As Mozart matured he began to incorporate some more features of baroque style into his
music. He used contrapuntal themes, experimented with irregular phrase lengths and
included fugal finales in some of his string quartets, perhaps influenced by Haydn. The
influence of the ‘Stürm und Drang’ (‘Storm and Stress’) period in music, with its brief
foreshadowing of the romantic era to come, is evident in some of the music of both
Haydn and Mozart of this time. In addition, Mozart, especially during his last years,
explored chromatic harmony to a degree rare at the time.
Works
Piano concertos
Mozart’s output for piano and orchestra is numbered from 1 to 27. Concertos nos. 1 to 4
are early works and are arrangements of keyboard sonatas by Rauipach, Honauer,
Schobert, Eckart and C.P.E. Bach. Concertos nos. 7 and 10 are for three pianos and two
pianos, respectively. The remaining twenty-one concertos are for solo piano and
orchestra. Among them, fifteen were written from 1782 to 1786, while in the last five
years Mozart wrote just two more piano concertos.
- F major K37
- B flat major K39
- D major K40
- G major K41
- D major K175
- B flat major K238
- F major for three pianos K242
- C major K246 ‘Lutzow’
- E flat major K271 ‘Jeunehomme’
- E flat major for two pianos K365
- F major K413/387a
- A major K414/385p
- C major K415/387b
- E flat major K449
- B flat major K450
- D major K451
- G major K453
- B flat major K456
- F major K459
- D minor K466
- C major K467
- E flat major K482
- A major K488
- C minor K491
- C major K503 ‘Elvira Madigan’
- D major K537 ‘Coronation’
- B flat major K595