Your list of Mozart's compositions is a fantastic start, but it can be overwhelming due to its length. Here is a more organized and accessible version that arranges his works by genre and chronologically within each category. This structure highlights his development as a composer and makes the information easier to digest.
Wolfgang Amadeus Mozart (1756–1791) was a musical prodigy and one of the most influential composers of the Classical period. In his short life of just 35 years, he composed over 600 works across every major genre, from grand operas to simple dances. While his best-known works are his operas, symphonies, and concertos, his genius shone through in all of his compositions.
Mozart's 27 piano concertos are considered among the greatest in the repertoire, defining the genre for generations.
Early Works (1767–1771): The first four concertos (K. 37, 39, 40, 41) and the three unnumbered concertos (K. 107) are actually clever arrangements of sonatas by other composers like J.C. Bach. This was a common practice for composers of the time to learn their craft.
The Early Original Concertos (1773–1779): Mozart began writing his own original concertos during his early adult years.
Piano Concerto No. 5 in D major, K. 175 (1773): Mozart's first truly original piano concerto.
Piano Concerto No. 9 in E♭ major, "Jenamy," K. 271 (1777): Often considered his first mature masterpiece in the genre.
The Golden Age of Vienna (1782–1786): This period saw a flurry of creativity, as Mozart composed an astounding fifteen concertos for his own subscription concerts in Vienna.
Piano Concerto No. 20 in D minor, K. 466 (1785): A dramatic and turbulent work, it's famous for its stormy mood, a rare example of Mozart's shift to the minor key in this genre.
Piano Concerto No. 21 in C major, K. 467 (1785): Known for its serene and beautiful slow movement, often called the "Elvira Madigan" concerto due to its use in the 1967 film.
Piano Concerto No. 26 in D major, "Coronation", K. 537 (1788): Named for its performance at the coronation of Emperor Leopold II.
Final Masterpiece:
Piano Concerto No. 27 in B♭ major, K. 595 (1791): His final piano concerto, completed the year of his death.
Mozart wrote an extensive number of works for instrumental ensembles, from celebratory serenades to intimate divertimenti.
Serenade No. 7 in D major, "Haffner", K. 250 (1776): A grand and celebratory serenade with eight movements, originally composed for the wedding of Elisabeth Haffner. It's famous for its brilliant violin solos.
Serenade No. 10 for winds in B♭ major, "Gran Partita", K. 361 (1781): A true masterpiece for a wind ensemble, celebrated for its rich harmonies and beautiful melodies.
Serenade No. 13 in G major, "Eine kleine Nachtmusik" (A Little Night Music), K. 525 (1787): Arguably his most famous composition. This serenade for strings is a perfect example of his ability to create pure, memorable joy.
Mozart's chamber music is a pinnacle of the genre, showcasing his skill in creating intimate and intricate conversations between instruments.
String Quartets: Mozart's string quartets are a testament to his friendship and influence from Joseph Haydn, who is considered the "Father of the String Quartet."
Milanese Quartets, K. 155–160 (1772–1773): His early works in the form, written during his travels in Italy.
Haydn Quartets, K. 387–465 (1782–1785): Six revolutionary quartets that Mozart dedicated to his friend Haydn. These are considered some of the finest works in the entire chamber music repertoire. The famous "Dissonance" Quartet (No. 19, K. 465) is a stunning example of his harmonic daring.
String Quintets: Widely regarded by musicologists as Mozart's greatest achievement in chamber music, the string quintets add a second viola, which adds a beautiful depth and richness to the sound.
String Quintet No. 3 in C major, K. 515 (1787): An expansive and powerful work.
String Quintet No. 4 in G minor, K. 516 (1787): A darker, more emotional work that stands out for its profound and somber character.
Marches & Dances: Mozart wrote hundreds of minuets, contradances, and German dances for public balls and social events in Vienna. These were often a source of income and were beloved by the public.
Chamber Works for Winds: He also wrote for unique combinations of instruments, such as the Horn Quintet in E♭ major (K. 407), the Oboe Quartet in F major (K. 370), and the Clarinet Quintet in A major (K. 581), which are all considered masterpieces of their kind.
now make a list chronological order
Your list is an impressive collection of Mozart's works. To make it more useful and easier to follow, here is a reorganized, chronological list.
