"Ludwig Ritter von Köchel Ludwig Alois Friedrich Ritter von Köchel (; 14 January 1800 – 3 June 1877) was an Austrian musicologist, writer, composer, botanist and publisher. He is best known for cataloguing the works of Mozart and originating the 'K-numbers' by which they are known (""K"" for ""Köchel""). Born in the town of Stein, Lower Austria, he studied law in Vienna and graduated with a PhD in 1827. For fifteen years, he was tutor to the four sons of Archduke Charles of Austria. Köchel was rewarded with a knighthood and a generous financial settlement, permitting him to spend the"
"225: The New Complete Edition"" contains premiere performances of previously lost compositions and never recorded fragments, as well as key works in alternative versions and recordings of legendary historic performances. Köchel catalogue The Köchel catalogue () is a chronological catalogue of compositions by Wolfgang Amadeus Mozart, originally created by Ludwig von Köchel, in which the entries are abbreviated ""K."" and ""KV"". The numbers of the Köchel catalogue reflect the continuing establishment of a complete chronology of Mozart's works, and provide a shorthand reference to the compositions. According to Köchel's counting, ""Requiem in D minor"" is the 626th piece Mozart composed,"
"""KV"" followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works. Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the classical era. Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart"
"Anh. A have been identified since 1965 as by Leopold Mozart. Many works in Anh. C have since been more reliably assigned to other composers, or to Mozart himself. To maintain as much of the original K-numbering of the list as possible, while re-ordering in the revised, chronological sequence, letters were added to the new numbers. The following list shows Köchel's original designation (K) and the sixth edition (K). Other addenda and supplements to the catalogue are marked ""."" (This has been abbreviated to 'Anh.' in the list below.) Works listed as composed for piano were most likely performed on"
"Theme from Mozart's Opera ""Die Zauberflöte"" (1822), Frédéric Chopin's Variations on ""Là ci darem la mano"" from ""Don Giovanni"" (1827), and Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331; Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G, ""Mozartiana"" (1887), as a tribute to Mozart. For unambiguous identification of works by Mozart, a ""Köchel catalogue number"" is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation ""K."" or"
"son's earlier works; Mozart's catalogue of his own compositions (begun in February 1784 with K. 449) allows relatively precise dating of many of his later works. The catalogue included the opening bars of each piece, known as an incipit. Köchel divided the corpus into a main chronology of 626 works, and five appendices ("""" in German, abbreviated to ""Anh."") The appendices (Anh. I-V) included: Since Köchel published his original catalogue in 1863 (now referred to as K), the dating of Mozart's compositions has been subject to constant revision. Many more pieces have since been found, re-dated, re-attributed and re-numbered, requiring"
"of the sonatas in 1953, and the numbering from this edition is now nearly always used – the Kk. or K. number. Previously, the numbering commonly used was from the 1906 edition compiled by the Neapolitan pianist Alessandro Longo (L. numbers). Kirkpatrick's numbering is chronological, while Longo's ordering is a result of his arbitrarily grouping the sonatas into ""suites"". In 1967 the Italian musicologist Giorgio Pestelli published a revised catalog (using P. numbers), which corrected what he considered to be some anachronisms. Although the exact dates of composition for these surviving sonatas are not known, Kirkpatrick concludes that they may"
"that publication). Therefore, when these works are enumerated with the rest, it can be seen that Mozart composed 30 keyboard concerti. These three works, however, and the concerti numbered as Piano Concertos 1 through 4 are actually not original compositions, but arrangements of works by other composers. Piano Concertos K. 107 (Mozart) The Piano Concertos, K. 107 are three keyboard concertos by Wolfgang Amadeus Mozart, based on sonatas by Johann Christian Bach. These sonatas are from J.C. Bach's Op. 5; Mozart turned Sonata No. 2 in D, Sonata No. 3 in G, and Sonata No. 4 in E from this"
