Serenade No. 10 for winds

The Serenade No. 10 for winds in B flat major, K. 361, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments (twelve winds and string bass). The date of its composition is reasonably certain (based on research by Alan Tyson), though Leeson, the coeditor of the Neue Mozart Ausgabe volume containing the work continues to hold the opinion that it was written in 1784. It consists of seven movements. It is often known by the subtitle "Gran Partita". This title is not in Mozart's hand. [ See Leeson, 222]

Composition

Some prominent authorities (Köchel, Tyson and Edge) suggest that the paper and watermarks of this work prove a composition date of 1781 or 1782. That the work was specially composed for a public concert given by Anton Stadler on March 23, 1784 is less likely, because this performance has no proven connection with the date of composition and only marks an ante quem date. The autograph of this work contains 24 leaves of paper-type 57. Four other compositions that used this paper can be securely dated to 1781. It was shown by Alan Tyson that this fact is sufficiently compelling to presume that K. 361 was composed in 1781. There is no evidence whatsoever that the 24 leaves of this paper-type that appear in the autograph of K. 361 were ever intended for anything other than K. 361, and it is clear from the pattern of paper-usage that K. 361 was the principal project for which Mozart acquired that paper-type. The documentary history also shows that there is an unequivocal reference to wind-band music in Vienna in 1781. The performance of only four movements in 1784 generated the belief that the work was composed in two stages, though this view is now rejected.

The work is scored for 2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns and double bass (occasionally replaced by contrabassoon)

Movements

The serenade is in seven movements; their names and page numbers per Mozart's handwritten manuscript [ [http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200152596/default.html Mozart's Manuscript (K. 361) at the Library of Congress] ] are as follows:

*I. Largo. Molto Allegro (Page 1)
*II. Menuetto (Page 25)
*III. Adagio (Page 34)
*IV. Menuetto. Allegretto (Page 44)
*V. Romance. Adagio (Page 52)
*VI. Tema con variazioni (Page 62)
*VII. Finale. Molto Allegro (Page 81)

The opening movement begins with a slow introduction in B flat major in which "tutti" dotted rhythms are set in opposition to solo passages for clarinet and oboe. This leads into the Allegro moderato, which is a monothematic sonata form. The first theme of the exposition opens, originally presented in B flat major in the clarinets, later returns in F major in the basset horns and oboes in a modified form as the second theme. This theme continues to be explored in the development and returns in the recapitulation, this time in B flat major both times.

The second movement is a minuet featuring two contrasting trio sections. The minuet section is in B flat major and uses all the instruments extensively. The first trio employs is in E-flat major and employs only the clarinets and basset horns. This section leads into a repeat of the minuet section. The second trio section is in the relative minor, G minor, and extensively uses the solo oboe, basset horn and bassoon.

Described by Goodwin as “virtually an ‘operatic’ ensemble of passionate feeling and sensuous warmth”, [Goodwin, Noel, CD liner notes for "Mozart: Three Wind Serenades, Sinfonia Concertante", ASV CD COS 242] the third movement, marked "Adagio", is in E flat major. A syncopated pulse occurs almost throughout the movement while solo lines alternate between the solo oboe, clarinet and basset horn.

The fourth movement is a second minuet; like the second movement, it has two trio sections. The fast, staccato minuet section is in B flat major. The first trio, by contrast, has fewer staccato notes and is in the parallel minor, B-flat minor. After the minuet section is repeated, the second trio is played. This section is in F major and is largely legato.

The fifth movement, labeled "Romanze", returns to the slow tempo and E flat major tonality of the third movement. The movement begins and ends with an "Adagio" section in the tonic and in triple meter with many long notes in the melody. Contrasting with these sections is an "Allegretto" section between them, which is in C minor and features constant pulse in the bassoons.

The sixth movement is a set of six variations on an "andante" theme in B flat major. The theme is presented primarily by the solo clarinet. The variations make use of various rhythmic motives and often feature solo instruments; for example, the first variation features the solo oboe. Unlike the other variations, all of which are in B flat major, the fourth variation is in B flat minor. The last two variations are in different tempos from the rest of the movement: the fifth is marked "Adagio", while the sixth is marked "Allegretto". The last variation is also in triple meter, in contrast with the other variations, which are in duple meter.

The seventh and last movement is a rondo. The movement employs many tutti passages in which the oboes and clarinets play in unison, particularly in the rondo theme. The episodes between the returns of the theme feature a greater degree of interplay between the instruments.

References in popular culture

In the 1984 film "Amadeus", Antonio Salieri's first encounter with Mozart is at a performance of this work. Salieri has not been impressed with Mozart's boorish behavior before the performance, but as he looks at the music on the page, he describes the beauty and delight of the solo oboe's entry soon thereafter followed by the clarinet's line (in the third movement), leading him to say, “This was no composition by a performing monkey. This was a music I'd never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the voice of God.” ["Amadeus", Warner Bros., 1984] It is at this point that Salieri first questions how God could choose a vulgar man like Mozart as his voice; this question becomes a primary theme of the film.

ources

*Tyson, Alan, "Mozart: Studies of the Autograph Scores," Cambridge, MA: Harvard University Press, 1987. ISBN 0-674-58831-2.
*Leeson, Daniel N., “A Revisit: Mozart’s Serenade for Thirteen Instruments”, K. 361 (370a), the “Gran Partitta”, in "Mozart-Jarbuch", 1997 (Kassel: Bärenreiter)

References

External links

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* [http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200152596/pageturner.html Full-colour facsimile of the autograph manuscript]