It shows his development by placing his earliest pieces first and grouping his creative bursts by year.
1760s: The Prodigy Years
1767:
Piano Concertos Nos. 1–4, K. 37, 39, 40, 41: These early concertos are not original compositions but are arrangements of keyboard sonatas by other contemporary composers. This was how young Mozart learned to master the form.
1769:
Serenade No. 1 in D major (Cassation), K. 100: A piece written for entertainment in Salzburg, it shows his early mastery of orchestral writing.
March in D major, K. 62: This march was written as an introduction to the K. 100 Serenade.
7 Menuets, K. 61b/65a: A set of dances.
1770:
String Quartet No. 1 in G major, "Lodi", K. 80: This was Mozart's first string quartet, written at the age of 14.
20 Menuets, K. 103: A large collection of minuets.
Contredanse in B♭ major, K. 123: An example of Mozart’s early dance music.
1771 (or 1765):
Three Piano Concertos, K. 107: Like his first four, these are arrangements of piano sonatas by J. C. Bach.
1772:
6 Menuets, K. 164: Another set of popular dances.
String Quartets Nos. 2–7 (Milanese Quartets), K. 155–160: Written in Milan, this three-movement cycle shows a stylistic step forward from his first quartet.
March in D major, K. 290: For use with Divertimento No. 7.
1773:
Piano Concerto No. 5 in D major, K. 175: His first original piano concerto.
Serenade No. 3 in D major, "Antretter", K. 185: A celebratory serenade.
String Quartets Nos. 8–13 (Viennese Quartets), K. 168–173: These six quartets are much more stylistically developed, influenced by Joseph Haydn's Op. 17 and Op. 20 quartets.
String Quintet No. 1 in B♭ major, K. 174: His first string quintet.
March in D major, K. 189: Likely an opening or closing march for the K. 185 Serenade.
16 Menuets, K. 176: A large set of minuets.
1774:
Serenade No. 4 in D major, "Colloredo", K. 203: Written for a specific patron.
March in D major, K. 237: An associated march for the K. 203 Serenade.
1775:
Sonata for Bassoon and Violoncello in B♭ major, K. 292: A delightful and unusual chamber piece.
Serenade No. 5 in D major, K. 204:
March in D major, K. 215: Associated with the K. 204 Serenade.
March in C major, K. 214: Associated with the opera Il re pastore.
1776:
Piano Concerto No. 6 in B♭ major, K. 238:
Piano Concerto No. 7 in F major for Three Pianos, "Lodron", K. 242: A unique concerto for three soloists.
Piano Concerto No. 8 in C major, "Lützow", K. 246:
Serenade No. 6 in D major, "Serenata Notturna", K. 239: A lighter, more intimate serenade.
Serenade No. 7 in D major, "Haffner", K. 250: A grand, multi-movement work commissioned for a wedding.
March in F major, K. 248: For use with Divertimento No. 10.
March in D major, K. 249: An opening or closing march for the "Haffner" Serenade.
4 Contredanses, K. 101/250a: Also titled Serenade No. 2.
Divertimento No. 11 in D major, K. 251, sixth movement:
1777:
Piano Concerto No. 9 in E♭ major, "Jenamy", K. 271: A masterwork of the concerto form, demonstrating a huge leap in Mozart's compositional maturity.
Notturno for Four Orchestras, K. 286: This fascinating piece features four separate ensembles playing in dialogue, creating an early surround-sound effect.
Trio for 2 Violins and Cello in B♭ major, K. 266:
4 Contredanses, K. 267:
2 or 4 Contredanses, K. 269b:
Flute Quartet No. 1, K. 285:
Flute Quartet No. 2, K. 285a:
1778:
Flute Quartet No. 3, K. Anh. 171/285b:
1779:
Piano Concerto No. 10 in E♭ major for Two Pianos, K. 365: A fantastic duo concerto.
