Would you like to experience a beautiful summer’s evening in the style of Viennese classical music? If so, then take a listen to Mozart’s Serenade No. 10 in B-flat major (K 361) which because of its sheer length has since been popularly called ‘Gran Partita’. This beloved serenade gives the impression of a cheerful musical bouquet and is performed here by members of the Bavarian Radio Symphony Orchestra, conducted by Sir Colin Davis. This concert took place in 1991 in the venerable ambiance of the Historischer Reichssaal in Regensburg, Germany.
(00:00) Coming on stage
(00:12) I. Largo - Molto allegro
(09:32) II. Menuetto
(11:53) Trio 1
(15:12) Trio 2
(18:31) III. Adagio
(24:07) IV. Menuetto. Allegretto
(25:32) Trio 1
(27:41) Trio 2
(29:48) V. Romance. Adagio - Allegretto
(35:36) VI. Tema con variazioni. Andante
(45:24) VII. Finale. Molto Allegro
One theory about the Gran Partita’s origins is that it was a wedding gift from Wolfgang Amadeus Mozart (1756-1791) to his bride-to-be Constanze, whom he married in 1782 against his father’s wishes. As the nuptials took place, talk of “great wind music of a most special kind” was reported. Whatever the piece’s exact origins though, it was reported to have been composed in 1782 and is the longest instrumental piece Mozart composed in Vienna.
The orchestration for the 12 wind instruments and double bass is as follows: 2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns, and a double bass. Mozart had a strong preference for the basset horn, a woodwind instrument that was still new at the time, due to its peculiarly dark sound. He used it prominently in the Serenade. By varying which of the 12 wind instruments play together in the piece’s movements he was able to ensure a wide range of harmonic colors, thus marking Serenade K 361 as an excellent example of Mozart’s orchestration skills.
Mozart’s greatest wind serenade has not only been described as the most important work for such an orchestration only because of the sound created: Indeed, the Gran Partita’s 7 movements offer varied forms, tempi, and moods. These come together to create a distinct yet individual mixture of courtly music and chamber music while also incorporating elements of operatic overture and symphonic forms.
- The first movement has a strict symphonic sonata form with just one subject, typical to the first movements found in Josef Haydn’s (1732-1809) symphonies.
- The two minuets, found in the 2nd and 4th movements comprise of a courtly dance followed by a more rough and rural dance. Each of the movements contains two strongly contrasting trios.
- In the first minuet, the first trio is given a quartet of 2 clarinets and 2 basset horns, such that the nuanced difference in the instruments’ timbre are especially well highlighted. In the second trio, which is in a minor key, the clarinets are not featured, being replaced by a bassoon solo.
- In the second minuet we find the trio that is written in the minor key. It is dominated by a dubious, chromatic theme featuring all 13 instruments. This contrasts with the other trio, which is a folksy and catchy ‘Ländler’.
- The two disparate minuets frame the third movement, an Adagio, whose sublime melodic structure is considered to be one of the most beautiful slow movements Mozart had composed. Playing against a constantly pulsing and syncopated orchestral sound, the oboe rises above this with a delightful melody that is picked up and taken over by the first clarinet and basset horn, resulting in a harmonic interplay between the three wood instruments.
- The Romance (5th movement) is also slow and features prominently a bewitching, descending melody. However, the middle section contrasts with this as it contains a restlessly forwards-moving Allegretto.
- The variation movement, which is the 6th and penultimate movement, has six variations, the fourth is in a minor key and the others in a major key. The fifth variation is an Adagio while the sixth comes together to create the final dance. Mozart also used this variation movement in his Quartet in C major for flute, violin, viola, and cello (K 171/285b), however, it is not known which of these works was composed first.
- The final movement is a rondo featuring a catchy theme.
Various parts from Mozart’s Serenade No. 10 have been used in film scores, the most famous of which is probably the passage in the Oscar-winning movie ‘Amadeus’ from 1984. The music is to be heard when Antonio Salieri first acquaints himself with Mozart’s music, his alleged rival. Indeed, Salieri is so impressed by how yearningly expressive the Adagio is (3rd movement: 18:21) that he believes it contains the voice of God.
Produced by BR & BMG Classics
© BMG Classics, 1991
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