272:, Alfredo Bernardini on a period English horn by Bernardini & Everts (1988) after Floth, Alessandro Piqué on a period English horn by O. Cortet (1986) after Floth, Lorenzo Coppola on a period clarinet by D. Bangham (1991) after H. Grenser (Dresden, ca. 1800), Daniele Latini on a period clarinet by D. Bangham (1992) after H. Grenser (Dresden, ca. 1800), Raul Diaz on a natural horn by Paxman (1985) after Raoux (Paris, ca. 1800), Dileno Baldin on a natural horn by A. Jungwirth (1992) after Courtois (Paris, ca. 1800), Alberto Grazzi on a period bassoon by H. Grenser (ca. 1790) and Josep Borras on a period bassoon by Rust (Lyon, ca. 1790); Auvidis Astree E 8573 (1996, K 186/159b) and E 8605 (1997, K 166/159d).
63:
186/159b, the first of the two works, the clarinets are treated very often in the same way as the horns, providing pedal points and filling out the harmony without being given the opportunity for solo work, while the majority of the musical and lyrical statements are made by the oboes and
English horns; in K 166/159d, on the other hand, the clarinets have become far more independent and are often given the upper voices, sometimes acting as a true pair of soloists accompanied only by the bass.
843:
114:. Although formally for ten winds, both divertimenti display a quite economical use of the ten instruments, considering that there are usually not more than two to three genuinely independent parts: oboes are often paired in thirds and combined with English horns likewise paired but playing an octave lower. Clarinets are often combined with oboes in sixths and the two bassoons
53:
at that time and that Mozart must have brought back the pieces from his third and last
Italian journey during the winter of 1772-73. This notion, which was first asserted by Otto Jahn and then rather carelessly propagated by many scholars, has been put in considerable doubt by Kurt Birsak's research,
66:
The Neue Mozart
Ausgabe (NMA) suggests that the works might have been commissioned by Grand Duke Leopold I of Tuscany, with whom Mozart unsuccessfully applied for employment. It has also been pointed out that the unusual scoring, most importantly the use of two English horns (Mozart had used them
62:
asserts that the writing for clarinet in K 166/159d (and to a lesser extent in K 186/159b) is incompatible with what would be expected from clarinettists in a mere military wind band, thereby adding credence to the theory that the works were inspired by an ensemble outside
Salzburg. Indeed, in K
118:
play in unison. The horns are confined to providing pedal notes or completing the chords, but in K 166/159d they do get a couple of opportunities to shine as a pair of soloists in typical horn calls. Further evidence for the kinship comes from the fact that in both pieces Mozart quotes from the
48:
It is not known whether these were commissioned works nor, if so, who commissioned them: both Wyzewa & St. Foix and
Einstein assume an anonymous Milanese patron (possibly an amateur musician) to be involved. They based this conclusion on the notion that no clarinets were available in
190:
in mind, one written for two oboes and bassoon, but this was crossed out and replaced with another featuring a dialogue between the oboes and the
English horns, supported by the bass; the original is available in the NMA. The theme of the final
79:), strongly suggests a commission conceived for an already existing ensemble outside Salzburg. Unfortunately, the fact that the autograph of K 166/159d explicitly mentions Salzburg does not make unravelling the genesis of these works easier.
570:
1069:
268:
Ensemble Zefiro: Paolo Grazzi on a 2-key period oboe by
Bernardini & Ceccolini (1994) after Grundmann & Floth (Dresden, ca. 1790), Andrea Mion on a period oboe by M. Ponseele (1993) after
600:
1079:
542:
146:. K 186/159b and 166/159d display a considerably lighter, more recreational and perhaps even more casual spirit than the later works, true to the interpretation of the term
158:
The autograph is preserved in the State
Library Berlin – Prussian Cultural Heritage (Music Department) and is undated. The work consists of the following five movements:
464:
1049:
888:
777:
562:
879:
610:
436:
Erik Smith in "The
Compleat Mozart. A Guide to the Musical Works of Wolfgang Amadeus Mozart.", Neal Zaslaw (ed.), W.W. Norton & Company (New York, 1990).
