The Double Reed Archaeologist

Chamber Music and Concertos for Oboists and Bassoonists
Charles-David Lehrer, General Editor

Volume XVI - No. 79

No. 79. Wolfgang Amadeus Mozart: Divertimento à 7 stromenti, KV 251:
Oboe, 2 Horns, 2 Violins, Viola, and String Bass

	PDF Files	Finale Files
Score [Legal Size Paper] and Parts	download	download
Parts	download	download

This work was composed by Wolfang Amadeus Mozart in 1776, either for the court of the Prince-Archbishop of Salzburg or for a private patron living in the archbishopric. Tradition has it that this divertimento honors his sister Maria Anna’s 25th name day.

At the time, the Archbishopric of Salzburg covered a substantial area. These were ecclesiastical lands sitting within the borders of the Holy Roman Empire; therefore the election of the archbishop had to be approved by both the Pope in Rome and the Holy Roman Emperor in Vienna. The lands were rich in salt and gold and hence the Prince-Archbishops lived a life of incredible luxury. Protestants were not permitted within the archbishopric, and many of those forced out fled to Savannah in the colony of Georgia in the New World!

Divertimento K.251 in F Major is one of Mozart’s most important works involving the oboe, and it features just seven instruments: oboe, 2 horns, 2 violins, viola, and string bass. At times, the individual violin parts utilize unison playing in order to add more sonority, clear evidence that there is only one to a part. The string bass part sits somewhat high and never descends below E =EE.

This is a glorious chamber work that every oboist should have in his or her repertory.

First Movement

This divertimento is initiated with a wonderful sonata form. The initial motive of Theme 1 is designed to be played on the natural horn without any hand-stopping technique. The oboe colors many a passage by playing an octave above the 1st violin or in unison with it; but it also works as a supportive harmony unit in conjunction with the two horns. When the dominant is reached in the exposition, Mozart reuses the thematic material of Theme 1 to create Theme 2 in the dominant minor, and the horns remain silent here as the oboe takes over. Tonicizing closing themes follow in the dominant. The development is short but sweet; and in the recapitulation the thematic material returns in the same order as found in the exposition, but ‘Theme 2’ is placed in the parallel minor followed by closing themes in the tonic. The rather ‘shy’ quality of the oboe is heard to good advantage in this movement. The lowest note in the string bass is A=AA, leading one to believe, at least in this movement, that the 3-stringed instrument was in use here.

Second Movement

This movement is the first of two minuets in the divertimento. This particular one contains a Trio set in the subdominant for the four string instruments alone. As to structure, the Trio and the Menuet proper are both cast in rounded binary form. Low F# and G show up in the string bass line, indicating the use of the four-stringed instrument with E, A, d, and g strings. Again the oboe colors the strings at the unison or octave. The initial two phrases of the Menuet were constructed by Mozart in order that the horns might take full advantage of their ability to play the line.

Third Movement

This andantino shows off Mozart at his very best: what a glorious movement! The structure is that of a rondeau with three fascinating couplets. The second couplet and third refrain are repeated back-to-back. It is here that Mozart gives to the oboe the line of the refrain, an inspired choice! In addition, a spot for improvising a cadenza in the oboe part follows the third couplet, after which the refrain returns at a slightly quicker tempo [allegretto] perhaps excited by the oboist’s cadenza! Although set in the dominant key, A Major, the horns maintain their D crooks and play in G [sounding A], avoiding the note F#.

Fourth Movement

The second of two minuets in K. 251, this one includes a theme and three variations encased within a rondo format. Each variation features a special division of the tactus and a new soloist as follows:

1st Variation: 8th notes: Oboe
2nd Variation: triplets: Violin I
3rd Variation: 16th notes: Violin II

The theme itself, is remarkable for not being cast in the usual binary form. Instead, it is through-composed in three periods, and functions as a refrain, occurring once after each of the three variations.

Fifth Movement

This movement is a rondo with three couplets laid out in the following manner:

Refrain: Theme 1: ||:A||:BA:||
Couplet 1: Theme 2: AA’ in V
Refrain: Theme 1: ABA
Couplet 2: Theme 3 in i: ||:A:||:BA:||
Refrain: Theme 1: ABA
Couplet 3: Themes 4 AABB, Theme 2: AA’, and Theme 4 AABB: all in I
Refrain: Theme 1: ABA

There are places for cadenzas before and after Couplet 3. The first can be played by the oboe, while the second is assigned to Violin I.

Perhaps the most interesting aspect of the structure is the introduction of Theme 4 in Couplet 3. It appears to be a pre-existent melody, perhaps something Mozart heard in Paris; I suspect either the opéra comique or folk song. The second time it comes around, Mozart changes the orchestration somewhat. The military da-da-da [on low D in the oboe at the end of the A part of the Refrain] is quite comical.

Sixth Movement

This ‘Marcia alla francese’ tells us something about the sentiment of this entire Divertimento à 7. It is said to have been composed for Mozart’s sister in honor of her nameday, and French association was intended to remind her of the pleasant days she had spent in Paris.

The structure of the movement is rounded binary form: AA’ ||:BA’:|| The ornamentation of the final A’ is Mozart’s own.

About This Site
Site Developed by Nancy Bonar Lehrer

If you are having difficulties using this site, see About This Site .

Home