After the repetition of this, the second phrase follows, formed from the same melodic elements, but in three sections of two bars each--[See Page Image]
and also repeated. On its first occurrence it forms a fine contrast to the passionate commencement, and lays the foundation for the lively and forcible conclusion of the first part, while in the second part its transposition into the minor prepares the way for the gloomy and agitated conclusion of the movement. The calmer mood of the andante preserves the serious character of the whole, without too great softness or languor of expression.
Mozart has perpetrated a contrapuntal joke in the minuet. The oboes and bassoons lead a two-part canon in octave, while the clarinets and horns are used as tutti parts. In the four-part trio the oboes and bassoons again carry out a two-part canon (_al rovescio_) in which the answering part exactly renders the rhythm and intervals, the latter, however, inverted:--[See Page Image]
Tricks of this kind should always come as this does, without apparent thought or effort, as if they were thrown together by a happy chance, the difficulties of form serving only to give a special flavour to the euphonious effect. The last movement, variations, passes gradually from a disquieted anxious mood into a calmer one, and closes by a recurrence to the subject in the major, with freshness and force.
This serenade is best known in the form of a quintet for stringed instruments, to which Mozart adapted it apparently before 1784 (506 K.). Nothing essential is altered--only the middle parts, accompaniment passages, &c., are somewhat modified. Some of the passages and movements, however, especially the andante and finale, have lost considerably by the altered tone-colouring.
Various divertimenti for wind instruments, which have been published under Mozart's name, have neither external nor internal signs of authenticity.[37] An Adagio in B flat major for two clarinets and three basset-horns (411 K.), concerning which little is known, stands alone of its kind.[38] The combination of instruments points here as elsewhere (Vol. II., pp. 361, 410) to some special, perhaps masonic occasion, the more so as a detached and independent adagio could only have been written with a definite object in view. The juxtaposition of instruments so nearly related, with their full, soft, and, in their deeper notes, sepulchral tones, produces an impression of solemnity, which is in accordance with the general facter of peace after conflict expressed by the adagio.