Table of Contents: NMA X/31/4: Supplement: Individual Works, Sketches, Varia

• KV deest.

• 7. Fugue in C BWV 870 Johann Sebastian Bach with an Andantino in C (author unknown) KV³: 404a/[07]. [Präludium und Fuge]

• Orchestral movement in G (?) K. Fr 178X/g.

• Gloria in D sketch K. Sk 178X/c = Skb 178Xa/02.

• Die Entführung aus dem Serail ("The abduction from the seraglio") Piano reduction of the overture K. Zu KV 384

• K. 477a (Anh. 11a) Quell’agneletto candido. Andante

• „Exsultate, jubilate“. Motette für Sopran, Orchester und Orgel K. 165 (158a) Exsultate, jubilate.

• KV deest No caro fà corraggio-- [Quanto e grave il mio tormente].

• K. Zu 577

• Seven fugues Johann Sebastian and Wilhelm Friedemann Bach Editing for string trio K. Anh. C 21.02 (404a).

• Four-part vocal compsition (in G?) Fragment (dubious) K. deest Nissen-Sowinski K. Anh. C 3.56.

• Concerto in A for clarinet and orchestra. I. Reconstructed version for basset clarinet K. 622

• Rondo in A for clavier and orchestra draft for the score, mm. 101 ff. K. Zu 386 =Fr 1782u.

• Fugato in G for three voices Fragment completed by Maximilian Stadler K. Anh. H 12/10 (Anh. 67; 443; 385l; 404b; 1782m).

• Allegro molto in C for clavier KV deest. Allegro molto

• Kyrie (?) in d sketch K. Sk 178X/b = Skb 178Xa/01 Kyrie.

• Generalbaß in C
Aussetzung von Leopold Mozart
LMV deest K. Skb 1779b/02.

• Sketch sheet 1779b K. Skb 1779b.

• Theme in e KV deest = Sk 1787X/a.

• Basso continuo in C Fragment K. deest KV deest.

• Cantus firmus Johann Joseph Fux transcription by Wolfgang Amadeus Mozart K. Bei 410 (KV³: Bei 440d/ KV⁶: Bei 484d) = Skb 1782η/02= Sk 1782l, 2.

• Contrapuntual studys Johann Joseph Fux Elaboration by Wolfgang Amdeus Mozart KV deest.

• 2. Exercise in C K. 393/04, 2. Teil (385b/04, 2. Teil).

• “Venerabilis barba capucinorum” Terzett for 3 voices Editing by Wolfgang Amadeus Mozart KV⁶: Zu Anh. C 9.07 Venerabilis barba cappucinorum.

• KV deest.

• Clavier piece in C K. Anh. 109b/02 (Zu 15)

• No.

• K. 706

• K. 707

• K. 714

• No.

• KV deest.

No.

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

No.

Skb 1779β (1a): [Sketch sheet].

Instrumental composition in C sketch.

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

• KV deest.

• Fr 178X/d, Fragments without date: Movement of a string trio in C K. deest or movement of a trio in C for violin, viola and violoncello Fragment K. 697 (178X/d)

• Aria in D for soprano and orchestra KV deest.

• 8 Exercises for one voice (solo) K. Anh. H 20/04–11 (385b/04 und 385b, I-VI; 385b/04 und 385b, a-f).

3. Exercise in C.

4. Exercise in C.

5. Exercise in C.

6. Exercise in C.

7. Exercise in C.

8. Exercise in C.

• Concerto in C for oboe and orchestra Part of a sketch for the 1st movement, mm. 42--44 K. Zu 314/01 (Zu 285d/01; Zu 271k/01).

• Zaide (The seraglio) 3 parts of a sketch K. Zu 344 (336b).

1. sketch for the chorus No. 1: “Brüder lasst uns lustig sein” [Brüder lasst und lustig sein].

2. sketch for the Melologo No. 2: “Unerforschliche Fügung!” [Unerforschliche Fügung!].

3. sketch for the Aria No. 4: “Rase Schicksal” Rase Schicksal!

• Sketch sheet Skb 1787d K. Skb 1787d.

• “Lieber Freistädtler, lieber Gaulimauli” Four-part canon in G sketch K. Zu 232 (Zu 509a) = Skb 1787d/01 [Lieber Freistädtler, lieber Gaulimauli].

• “Gehn wir im Prater, gehn wir in d'Hetz”. Canon for four voices K. 558 (558) Gehn wir im Prater, gehn wir in d'Hetz. Allegro

• “Adam hat sieben Söhn’” Four-part canon Johann Michael Haydn MH 699 K. Anh. H 9/02 (Anh. H; 562b; MH 699) [Adam hat sieben Söhn].

• Movement of a quartet in C (?) K. Fr 178X/f.

• Concerto movement in G for basset horn and orchestra. Facsimile reproduction of the autographic draft K. 584b (621b) = Fr 1787v.

• Minuet in A for orchestra K. 61g/01 (61g I). <Menuetto>

• [Canon studys] KV²: Anh. 109d (KV⁶: 73x).

[Canon for twelve voices, three choruses, each SATB] Kyrie eleison.

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

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].

Four-part double canon “Regna terrae” (Title “Canon decrescit eando”) [Storia I, 75] Regna terrae cantate. Canon decrescit eundo

[Crab canon “Jovi patri canendo” [Storia II, 7] [Jovi patri].

