Wolfgang Amadeus Mozart (1756–1791) composed several masses and separate movements of the Mass ordinary (such as Kyrie).Cliff Eisen, Simon P. Keefe (eds.) The Cambridge Mozart Encyclopedia. Cambridge University Press, 2005. . . pp. 271–280 Mozart composed most of his masses as a church musician in Salzburg: Masses for regular Sundays or smaller feasts belonged to the type. In the context of Mozart's masses brevis (short) applies primarily to the duration, i.e. the whole mass ceremony took no longer than three quarters of an hour. Instrumentation for such a would usually be limited to violins, continuo (which included the organ), and trombones doubling the choral parts of alto, tenor and bass. The generic name for longer masses was , for more solemn and festive occasions. Additional instruments include oboes, trumpets, timpani, and for some of them also natural horns. Instead of treating each part of the mass liturgy in a continuous rendition of the text, there are repeats, fugues, and subdivisions in several movements with separate orchestral introductions. is usually synonymous with (solemn mass), however in Mozart's Salzburg (due to duration restrictions imposed by Archbishop Colloredo), a hybrid (short and solemn) seems to have existed, short in duration, but nonetheless for the more festive occasions, for example including a more elaborate orchestration than the usual .

After moving to Vienna, Mozart started to compose the Great Mass in C minor, with a broad orchestration including violas and 12 wind instruments. In 1791, he started writing a Requiem mass, which was unfinished when he died and was first completed by his pupil Franz Xaver Süssmayr.

Most nicknames of the masses were later additions. The attribution to Mozart has been disputed for several masses, most of these spurious works first published by Vincent Novello from 1819.