Serenade No. 9 in D major, "Posthorn", K. 320:
March in D major, K. 335, No. 1 and No. 2: Opening and closing marches for the "Posthorn" Serenade.
1780s: The Vienna Years
1780:
March in D major, K. 445: For use with Divertimento No. 17.
1781:
Oboe Quartet in F major, K. 370: A work that beautifully showcases the solo oboe.
Serenade No. 10 for twelve winds and double bass in B♭ major, "Gran Partita", K. 361: A sublime wind serenade, famous for its intricate harmonies and textures.
Serenade No. 11 for winds in E♭ major, K. 375:
1782:
Piano Concertos Nos. 11-13, K. 413, 414, 415: These three concertos mark the beginning of his prolific Vienna period.
Serenade No. 12 for winds in C minor, K. 388: A dark and dramatic work, unlike his other light-hearted serenades.
Rondo for piano and orchestra in D major, K. 382:
Rondo for piano and orchestra in A major, K. 386:
Fugues for 2 Violins, Viola and Cello, K. 405:
Preludes and Fugues for Violin, Viola and Cello, K. 404a:
Horn Quintet in E♭ major, K. 407: A rare piece for a unique ensemble.
String Quartet No. 14 in G major, "Spring", K. 387: The first of the six quartets he dedicated to Haydn.
3 Marches, K. 408:
1783:
String Quartet No. 15 in D minor, K. 421: A powerful quartet and the only one of the "Haydn Quartets" in a minor key.
String Quartet No. 16 in E♭ major, K. 428:
Duo for Violin and Viola No. 1, K. 423:
Duo for Violin and Viola No. 2, K. 424:
3 Menuets, K. 363:
1784:
Piano Concertos Nos. 14-19, K. 449, 450, 451, 453, 456, 459: An incredibly productive year, with six major concertos composed.
5 Menuets, K. 461:
2 Minuets with Contredanses, K. 463:
6 Contredanses, K. 462:
String Quartet No. 17 in B♭ major, "The Hunt", K. 458: Famous for the joyful, hunting-horn theme in its opening.
1785:
Piano Concertos Nos. 20–22, K. 466, 467, 482: Three of his most celebrated and mature concertos.
String Quartet No. 18 in A major, K. 464:
String Quartet No. 19 in C major, "Dissonance", K. 465: Famous for its dissonant, chromatic introduction.
Adagio in F major for two basset horns and bassoon, K. 410:
Adagio in B♭ major for two clarinets and three basset horns, K. 411:
1786:
Piano Concertos Nos. 23-25, K. 488, 491, 503: Three more magnificent concertos, including the dark and dramatic K. 491.
String Quartet No. 20 in D major, "Hoffmeister", K. 499:
12 Duets for two horns, K. 487:
Flute Quartet No. 4 in A major, K. 298:
1787:
Serenade No. 13 for string quartet and double bass, "Eine kleine Nachtmusik", K. 525: His most famous work.
String Quintet No. 2 in C minor, K. 406: A transcription of an earlier wind serenade.
String Quintet No. 3 in C major, K. 515:
String Quintet No. 4 in G minor, K. 516: A deeply expressive and emotional work.
9 Contredanses, K. 510:
1788:
Piano Concerto No. 26 in D major, "Coronation", K. 537:
Divertimento for String Trio in E♭ major, K. 563: Considered one of the greatest works in the string trio repertoire.
Adagio and Fugue in C minor for strings, K. 546: A transcription of an earlier fugue for two keyboards.
12 Menuets, K. 568:
Contredanse in D major, "Das Donnerwetter", K. 534:
Contredanse in C major, "La Bataille", K. 535:
1789:
Clarinet Quintet in A major, K. 581: A cornerstone of the clarinet repertoire, written for his friend and virtuoso Anton Stadler.
12 Menuets, K. 585:
3 String Quartets (Prussian Quartets), K. 575, 589, 590: His last three quartets, dedicated to the King of Prussia.
Contredanse in C major, "Der Sieg vom Helden Koburg", K. 587:
1790s: Final Years
1790:
String Quintet No. 5 in D major, K. 593:
1791:
Piano Concerto No. 27 in B♭ major, K. 595: Mozart's final piano concerto, completed the year of his death.
