![]() Of particular note is the brief, penultimate variation in the minor, filled with rich dissonances, imitative motivic gestures, and a seamless transition in the ecstatic final variation (back in the major mode). The theme is presented by violin and viola in octaves and each of the four variations that follow allows for brilliant solo turns by each member of the ensemble. Like Haydn, Mozart enjoyed toying with listener’s expectations in his minuets and this one is no exception, filled with rhythmic hiccups and unpredictable phrase lengths.Īt the center of the Divertimento sits a warm, brilliant set of variations. This one dispels any leftover gloom from the second movement: all is cheerful and sunny. Its harmonic language is also highly chromatic – anticipating Beethoven (again) and Schubert by thirty years or so.Īfter the Adagio comes the first of the Divertimento’s two minuets. In the Divertimento’s slow second movement, the music takes on the character of Mozart’s operatic vocal writing, highly lyrical and deeply expressive. ![]() But its second motive is pure Mozart: graceful, singing, and elegant the perfect contrast to the opening materials. ![]() Its first movement anticipates Beethoven somewhat, with a first theme that relies heavily on scale figures and arpeggios. Mozart had dabbled with its instrumentation –violin, viola, and cello – before, but the Divertimento is the only string trio Mozart either saw fit or managed to complete. The most notable product of this redirection of his attentions was a six-movement work that was published as his Divertimento in E-flat, K. ![]() ![]() 563 (1788)Īfter completing what turned out to be his last three symphonies in the summer of 1788, Mozart turned to writing chamber music. Divertimento in E-flat major, for violin, viola, and cello, K. ![]()
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