Overview
Introduction
Mozart's life had become somewhat dreary by 1776, as he had returned to the employ of the Archbishop Hieronymous, with whom he did not get along. As his father's influence waned and maturity burst within him, Wolfgang needed more challenge and stimulation, both personally and for his art. The combination of a small town and a restrictive environment were beginning to stifle him. His trip to Paris and the death of his mother were still a year off and five more years and a stint in Munich would pass before he finally managed to sufficiently irritate the archbishop so as to cause himself to be physically removed from the palace. Surprisingly, this was nonetheless a very productive period for him, producing his five violin concertos, his first five piano concertos, at least five symphonies, and many serenades and divertimentos, of which the K. 252 is a fine example. Scored for wind sextet, it was probably dinner music for the archbishop. Undoubtedly assuming it would be ignored, at least by the archbishop himself, Mozart crafted considerable sophistication into the four movement work of less than thirteen minutes. The first movement sounds for all the world like a simple squeeze box but is actually a chromatically rich oboe solo with sophisticated accidentals. The second movement minuet contains more typical sextet writing and provides visibility for all six performers at one point or another. A polonaise and andante make up the third movement and a zippy minute and a half presto brings the work to conclusion. In spite of its intended anonymity, the work is flawlessly crafted, ingenious, and satisfying. And unlike many Mozart works, it seems as easy to play as it is to listen to.
Parts/Movements
- Andante
- Menuetto & Trio
- Polonaise, Andante
- Presto assai