String Quintet No. 6 in E♭ major, K. 614: His final string quintet.
Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K. 617: Written for the unusual glass harmonica.
6 Menuets, K. 599:
4 Menuets, K. 601:
2 Menuets, K. 604:
2 Contredanses, K. 603:
5 Contredanses, K. 609:
Contredanse in G major, "Les filles malicieuses", K. 610:
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Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period who wrote in many genres.
Perhaps his best-admired works can be found within the categories of operas, piano concertos, piano sonatas, symphonies, string quartets, and string quintets.
Mozart also wrote many violin sonatas; other forms of chamber music; violin concertos, and other concertos for one or more solo instruments; masses, and other religious music; organ music; masonic music; and numerous dances, marches, divertimenti, serenades, and other forms of light entertainment.
Piano concertos
Main article: Mozart piano concertos
Mozart's concertos for piano and orchestra are numbered from 1 to 27. The first four numbered concertos are early works.
The movements of these concertos are arrangements of keyboard sonatas by various contemporary composers (Raupach, Honauer, Schobert, Eckart, C. P. E. Bach).
There are also three unnumbered concertos, K. 107, which are adapted from piano sonatas by J. C. Bach.
Concertos 7 and 10 are compositions for three and two pianos respectively.
The remaining twenty-one, listed below, are original compositions for solo piano and orchestra.
Among them, fifteen were written in the years from 1782 to 1786, while in the last five years Mozart wrote just two more piano concertos.
Piano Concerto No. 5 in D major, K. 175 (1773)
Piano Concerto No. 6 in B♭ major, K. 238 (1776)
Piano Concerto No. 7 in F major for Three Pianos, "Lodron", K. 242 (1776)
Piano Concerto No. 8 in C major, "Lützow", K. 246 (1776)
Piano Concerto No. 9 in E♭ major, "Jenamy", K. 271 (1777)
Piano Concerto No. 10 in E♭ major for Two Pianos, K. 365/316a (1779)
Piano Concerto No. 11 in F major, K. 413/387a (1782-83)
Piano Concerto No. 12 in A major, K. 414/385p (1782)
Piano Concerto No. 13 in C major, K. 415/387b (1782-83)
Piano Concerto No. 14 in E♭ major, K. 449 (1784)
Piano Concerto No. 15 in B♭ major, K. 450 (1784)
Piano Concerto No. 16 in D major, K. 451 (1784)
Piano Concerto No. 17 in G major, K. 453 (1784)
Piano Concerto No. 18 in B♭ major, K. 456 (1784)
Piano Concerto No. 19 in F major, K. 459 (1784)
Piano Concerto No. 20 in D minor, K. 466 (1785)
Piano Concerto No. 21 in C major, K. 467 (1785)
Piano Concerto No. 22 in E♭ major, K. 482 (1785)
Piano Concerto No. 23 in A major, K. 488 (1786)
Piano Concerto No. 24 in C minor, K. 491 (1786)
Piano Concerto No. 25 in C major, K. 503 (1786)
Piano Concerto No. 26 in D major, "Coronation", K. 537 (1788)
Piano Concerto No. 27 in B♭ major, K. 595 (1791)
There are also two isolated rondos for piano and orchestra:
Rondo for piano and orchestra in D major, K. 382 (1782)
Rondo for piano and orchestra in A major, K. 386 (1782)
The early arrangements are as follows:
Piano Concerto No. 1 in F major, K. 37 (1767)
Piano Concerto No. 2 in B♭ major, K. 39 (1767)
Piano Concerto No. 3 in D major, K. 40 (1767)
Piano Concerto No. 4 in G major, K. 41 (1767)
Three Piano Concertos in D major, G major and E♭ major, K. 107 (1771 or 1765)
Serenades, divertimenti, and other instrumental works
The production for instrumental ensembles includes several divertimenti, cassations, notturni, serenades, marches, dances, and a quodlibet, besides, of course, his symphonies.
Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K. 136–138), as well as for wind ensembles and the varied combinations of strings and winds.
