major, K. 123/73g (1770) 4 Contredanses, K. 267/271c (1777) 2 or 4 Contredanses for Count Johann Rudolf Czernin, K. 269b (1777) 6 Contredanses, K. 462/448b (1784) 9 Countredanses, K. 510/Anh.C 13.02 (1787) Contredanse in D major, "Das Donnerwetter" (The Thunderstorm), K. 534 (1788) Contredanse in C major, "La Bataille", K. 535 (1788) 3 Contredanses, K. 535a (lost) (1788) Contredanse in B K. 535b (fragment) (1788) 2 Contredanses, K. 565 (lost) (1788) Contredanse in D K. 565a (fragment) (1788) Contredanse in C major, "Der Sieg vom Helden Koburg" (Coburg's Victory), K. 587 (1789) 2 Contredanses, K. 603 (1791) Contredanse in E major, "Il Trionfo delle Donne", K. 607/605a (1791) 5 Contredanses, K. 609 (includes No. 1 "Non più andrai") (1791) Contredanse in G major, "Les filles malicieuses", K. 610 (1791) Allemande 6 German Dances, K. 509 (1787) 6 German Dances, K. 536 (1788) 6 German Dances, K. 567 (1788) 6 German Dances, K. 571 (1789) 12 German Dances, K. 586 (1789) 6 German Dances, K. 600 (includes No. 5 Trio: "Der Kanarienvogel" The Canary) (1791) 4 German Dances, K. 602 (includes No. 3 "Die Leirer") (1791) 3 German Dances, K. 605 (includes No. 3 "Die Schlittenfahrt" Sleigh Ride) (1791) 6 Ländler in B major, "Ländlerische Tänze", K. 606 (1791) German Dance in C major, K. 611 "Die Leirer" (1791) Others Sketch of a ballet, Le gelosie del Serraglio, K. Anh. 109/135a (1772, fragment) Ballet, Les petits riens (The Little Nothings), K. Anh. 10/299b (1778) Sketches for a ballet intermezzo, "Bagatelles Ballet Pantomime", K. 299c (1778, fragment) La Chasse (The Hunt) in A major, K. Anh. 103/299d, (1778, fragment) Gavotte in B major, K. 300 (1778) Ballet music for Idomeneo, K. 367 (1781) Musik zu einer Pantomime: Pantalon und Colombine (Music to a Pantomime) in D major, K. 446/416d (1783, fragment) Sacred music Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the seventeen Sonate da chiesa, composed between 1772 and 1780. His sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work. Masses Missa brevis in G major, K. 49 (1768) Missa brevis in D minor, K. 65 (1769) Missa solemnis in C major, Dominicusmesse, K. 66 (1769) Missa solemnis in C minor, Waisenhausmesse, K. 139 (1768) Missa brevis in G major, Pastoralmesse, K. 140/Anh. C1.12