"Horn Concerto No. 1, K. (412+514)/386b. In the decades after Mozart's death there were several attempts to catalogue his compositions, for example by Franz Gleißner and Johann Anton André (published in 1833), but it was not until 1862 that Ludwig von Köchel succeeded in producing a comprehensive listing. Köchel's 551-page catalogue was titled ""Chronologisch-thematisches Verzeichnis sämmtlicher Tonwerke W. A. Mozarts"" (""Chronological-thematic Catalogue of the Complete Musical Works of W. A. Mozart""). Köchel attempted to arrange the works in chronological order, but many compositions written before 1784 could only be estimated, although Leopold Mozart had compiled a partial list of his"
"example: The Köchel catalogue, generally accepted as the definitive listing of Mozart's works, was published by Ludwig von Köchel in 1862, and has been revised and updated on several subsequent occasions. The original catalogue, known as K, listed incomplete or lost works in an appendix or ""Anhang"", without regard to chronological order. These works were identified by an ""Anh."", not a ""K"" number. In the last major revision of the catalogue (1964, K), the Anhang was extended to include doubtful and spurious works. On the basis of the most recent research and discoveries, some of the old K Anhangs were"
"Piano Concertos K. 107 (Mozart) The Piano Concertos, K. 107 are three keyboard concertos by Wolfgang Amadeus Mozart, based on sonatas by Johann Christian Bach. These sonatas are from J.C. Bach's Op. 5; Mozart turned Sonata No. 2 in D, Sonata No. 3 in G, and Sonata No. 4 in E from this set into the three concertos of K. 107. These concertos remained unpublished in the Alte Mozart-Ausgabe, the first complete edition of Mozart's works, so they were not given a number by the publishers of that edition, Breitkopf & Härtel (as the other 27 concerti were given in"
"Perger-Verzeichnis The Perger-Verzeichnis (""Perger Catalogue"") is a thematic-chronological catalogue of instrumental compositions by Michael Haydn, compiled by Lothar Perger in 1907. Like Ludwig von Köchel's catalog of Mozart's compositions (the Köchel-Verzeichnis), Perger's catalog uses a single range of numbers, from 1 to 136, but like Hoboken's catalog of Joseph Haydn's music, groups the pieces first into categories (symphonies, concertos, etc.) and then sorts them chronologically. Perger's attempt at figuring out the chronology is, however, so full of mistakes (including the attribution to Haydn of music by others) that later musicologists, instead of trying to amend the catalog (as they have"
"Mozart's authorship for K. 81, K. 84, K. 95 and K. 97 ""very likely"". Whether the K. 95 and K. 97 symphonies were originally planned in four movements or had the minuets added later is unclear. The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 95, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 95 is given the number 45"
"and organ. Perger-Verzeichnis The Perger-Verzeichnis (""Perger Catalogue"") is a thematic-chronological catalogue of instrumental compositions by Michael Haydn, compiled by Lothar Perger in 1907. Like Ludwig von Köchel's catalog of Mozart's compositions (the Köchel-Verzeichnis), Perger's catalog uses a single range of numbers, from 1 to 136, but like Hoboken's catalog of Joseph Haydn's music, groups the pieces first into categories (symphonies, concertos, etc.) and then sorts them chronologically. Perger's attempt at figuring out the chronology is, however, so full of mistakes (including the attribution to Haydn of music by others) that later musicologists, instead of trying to amend the catalog (as"
"symphony to Wolfgang, and stated (similarly to Wolfgang Gersthofer) that these four Italian symphonies are similar to each other, making it likely that they are all the work of the same composer, and that they are characteristic of Mozart's symphonies composed in Italy. Thus, they consider it very likely that Mozart was the author of all four symphonies. The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 81, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even"