813:
605:
595:
255:
is thematically linked to No. 30 in K 135a (see above) and generates a peculiar atmosphere with its long notes, legato line and great clarity. The final
590:
585:
818:
126:
These two divertimenti clearly comprise the first stage in Mozart's development as a composer of wind music, the second consisting of the five
507:
1017:
457:
195:
is identical to no. 31 in K 135a (see above). Although the explicit indication is missing from the autograph the horns in K 186/159b are
1036:
985:
980:
969:
953:
948:
127:
537:
872:
357:
846:
620:
615:
552:
450:
1074:
82:
That the two pieces are companions is clear not only from the instrumentation but also from their structure: after the opening
1007:
996:
964:
865:
16:
The divertimenti in B-flat major, K 186/159b, and E-flat major, K 166/159d, are two companion compositions for pairs of
915:
707:
532:
208:
808:
701:
497:
139:
135:
131:
894:
828:
580:
473:
37:
782:
492:
487:
293:
908:
772:
547:
517:
251:, is performed by the first oboe and first English horn an octave lower, supported by the bass. The
239:
is a true trio in that it is scored for the two
English horns with bass only. The main theme of the
719:
654:
647:
641:
522:
289:
713:
625:
248:
235:
features an exposition which is immediately followed by a recapitulation in varied harmony. The
56:
Aufsatz und Specification deren Spielleithen nothbetärftigen Instrumenten in französischem Thon
689:
683:
512:
353:
69:
29:
787:
737:
695:
575:
502:
269:
75:
67:
before only in the second version of the Divertimento K 113, also composed in Milan, and in
857:
792:
527:
1012:
677:
211:
KrakĂłw and is dated 24 March 1773. The work consists of the following five movements:
1063:
823:
749:
743:
669:
755:
731:
725:
59:
21:
130:(K 213, 240, 252/240a, 253 and 270), and the third of the large-scale serenades,
123:
K 135a (see below), now confirmed to have been composed by Joseph Starzer.
442:
50:
25:
33:
143:
17:
861:
446:
381:
Neue Mozart Ausgabe, Series VII, Volume 1, p. VIII-XIV (1984).
186:
to the rest of the work. Originally, Mozart had a different
98:(thereby deviating from the more common sequence of two
1070:
Serenades and divertimenti by Wolfgang Amadeus Mozart
322:
A. Einstein in KV, pp. 215 and 218 (Ann Arbor, 1947).
801:
765:
668:
634:
561:
480:
392:
Mitteilungen der Internationalen Stiftung Mozarteum
333:
Mitteilungen der Internationalen Stiftung Mozarteum
54:which revealed that clarinets were mentioned in an
432:
430:
331:K. Birsak, "Salzburg, Mozart und die Klarinette",
243:, an almost literal transcription of an operatic
390:M. Flothuis, "Mozart's Adagio fĂĽr Englishhorn",
1050:List of compositions by Wolfgang Amadeus Mozart
309:Théodore de Wyzewa and Georges de Saint-Foix,
873:
458:
416:W. Senn, "Mozarts Skizze der Ballettmusik zu
8:
1080:Compositions for orchestra without strings
880:
866:
858:
631:
465:
451:
443:
311:W.A. Mozart. Sa vie musicale et son oeuvre
298:W.A. Mozart. Sa vie musicale et son oeuvre
343:
341:
203:Divertimento in E-flat major, K 166/159d
154:Divertimento in B-flat major, K 186/159b
282:
403:R. Hellyer, "Mozart's Harmoniemusik",
377:
375:
373:
371:
369:
7:
178:The rather straightforward opening
207:The autograph is preserved in the
182:is a Ländler that functions as an
14:
842:
841:
702:Maria Anna Thekla Mozart (Bäsle)
819:Beethoven–Haydn–Mozart Memorial
300:, vol. I, p. 521 (Paris, 1912).
352:. Cambridge University Press.
313:, vol. II, p. 4 (Paris, 1912).
1:
259:is a boisterous contredanse.
728:(paternal great-grandfather)
571:Concert arias, songs, canons
1013:A Musical Joke in F, K. 522
708:Franz Xaver Wolfgang Mozart
690:Maria Anna Mozart (Nannerl)
218:Menuetto with Trio and Coda
1096:
128:divertimenti for six winds
903:
837:
814:Mozart in popular culture
626:Relationship with G minor
350:Mozart: Clarinet Concerto
543:Appearance and character
418:Le gelosie del serraglio
895:Wolfgang Amadeus Mozart
829:Mozart Monument, Vienna
474:Wolfgang Amadeus Mozart
209:Biblioteka Jagiellońska
121:Le gelosie del Seraglio
38:Wolfgang Amadeus Mozart
1075:Compositions for decet
722:(paternal grandfather)
424:1961, 33, pp. 169–192.
