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Breaking completely with the character of the previous movement, the
second Menuetto assumes its function as a light, entertaining piece, a
diversion. The second Trio, in particular, adopts the very traditional and very
lively form of a ländler, its spirited rusticity providing a strong contrast with
the elegiac nobility of the Adagio. The Romance - adagio, allegretto, adagio
- is more in keeping with the model of the serenade. The term ‘romance’ also
evokes the songs that were sung in the salons and the half-comic, half-tragic
love stories that were verymuch in favour at that time. But the story told here
is left to the imagination.
The following movement, Tema con Variazioni, reflects, even more
systematically and more densely, the contrasting logic of the work as a
whole. It consists of seven short movements, each of which transforms the
initial theme in an unexpected way. Variation V (adagio) is outstanding, with
its lyrical, melancholy solo from the oboe, calling to mind the Quintet, K581.
The Finale (molto allegro) brings the work to a most brilliant conclusion, in
the spirit of the ‘turqueries’ of
Die Entführung aus dem Serail
.
The exceptional scale of the Gran Partita and the variety and quality of its
composition obviously impressed Mozart’s contemporaries. An eyewitness
account of Stadler’s concert has come down tous,writtenby JohannFriedrich
Schink (Litterarische Fragmente; Graz, 1785).
‘In four movements - glorious and sublime’, the work was
‘performed on thirteen instruments, each played by a most
accomplished musician. Oh, it had such an effect... glorious and
grand, excellent and sublime!’ - ‘herrlich und gross, trefflich und
hehr!’
GRAN PARTITA KV361 63