Masses and separate parts BärenreiterNMA Breitkopf & HärtelAMA Novello's edition MissabrevisNo.David Humphreys. "Sacred Music" in The Mozart Compendium: A Guide to Mozart's Life and Music, H. C. Robbins Landon (ed.). New York: Schirmer; London: Thames & Hudson. 1990. pp. 312–314. Year of composition Köchel catalogue Type Key Alternativename(s) Place of composition and notes Vol. 1/1 No. 1, |NMA I/1/Abt. 1/1: Masses vol. 1, Kritischer Bericht (1977) p. a/1 Serie I No. 1Walter Senn, NMA I/1/Abt. 1/1: Masses vol. 1, Kritischer Bericht (1977) p. a/5 –1 1768 K. 49 (47d) brevis G major Vienna Vol. 1/1 No. 2 Serie I No. 4Walter Senn, NMA I/1/Abt. 1/1: Masses vol. 1, Kritischer Bericht (1977) p. a/13 – 1768 K. 139 (47a) solemnis (longa) C minor Orphanage Mass Vienna Vol. 1/1 No. 3 Serie I No. 2Walter Senn, NMA I/1/Abt. 1/1: Masses vol. 1, Kritischer Bericht (1977) p. a/58 –2 1769 K. 65 (61a) brevis D minor Salzburg Vol. 1/1 No. 4 Serie I No. 3Walter Senn, NMA I/1/Abt. 1/1: Masses vol. 1, Kritischer Bericht (1977) p. a/69 – 1769 K. 66 solemnis (longa) C major (Father) Dominicus Salzburg Vol. 1/1 No. 5 – –6 1773 K. 140 (235d, Anh. C1.12) brevis G major Pastoral MassVDKC concert calendarattribution uncertain Vol. 1/2 No. 6Walter Senn, NMA I/1/Abt. 1/2: Masses vol. 2, Kritischer Bericht (1978) p. b/1 Serie I No. 5Walter Senn, NMA I/1/Abt. 1/2: Masses vol. 2, Kritischer Bericht (1978) p. b/5 – 1773 K. 167 solemnis (longa) C major Mass in honour of the Most Holy Trinity Salzburg Vol. 1/2 No. 7 Serie I No. 6Walter Senn, NMA I/1/Abt. 1/2: Masses vol. 2, Kritischer Bericht (1978) p. b/18 No. 3Köchel 1862, pp. 177–1793 1774 K. 192 (186f) brevis F major Little Credo Mass Salzburg Vol. 1/2 No. 8 Serie I No. 7Walter Senn, NMA I/1/Abt. 1/2: Masses vol. 2, Kritischer Bericht (1978) p. b/30 No. 6Köchel 1862, pp. 180–1814 1774 K. 194 (186h) brevis D major Salzburg Vol. 1/2 No. 9 Serie I No. 8Walter Senn, NMA I/1/Abt. 1/2: Masses vol. 2, Kritischer Bericht (1978) p. b/38 No. 5Köchel 1862, pp. 204–2055 1775–1776 K. 220 (196b) brevis et solemnis C major Sparrow Mass Salzburg Vol. 1/2 No. 10 Serie I No. 12Walter Senn, NMA I/1/Abt. 1/2: Masses vol. 2, Kritischer Bericht (1978) p. b/53 – 1776 K. 262 (246a) longa C major Salzburg Vol. 1/3 No. 11Walter Senn, NMA I/1/Abt. 1/3: Masses vol. 3, Kritischer Bericht (1981) p. c/1 Serie I No. 9Walter Senn, NMA I/1/Abt. 1/3: Masses vol. 3, Kritischer Bericht (1981) p. c/5 No. 2Köchel 1862, pp. 225–226 1776 K. 257 brevis and/or solemnis, longa C major CredoGreat Credo Mass Salzburg Serie I No. 10Walter Senn, NMA I/1/Abt. 1/3: Masses vol. 3, Kritischer Bericht (1981) p. c/26 No. 4Köchel 1862, pp. 226–2277 1775 K. 258 brevis (et solemnis) C major Piccolomini or Spaur Mass(Both nicknames are misleading.)Hildegard Herrmann-Schneider: "Rätsel der internationalen Mozart-Forschung gelöst" (June 2007) Salzburg Vol. 1/3 No. 13 Serie I No. 11Walter Senn, NMA I/1/Abt. 1/3: Masses vol. 3, Kritischer Bericht (1981) p. c/44 No. 11Köchel 1862, pp. 228–2298 1775 or 1776 K. 259 brevis (et solemnis) C major Organ solo Salzburg Vol. 1/4 No. 14Monika Holl, NMA I/1/Abt. 1/4: Masses vol. 4, Kritischer Bericht (1999) p. d/1 Serie I No. 13Monika Holl, NMA I/1/Abt. 1/4: Masses vol. 4, Kritischer Bericht (1999) p. d/5 No. 10Köchel 1862, pp. 237–2389 1777 K. 275 (272b) brevis Salzburg Vol. 1/4 No. 15 Serie I No. 14Monika Holl, NMA I/1/Abt. 1/4: Masses vol. 4, Kritischer Bericht (1999) p. d/25 No. 1Köchel 1862, pp. 263–264 1779 K. 317 brevis (or longa) C major Coronation Mass Salzburg"shortest longa" Vol. 1/4 No. 16 Serie I No. 15Monika Holl, NMA I/1/Abt. 1/4: Masses vol. 4, Kritischer