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35-526: The Serenade No. 10 for winds in B-flat major , K . 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments: twelve winds and string bass. The piece was composed in 1781 and is often known by the subtitle Gran Partita , though the title is a misspelling and not in Mozart's hand. It consists of seven movements . Some prominent authorities ( Köchel , Tyson , and Dexter Edge ) show that

70-543: A serenata —as the form was called since it occurred most frequently in Italy and Vienna—was a typically celebratory or eulogistic dramatic cantata for two or more singers and orchestra, performed outdoors in the evening by artificial light. Some composers of this type of serenade include Alessandro Stradella , Alessandro Scarlatti , Johann Joseph Fux , Johann Mattheson , and Antonio Caldara . Often these were large-scale works performed with minimal staging, intermediate between

105-414: A cantata and an opera . The main difference between a cantata and a serenata, around 1700, was that the serenata was performed outdoors and therefore could use instruments which would be too loud in a small room (for example, trumpets , horns , and drums ). The most important and prevalent type of serenade in music history is a work for large instrumental ensemble in multiple movements, related to

140-657: A Romantic style include Ludwig van Beethoven , Hector Berlioz , Franz Schubert , Richard Strauss , Max Reger , Ethel Smyth , Wilhelm Stenhammar and Jean Sibelius (see Two Serenades (Sibelius) ). Some examples of serenades in the 20th century include the Serenade for Tenor, Horn and Strings by Benjamin Britten , the Serenade in A for piano by Stravinsky , the Serenade for baritone and septet , Op. 24 by Arnold Schoenberg , and

175-561: A fast presto or allegro movement. There are strong influences from chamber music, and serenades can be subtly inserted into a chamber music program. A serenade can be considered somewhere in between a suite and a symphony, but is usually of a light and romantic nature — casual and without too many overly dramatic moments. Legato In music performance and notation , legato ( [leˈɡaːto] ; Italian for "tied together"; French lié ; German gebunden ) indicates that musical notes are played or sung smoothly and connected. That is,

210-408: A particular application of technique—playing musical phrases using the fretting hand to play the notes—using techniques such as glissando , string bending , hammer-ons and pull-offs instead of picking to sound the notes. The fact that the same finger is both setting the string vibrating and setting the pitch leads to smoother transitions between notes than when one hand is used to mark pitch while

245-475: A passage. In synthesizers legato is a type of monophonic operation. In contrast to the typical monophonic mode where every new note articulates the sound by restarting the envelope generators , in legato mode the envelopes are not re-triggered if the new note is played "legato" (with the previous note still depressed). This causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching

280-514: A portable instrument, most likely a guitar, lute or other plucked instrument. Works of this type also appeared in later eras, but usually in a context that referred specifically to a past time, such as arias in an opera (there is a famous example in Mozart 's Don Giovanni ). Carl Maria von Weber composed his serenade for voice and guitar, "Horch'! Leise horch', Geliebte!" (1809). In the Baroque era,

315-412: A quarter-note instead of the usual even number or triplet. This gives the passage an unusual timing and when played slowly an unusual sound. However, this is less noticeable by ear when played fast, as legato usually is. There is a fine line between legato and two-hand finger tapping , in some cases making the two techniques harder to distinguish by ear. Generally, legato adds a more fluid, smooth sound to

350-498: A slow introduction in B flat major in which tutti syncopated 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

385-565: A small orchestra (in the case of the Serenade No. 2, an orchestra entirely without violins ). Dvořák , Tchaikovsky , Josef Suk , Edward Elgar , and others wrote serenades for strings only, see Serenade for Strings (Dvořák) , Serenade for Strings (Tchaikovsky) , Serenade for Strings (Suk) , and Serenade for Strings (Elgar) , as did Hugo Wolf , who wrote one for string quartet (the Italian Serenade ). Other composers to write serenades in

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420-414: A string at extreme tempos, and particularly in the case of Holdsworth, tend to eschew pull-offs entirely for what some feel is a detrimental effect on guitar tone as the string is pulled slightly sideways. The term "hammer-ons from nowhere" is commonly employed when crossing strings and relying solely on fretting hand strength to produce a note but on a plucked string. Many guitar virtuosos are well-versed in

455-495: A window. It was considered an evening piece, one to be performed on a quiet and pleasant evening, as opposed to an aubade , which would be performed in the morning. The custom of serenading in this manner began in the Medieval era, and the word "serenade" as commonly used in current English is related to this custom. Music performed followed no one particular form, except that it was typically sung by one person accompanying himself on

490-421: Is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato (sometimes referred to as portato ). In music for Classical string instruments , legato is an articulation that often refers to notes played with a full bow , and played with the shortest silence, often barely perceptible, between notes. The player achieves this through controlled wrist movements of