Cassation in D major (Serenade No. 1), K. 100/62a (1769)
4 Contredanses in F major (Serenade No. 2), K. 101/250a (1776)
Serenade No. 3 in D major, "Antretter", K. 185/167a (1773)
Serenade No. 4 in D major, "Colloredo", K. 203/189b (1774)
Serenade No. 5 in D major, K. 204/213a (1775)
Serenade No. 6 in D major, "Serenata Notturna", K. 239 (1776)
Serenade No. 7 in D major, "Haffner", K. 250/248b (1776)
Notturno in D for Four Orchestras (Serenade No. 8), K. 286/269a (December 1776 or January 1777) (each of the four "orchestras" consists of 2 horns in D, violins I and II, viola and cello)[3]
Serenade No. 9 in D major, "Posthorn", K. 320 (1779)
Serenade No. 10 for twelve winds and double bass in B♭ major, "Gran Partita", K. 361/370a (1781)
Serenade No. 11 for winds in E♭ major, K. 375 (1781–82)
Serenade No. 12 for winds in C minor, K. 388/384a (1782)
Serenade No. 13 for string quartet and double bass in G major, "Eine kleine Nachtmusik", K. 525 (1787)
Serenade in C or Ganz kleine Nachtmusik for 2 violins and cello, K. 648 (mid to late 1760s)
Chamber music without piano
String duos
Duo for Violin and Viola No. 1 in G major, K. 423 (1783)
Duo for Violin and Viola No. 2 in B♭ major, K. 424 (1783)
String trios
Trio for 2 Violins and Cello in B♭ major, K. 266/271f (1777)
Divertimento for String Trio (violin, viola, and cello) in E♭ major, K. 563 (1788)
Ganz kleine Nachtmusik for 2 violins and cello, K. 648 (mid to late 1760s)
Others
Preludes and Fugues for Violin, Viola and Cello, K. 404a (1782)
Trio for Violin, Viola and Cello in G major, K. Anh. 66/562e (1788, fragment)
String quartets
String Quartet No. 1 in G major, "Lodi", K. 80/73f (1770)
Milanese Quartets, K. 155–160 (1772–1773)
This cycle, in three movements, is interesting as far as these works can be considered precursors of the later—more complete—string quartets.
String Quartet No. 2 in D major, K. 155/134a (1772)
String Quartet No. 3 in G major, K. 156/134b (1772)
String Quartet No. 4 in C major, K. 157 (1772–73)
String Quartet No. 5 in F major, K. 158 (1772–73)
String Quartet No. 6 in B♭ major, K. 159 (1773)
String Quartet No. 7 in E♭ major, K. 160/159a (1773)
Viennese Quartets, K. 168–173 (1773)
Much more stylistically developed. In Vienna Mozart is believed to have heard the op. 17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression.
String Quartet No. 8 in F major, K. 168 (1773)
String Quartet No. 9 in A major, K. 169 (1773)
String Quartet No. 10 in C major, K. 170 (1773)
String Quartet No. 11 in E♭ major, K. 171 (1773)
String Quartet No. 12 in B♭ major, K. 172 (1773)
String Quartet No. 13 in D minor, K. 173 (1773)
Haydn Quartets, K. 387, 421, 428, 458, 464, 465, Op. 10 (1782–1785)
Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer.
Haydn had just published his set of six quartets, Op. 33, which are thought to have been a stimulus to Mozart in returning to the genre.
These quartets are often regarded as among the pinnacles of the genre.
String Quartet No. 14 in G major, "Spring", K. 387 (1782)
String Quartet No. 15 in D minor, K. 421/417b (1783)
String Quartet No. 16 in E♭ major, K. 428/421b (1783)
String Quartet No. 17 in B♭ major, "The Hunt", K. 458 (1784)
String Quartet No. 18 in A major, K. 464 (1785)
String Quartet No. 19 in C major, "Dissonance", K. 465 (1785)
String Quartet No. 20 in D major, "Hoffmeister", K. 499 (1786)
This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets.
Prussian Quartets, K. 575, 589, 590, Op. 18 (1789–1790)
Mozart's last three quartets, dedicated to the King of Prussia, Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments.
