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The Köchel-Verzeichnis or Köchelverzeichnis is a chronologicalcatalogue of compositions by Wolfgang Amadeus Mozart, originally created by Ludwig von Köchel, in which the entries are abbreviated K. and KV. The numbers of the Köchel catalogue reflect the continuing establishment of a complete chronology of Mozart's works, and provide a shorthand reference to the compositions. According to Köchel's counting, Requiem in D minor is the 626th piece Mozart composed, thus is designated either K. 626 or KV 626; however, his original catalogue (1862) of Mozart has been twice revised, and some works have had three KV. numbers, e.g. Mozart's Horn Concerto No. 1, K. (412+514)/386b. In the decades after Mozart's death there were several attempts to catalogue his compositions, for example by Franz Gleißner and Johann Anton André (published in 1833), but it was not until 1862 that Ludwig von Köchel succeeded in producing a comprehensive one. Köchel's 551-page catalogue was titled Chronologisch-thematisches Verzeichnis sämmtlicher Tonwerke W. A. Mozarts (Chronological-thematic Catalogue of the Complete Musical Works of W. A. Mozart). Köchel attempted to arrange the works in chronological order, but many compositions written before 1784 could only be estimated, although Leopold Mozart had compiled a partial list of his son's earlier works; Mozart's catalogue of his own compositions (begun in February 1784 with K. 449) allows relatively precise dating of many of his later works. The catalogue included the opening bars of each piece, known as an incipit. Köchel divided the corpus into a main chronology of 626 works, and five appendices (Anhang in German, abbreviated to Anh.) The appendices (Anh. I-V) included: • I - Lost authentic works • II - Fragments by Mozart • III - Works by Mozart transcribed by others • IV - Doubtful works • V - Misattributed works Since Köchel published his original catalogue in 1863 (now referred to as K1), the dating of Mozart's compositions has been subject to constant revision. Many more pieces have since been found, re-dated, re-attributed and re-numbered, requiring three revised editions of the catalogue. Subsequent editions, especially the third edition (K3) by Alfred Einstein(1937), and the sixth edition (K6) by Franz Giegling, Gerd Sievers, and Alexander Weinmann (1964), have reflected attempts to arrange the growing list of works in a more accurate chronological order, according to various levels of scholarship. A major shortcoming of K1 was that there was no room to expand the strictly sequential numbering in the main catalogue to allow for any new discoveries or further reassessment of existing works. For the 1937 edition (K3) Einstein (following the analyses of Théodore de Wyzewa and Georges de St. Foix) reassigned a number of works from the original K1appendices into the main catalogue by interpolating new numbers into the main sequence with a lower-case letter suffix. In K6 some of these were reassessed in the light of scholarship since 1937 and returned to the re-worked appendices: • K. 626a • K. 626a I - 64 cadenzas by Mozart to his own keyboard concertos • K. 626a II - Cadenzas by Mozart to keyboard concertos by other composers • K. 626b - 42 sketches & other fragments by Mozart (replacing K3 Anh. II) • Anh. A - Copies by Mozart of other composers' works • Anh. B - Works by Mozart transcribed by others • Anh. C - Doubtful and misattributed vocal (C.1-10) and instrumental (C.11-30) works For example, the Divertimento for Wind Octet in E♭ was numbered Anh. 226 in K1; Einstein placed it in the K3 main catalogue as K. 196e, between K. 196 and K. 197; K6 reassigned it again to the 'doubtful' appendix C as Anh. C 17.01. Some works in Anh. A have been identified since 1965 as by Leopold Mozart. Many works in Anh. C have since been more reliably assigned to other composers, or to Mozart himself.