"even earlier dates to also be possible, and Zaslaw dated the symphony cautiously to Salzburg in 1767. Einstein also believed that the symphonies in the catalogue of Breitkopf & Härtel were sent by Leopold Mozart to be published. The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 45b, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 45b is given the"
"Leopold Mozart's symphonies, finds in a Symphony in G major examples of his ""sensitivity to orchestral colour"" and a work that ""compares favourably with those of virtually any of Mozart's immediate contemporaries"". Some of his work was erroneously attributed to Wolfgang and some pieces attributed to Leopold were subsequently shown to be the work of Wolfgang. Much of what survives is light music but there is some more substantial work including his ""Sacramental Litany"" in D major (1762) and three fortepiano sonatas, all published in his lifetime. Leopold Mozart Johann Georg Leopold Mozart (November 14, 1719 – May 28, 1787)"
"developed other catalogue-number systems; among them the ""Bach-Werke-Verzeichnis"" (BWV-number), and the ""Köchel-Verzeichnis"" (K- and KV -numbers) with which are organised the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart, respectively. In the classical period, the Latin word ""opus"" (""work"", ""labour"") was used to identify, list, and catalogue a work of art. By the 15th and 16th centuries, the word ""opus"" was used by Italian composers to denote a specific musical composition, and by German composers for collections of music. In compositional practise, numbering musical works in chronological order dates from 17th century Italy, especially Venice. In common usage, the"
"Adélaïde Concerto The Adélaïde Concerto is the nickname of a Violin Concerto in D major attributed to Wolfgang Amadeus Mozart and given the catalogue number K. Anh. 294a in the third edition of the standard Köchel catalogue of Mozart's works. Unknown until the 20th century, this concerto was later discovered to be a spurious work by Marius Casadesus. It was given a new number in the sixth edition of the Köchel catalogue, K. Anh.C 14.05, as part of the Anhang C designated for spurious or doubtful works which have been attributed to Mozart at some time. First published in 1933"
"Mozart's authorship for K. 81, K. 84, K. 95 and K. 97 ""very likely"". Whether the K. 95 and K. 97 symphonies were originally planned in four movements or had the minuets added later is unclear. The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 97, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 97 is given the number 47"
"Symphony No. 2 (Mozart) The piece of music once known as Wolfgang Amadeus Mozart's Symphony No. 2 in B major, KV 17, is now considered to be not by him, but by possibly his father, Leopold Mozart. This symphony has been given the number Anhang C 11.02 in the sixth edition of Ludwig Ritter von Köchel's catalog of Mozart's music., and is now also catalogued as Eisen B 6 in Cliff Eisen's catalog of Leopold Mozart's symphonies. \relative c"" { </score> The piece is in four movements in the usual quick-slow-minuet-quick pattern: The publication of this symphony in the Alte"
"numbers assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition. Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works. This was first published in English in 1951 (""Schubert Thematic Catalogue"") and subsequently revised for a new edition in German in 1978 ("""" – Franz Schubert: Thematic Catalogue of his Works in Chronological Order). Confusion arose quite early over the numbering of Schubert's late symphonies. Schubert's last completed symphony, the ""Great C major"" , was assigned the numbers 7, 8,"
"concerto has three movements: Adélaïde Concerto The Adélaïde Concerto is the nickname of a Violin Concerto in D major attributed to Wolfgang Amadeus Mozart and given the catalogue number K. Anh. 294a in the third edition of the standard Köchel catalogue of Mozart's works. Unknown until the 20th century, this concerto was later discovered to be a spurious work by Marius Casadesus. It was given a new number in the sixth edition of the Köchel catalogue, K. Anh.C 14.05, as part of the Anhang C designated for spurious or doubtful works which have been attributed to Mozart at some time."