String Quartet No. 21 in D major, K. 575 (1789) “Prussian No. 1”
String Quartet No. 22 in B♭ major, K. 589 (1790) “Prussian No. 2”
String Quartet No. 23 in F major, K. 590 (1790) “Prussian No. 3”
Others
Fugues for 2 Violins, Viola and Cello, K. 405 (1782)
Adagio and Fugue in C minor for 2 Violins, Viola and Cello, K. 546 (1788) (a transcription from Fugue in C minor for Two Keyboards, K. 426)
Canon in C major for 2 Violins, Viola and Cello, K. Anh. 191/562c (1788, attribution uncertain)
String Quartet in E minor, K. 417d (1789; fragment)
String Quartet in G minor, K. 587a (1789; fragment)
String Quartet in E major, K. 680 (c. 1781–1782; fragment)
String quintets
The string quintets (K. 174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."[2]
String Quintet No. 1 in B♭ major, K. 174 (1773)
String Quintet No. 2 in C minor, K. 406 (516b) – This is a transcription for string quintet of the earlier Serenade for wind octet in C minor, K. 388. (1787)
String Quintet No. 3 in C major, K. 515 (1787)
String Quintet No. 4 in G minor, K. 516 (1787)
String Quintet No. 5 in D major, K. 593 (1790)
String Quintet No. 6 in E♭ major, K. 614 (1791)
Others
String Quintet in B♭ major, K. 514a (fragment; 1787 or later)
String Quintet in A minor, K. 515c+515a (fragment; 1791)
Other chamber music without piano
Flute Quartets (flute, violin, viola, cello):
Flute Quartet No. 1 in D major K. 285 (1777–1778)
Flute Quartet No. 2 in G major K. 285a (1777–1778)
Flute Quartet No. 3 in C major K. Anh. 171/285b (1781–1782)
Flute Quartet No. 4 in A major K. 298 (1786–1787)
Sonata for Bassoon and Violoncello in B♭ major, K. 292 (1775)
Oboe Quartet (oboe, violin, viola, cello) in F major, K. 370 (1781)
Horn Quintet (horn, violin, two violas, cello) in E♭ major, K. 407 (1782)
Adagio in F major for two basset horns and bassoon, K. 410/484d (1785)
Adagio in B♭ major for two clarinets and three basset horns, K. 411/484a (1785)
12 Duets for two horns in C major, K. 487 (1786, incorrectly published as being for basset horns)
Clarinet Quintet (clarinet, two violins, viola, cello) in A major, K. 581 (1789)
Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K. 617 (1791)
Adagio in C major for Glass Harmonica, K. 356/617a (1791)
Adagio in F major for clarinet and three basset horns, K.Anh. 93
Adagio in F major for clarinet and three basset horns, K.Anh. 94
Allegro assai in B♭ major for two clarinets and three horns, K.Anh. 95
Allegro in B♭ major, K.Anh. 96 (for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns)
Fragments
Andante in B♭ major, K. 384B (fragment; for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns)
Allegro in C major for basset horn and ??, K. 484e (fragment; with undetermined instrumentation)
Clarinet Quintet fragment in B♭ major, K. 516c/Anh. 91 – Allegro (for clarinet, 2 violins, viola, cello; 1787)
Clarinet Quintet fragment in E♭ major, K. 516d – Andante (for clarinet, 2 violins, viola, cello; 1787)
Clarinet Quintet fragment in E♭ major, K. 516e/Anh. 89 – Rondò (for clarinet, 2 violins, viola, cello; 1787)
Clarinet Quintet fragment in F major, K. 580b/Anh. 90 – Allegro (for clarinet, basset horn, violin, viola and cello; 1789)
March in D major, K. 62 (Introduction to K. 100 Serenade, also used in Mitridate, re di Ponto) (1769)
March in D major, K. 189/167b (probably to open/close K. 185 Serenade) (1773)
