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The divertimenti in B-flat major, K 186/159b, and E-flat major, K 166/159d, are two companion compositions for pairs of oboes, English horns, clarinets, horns and bassoons by Wolfgang Amadeus Mozart. ==Background== It is not known whether these were commissioned works nor, if so, who commissioned them: both Wyzewa & St. Foix〔Théodore de Wyzewa and Georges de Saint-Foix, ''W.A. Mozart. Sa vie musicale et son oeuvre'', vol. I, p. 521 (Paris, 1912).〕〔Théodore de Wyzewa and Georges de Saint-Foix, ''W.A. Mozart. Sa vie musicale et son oeuvre'', vol. II, p. 4 (Paris, 1912).〕 and Einstein〔A. Einstein in KV3a, pp. 215 and 218 (Ann Arbor, 1947).〕 assume an anonymous Milanese patron (possibly an amateur musician) to be involved. They based this conclusion on the notion that no clarinets were available in Salzburg at that time and that Mozart must have brought back the pieces from his third and last Italian journey during the winter of 1772-73. This notion, which was first asserted by Otto Jahn and then rather carelessly propagated by many scholars, has been put in considerable doubt by Kurt Birsak's research,〔K. Birsak, "Salzburg, Mozart und die Klarinette", ''Mitteilungen der Internationalen Stiftung Mozarteum'' 1985, 33, 40-47.〕 which revealed that clarinets were mentioned in an ''Aufsatz und Specification deren Spielleithen nothbetärftigen Instrumenten in französischem Thon'' (and Specifications of the Instruments in the French Pitch required by Military Bandsmen ) from 1769. However, Colin Lawson asserts that the writing for clarinet in K 166/159d (and to a lesser extent in K 186/159b) is incompatible with what would be expected from clarinettists in a mere military wind band, thereby adding credence to the theory that the works were inspired by an ensemble outside Salzburg.〔 Indeed, in K 186/159b, the first of the two works, the clarinets are treated very often in the same way as the horns, providing pedal points and filling out the harmony without being given the opportunity for solo work, while the majority of the musical and lyrical statements are made by the oboes and English horns; in K 166/159d, on the other hand, the clarinets have become far more independent and are often given the upper voices, sometimes acting as a true pair of soloists accompanied only by the bass. The Neue Mozart Ausgabe (NMA) suggests that the works might have been commissioned by Grand Duke Leopold I of Tuscany, with whom Mozart unsuccessfully applied for employment.〔Neue Mozart Ausgabe, Series VII, Volume 1, p. VIII-XIV (1984).〕 It has also been pointed out that the unusual scoring, most importantly the use of two English horns (Mozart had used them only once before, in the second version of the Divertimento K 113, also composed in Milan, and never since), strongly suggests a commission conceived for an already existing ensemble outside Salzburg.〔R. Hellyer, "Mozart's Harmoniemusik", ''The Music Review'' 1973, 34, pp. 146–156.〕 Unfortunately, the fact that the autograph of K 166/159d explicitly mentions Salzburg does not make unravelling the genesis of these works easier. That the two pieces are companions is clear not only from the instrumentation but also from their structure: after the opening ''Allegro'' follow a ''Menuetto'', a central ''Andante'', an ''Adagio'' (thereby deviating from the more common sequence of two ''Menuetti'' encompassing the ''Andante'') and a final ''Allegro'' structured as a ''Rondo''. Although formally for ten winds, both divertimenti display a quite economical use of the ten instruments, considering that there are usually not more than two to three genuinely independent parts: oboes are often paired in thirds and combined with English horns likewise paired but playing an octave lower. Clarinets are often combined with oboes in sixths and the two bassoons ''always'' play in unison. The horns are confined to providing pedal notes or completing the chords, but in K 166/159d they do get a couple of opportunities to shine as a pair of soloists in typical horn calls.〔 Further evidence for the kinship comes from the fact that in both pieces Mozart quotes from the ballet sketches ''Le gelosie del Seraglio'' K 135a (see below), now confirmed to have been composed by Joseph Starzer.〔W. Senn, "Mozarts Skizze der Ballettmusik zu ''Le gelosie del serraglio''”, ''Acta Musicologica'' 1961, 33, pp. 169–192.〕 These two divertimenti clearly comprise the first stage in Mozart's development as a composer of wind music, the second consisting of the five divertimenti for six winds (K 213, 240, 252/240a, 253 and 270), and the third of the large-scale serenades, K 361/370a, 375 and 388/384a, written in Vienna. K 186/159b and 166/159d display a considerably lighter, more recreational and perhaps even more casual spirit than the later works, true to the interpretation of the term ''divertimento''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Divertimenti for ten winds (Mozart)」の詳細全文を読む スポンサード リンク
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