The same praise may be bestowed on a nocturne (286 K.) for four orchestras, each consisting of a stringed quartet and two horns, so arranged as to represent a threefold echo. When the first orchestra has played a connected phrase the second orchestra falls in at the last bar with the same, or with the four last bars of the same, the third follows the second at the last bar with the three last bars, and the fourth comes in in the same way with the two last bars; then the first orchestra continues the theme. In this way all the three movements—andante, allegro, and minuet—are managed, with but slight modifications; only the trio of the minuet is played by one orchestra alone, or by all together. It need scarcely be said that the omission of the echoes does not affect the connection of the parts. The main point in such a trifle as this is to carry it out with as little visible constraint as possible.
There is an especially good effect in the minuet where short passages follow each other in rapid succession, falling in at different parts of the bars, and the way in which in the first part the horns alone conclude a phrase with—[See Page Image] cutting each other short in the most impatient manner, is truly comical.
Similar instrumental compositions to this are called by the name of divertimento or cassatio (which last term has never been satisfactorily explained), in which the various parts are simply arranged.[ 37 ] The first of these (113 K.), composed in Milan in 1771, "Concerto ossia Divertimento," has the four movements of the symphony, the last in rondo form, and INSTRUMENTAL MUSIC. resembles the symphonies of that time also in the brevity and preciseness of its arrangement. The strings are not obbligato, the wind instruments—two clarinets and two horns—although not concertante, are more than usually independent. For a later performance, probably in 1773, two oboes, two English horns, and two bassoons were so added that the clarinets might be omitted.[ 38 ] The stringed instruments were left untouched; the strengthening of the wind instruments was utilised for the alternations, with slight and clever modifications.
In the next divertimento, belonging to June, 1772 (131 K.), consisting of seven movements, the combination of the different instruments (four horns,[ 39 ] flutes, oboes, and bassoons) is varied with evident care. The first adagio is for strings alone, the second for wind instruments; the first minuet is for strings, the wind instruments alternate with each other in the three trios, and all the instruments unite in the coda. In the second minuet the four horns are especially prominent; in the third movement, an allegretto, the flute is obbligato and the horns are silent; in the first and last movements all the instruments work together.
A divertimento, singular in many respects, in six movements, for oboes and two horns, together with stringed instruments, seems to have been written quickly for some special occasion in July, 1776 (54 K.), and then to have been laid aside. The score is hurriedly jotted down on already used music paper of different shapes, with abbreviations, directions for the copyist, and various corrections. The second minuet has no trio, but is three times varied. The oboe is prominent and striking, not in passages, but in sustained notes and tuneful melodies. The stringed instruments, without being actually concertante, enliven the whole DIVERTIMENTI, 1776-77. by their free arrangement of parts. The national German character of the melodies is very noticeable; they remind us in style of popular German songs.
The alliance of the horns with the strings was a favourite one at the time, although the instruments do not readily blend. The freer the thematic elaboration of the string parts the more difficult it became for the horns to keep pace with them, although now and then fine effects might be produced by their means.
The difficulty was so to engraft, as it were, the horns on the stringed instruments as to leave them free play for their own natural effects, and to produce a certain richness and depth of colouring not attainable without their aid.
In a divertimento, written about 1773 or 1774 (205 K.), two horns are in union with violin, tenor, and violoncello, strengthened by a bassoon. It is short and precise, but cleverly written. The adagio is a duet for violin and tenor, to a very simple bass, the horns being silent. It must be remembered that such pieces as these were always accompanied on the clavier.
Two divertimenti or cassationi, as they are oftener called in the letters, for string quartet, with two horns (247, 287, K.),[ 40 ] were written in June, 1776 and June, 1777, for the fête-day of the Countess Ant. Lodron; they are finished works of the genuine Mozart type. Both have six elaborately worked-out movements, and abound in grace and fertility of invention, and in skilful harmonic treatment. The style is that of a true quartet, that is, the instruments have each their independent part, but the first violin, as a solo part, is markedly predominant; in the first divertimento, in F major (247 K.), it sustains the melody in every movement, but is bravura and concertante only in the adagio.
In the second divertimento, in B flat major (287 K.), which is grand in design and composition, the first violin is treated as a solo instrument throughout, with a strong INSTRUMENTAL MUSIC. tendency to bravura, the remaining instruments co-operating in such a way as to display the creative spirit of an artist in every detail, however delicate or subordinate. In the very first thematically elaborated passage the solo passages for the violin occur, which it is the chief concern of the second part to elaborate. The second place—which in the former divertimento (247 K.) was given to a simple, exceedingly graceful andante grazioso, a kind of song without words—is occupied in the latter (287 K.) by an air with variations, in which all the instruments take part, but the violin more prominently, and with more of executive bravura than any of the others. This is most apparent in the two minuets, but it is very decided also in the broadly conceived adagio, where the second violin and tenor are muted, the violoncello plays pizzicato, while the first violin leads a melody richly adorned with figures and passages, and requiring the execution of a finished performer. The use of muted strings, especially in slow movements, was very frequent at that time in accompaniments, as well as in symphonies and quartets, and was intended to produce variety of tone-colouring; the violoncello not being muted, but pizzicato, afforded a contrast of tone. The concluding movement is introduced by an andante with a recitative for the first violin, not too long, and so worked out that the whole compass of the instrument is characteristically displayed. A long molto allegro follows this introduction, in 3-8 time, which keeps the violinist in constant movement, and gives him an opportunity of displaying the variety of his technical skill; but the movement is carefully planned and composed, due consideration being given to each part in its place. The recitative recurs at the end, followed by a short and brilliant conclusion. The tone of this movement is not as cheerful as usual; it is full of impulsive haste and changeful humour, and its stronger accent betrays a certain intensity, even in the introductory recitative.
