instruments, and for performance at table or as serenades. Families of rank frequently retained the services of a band for "Harmoniemusik" instead of a complete orchestra. 28 The Emperor Joseph selected eight distinguished virtuosi 29 for the Imperial "Harmonie," who played during meals, especially when these took place in the imperial pleasure-gardens. The performances included operatic arrangements as well as pieces composed expressly for this object. 30 Reichardt dwells on the enjoyment afforded him in 1783 by the Harmoniemusik of the Emperor and the Archduke Maximilian. "Tone, delivery, everything was pure and harmonious; some movements by Mozart were lovely; but unluckily nothing of Haydn's was performed." 31 First-class taverns supported their own "Harmonie" bands, in order that the guests might not be deprived of this favourite accompaniment to their meals. 32

Besides the great serenades, intended for public performance, the old custom was still practised of writing "Standchen," 33 for performance under the window of the person who was to be thus celebrated; and the general desire that such pieces should be new and original provided composers with almost constant employment on them. 34 Wind instruments were most in vogue for this "night-music." The instruments were usually limited to six—two clarinets, two horns, and two bassoons, strengthened SERENADES FOR WIND INSTRUMENTS. sometimes by two oboes. Such eight-part harmonies sufficed both the Emperor and the Elector of Cologne as table-music and for serenades; and at a court festival at Berlin in 1791 the music during the banquet was thus appointed. 35 The "Standchen," in "Cosi fan Tutte" (21), and the table-music, in the second finale of "Don Giovanni," are imitations of reality.

Mozart did not neglect the opportunities thus afforded him of making himself known during his residence in Vienna. He writes to his father (November 3, 1781):—

I must apologise for not writing by the last post; it fell just on my birthday (October 31), and the early part of the day was given to my devotions. Afterwards, when I should have written, a shower of congratulations came and prevented me. At twelve o'clock I drove to the Leopoldstadt, to the Baroness Waldstädten, where I spent the day. At eleven o'clock at night I was greeted by a serenade for two clarinets, two horns, and two bassoons, of my own composition. I had composed it on St. Theresa's day (October 15) for the sister of Frau von Hickl (the portrait-painter's wife), and it was then performed for the first time. The six gentlemen who execute such pieces are poor fellows, but they play very well together, especially the first clarinet and the two horns. The chief reason I wrote it was to let Herr von Strack (who goes there daily) hear something of mine, and on this account I made it rather serious. It was very much admired. It was played in three different places on St. Theresa's night. When people had had enough of it in one place they went to another, and got paid over again.

This "rather serious" composition is the Serenade in E flat major (375 K.), which Mozart increased by the addition of two oboes, no doubt in June, 1782, when he also wrote the Serenade in C minor for eight wind instruments (388 K., s.). He had at that time more than one occasion for works of this kind. The attention both of the Emperor and the Archduke Maximilian was directed towards him (Vol. II., p. 197); and since Reichardt heard compositions by Mozart at court in 1783, his attempt to gain Strack's good offices must have been successful. In the year 1782 Prince Liechtenstein was in treaty with Mozart concerning the arrangement of a Harmoniemusik (Vol. II., p. 206), and he MOZART'S INSTRUMENTAL MUSIC. had undertaken with Martin the conduct of the Augarten concerts, which involved the production of four great public serenades (Vol. II., p. 283).

Both the serenades already mentioned are striking compositions, far above the ordinary level of their kind, and may be considered, both as to style and treatment, the precursors of modern chamber music. The first movement of the Serenade in E flat major had originally two parts, which Mozart afterwards condensed into one, giving it greater precision by the omission of lengthy repetitions. The addition of the oboes gives it greater fulness and variety; but it is easy to detect that they are additions to a finished work. The whole piece is of genuine serenade character. After a brilliant introductory phrase, a plaintive melody makes its unexpected appearance, dying away in a sort of sigh, but only to reassert itself with greater fervour. The amorous tone of the "Entführung" may be distinctly traced in the adagio, and through all its mazy intertwining of parts we seem to catch the tender dialogue of two lovers. The closing rondo is full of fresh, healthy joy; the suggestion of a national air in no way interferes with the interesting harmonic and contrapuntal working-out. 36 The Serenade in C minor is far from leaving the same impression of cheerful homage. The seriousness of its tone is not that of sorrow or melancholy, but, especially in the first movement, of strong resolution. The second theme is especially indicative of this, its expressive melody being further noteworthy by reason of its rhythmical structure. It consists of two six-bar phrases, of which the first is formed of two sections of three bars each:—[See Page Image]

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] SERENADE IN C MINOR. 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