13, Scena XX). (facsimile and transcription) Presto presto pria ch'ei venga.
open score (NMA, p. 80)80    
• Skb 1787c: [Sketch sheet] K. Skb 1787c. open score (NMA, p. 81)81    
<Appendix III> Sketches Sketch for a slow movement of the clavier concerto in D. Romance
open score (NMA, p. 81)81    
Skb 1787c (2) = Sk 1787b: Theme in A flat with figured bass.
open score (NMA, p. 81)81    
Skb 1787c (3) = Sk 1787c: Melody sketch in g.
open score (NMA, p. 81)81    
<For the quintet in g K. 516> 3. Sketch of an alleged original version of the 4th movement.
open score (NMA, p. 81)81    
Skb 1787c (5) = Sk 1787d: part of a sketch for two voices in E flat.
open score (NMA, p. 81)81    
Skb 1787c (6) = Sk 1787e: part of a sketch for two voices in D with figured bass.
open score (NMA, p. 81)81    
Skb 1787c (7) = Sk 1787f: Idees pour L’Opera serieuse, two parts of a sketch in d and a
open score (NMA, p. 81)81    
Andante Rondo in E flat of a quintet for clarinet, two violins, viola and bass (fragment) K. 516d (516d; 1787l; 1787c/08). Rondo. Andante
open score (NMA, p. 81)81    
Skb 1787c (9) = Sk 1787g: Note of a dorian cantus firmus.
open score (NMA, p. 81)81    
• Skb 1787α: [Sketch sheet] K. Skb 1787alpha. open score (NMA, p. 82)82    
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
open score (NMA, p. 82)82    
Drafts for the notturnos K. 438 and 436. 2. Autographic draft f K. 436 (Voice) Ecco quel fiero istante.
open score (NMA, p. 82)82    
• Skb 1787β: [Sketch sheet] K. Skb 1787beta. open score (NMA, p. 83)83    
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]
open score (NMA, p. 83)83    
Autographic sketch for the trio of No. 9 from K. 568.
open score (NMA, p. 83)83    
First half of the trio of a minuet mentioned at K. 532. <Menuetto / Trio>
open score (NMA, p. 83)83    
• Skb 1787γ: [Sketch sheet] K. Skb 1787gamma. open score (NMA, p. 84)84    
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.
open score (NMA, p. 84)84    
Skb 1787γ (2) = Sk 1787l: Contrapuntual note in C.
open score (NMA, p. 84)84    
• Skb 1787δ: [Sketch sheet] K. Skb 1787delta. open score (NMA, p. 85)85    
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
open score (NMA, p. 85)85    
8. Canonical study K.6: 626b/31 KV2: Bei Anh. 108 (KV6: 626b/31a-b) = Skb 1787δ/02-03.
open score (NMA, p. 85)85    
• Skb 1788a: [Sketch sheet] K. Skb 1788a. open score (NMA, p. 86)86    
Skb 1788a (1) = Sk 1788a: Exercise for a four-part, contrapuntual texture in B flat.
open score (NMA, p. 86)86    
Skb 1788a (2) = Sk 1788b: Exercise for a four-part, contrapuntual texture in F.
open score (NMA, p. 86)86    
Skb 1788a (3) = Sk 1788c: Exercise for a four-part, contrapuntual texture in G.
open score (NMA, p. 86)86    
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.
open score (NMA, p. 86)86    
For No. 12 K. 558 a-c) Gehn wir im Prater.
open score (NMA, p. 86)86    
• For No. 15 K. 561 K. Zu 561 (Skb 1788b/03) Bona nox! open score (NMA, p. 87)87    
• Skb 1788b: [Sketch sheet] K. Anh. 109g/02 (626b/02; Skb 1788b). open score (NMA, p. 87)87    
Skb 1788b (1) = Sketches and varia: Beginning of the clean copy of two horn parts of a not identified overture in B flat.
open score (NMA, p. 87)87    
Skb 1788b (2) = Sk 1788d: Exposition of a four-part fugue in C.
open score (NMA, p. 87)87    
For No. 13 K. 559 Difficile lectu mihi Mars“
open score (NMA, p. 87)87    
• Skb 1789α: [Sketch sheet] Rondo for soprano “Al desio di chi t'adora”, course sketch for one to three voices K. Zu 577 = Skb 1789α Al desio di chi t'adora. Rondo. Allegro open score (NMA, p. 88)88    
• Skb 1789β: [Sketch sheet] K. Skb 1789beta. open score (NMA, p. 89)89    
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)
open score (NMA, p. 89)89    
Sketches for No. 31 1. For mm. 173-204 (facsimile and transcription) a-d) p. 634-635. E nel tuo, nel mio bicchiero.