525-442: 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

560-491: Is also in triple meter, in contrast with the other variations, which are in duple meter. The sixth movement, with the third variation slightly altered, was adapted by Mozart from the second movement of the Flute Quartet in C major (K. 285b). 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

595-643: 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. 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 work

630-416: 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", 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

665-437: Is scored for 2 oboes , 2 clarinets , 2 basset horns , 2 bassoons , 4 horns and double bass . In performance, the double bass is sometimes replaced by a contrabassoon . Mozart's Harmoniemusik , including K. 361, shows his interest in texture through his use of unique combinations of instruments for the era, scoring, rhythm and articulation. The serenade is in seven movements as follows: The opening movement begins with

700-462: Is using a boombox to play music. One notable example is in the 1989 movie Say Anything when John Cusack's character Lloyd plays " In Your Eyes " by Peter Gabriel under his love interest's open bedroom window. A serenade is commonly of a multi-movement structure, ranging anywhere from four to up to ten movements. They usually are constructed with a fast opening movement, followed by middle slow movements that alternate with fast ones and close with

735-646: The Serenata notturna , and one of his most famous works, Eine Kleine Nachtmusik . The last two of these, had they been written earlier in the century, would have been atypical for using only string instruments . By the 19th century, the serenade had transformed into a concert work, and was less associated with outdoor performance for honorary occasions. Composers began to write serenades for other ensembles. The two serenades by Brahms are rather like light symphonies, perhaps more closely related to suites, except that they use an ensemble such as Mozart would have recognized:

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770-464: 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 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

805-488: The divertimento , and mainly being composed in the Classical and Romantic periods, though a few examples exist from the 20th century. Usually the character of the work is lighter than other multiple-movement works for large ensemble (for example the symphony ), with tunefulness being more important than thematic development or dramatic intensity. Most of these works are from Italy , Germany , Austria and Bohemia . Among

840-403: The bowing hand, often masked or enhanced with vibrato . Such a legato style of playing can also be associated with portamento . In guitar playing (apart from classical guitar) legato is used interchangeably as a label for both musical articulation and

875-477: The legato technique, as it allows for rapid and "clean" runs. Multiple hammer-ons and pull-offs together are sometimes also referred to colloquially as "rolls," a reference to the fluid sound of the technique. A rapid series of hammer-ons and pull-offs between a single pair of notes is called a trill . Legato on guitar is commonly associated with playing more notes within a beat than the stated timing, i.e., playing 5 (a quintuplet ) or 7 (a septuplet) notes against

910-470: The most famous examples of the serenade from the 18th century are those by Mozart , whose serenades typically comprise between four and ten movements. His serenades were often purely instrumental pieces, written for special occasions such as those commissioned for wedding ceremonies. Famous serenades by Mozart include the Haffner Serenade , Serenade No. 10 for winds commonly known as Gran Partita ,

945-537: The movement entitled "Serenade" in Shostakovich 's last string quartet, No. 15 (1974). Ralph Vaughan Williams wrote a Serenade to Music (for 16 solo voices and orchestra) that premiered in 1938, while Leonard Bernstein composed his Serenade after Plato's "Symposium" (for solo violin, strings harp and percussion) in 1954. These modern serenades are freely explored adaptations to the serenade's original formal layout and instrumentation. A modern play on serenading

980-477: The other strikes the string. Legato technique to provide legato articulation on electric guitar generally requires playing notes that are close and on the same string, following the first note with others that are played by hammer-ons and pull-offs. Some guitar virtuosos (notably Allan Holdsworth , Shawn Lane and Brett Garsed ) developed their legato technique to the extent that they could perform extremely complex passages involving any permutation of notes on

1015-449: The paper and watermarks of this work prove a composition date of 1781. 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

1050-409: The player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid re- articulation . Standard notation indicates legato either with the word legato , or by a slur (a curved line) under notes that form one legato group. Legato, like staccato ,

1085-408: The returns of the theme feature a greater degree of interplay between the instruments. List of compositions by Wolfgang Amadeus Mozart Serenade In the oldest usage, which survives in informal form to the present day, a serenade is a musical greeting performed for a lover, friend, person of rank or other person to be honored. The classic usage would be from a lover to his lady love through

Serenade No. 10 (Mozart) - Misplaced Pages Continue

1120-434: 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 Allegro . The last variation

1155-413: The sustain stage remain there until the final note is released. In classical singing , legato means a string of sustained vowels with minimal interruption from consonants. It is a key characteristic of the bel canto singing style that prevailed among voice teachers and singers during the 18th century and the first four decades of the 19th century. Usually referred to as the line , a good, smooth legato

1190-403: 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

1225-447: 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

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