March in C major, K. 214 (two marches opening and closing the divertimento—three movements of Symphony in C major, K. 208+(102/213c)—Il re pastore) (1775)
March in D major, K. 215/213b (to open and/or close Serenade, K. 204) (1775)
March in D major, K. 237/189c (to open and/or close Serenade, K. 203) (1774)
March in F major, K. 248 (for use with Divertimento No. 10, K. 247) (1776)
March in D major, K. 249 (to open and/or close Serenade, "Haffner", K. 250) (1776)
March in D major, K. 290 (for use with Divertimento No. 7, K. 205/167A) (1772)
March in D major, K. 335/320a, No. 1 (probably to open Serenade, "Posthorn", K. 320) (1779)
March in D major, K. 335/320a, No. 2 (probably to close Serenade, "Posthorn", K. 320) (1779)
March in C major, K. 408/383e, No. 1 (1782)
March in D major, K. 408/385a, No. 2 (1782)
March in C major, K. 408/383F, No. 3 (1782)
March in D major, K. 445/320c (for use with Divertimento No. 17, K. 334) (1780)
Others
Cassation in G major, K. 63, first movement march (1769)
Divertimento No. 11 in D major, K. 251, sixth movement (1776)
March in D major, K. 544 (1788; lost)
Incomplete
March in B♭ major, K. 384b (1782?) (incomplete)
Dances
Autograph manuscript of the Minuet K.164, number 5
See also: Mozart and dance
Mozart left a huge production of dances for orchestra in different genres, including more than 100 minuets, over 30 contra dances, over 50 allemandes (Teitsch, Ländler, or German Dances), a gavotte (French folk dance) and ballet and pantomime music.
In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance.
Allemandes written between 1787 and 1791 were mainly for public balls in Vienna.
In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale, K. 534, La Bataille, K. 535, Canary, K. 600/5, etc.
Minuet
7 Menuets, K. 61b/65a (1769)
2 Menuets, K. 61g (1769–70)
6 Menuets, K. 61h (including No. 3 Symphony in D major, K. 135+61h) (1769?)
20 Menuets, K. 103/61d (1770-71)
6 Menuets, K. 104/61e (1770–71)
6 Menuets, K. 105/61f (doubtful) (1770-71)
Menuet in E♭ major, K. 122/73t (1770)
6 Menuets, K. 164/130a (1772)
16 Menuets, K. 176 (1773)
3 Menuets, K. 363 (1783?)
Symphonic Minuet in C major, K. 409/383f (1782)
5 Menuets, K. 461/448a (1784)
2 Minuets with Contredanses in F major and B♭ major (Quadrilles), K. 463/448c (1784)
12 Menuets, K. 568 (1788)
12 Menuets, K. 585 (1789)
6 Menuets, K. 599 (1791)
4 Menuets, K. 601 (1791)
2 Menuets, K. 604 (1791)
Contra dance
4 Contredanses, K. 101/250a (alternative title: Serenade No. 2) (1776)
Overture and 3 Contredanses, K. 106/588a (doubtful) (1790)
Contredanse in B♭ major, K. 123/73g (1770)
4 Contredanses, K. 267/271c (1777)
2[4] or 4[5] Contredanses for Count Johann Rudolf Czernin, K. 269b (1777)
6 Contredanses, K. 462/448b (1784)
9 Countredanses, K. 510/Anh.C 13.02 (1787)
Contredanse in D major, "Das Donnerwetter" (The Thunderstorm), K. 534 (1788)
Contredanse in C major, "La Bataille", K. 535 (1788)
3 Contredanses, K. 535a (lost) (1788)
Contredanse in B♭ K. 535b (fragment) (1788)
2 Contredanses, K. 565 (lost) (1788)
Contredanse in D K. 565a (fragment) (1788)
Contredanse in C major, "Der Sieg vom Helden Koburg" (Coburg's Victory), K. 587 (1789)
2 Contredanses, K. 603 (1791)
Contredanse in E♭ major, "Il Trionfo delle Donne", K. 607/605a (1791)
5 Contredanses, K. 609 (includes No. 1 "Non più andrai") (1791)
Contredanse in G major, "Les filles malicieuses", K. 610 (1791)
Born 27 January 1756, Getreidegasse 9, Salzburg
Died 5 December 1791 (aged 35), Vienna