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

Canon for sixteen voices, four choruses, each SATB. Title: “Canon ad Unissonum” [ Storia I, 41] [Iste est David]. Canon ad Unissonum

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

Four-part canon “Introite portas eius” (Title: “Canon. ad subdiateßeron, sub-diapason, et sub-diapason-dateßeron) [Storia I, 54] [introite portas ejus in confessione].

[Crab canon for two sopranos. Title: “Canon. Justitia et Pax [se] osculatae sunt.” Storia II, 7] [Justitia et pax [se] osculatae sunt].

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

Nine-part canon for tenors “A Musis Heliconiadibus” [Storia II, 1] [A musis Helicon iadibus].

Eight-part double canon in G.

Three-part canon for sopranos “Incipe Menalios” [Storia II, 1] [Incipe Menalios].

Four-part canon “Cantate Domino, psalmum dicite” [Storia I, 53] Cantate Domino, psalmum dicite. Canon ad unisonum et bis ad diapente. Crescit eundo

Three-part canon “Lauda Jerusalem Dominum” [Storia I, 60] Lauda Jerusalem Dominum.

Two-part canon with third part ad libitum: “Confitebor tibi Domine” (Storia I, 67) [Confitebor tibi Domine]. Canon ad Duodeciman: clama ne cesses. Tertia pars si placet

Four-part canon “Cano Peana magnum Deum Apollinem” [Storia II, 30] Cano Peana magnum Deum Apollinem. Canon ad diapente, diapason et Diapason diapente

Six-part double canon “Tebana bella cantus” [Storia II, 41)] Tebana bella cantus.

Sketch for the score of the three-part canon “Repleator os meum laude” [Storia I, 1] [Repleator os meum laude].

Four-part canon (double canon) in D.

Note of a theme in G.

• <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].

• Missa brevis in F 2 clarini parts Fragment K. Anh. 109g/20 (626b/20).

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

• K. Anh. 109 IIa, b (Anh. A 33) [Cantemus Domino].

• Symphonic version of the overture of "Lucio Silla" K. Zu 135/00.

• “Lustig sein die Schwobemedle” sketch K. Skb 1779b/01= Sk 1779b Lustig sein die Schwobemaidle.

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

• “Die neugeborne Ros’ entzückt” Aria for soprano and orchestra for the play “Die zwei schlaflosen Nächte” (by Carlo Gozzi) K. Anh. 11a (365a) Wie grausam ist, o Liebe – Die neugeborne Ros entzückt.

• Fr *1782k: Fugue in A [for four voices?] K.6 385n or fugue in A for two voices Fragment K. Anh. H 12/29 (385n; 1782k). [Fuge]

• <Appendix I> Rondo in A for clavier and orchestra (Draft) [Arrangement by Cipriani Potter] K. 386 <Rondo>. Allegretto

• 4 Solfeggios for a voice (and bass) K. Anh. H 20/01-03,12 (393; 385b, No. 1-3, 5).

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

2. Solfeggio in F K. 393 (K.3 385b), No. 2 Adagio

3. Solfeggio in C K. 393 (K.3 385b), No. 3 Allegro

1. Exercise in C.

4. Solfeggio in B flat (fragment) Andante

• “Ja! Grüß dich Gott mein liebes Schatzerl” K. 441a = Skb 1787d/02 Ja! grüß dich Gott mei liebes Schatzerl.

• Musical game of dice, in C K. Anh. H 24/11 (Anh. 294d; 516f).

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

• “Venerabilis barba capucinorum” Terzet for 3 voices Editing by Wolfgang Amadeus Mozart K. Anh. A 67 (bei Anh. 236; Anh. C 9.07) Venerabilis barba cappucinorum.

• Sketch sheet 1785β K. Skb 1782beta.

• Contrapuntual studys Johann Joseph Fux Elaboration by Wolfgang Amdeus Mozart K. Anh. H 7/16–17 (1782l; 1782eta).

• Theme in C.

• Instrumental composition in G sketch K. Sk 1784b (Skb 1784b).

• Sketch sheet 1785ι K. Skb 1785iota.

Roslin Castle Song for one voice Editing (without text) by Wolfgang Amadeus Mozart Sk 1785a/1 Roslin Castle.

Aria scosesa, No. 2 Queen Mary’s Lamentation “I sigh and lament me in vain” Song for one voice transcription by Wolfgang Amadeus Mozart [I sigh and lament me in vain].

• “Oragna figata fa marina gamina fa” melody K. 637 Oragna figata fa marina gamina fa.

• Allegro in C for clavier KV deest. Allegro

• KV deest.

• Mass in d/D sketches K. Skb 178Xa.

• 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.

• Instrumental movement in C Fragment K. 632 (1765b).

• Andantino in B flat for clavier and violoncello K. Anh. 46 (374g) = Fr 1782a. Andantino

• Movement of a chamber work in D for clavier, 2 violins, 2 horns and bass K. Anh. 55 (387c; 452b)= Fr 1784e.

• “Ich nenne dich, ohn' es zu wissen” Duet for 2 sopranos and clavier Text by Christian Felix Weiße K. 699 (Anh. 24; 626b/26; 1785m) Ich nenne dich, ohn' es zu wissen.

• Fr 1786h: Orchestral movement (Symphony) in G K. Appendix 105 (504a) K. Anh. 105 (504a)

• For No. 15 K. 561 K. Zu 561 (Skb 1788b/03) Bona nox!

• KV deest. <Menuet>

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