Bericht (1999) p. d/45 No. 14Köchel 1862, pp. 276–277 1780 K. 337 solemnis (and/or brevis) C major or Hofmesseor Missa aulicai.e. court mass Salzburg Vol. 1/5Monika Holl, NMA I/1/Abt. 1/5: Masses vol. 5, Kritischer Bericht (1992) p. e/1 – 1782–1783 K. 427 (417a) solemnis C minor Great Mass Vienna and Salzburgincomplete Vol. 1/6 No. 1Monika Holl, NMA I/1/Abt. 1/6: Masses vol. 6, Kritischer Bericht (2000) p. f/5 Serie III No. 1 1766 K. 33 Kyrie F major Paris Vol. 1/6 No. 2Monika Holl, NMA I/1/Abt. 1/6: Masses vol. 6, Kritischer Bericht (2000) p. f/8 Serie III No. 2 1772 K. 89 (73k) Kyrie G major contrapuntal study Vol. 1/6 No. 3 – 1772 K. 90 Kyrie D minor contrapuntal study Vol. 1/6 No. 4Monika Holl, NMA I/1/Abt. 1/6: Masses vol. 6, Kritischer Bericht (2000) p. f/10 – 1772 K. 223 (166e) Hosanna G major contrapuntal study Vol. 1/6 No. 7Monika Holl, NMA I/1/Abt. 1/6: Masses vol. 6, Kritischer Bericht (2000) p. f/17 Serie III No. 3 K. 322 (296a/b/Anh. 12) Kyrie E major fragment, completed by Maximilian Stadler Vol. 1/6 No. 9Monika Holl, NMA I/1/Abt. 1/6: Masses vol. 6, Kritischer Bericht (2000) p. f/23 Serie III No. 4 K. 323 (Anh. 13) Kyrie C major fragment, completed by Maximilian Stadler Vol. 1/6 No. 13Monika Holl, NMA I/1/Abt. 1/6: Masses vol. 6, Kritischer Bericht (2000) p. f/32 Serie III No. 5 1780–1781?1788? K. 341 (368a) Kyrie D minor Munich or Vienna?large orchestra Vol. 2/1Dietrich Berke, Walburga Litschauer and Christoph Wolff, NMA I/1/Abt. 2/1: Requiem, Kritischer Bericht (2007) p. 3 Serie XXIV No. 1Dietrich Berke, Walburga Litschauer and Christoph Wolff, NMA I/1/Abt. 2/1: Requiem, Kritischer Bericht (2007) p. 15 No. 15Köchel 1862, 1791 K. 626 Requiem D minor Viennamost often published with the completions by Süssmayr Serie XXIV No. 33 – 1771 (?) K. 116 (90a) brevis F major only the Kyrie is completeKöchel 1862, p. 118reattributed to Leopold Mozart Serie XXIV No. 28 – 1771 (?) K. 115 (166d) brevis C major incompleteKöchel 1862, pp. 117–118reattributed to Leopold MozartWilli Schulze (ed.) Missa brevis C-Dur, KV 115, für Chor SATB und Orgel. Stuttgart: Carus-Verlag, 1983. – – No. 12Köchel 1862, p. 521 around 1800? K. Anh. 232(Anh. C1.04) G major Twelfth MassMark Everist. ″'Mozart's' 'Twelfth Mass': Case Closed?" in Mozart's Ghosts: Haunting the Halls of Musical Culture. Oxford University Press, 2012. pp. 129–156attributed to Pichl in one source, Wenzel Müller in othersGeorge Grove, A Dictionary of Music and Musicians, Vol. 3 (1907), pp. 313–314 – – No. 7Köchel 1862, p. 522 K. Anh. 233 B majorattributed to Süssmayr by Mozart's widow – – No. 8Köchel 1862, p. 522 K. Anh. 234 (Anh. C1.08) C major attributed to Franz Gleißner – – No. 9Köchel 1862, p. 522 K. Anh. 235 (Anh. C1.09) G major attributed to Franz Gleißner – – No. 13Köchel 1862, p. 516 K. Anh. 186 E major spurious – – No. 16 K. Anh. 186 E major spurious – – No. 17 K. Anh. 185 C major spurious – – No. 18Köchel 1862, p. 522 K. Anh. 237 Requiem brevis D major short Requiem not by Mozart

References

Sources Mozart's Masses with an Accompaniment for the Organ, arranged from the full score by Vincent Novello. London: Gallaway, 1819–1824 The Three Favorite Masses, Composed by Mozart, Haydn, and Beethoven, in Vocal Score, with an Accompaniment for the Organ or Pianoforte, by Vincent Novello. London: Novello, 1850. Ludwig Ritter von Köchel. Chronologisch-Thematisches Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozarts. Breitkopf & Härtel: Leipzig, 1862.

External links Köchel's Catalog of Mozart's Works Neue Mozart-Ausgabe website New Mozart Edition on-line (Masses are in "Serie I: Geistliche Gesangswerke")