The second movement is a minuet featuring two contrasting trio sections. This theme continues to be explored in the development and returns in the recapitulation, this time in B flat major both times. 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 leads into the Allegro moderato, which is a monothematic sonata form. The opening movement begins with a slow introduction in B flat major in which tutti syncopated rhythms are set in opposition to solo passages for clarinet and oboe. 361, shows his interest in texture through his use of unique combinations of instruments for the era, scoring, rhythm and articulation. In performance, the double bass is sometimes replaced by a contrabassoon. The work is scored for 2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, 4 horns and double bass. Bastiaan Blomhert has made a compelling argument that the octet version of movements 1, 2, 3 and 7 of the Gran Partita are the original version, one that Mozart enlarged in 1784 for the Akademie of Anton Stadler in the Vienna Burgtheater. The performance of only four movements in 1784 generated the belief that the work was composed in two stages.
The documentary history also shows that there is an unequivocal reference to wind-band music in Vienna in 1781. 361 was the principal project for which Mozart acquired that paper-type. 361, and it is clear from the pattern of paper-usage that K.
361 were ever intended for anything other than K. There is no evidence whatsoever that the 24 leaves of this paper-type that appear in the autograph of K. It was shown by Alan Tyson that this fact is sufficiently compelling to presume that K.
Four other compositions that used this paper can be securely dated to 1781. The autograph of this work contains 24 leaves of paper-type 57.
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. Some prominent authorities ( Köchel, Tyson and Dexter Edge) suggest that the paper and watermarks of this work prove a composition date of 1781 or 1782. The piece was probably composed in 1781 or 1782 and is often known by the subtitle Gran Partita, though the title is a misspelling and not in Mozart's hand. 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments: twelve winds and string bass. 1781, detail from portrait by Johann Nepomuk della Croce
0 kommentar(er)
