Technically demanding and sometimes furiously paced, two newly identified works by Mozart found Sunday are helping to complete its assessment of the scholars of the teacher is too early achievements. Children products – a broad movement and a prelude concert fragmentary – provide further proof of Salzburg native was a true prodigy. And maybe a little Showoff.

"We have here the first move by the young Mozart orchestra – despite the fact that the orchestra parts are missing – and is therefore a very important link in our understanding of Mozart as a young composer," said Ulrich Leisinger, head Research on the International Mozarteum Foundation following a presentation of the pieces of Mozart in Salzburg native.

Mozart, who was born in 1756, began playing the keyboard at age 3 and up at 5. At the time he died of rheumatic fever on December 5, 1791, he had written over 600 pieces.

Leisinger said Mozart wrote two new pieces, probably when he was assigned 7 or 8 years, with his father, Leopold, as the transcript of the notes of his son played on the keyboard.

A series of analysis, as confirmed by the letter of Leopold, in the era of Mozart was not yet versed in musical notation. But Leopold was discarded as the composer of the pieces of style based on the scrutiny, the Mozarteum in a statement.

"There are obvious discrepancies between the technical virtuosity and a certain lack of experience in composition," he said.

In the presentation on Sunday at the home of Mozart, Austrian musician Florian Birsak, an expert on early keyboard music, played two pieces on the master’s own fortepiano a crowd of reporters, photographers and cameramen.

Later, he explained how Birsak learning to play the concerto movement was a bit of a complex challenge, due to features such as "great leaps."

Robert D. Levin, who provided him with an orchestral accompaniment for the concert, the young Mozart, he wanted to show "all I could do" in the piece.

"What the composer pending the player races passagework crossed hands and wild jumps more than a little crazy," said Levin, a pianist and professor at Harvard University, internationally recognized for his achievement of the fragments Mozart.

Both works were identified as part of an investigation of the foundation of Mozart-related materials, including letters, documents and more than 100 manuscripts of music – some in the hand of the composer, transcribed by other contemporaries.

While "the Nannerl Music Book" has been in the hands of the founding of over a century, the pieces were considered to Leisinger anonymous creations and his team took a closer look.

"These two elements, we were so extravagant," Leisinger said, adding that the two works share a number of similarities, but the prelude – cree that have been written after the concert of movement – was "much more refined."

"You could almost get the impression that her son Leopold said, ’Look, you’ve written this crazy concert movement, try to do better, a little more concise, and as a result we ended up with this prelude – the movement," he said.

Posthumous discoveries of Mozart pieces are rare but not unknown.

In September, announced that a French Leisinger library found a previously unknown piece handwritten by Mozart.

That work, described as the preliminary draft of a musical composition, was found in Nantes in western France as staff went through the library. Leisinger said the library contacted his foundation for help authenticating the work.

The latest findings add important details to what we know about the young Mozart’s work, said Christoph Wolff, professor of music history at Harvard University, who is also director of the Bach Archive in Leipzig, Germany.

"The discovery of Salzburg offers important insights into the early achievements of Mozart," Wolff said in an e-mail to The Associated Press.

The Salzburg-based foundation, established in 1880 and a major source for matters related to Mozart, is intended to preserve the heritage of the composer, and finding new approaches to the analysis of it.

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