407:1973, 34, pp. 146–156.
348:Lawson, Colin (1996).
294:Georges de Saint-Foix
909:Gallimathias musicum
621:Compositional method
601:Works for solo piano
73:, and after only in
58:from 1769. However,
1008:No. 17 in D, K. 334
981:No. 13 in F, K. 253
965:No. 11 in D, K. 251
720:Johann Georg Mozart
655:Neue Mozart-Ausgabe
648:Alte Mozart-Ausgabe
949:No. 8 in F, K. 213
714:Karl Thomas Mozart
394:1967, 15, pp. 1-3.
263:Notable recordings
249:Giovanni Paisiello
165:Menuetto with Trio
1057:
1056:
1018:Divertimento in E
855:
854:
684:Anna Maria Mozart
664:
663:
422:Acta Musicologica
102:encompassing the
70:La finta semplice
1087:
1045:
1042:
1041:
1032:
1023:
1022:
1002:
1001:
991:
990:
975:
974:
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958:
943:
942:
932:
931:
921:
920:
898:
897:
882:
875:
868:
859:
845:
844:
734:(brother-in-law)
696:Constanze Mozart
642:Köchel catalogue
632:
616:Violin concertos
467:
460:
453:
444:
437:
434:
425:
414:
408:
405:The Music Review
401:
395:
388:
382:
379:
364:
363:
345:
336:
335:1985, 33, 40-47.
329:
323:
320:
314:
307:
301:
290:TĂ©odor de Wyzewa
287:
241:Andante grazioso
221:Andante grazioso
119:ballet sketches
110:structured as a
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987:
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939:
929:
928:
918:
917:
899:
893:
892:
886:
856:
851:
833:
797:
778:Catholic Church
761:
758:(sister-in-law)
752:(sister-in-law)
746:(sister-in-law)
740:(mother-in-law)
660:
630:
596:Piano concertos
557:
476:
471:
441:
440:
435:
428:
415:
411:
402:
398:
389:
385:
380:
367:
360:
347:
346:
339:
330:
326:
321:
317:
308:
304:
288:
284:
279:
265:
205:
197:corni alti in B
156:
46:
12:
11:
5:
1093:
1091:
1083:
1082:
1077:
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1062:
1061:
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946:
935:
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913:
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811:
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799:
798:
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795:
790:
785:
780:
775:
769:
767:
763:
762:
760:
759:
753:
747:
741:
735:
729:
723:
717:
711:
705:
704:(first cousin)
699:
693:
687:
681:
678:Leopold Mozart
674:
672:
666:
665:
662:
661:
659:
658:
651:
644:
638:
636:
629:
628:
623:
618:
613:
608:
603:
598:
593:
588:
583:
581:Horn concertos
578:
573:
567:
565:
559:
558:
556:
555:
550:
545:
540:
535:
530:
525:
520:
515:
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455:
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409:
396:
383:
365:
358:
337:
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315:
302:
281:
280:
278:
275:
274:
273:
264:
261:
229:
228:
225:
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219:
216:
204:
201:
176:
175:
172:
169:
166:
163:
155:
152:
106:) and a final
45:
42:
13:
10:
9:
6:
4:
3:
2:
1092:
1081:
1078:
1076:
1073:
1071:
1068:
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1065:
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1051:
1044:
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1029:
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1016:
1014:
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1009:
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1004:
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993:
984:
982:
979:
977:
968:
966:
963:
961:
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950:
947:
945:
936:
934:
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923:
914:
911:
910:
906:
905:
902:
896:
890:
883:
878:
876:
871:
869:
864:
863:
860:
848:
840:
839:
836:
830:
827:
825:
824:Mozart effect
822:
820:
817:
815:
812:
810:
807:
806:
804:
800:
794:
791:
789:
786:
784:
781:
779:
776:
774:
771:
770:
768:
764:
757:
754:
751:
750:Aloysia Weber
748:
745:
744:Josepha Weber
742:
739:
738:Cäcilia Weber
736:
733:
730:
727:
724:
721:
718:
715:
712:
709:
706:
703:
700:
697:
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688:
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679:
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671:
667:
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645:
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639:
637:
633:
627:
624:
622:
619:
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612:
609:
607:
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602:
599:
597:
594:
592:
589:
587:
584:
582:
579:
577:
574:
572:
569:
568:
566:
564:
560:
554:
551:
549:
546:
544:
541:
539:
536:
534:
531:
529:
526:
524:
521:
519:
516:
514:
511:
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506:
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501:
499:
496:
494:
491:
489:
486:
485:
483:
479:
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468:
463:
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456:
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449:
448:
445:
433:
431:
427:
423:
419:
413:
410:
406:
400:
397:
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387:
384:
378:
376:
374:
372:
370:
366:
361:
359:0-521-47929-0
355:
351:
344:
342:
338:
334:
328:
325:
319:
316:
312:
306:
303:
299:
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286:
283:
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271:
267:
266:
262:
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258:
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250:
246:
242:
238:
234:
226:
223:
220:
217:
214:
213:
212:
210:
202:
200:
198:
194:
189:
185:
181:
180:Allegro assai
173:
170:
167:
164:
162:Allegro assai
161:
160:
159:
153:
151:
149:
145:
142:, written in
141:
137:
133:
129:
124:
122:
117:
113:
109:
105:
101:
97:
93:
89:
85:
80:
78:
77:
76:Il rè pastore
72:
71:
64:
61:
57:
52:
43:
41:
39:
35:
31:
27:
23:
22:English horns
19:
1048:
937:
926:
907:
889:Divertimenti
809:Georg Nissen
756:Sophie Weber
732:Joseph Lange
726:Franz Mozart
653:
646:
548:Pet starling
421:
417:
412:
404:
399:
391:
386:
349:
332:
327:
318:
310:
305:
297:
285:
256:
252:
244:
240:
236:
232:
231:The opening
230:
206:
196:
192:
187:
183:
179:
177:
157:
148:divertimento
147:
125:
120:
115:
111:
107:
103:
99:
95:
91:
90:, a central
87:
83:
81:
74:
68:
65:
60:Colin Lawson
55:
47:
15:
1037:No. 16 in B
997:No. 15 in B
986:No. 14 in B
970:No. 12 in E
783:Freemasonry
508:Nationality
488:Biographies
1064:Categories
954:No. 9 in B
938:No. 4 in B
927:No. 3 in E
916:No. 1 in E
766:Influences
611:Symphonies
498:Grand tour
493:Birthplace
277:References
270:H. Grenser
132:K 361/370a
44:Background
773:Beethoven
518:Scatology
513:Residence
481:Biography
86:follow a
26:clarinets
1043:, K. 289
1040:♭
1031:Doubtful
1024:, K. 563
1021:♭
1003:, K. 287
1000:♭
992:, K. 270
989:♭
976:, K. 252
973:♭
960:, K. 240
957:♭
944:, K. 186
941:♭
933:, K. 166
930:♭
922:, K. 113
919:♭
847:Category
692:(sister)
686:(mother)
680:(father)
635:Editions
523:Smallpox
245:sinfonia
140:388/384a
100:Menuetti
88:Menuetto
51:Salzburg
34:bassoons
912:, K. 32
802:Related
793:Salieri
606:Sonatas
257:Allegro
233:Allegro
227:Allegro
215:Allegro
193:Allegro
184:Intrada
174:Allegro
168:Andante
108:Allegro
104:Andante
92:Andante
84:Allegro
698:(wife)
670:Family
591:Operas
586:Masses
576:Dances
538:Prague
533:Berlin
356:
253:Adagio
224:Adagio
171:Adagio
144:Vienna
138:, and
116:always
96:Adagio
788:Haydn
716:(son)
710:(son)
563:Music
553:Death
528:Italy
112:Rondo
94:, an
30:horns
18:oboes
503:Name
354:ISBN
292:and
237:Trio
188:Trio
32:and
891:by
420:”,
247:by
136:375
36:by
1066::
429:^
368:^
340:^
296:,
199:.
150:.
134:,
40:.
28:,
24:,
20:,
881:e
874:t
867:v
466:e
459:t
452:v
362:.
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