141:
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.
80:"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 "
964:
164:. 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.
456:
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.
346:
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
101:, 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
124:
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
345:
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
455:
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
92:
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
465:
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
140:
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
272:
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:
251:
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
84:
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
242:
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
302:
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
63:
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
691:
1190:
247:
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
721:
72:, 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
663:
97:. 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
585:
466:(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).
89:
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.
1170:
1009:
898:
683:
1000:
731:
934:
726:
716:
711:
706:
69:
939:
628:
144:
These five divertimenti clearly comprise the second stage in Mozart's development as a composer of wind music, the first consisting of the two
31:
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
1138:
578:
1058:
1047:
201:
has a ternary structure and sees the first oboe paired with the first bassoon, and the second oboe briefly with the second bassoon. The
145:
130:
658:
993:
1195:
967:
741:
736:
673:
571:
419:
is a gavotte with a tiny but delightful three-beat canonic episode between first oboe and second bassoon at the beginning; the
1128:
1117:
1085:
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1036:
828:
653:
391:
324:
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218:
173:
929:
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157:
153:
149:
137:
was not misled by this and he published a very carefully prepared set of parts in the original order in 1801.
55:
The five wind sextets K 213, 240, 252/240a, 253, and 270 have historically been regarded as a series of five
1015:
949:
701:
594:
44:
423:
features four bars of
Alberti-bass accompaniment for the first horn bringing the latter to prominence. The
903:
613:
608:
134:
1029:
893:
668:
638:
840:
775:
768:
762:
643:
528:
28:
290:
The third divertimento in the series sets itself apart from the other four by opening with a lazy
834:
746:
415:
is in full sonata form with a development section and a varied repeat in the recapitulation. The
350:
variation displaying a legato line and great clarity. The sixth constitutes the reprise of the
810:
804:
633:
439:
is an uncompromising 3/8 gigue featuring a brief moment of glory for the first bassoon in the
36:
908:
858:
816:
696:
623:
102:
978:
913:
648:
541:
98:
209:
are the horns which are given the opportunity to shine as soloists on several occasions.
443:. Although the explicit indication is missing from the autograph the horns in K 270 are
1133:
798:
269:
94:
1184:
944:
870:
864:
790:
394:
KrakĂłw and is dated
January 1777. The work consists of the following four movements:
327:
KrakĂłw and is dated August 1776. The work consists of the following three movements:
221:
KrakĂłw and is dated
January 1776. The work consists of the following four movements:
117:
are in the subdominant key, except for that of K 240 which is the related minor key.
876:
852:
846:
176:
KrakĂłw and is dated July 1775. The work consists of the following four movements:
500:
106:
553:
U. Toeplitz, "Ist das Bläserdivertimento in Es-dur, KV 271g/289, von Mozart?",
498:
The Compleat Mozart. A Guide to the Musical Works of Wolfgang Amadeus Mozart.
197:
is in sonata form but the development section is quite brief. The subsequent
411:
The fifth and final divertimento is the most sophisticated of the set. The
563:
60:
298:
the first horn is prominently brought to the foreground; the subsequent
148:(K 186/159b and 166/159d), and the third of the large-scale serenades,
40:
17:
161:
32:
982:
567:
193:
This first sextet is the least sophisticated of the set. The
129:
changed the numbering fixed by Leopold and placed one of the
294:
in 6/8 time with an unusual number of dynamic marks. In the
358:: at the end of the fifth variation the autograph mentions
76:, issued by the Archbishop on 1 November 1778, one reads
109:
key, while all the others are in the principal key. The
431:
and features a peculiar hiccup in the second bar; the
205:
is a Ländler. The most important feature of the final
1191:
Serenades and divertimenti by Wolfgang Amadeus Mozart
93:
something of a pedagogical intention, most likely by
922:
886:
789:
755:
682:
601:
555:
Mitteilungen der Internationalen Stiftung Mozarteum
331:
Thema mit 6 Variationen (Andante-Adagio-Allegretto)
133:, K 166/159d, in front of the sextets. Apparently,
503:(ed.), W.W. Norton & Company (New York, 1990).
492:
490:
488:
486:
484:
482:
480:
1171:List of compositions by Wolfgang Amadeus Mozart
994:
579:
8:
532:, Series VII, Volume 1, p. VIII–XIV (1984).
1001:
987:
979:
752:
586:
572:
564:
451:Divertimento in E-flat major, K 289/271g
366:contrasts the more noble and expressive
260:Divertimento in E-flat major, K 252/240a
544:in KV, p. 344 footnote (Leipzig, 1937).