open score (NMA, p. 89)89    
• Skb 1789γ: [Sketch sheet] K. Skb 1789gamma. open score (NMA, p. 90)90    
Fantasy in f (fragment) K. Anh. 32 (383C). Adagio
open score (NMA, p. 90)90    
Sketches for No. 31 2. for mm. 545-574 (facsimile and transcription) p. 636-637 Idol mio, se questo e vero.
open score (NMA, p. 90)90    
• Skb 1789ζ: [Sketch sheet] K. Skb 1789zeta. open score (NMA, p. 91)91    
Skb 1789ζ (1): Quartet for strings in F (“Third prussian quartet”), minuet, course sketch for several voices.
open score (NMA, p. 91)91    
Skb 1789ζ (2) = Sketches and varia: Notes by an unknown hand.
open score (NMA, p. 91)91    
• Skb 1791a: [Sketch sheet] K. Skb 1791a. open score (NMA, p. 92)92    
b) Sketch (facsimile and transcription)
open score (NMA, p. 92)92    
Skb 1791a (2) = Sk 1791a: Part of a sketch for several voices of a composition in F.
open score (NMA, p. 92)92    
Sketch of an "Amen" fugue (= probably the conclusion movement of the Sequence) Amen
open score (NMA, p. 92)92    
Sketch of the “Rex tremendae” measure 7ff. Rex tremendae majestatis
open score (NMA, p. 92)92    
Overture (?) in E flat for orchestra [fragment, mm. 19-26] Andante
open score (NMA, p. 92)92    
• Skb 1791b4: [Sketch sheet] K. Skb 1791b4. open score (NMA, p. 93)93    
Cantata "Die ihr des unermeßlichen Weltalls Schöpfer ehrt". deleted (mm. 128A-134A) respectively sketched (mm. 135ff.) passage. Die ihr des unermeßlichen Weltalls Schöpfer ehrt.
open score (NMA, p. 93)93    
Skb 1791b4 (2): Quintetto <con coro> quintet = No. 12, part of a sketch for one to two voices Deh conservate, oh Dei.
open score (NMA, p. 93)93    
• Skb 1791b7+8: [Sketch sheet] K. Skb 1791b7+8. open score (NMA, p. 94)94-95    
<For No. 21 (conclusion II)> c) Fragment of a draft for the measures 736-738 Pa-Pa-Pa-Papageno.
open score (NMA, p. 94)94    
For No. 1. b) Sketch for mm. 46-74 Come ti piace imponi.
open score (NMA, p. 94)94    
<For No. 21 (conclusion II)> d) Draft of mm. 744-758 Nur stille! stille! stille!
open score (NMA, p. 94)94    
For No. 10. a) Sketch for mm. 1-9. b) Sketch for mm. 33-44. Vengo ... aspettate...
open score (NMA, p. 95)95    
For No. 15. Sketch for mm. 28-34 Ah grazie si rendano.
open score (NMA, p. 95)95    
• Skb 1791b9: [Sketch sheet] K. Skb 1791b9. open score (NMA, p. 96)96    
Skb 1791b9 (1): Andante for a small organ (fragment) K. 615a (615a; 1791e; 1791b9/01). Andante
open score (NMA, p. 96)96    
For No. 8 (conclusion I). a) Sketch for mm. 9-38 and b) Sketch for mm. 39-85 Die Weisheitslehre dieser Knaben. Adagio
open score (NMA, p. 96)96    
For No. 11: Sketch for mm. 18-21 Bewahret euch vor Weibertücken.
open score (NMA, p. 96)96    
<For No. 21 (conclusion II). a) For the heavy infantry scene> a1) Different sketch for a cantus firmus Bald prangt, den Morgen zu verkünden.
open score (NMA, p. 96)96    
<For the heavy infantry scene> a2) Sketch for a cantus firmus Bald prangt, den Morgen zu verkünde.
open score (NMA, p. 96)96    
Skb 1791b9 (5): The magic flute, conclusion II = No. 21 = 28. appearance (march), part of a sketch for one voice. Marsch
open score (NMA, p. 96)96    
• c) Sketch for mm. 518-577 K. Skb 1791alpha (Zu 620/08) Wenn Tugend und Gerechtigkeit. Presto open score (NMA, p. 97)97    
• For No. 14. a) Sketch for mm. 36ff. and b) Sketch for mm. 88ff. (facsimile and transcription) c) Sketch for mm. 88 ff. K. Zu 621/14 = Skb 1791γ Se al volto mai ti senti. open score (NMA, p. 98)98