"The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 161/141a, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 161 is given the number 50 in this numbering scheme. Symphony, K. 161 (Mozart) The Symphony in D major ""No. 50"", K. 161/141a, was composed by Wolfgang Amadeus Mozart in 1772. The first two movements are from the overture to the opera"
"The unnumbered symphonies (some, including K. 120, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 111+120 is given the number 48 in this numbering scheme. Symphony, K. 111+120 (Mozart) The Symphony in D major ""No. 48"", K. 111+120, was composed by Wolfgang Amadeus Mozart in 1771. The first two movements are from the overture to the opera ""Ascanio in Alba"", K. 111, and the last movement, K. 120, was composed separately. <score"
"Milanese Quartets (Mozart) The six string quartets, K. 155–160, were composed by Wolfgang Amadeus Mozart in late 1772 and early 1773. Because they were composed in Milan while he was working on his opera Lucio Silla, they are popularly known as the Milanese Quartets. Before this set was composed, Mozart had written one earlier string quartet (K. 80/73f in 1770), so these six quartets are ordinally numbered from No. 2 to No. 7. The quartets are written in a plan of keys of D-G-C-F-B-E following the circle of fifths. All six quartets have only three movements. Four of the quartets"
"String Duo No. 1 (Mozart) Wolfgang Amadeus Mozart's String Duo No. 1 in G major for violin and viola, K. 423, the first of the two Mozart wrote to complete Michael Haydn's set of six for the Archbishop Colloredo, was written in the summer of 1783. It is in three movements: While both Mozart's and Haydn's duos give the viola many double stops, Mozart's duos differ in that the viola also gets many passages in sixteenths, almost in equal proportion to the violin. H. C. Robbins Landon notes in particular of K. 423 that Mozart had retained the knowledge he"
"works from this time period, such as the K. 97 symphony, the autograph, which was in the possession of Breitkopf & Härtel, was destroyed during World War II. Mozart's authorship therefore remains uncertain. Most professionals consider the work authentic. The Alte Mozart-Ausgabe (published 1879–82) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 75, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 75 is given"
"1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 102, published in supplements to the ""Alte-Mozart Ausgabe"" until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 208+102 is given the number 52 in this numbering scheme. Symphony, K. 208+102 (Mozart) The Symphony in C major ""No. 52"", K. 208+102, was composed by Wolfgang Amadeus Mozart in 1775. The first two movements are from the opera ""Il re pastore"", K. 208, and the"
"Donald Tovey, Cuthbert Girdlestone, and Alfred Einstein as among the musicologists who uphold K. 503 as exemplary. Piano Concerto No. 25 (Mozart) The Piano Concerto No. 25 in C major, K. 503, was completed by Wolfgang Amadeus Mozart on December 4, 1786, alongside the Prague Symphony, K. 504. Although two more concertos (K. 537 and K. 595) would later follow, this work is the last of what are considered the twelve great piano concertos written in Vienna between 1784 and 1786. Chronologically the work is the 21st of Mozart's 23 original piano concertos. K. 503 is now widely recognized as"
"revision of Otto Jahn's Mozart biography Hermann Abert stated that the symphony was probably doubtful, listing many things uncharacteristic of Mozart's works and characteristic of other Mannheim composers, even noting a favourite phrase of Johann Stamitz in the beginning of the trio of the minuet. The symphony has been attributed to Joseph Haydn, Michael Haydn and Leopold Mozart. Neal Zaslaw states that its authorship remains uncertain. The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 98, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given"
"Symphony No. 3 (Mozart) The so-called Symphony No. 3 in E major, K. 18, once attributed to Wolfgang Amadeus Mozart, is by today's scholarship considered not to be Mozart's own work but instead that of Carl Friedrich Abel, a leading German composer of the earlier Classical period. It was misattributed to Mozart because a manuscript score in the hand of Wolfgang Amadeus Mozart, was categorized as his Symphony No. 3 in E, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually"
"Symphony, K. 111+120 (Mozart) The Symphony in D major ""No. 48"", K. 111+120, was composed by Wolfgang Amadeus Mozart in 1771. The first two movements are from the overture to the opera ""Ascanio in Alba"", K. 111, and the last movement, K. 120, was composed separately. <score vorbis=""1""> \relative c"" { </score> The symphony is scored for two flutes, two oboes, two horns, two trumpets, timpani and strings. The trumpets and timpani are silent for the second movement. The symphony consists of the following movements: The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies."