more about "Mozart fifths":
(translated by google)
"Mozart has more than once resolved the augmented German 6th chord with parallel fifths. He has done this so often that one may speak of "Mozart's fifths."
- Wilhelm Tappert: Leipziger Allgemeine Musikzeitung. 3rd ed. Leipzig and Winterthur 1868, p. 275
In his study The Prohibition of fifhts parallels (1869) Tappert dedicates a separate section to the "Mozart Quintet".  Previously, Adolf Bernhard Marx had already provided an example such as the above in a discussion of the excessive Sextakkords with the words "Mozart", but without commenting on this in more detail.
In recent literature is highlighted that such parallels of fifths occur in Mozart, but in his oeuvre are altogether a rarity. Examples are u. a .:
Dans un bois solitaire KV 308, T. 54-57
Symphony in D major KV 504, 2nd movement, bars 25-26, bass / viola
Symphony in E Flat Major K. 543, 1st movement, bars 167-168, bass / violin II
In some of the examples cited by Tappert (inter alia The Abduction from the Serail No. 16, T. 96-97), the voices are conducted in such a way that, in fact, there are no 5th parallels
However, Mozart fifths are hardly a rarity in nineteenth-century music. B .:
Frédéric Chopin: Nocturne in C sharp minor, KK IVa No. 16 (1827), m. 1.
Robert Schumann: Album for the Youth op. 68 (1848), First Loss, T. 21-22.
Already in 1802, Charles-Simon Catel expressly allows this kind of 5th parallels in his influential Traité d'harmonie, unless it takes place between the outside voices.  In German-speaking harmonies of the 20th century, it is also explicitly endorsed as the "Mozart fifths".