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The Symphony No. 10 in G major, K. 74, was written by Wolfgang Amadeus Mozart probably during his first journey to Italy in the spring of 1770. [ 1 ] The symphony is scored for two oboes , two horns and strings .
Symphony No. 10: Score and critical report (in German) in the Neue Mozart-Ausgabe; Symphony No. 11 is considered of uncertain authenticity: 110 75b Symphony No. 12: G major: 15:35 1771 Salzburg Symphony No. 12: Score and critical report (in German) in the Neue Mozart-Ausgabe; 111+120 111+111a Symphony No. 48 [3] D major: 1771 Milan
Symphony No. 10 (Mozart) in G major (K. 74) by Wolfgang Amadeus Mozart, 1770 Symphony No. 10 (Myaskovsky) in F minor (Op. 30) by Nikolai Myaskovsky, 1926–27 Symphony No. 10 (Pettersson) by Allan Pettersson , 1971–72
Symphony No. 2 (Mozart) Symphony No. 3 (Mozart) Symphony No. 4 (Mozart) Symphony No. 5 (Mozart) Symphony No. 6 (Mozart) Symphony No. 7 (Mozart) Symphony No. 8 (Mozart) Symphony No. 9 (Mozart) Symphony No. 10 (Mozart) Symphony No. 11 (Mozart) Symphony No. 12 (Mozart) Symphony No. 13 (Mozart) Symphony No. 14 (Mozart) Symphony No. 15 (Mozart ...
Symphony No. 16 in C major, K. 128, was the first of three symphonies composed by Wolfgang Amadeus Mozart in May 1772 when Mozart was sixteen years old. [1] This symphony is one of many written during the period in which Mozart stayed in Salzburg , between two trips to Italy .
1770 Verona portrait of Mozart. Symphony No. 13 in F major, K. 112, by Wolfgang Amadeus Mozart, was written in Milan during his second journey to Italy in the autumn of 1771. . The symphony is in four movements, the second of which is scored for strings alone.
Symphony No. 14 in A major, K. 114, is a symphony composed by Wolfgang Amadeus Mozart on December 30, 1771, when Mozart was fifteen years old, and a fortnight after the death of the Archbishop Sigismund von Schrattenbach. [1]
As Neal Zaslaw has pointed out, writers on Mozart have often suggested – or even asserted – that Mozart never heard his 40th Symphony performed. Some commentators go further, suggesting that Mozart wrote the symphony (and its companions, Nos. 39 and 41) without even intending it to be performed, but rather for posterity, as (to use Alfred Einstein's words) an "appeal to eternity".