130:
underestimation is most likely mainly due to the notion that, as mere "table music", the divertimenti are musically too superficial to deserve the attention the rest of Mozart's oeuvre does. Taking into account the restricted technical capabilities of the wind instruments featured here, these divertimenti can stand comparison with the
Italian string quartets from the point of view of both compositional technique and richness of invention. The rich palette of tone colours associated with the oboes, horns and bassoons actually gives these works a particular sound not found in the works for strings.
69:"According to which we most graciously receive and welcome the supplicant into our service, subject to his good conduct, as first oboist, in order that the same, both in the Cathedral and at Court or elsewhere as we may require him, should participate diligently in the music and once again bring the wind instruments to that condition which they formerly had, so that they can perform at our command music with wind instruments at table "
953:
153:. The slightly gauche effects of K 186/159b and 166/159d, in which writing in thirds or sixths prevails, have been replaced in these five sextets by a greater mastery of the material which shows itself mainly in the considerably more developed independence of the six voices. Indeed, the first bassoon has been freed from its part as an additional bass instrument and has been transformed into a second solo voice.
445:
from the many consecutive fifths and octaves, sometimes involving even the outer parts, the constant motion in parallel thirds and comparative lack of fantasy in the use of the horns, speaks against the authenticity of the piece. The NMA presents it as a work of dubious authenticity, and, most likely for this reason, it is generally not included in performances or recordings of the set of five.
335:
oboe and first bassoon. The second has the theme in the first oboe supported by a dialogue between second oboe and second bassoon in triplets. In the third, first oboe and first bassoon present the melody in octaves, while the fourth combines both oboes and both horns in the reworked theme with both bassoons in frantic 32nd-note figurations below. The fifth is the customary
90:, to believe that the Divertimento in E-flat major K 289/271g was also part of the set, but the latter's authenticity is now in considerable doubt (see below). Within the five works the sequence of keys throughout the movements is quite regular. The slow movements (in K 252/240a this would be the Polonaise) are in either the
113:
found on each of the autographs is in
Leopold Mozart's hand. This and the fact that he numbered the pieces from I to V is a strong indication that he wanted to have the pieces printed. The five divertimenti were, however, never published during the Mozarts' lifetimes, perhaps due to the missing sixth
334:
theme of the initial movement could be a creation of Mozart himself and in the subsequent variations the composer entrusts solo tasks to all three pairs of instruments, including the horns. In the first, the first oboe present a broken-down version of the theme with limited contributions of second
444:
K 289/271g comes down to us only via parts and score copies, all dating from the second half of the 19th century and attributed to Mozart, but no autograph is known. Based on its structure, however, it is highly unlikely that it was actually composed by Mozart: the decidedly obsolete writing seen
81:
The sequences of keys within the group of five is also striking: F major/B–flat major/E-flat major for K 213, 240 and 252/240a, and F major/B-flat major for K 253 and 270. This two-fold occurrence of adjacent keys in the circle of fifths suitable for wind instruments may have been conceived with
454:
Ensemble Zefiro: Alfredo
Bernardini and Paolo Grazzi on 2-key period oboes by Bernardini & Ceccolini (1994) after Grundmann & Floth (Dresden, ca. 1790), Raul Diaz and Dileno Baldin on natural horns by Paxman (1985) after Raoux (Paris, ca. 1800) and by A. Jungwirth (1991) after Courtois
129:
The Neue Mozart
Ausgabe (NMA) quite rightly states that the five sextets have been underestimated in both the literature and musical practice: they are seldom performed in concert programs and the relevant literature usually mentions them only briefly without any detailed examination. This
261:
deduced a date "probably between
January and August 1776" placing it somewhere between K 240 and 253, but its date of composition cannot be fixed more precisely than this, even with the help of calligraphic examination. The work consists of the following four movements:
240:
finale is in sonata form and more rhythmic than melodic, save for the gentle C minor second subject first presented by the first oboe and then repeated, an octave lower, by the first bassoon. According to the explicit indication in the autograph the horns in K 240 are
73:
no documents containing definite groups of musicians or concrete commissions for music have been found. The two summer datings of July and August could perhaps be linked to the semester holidays at the university at which time the students were responsible for the
231:
is more elaborate than the corresponding movement in K 213 with a fuller second subject and a recapitulation starting in the middle of the first subject; the formal repetition of the opening statement is reserved for the very end of the movement. The
291:
is in the solemn key of A-flat major. Polonaises rarely occur in Mozart's music (an exception is a movement in the fifth divertimento of K 439b, for three basset horns); in K 252/240a the dance has an unusual swagger and a very brief
52:
court. In relation to this, the periodicity in the datings of
January and July/August of the years 1775 to 1777, present on the autographs of four of them, is striking. If it is true that the pieces were written as
680:
1179:
236:
is quite striking due to the droning second oboe during the opening statement and the dotted rhythms the different voices seem to be teasing each other with during the repeat of this statement. The
710:
61:, then there must have been specific and regularly recurring events every winter and summer accounting for this pattern; so far, though, none have been found. Even though in the
652:
86:. The apparent absence of an additional divertimento in E-flat major to complete a set of six (the usual number needed for publication) led early musicologists, including
574:
455:(Paris, ca. 1820), and Alberto Grazzi and Josep Borras on period bassoons by Prudent Thierrot (Paris, ca. 1770) and Rust (Lyon, ca. 1790); Auvidis Astree E 8529 (1995).
