Many of these can not be completely established as being written by Mozart ( see here). Many of them were given numbers past 41 (but not in chronological order) in an older collection of Mozart's works ( Mozart-Werke, 1877–1910, referred to as 'GA'), but newer collections refer to them only by their entries in the Köchel catalogue. There are also several 'unnumbered' symphonies from this time period. 17 (spurious, attributed to Leopold Mozart) These are the numbered symphonies from Mozart's early childhood. 297, 385, 550) were revised by the author after their first versions. However, by convention, the original numbering has been retained, and so his last symphony is still known as 'No. According to most recent investigations, Mozart wrote not just the 41 symphonies reported in traditional editions, but up to 68 complete works of this type. Mozart's symphonic production covers a 24 year interval, from 1764 to 1788. Symphonies Main article: List of symphonies by Wolfgang Amadeus Mozart Only relatively few of Mozart's compositions have opus numbers, as not so many of his compositions were published during his lifetime, so numbering by opus number proves quite impractical for Mozart compositions.On the other hand, for most chamber music and vocal music there is no such numbering (or at least no generally accepted one). Not all thematic groups of Mozart's works have a separate numbering that is generally accepted: Köchel only numbers symphonies (1 to 41), piano concertos (1 to 27, leaving out some early transcriptions by Mozart) and a few other groups. The compositions of Mozart listed below are grouped thematically, i.e.

This catalog has been amended several times, leading to ambiguity over some KV numbers (see e.g. by composition date) catalogue of Mozart's works by Ludwig von Köchel. The indication 'K.' or 'KV' refers to ' Template:Lang' (Köchel catalogue), i.e.6 Serenades, divertimenti, and other instrumental works.To round off the programme Alexei has called in his father, the pianist Leonid Ogrintchouk, and together the two perform a transcription of the Violin Sonata in B flat major, K 378, composed during the same period as the two other works on this disc. He here performs these pillars of the oboe repertoire with the support of the renowned Lithuanian Chamber Orchestra in the concerto and in the company of three highly respected young string players in the quartet. Bach’s oboe concertos was judged to be ‘as astonishing as it is successful’ on the web site, with a sound described as ‘generous, rounded, warm and velvety’ in Classica. As principal oboist of the Royal Concertgebouw Orchestra, and an international soloist in his own right, Alexei Ogrintchouk may well be said to be the Friedrich Ramm of our day – also on BIS, his performances of J.S. Mozart later found occasion to compose especially for Ramm – the Oboe Quartet was written as a celebration of his virtuosity, and significantly challenged the boundaries of the possible on the contemporary oboe. Although Mozart had written it for another player, Ramm was to make it his own: by 14 February 1778 he had performed it no less than five times – ‘a great sensation…Ramm’s cheval de bataille’ as Mozart described it. Earlier the same year Mozart had composed his Oboe Concerto, and impressed by Ramm’s ability, he now played the work through to him on the piano. It was during an extended visit to Mannheim in 1777 that Mozart became friendly with the oboist Friedrich Ramm, a member of the famous Mannheim orchestra which was widely acknowledged as the finest in Europe (‘an army of generals’ as Charles Burney remarked). Limelight, August 2013: ”Ogrintchouk’s technique and phrasing is matchless throughout these three works.”