476:
189:Contredanse en Rondeau (Molto allegro)
523:
521:
519:
517:
515:
513:
511:
509:
7:
427:carries the specific indication of
386:Divertimento in B-flat major, K 270
213:Divertimento in B-flat major, K 240
390:The autograph is preserved in the
360:variatio 6: il thema ma allegretto
323:The autograph is preserved in the
264:The autograph is preserved in the
217:The autograph is preserved in the
172:The autograph is preserved in the
74:Anstellungsdekret fĂĽr Joseph Fiala
25:
963:
962:
823:Maria Anna Thekla Mozart (Bäsle)
313:Die Katze lasst das Mausen nicht
940:Beethoven–Haydn–Mozart Memorial
319:Divertimento in F major, K 253
168:Divertimento in F major, K 213
1:
404:Menuetto (Moderato) with Trio
311:is based on the Austria tune
125:piece. After Mozart’s death,
59:(dinner music) works for the
27:The divertimenti in F major (
849:(paternal great-grandfather)
692:Concert arias, songs, canons
378:statement and closes with a
1134:A Musical Joke in F, K. 522
829:Franz Xaver Wolfgang Mozart
811:Maria Anna Mozart (Nannerl)
1212:
146:divertimenti for ten winds
131:divertimenti for ten winds
1024:
958:
935:Mozart in popular culture
747:Relationship with G minor
664:Appearance and character
1196:Compositions for sextet
1016:Wolfgang Amadeus Mozart
950:Mozart Monument, Vienna
595:Wolfgang Amadeus Mozart
392:Biblioteka Jagiellońska
325:Biblioteka Jagiellońska
268:KrakĂłw and is undated;
266:Biblioteka Jagiellońska
219:Biblioteka Jagiellońska
174:Biblioteka Jagiellońska
45:Wolfgang Amadeus Mozart
843:(paternal grandfather)
207:Contredanse en Rondeau
82:
70:Archbishop of Salzburg
557:1984, 32(1–4), 51–63.
78:
1030:Gallimathias musicum
742:Compositional method
722:Works for solo piano
1129:No. 17 in D, K. 334
1102:No. 13 in F, K. 253
1086:No. 11 in D, K. 251
841:Johann Georg Mozart
776:Neue Mozart-Ausgabe
769:Alte Mozart-Ausgabe
529:Neue Mozart-Ausgabe
283:Polonaise (Andante)
1070:No. 8 in F, K. 213
835:Karl Thomas Mozart
460:Notable recordings
435:is a Ländler. The
374:opens with a bold
334:Menuetto with Trio
280:Menuetto with Trio
231:Menuetto with Trio
186:Menuetto with Trio
135:Johann Anton André
1178:
1177:
1139:Divertimento in E
976:
975:
805:Anna Maria Mozart
785:
784:
354:theme but played
195:Allegro spiritoso
180:Allegro spiritoso
16:(Redirected from
1203:
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1162:
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1064:
1063:
1053:
1052:
1042:
1041:
1019:
1018:
1003:
996:
989:
980:
966:
965:
855:(brother-in-law)
817:Constanze Mozart
763:Köchel catalogue
753:
737:Violin concertos
588:
581:
574:
565:
558:
551:
545:
539:
533:
525:
504:
494:
307:. The brilliant
228:Andante grazioso
120:The designation
21:
1211:
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1039:
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1014:
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1007:
977:
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918:
899:Catholic Church
882:
879:(sister-in-law)
873:(sister-in-law)
867:(sister-in-law)
861:(mother-in-law)
781:
751:
717:Piano concertos
678:
597:
592:
562:
561:
552:
548:
540:
536:
526:
507:
495:
478:
473:
462:
453:
445:corni alti in B
388:
341:The syncopated
321:
262:
254:corni alti in B
215:
170:
99:Alfred Einstein
53:
23:
22:
15:
12:
11:
5:
1209:
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1199:
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868:
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844:
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826:
825:(first cousin)
820:
814:
808:
802:
799:Leopold Mozart
795:
793:
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783:
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780:
779:
772:
765:
759:
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750:
749:
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729:
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719:
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702:Horn concertos
699:
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496:Erik Smith in
475:
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469:
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452:
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409:
408:
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370:. The ternary
339:
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288:
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270:Wolfgang Plath
261:
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236:
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169:
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95:Leopold Mozart
52:
49:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1208:
1197:
1194:
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997:
992:
990:
985:
984:
981:
969:
961:
960:
957:
951:
948:
946:
945:Mozart effect
943:
941:
938:
936:
933:
931:
928:
927:
925:
921:
915:
912:
910:
907:
905:
902:
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897:
895:
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891:
889:
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878:
875:
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871:Aloysia Weber
869:
866:
865:Josepha Weber
863:
860:
859:Cäcilia Weber
857:
854:
851:
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845:
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839:
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491:
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481:
477:
470:
464:
463:
459:
457:
450:
448:
446:
442:
438:
434:
430:
426:
422:
418:
414:
413:Allegro molto
406:
403:
400:
398:Allegro molto
397:
396:
395:
393:
385:
383:
381:
377:
373:
372:Allegro assai
369:
365:
361:
357:
353:
349:
344:
337:Allegro assai
336:
333:
330:
329:
328:
326:
318:
316:
314:
310:
306:
301:
297:
293:
285:
282:
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271:
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259:
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212:
210:
208:
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196:
188:
185:
182:
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175:
167:
165:
163:
160:, written in
159:
155:
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138:
136:
132:
128:
123:
118:
116:
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108:
104:
100:
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88:
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71:
67:
62:
58:
50:
48:
46:
42:
38:
34:
30:
19:
1169:
1157:
1106:
1101:
1090:
1074:
1069:
1028:
1010:Divertimenti
930:Georg Nissen
877:Sophie Weber
853:Joseph Lange
847:Franz Mozart
774:
767:
669:Pet starling
554:
549:
537:
527:
497:
454:
444:
440:
436:
432:
428:
424:
420:
416:
412:
410:
389:
379:
375:
371:
367:
363:
359:
355:
351:
347:
342:
340:
322:
312:
309:Presto assai
308:
304:
299:
295:
291:
289:
286:Presto assai
263:
253:
248:
244:
239:
238:The opening
237:
216:
206:
202:
198:
194:
192:
171:
143:
139:
122:divertimento
121:
119:
114:
110:
91:
86:
83:
79:
73:
65:
56:
54:
26:
1158:No. 16 in B
1118:No. 15 in B
1107:No. 14 in B
1091:No. 12 in E
904:Freemasonry
629:Nationality
609:Biographies
542:A. Einstein
501:Neal Zaslaw
362:. The calm
107:subdominant
1185:Categories
1075:No. 9 in B
1059:No. 4 in B
1048:No. 3 in E
1037:No. 1 in E
887:Influences
732:Symphonies
619:Grand tour
614:Birthplace
471:References
356:Allegretto
150:K 361/370a
87:Finalmusik
66:Tafelmusik
57:Tafelmusik
51:Background
894:Beethoven
639:Scatology
634:Residence
602:Biography
417:Andantino
401:Andantino
1164:, K. 289
1161:♭
1152:Doubtful
1145:, K. 563
1142:♭
1124:, K. 287
1121:♭
1113:, K. 270
1110:♭
1097:, K. 252
1094:♭
1081:, K. 240
1078:♭
1065:, K. 186
1062:♭
1054:, K. 166
1051:♭
1043:, K. 113
1040:♭
968:Category
813:(sister)
807:(mother)
801:(father)
756:Editions
644:Smallpox
429:moderato
425:Menuetto
368:Menuetto
296:Menuetto
245:Menuetto
158:388/384a
115:Menuetti
103:dominant
68:for the
61:Salzburg
41:bassoons
1033:, K. 32
923:Related
914:Salieri
727:Sonatas
376:unisono
352:Andante
343:Andante
292:Andante
277:Andante
249:Allegro
240:Allegro
234:Allegro
225:Allegro
199:Andante
183:Andante
113:of the
819:(wife)
791:Family
712:Operas
707:Masses
697:Dances
659:Prague
654:Berlin
437:Presto
407:Presto
348:Adagio
162:Vienna
156:, and
127:Nissen
18:K. 240
909:Haydn
837:(son)
831:(son)
684:Music
674:Death
649:Italy
111:Trios
37:horns
33:oboes
624:Name
441:coda
433:Trio
421:coda
380:coda
364:Trio
305:coda
300:Trio
203:Trio
39:and
1012:by
154:375
105:or
43:by
1187::
508:^
479:^
447:.
382:.
315:.
256:.
152:,
47:.
35:,
1002:e
995:t
988:v
587:e
580:t
573:v
29:K
20:)
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