78:
played at the summer residence of the Prince
Archbishop, amongst others. For the two January dates, however, possible occasions of this kind have not been identified.
1159:
998:
887:
672:
989:
720:
923:
715:
705:
700:
695:
58:
928:
617:
133:
These five divertimenti clearly comprise the second stage in Mozart's development as a composer of wind music, the first consisting of the two
20:
213), B-flat major (K 240), E-flat major (K 252/240a), F major (K 253), and B-flat major (K 270) are five companion compositions for pairs of
1127:
567:
1047:
1036:
190:
has a ternary structure and sees the first oboe paired with the first bassoon, and the second oboe briefly with the second bassoon. The
134:
119:
647:
982:
1184:
956:
730:
725:
662:
560:
408:
is a gavotte with a tiny but delightful three-beat canonic episode between first oboe and second bassoon at the beginning; the
1117:
1106:
1074:
975:
1025:
817:
642:
380:
313:
254:
207:
162:
918:
115:
811:
607:
146:
142:
138:
126:
was not misled by this and he published a very carefully prepared set of parts in the original order in 1801.
44:
The five wind sextets K 213, 240, 252/240a, 253, and 270 have historically been regarded as a series of five
1004:
938:
690:
583:
33:
412:
features four bars of
Alberti-bass accompaniment for the first horn bringing the latter to prominence. The
892:
602:
597:
123:
1018:
882:
657:
627:
829:
764:
757:
751:
632:
517:
17:
279:
The third divertimento in the series sets itself apart from the other four by opening with a lazy
823:
735:
404:
is in full sonata form with a development section and a varied repeat in the recapitulation. The
339:
variation displaying a legato line and great clarity. The sixth constitutes the reprise of the
799:
793:
622:
428:
is an uncompromising 3/8 gigue featuring a brief moment of glory for the first bassoon in the
25:
897:
847:
805:
685:
612:
91:
967:
902:
637:
530:
87:
198:
are the horns which are given the opportunity to shine as soloists on several occasions.
432:. Although the explicit indication is missing from the autograph the horns in K 270 are
1122:
787:
258:
83:
1173:
933:
859:
853:
779:
383:
KrakĂłw and is dated
January 1777. The work consists of the following four movements:
316:
KrakĂłw and is dated August 1776. The work consists of the following three movements:
210:
KrakĂłw and is dated
January 1776. The work consists of the following four movements:
106:
are in the subdominant key, except for that of K 240 which is the related minor key.
865:
841:
835:
165:
KrakĂłw and is dated July 1775. The work consists of the following four movements:
489:
95:
542:
U. Toeplitz, "Ist das Bläserdivertimento in Es-dur, KV 271g/289, von Mozart?",
487:
The Compleat Mozart. A Guide to the Musical Works of Wolfgang Amadeus Mozart.
186:
is in sonata form but the development section is quite brief. The subsequent
400:
The fifth and final divertimento is the most sophisticated of the set. The
552:
49:
287:
the first horn is prominently brought to the foreground; the subsequent
137:(K 186/159b and 166/159d), and the third of the large-scale serenades,
29:
150:
21:
971:
556:
182:
This first sextet is the least sophisticated of the set. The
118:
changed the numbering fixed by Leopold and placed one of the
283:
in 6/8 time with an unusual number of dynamic marks. In the
347:: at the end of the fifth variation the autograph mentions
65:, issued by the Archbishop on 1 November 1778, one reads
98:
key, while all the others are in the principal key. The
420:
and features a peculiar hiccup in the second bar; the
194:
is a Ländler. The most important feature of the final
1180:
Serenades and divertimenti by Wolfgang Amadeus Mozart
82:
something of a pedagogical intention, most likely by
911:
875:
778:
744:
671:
590:
544:
Mitteilungen der Internationalen Stiftung Mozarteum
320:
Thema mit 6 Variationen (Andante-Adagio-Allegretto)
122:, K 166/159d, in front of the sextets. Apparently,
492:(ed.), W.W. Norton & Company (New York, 1990).
481:
479:
477:
475:
473:
471:
469:
1160:List of compositions by Wolfgang Amadeus Mozart
983:
568:
8:
521:, Series VII, Volume 1, p. VIII–XIV (1984).
990:
976:
968:
741:
575:
561:
553:
440:Divertimento in E-flat major, K 289/271g
355:contrasts the more noble and expressive
249:Divertimento in E-flat major, K 252/240a
533:in KV, p. 344 footnote (Leipzig, 1937).
465:
178:Contredanse en Rondeau (Molto allegro)
512:
510:
508:
506:
504:
502:
500:
498:
7:
416:carries the specific indication of
375:Divertimento in B-flat major, K 270
202:Divertimento in B-flat major, K 240
379:The autograph is preserved in the
349:variatio 6: il thema ma allegretto
312:The autograph is preserved in the
253:The autograph is preserved in the
206:The autograph is preserved in the
161:The autograph is preserved in the
63:Anstellungsdekret fĂĽr Joseph Fiala
14:
952:
951:
812:Maria Anna Thekla Mozart (Bäsle)
302:Die Katze lasst das Mausen nicht
929:Beethoven–Haydn–Mozart Memorial
308:Divertimento in F major, K 253
157:Divertimento in F major, K 213
1:
393:Menuetto (Moderato) with Trio
300:is based on the Austria tune
114:piece. After Mozart’s death,
48:(dinner music) works for the
16:The divertimenti in F major (
838:(paternal great-grandfather)
681:Concert arias, songs, canons
367:statement and closes with a
1123:A Musical Joke in F, K. 522
818:Franz Xaver Wolfgang Mozart
800:Maria Anna Mozart (Nannerl)
1201:
135:divertimenti for ten winds
120:divertimenti for ten winds
1013:
947:
924:Mozart in popular culture
736:Relationship with G minor
653:Appearance and character
1185:Compositions for sextet
1005:Wolfgang Amadeus Mozart
939:Mozart Monument, Vienna
584:Wolfgang Amadeus Mozart
381:Biblioteka Jagiellońska
314:Biblioteka Jagiellońska
257:KrakĂłw and is undated;
255:Biblioteka Jagiellońska
208:Biblioteka Jagiellońska
163:Biblioteka Jagiellońska
34:Wolfgang Amadeus Mozart
832:(paternal grandfather)
196:Contredanse en Rondeau
71:
59:Archbishop of Salzburg
546:1984, 32(1–4), 51–63.
67:
1019:Gallimathias musicum
731:Compositional method
711:Works for solo piano
1118:No. 17 in D, K. 334
1091:No. 13 in F, K. 253
1075:No. 11 in D, K. 251
830:Johann Georg Mozart
765:Neue Mozart-Ausgabe
758:Alte Mozart-Ausgabe
518:Neue Mozart-Ausgabe
272:Polonaise (Andante)
1059:No. 8 in F, K. 213
824:Karl Thomas Mozart
449:Notable recordings
424:is a Ländler. The
363:opens with a bold
323:Menuetto with Trio
269:Menuetto with Trio
220:Menuetto with Trio
175:Menuetto with Trio
124:Johann Anton André
1167:
1166:
1128:Divertimento in E
965:
964:
794:Anna Maria Mozart
774:
773:
343:theme but played
184:Allegro spiritoso
169:Allegro spiritoso
1192:
1155:
1152:
1151:
1142:
1133:
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1111:
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1085:
1084:
1069:
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1053:
1052:
1042:
1041:
1031:
1030:
1008:
1007:
992:
985:
978:
969:
955:
954:
844:(brother-in-law)
806:Constanze Mozart
752:Köchel catalogue
742:
726:Violin concertos
577:
570:
563:
554:
547:
540:
534:
528:
522:
514:
493:
483:
296:. The brilliant
217:Andante grazioso
109:The designation
1200:
1199:
1195:
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1009:
1003:
1002:
996:
966:
961:
943:
907:
888:Catholic Church
871:
868:(sister-in-law)
862:(sister-in-law)
856:(sister-in-law)
850:(mother-in-law)
770:
740:
706:Piano concertos
667:
586:
581:
551:
550:
541:
537:
529:
525:
515:
496:
484:
467:
462:
451:
442:
434:corni alti in B
377:
330:The syncopated
310:
251:
243:corni alti in B
204:
159:
88:Alfred Einstein
42:
12:
11:
5:
1198:
1196:
1188:
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851:
845:
839:
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827:
821:
815:
814:(first cousin)
809:
803:
797:
791:
788:Leopold Mozart
784:
782:
776:
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772:
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769:
768:
761:
754:
748:
746:
739:
738:
733:
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698:
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691:Horn concertos
688:
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485:Erik Smith in
464:
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450:
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398:
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376:
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359:. The ternary
328:
327:
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309:
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277:
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270:
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259:Wolfgang Plath
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84:Leopold Mozart
41:
38:
13:
10:
9:
6:
4:
3:
2:
1197:
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1006:
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988:
986:
981:
979:
974:
973:
970:
958:
950:
949:
946:
940:
937:
935:
934:Mozart effect
932:
930:
927:
925:
922:
920:
917:
916:
914:
910:
904:
901:
899:
896:
894:
891:
889:
886:
884:
881:
880:
878:
874:
867:
864:
861:
860:Aloysia Weber
858:
855:
854:Josepha Weber
852:
849:
848:Cäcilia Weber
846:
843:
840:
837:
834:
831:
828:
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822:
819:
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631:
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621:
619:
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571:
566:
564:
559:
558:
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539:
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520:
519:
513:
511:
509:
507:
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501:
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491:
488:
482:
480:
478:
476:
474:
472:
470:
466:
459:
453:
452:
448:
446:
439:
437:
435:
431:
427:
423:
419:
415:
411:
407:
403:
402:Allegro molto
395:
392:
389:
387:Allegro molto
386:
385:
384:
382:
374:
372:
370:
366:
362:
361:Allegro assai
358:
354:
350:
346:
342:
338:
333:
326:Allegro assai
325:
322:
319:
318:
317:
315:
307:
305:
303:
299:
295:
290:
286:
282:
274:
271:
268:
265:
264:
263:
260:
256:
248:
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244:
239:
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230:
222:
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216:
213:
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199:
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193:
189:
185:
177:
174:
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168:
167:
166:
164:
156:
154:
152:
149:, written in
148:
144:
140:
136:
131:
127:
125:
121:
117:
112:
107:
105:
101:
97:
93:
89:
85:
79:
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70:
66:
64:
60:
56:
51:
47:
39:
37:
35:
31:
27:
23:
19:
1158:
1146:
1095:
1090:
1079:
1063:
1058:
1017:
999:Divertimenti
919:Georg Nissen
866:Sophie Weber
842:Joseph Lange
836:Franz Mozart
763:
756:
658:Pet starling
543:
538:
526:
516:
486:
443:
433:
429:
425:
421:
417:
413:
409:
405:
401:
399:
378:
368:
364:
360:
356:
352:
348:
344:
340:
336:
331:
329:
311:
301:
298:Presto assai
297:
293:
288:
284:
280:
278:
275:Presto assai
252:
242:
237:
233:
228:
227:The opening
226:
205:
195:
191:
187:
183:
181:
160:
132:
128:
111:divertimento
110:
108:
103:
99:
80:
75:
72:
68:
62:
54:
45:
43:
15:
1147:No. 16 in B
1107:No. 15 in B
1096:No. 14 in B
1080:No. 12 in E
893:Freemasonry
618:Nationality
598:Biographies
531:A. Einstein
490:Neal Zaslaw
351:. The calm
96:subdominant
1174:Categories
1064:No. 9 in B
1048:No. 4 in B
1037:No. 3 in E
1026:No. 1 in E
876:Influences
721:Symphonies
608:Grand tour
603:Birthplace
460:References
345:Allegretto
139:K 361/370a
76:Finalmusik
55:Tafelmusik
46:Tafelmusik
40:Background
883:Beethoven
628:Scatology
623:Residence
591:Biography
406:Andantino
390:Andantino
1153:, K. 289
1150:♭
1141:Doubtful
1134:, K. 563
1131:♭
1113:, K. 287
1110:♭
1102:, K. 270
1099:♭
1086:, K. 252
1083:♭
1070:, K. 240
1067:♭
1054:, K. 186
1051:♭
1043:, K. 166
1040:♭
1032:, K. 113
1029:♭
957:Category
802:(sister)
796:(mother)
790:(father)
745:Editions
633:Smallpox
418:moderato
414:Menuetto
357:Menuetto
285:Menuetto
234:Menuetto
147:388/384a
104:Menuetti
92:dominant
57:for the
50:Salzburg
30:bassoons
1022:, K. 32
912:Related
903:Salieri
716:Sonatas
365:unisono
341:Andante
332:Andante
281:Andante
266:Andante
238:Allegro
229:Allegro
223:Allegro
214:Allegro
188:Andante
172:Andante
102:of the
808:(wife)
780:Family
701:Operas
696:Masses
686:Dances
648:Prague
643:Berlin
426:Presto
396:Presto
337:Adagio
151:Vienna
145:, and
116:Nissen
898:Haydn
826:(son)
820:(son)
673:Music
663:Death
638:Italy
100:Trios
26:horns
22:oboes
613:Name
430:coda
422:Trio
410:coda
369:coda
353:Trio
294:coda
289:Trio
192:Trio
28:and
1001:by
143:375
94:or
32:by
1176::
497:^
468:^
436:.
371:.
304:.
245:.
141:,
36:.
24:,
991:e
984:t
977:v
576:e
569:t
562:v
18:K
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