Divertimento No. 7 in D, K. 205/167a Cover Image

Divertimento No. 7 in D, K. 205/167a: Full Orchestra, Score and Parts

$65.00 USD
$65.00 USD
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Divertimento No. 7 in D, K. 205/167a Cover Image
Divertimento No. 7 in D, K. 205/167a: Full Orchestra, Score and Parts

Divertimento No. 7 in D, K. 205/167a: Full Orchestra, Score and Parts

By Wolfgang Amadeus Mozart

Item: 36-A182302
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Divertimento No. 7 in D, K. 205/167a: Full Orchestra, Full Score

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Description
Wolfgang Amadeus Mozart's (1756-1791) divertimenti, along with the serenade, had a large place among the works he composed during his youth in Salzburg. Generally more relaxed multi-movement pieces, the divertimenti were flexible, both for outdoor and indoor performances, though they retained a chamber-like intimacy either way, and they were customarily written to celebrate a specific occasion or celebration. While we do not know for certain the occasion for which Mozart's DIVERTIMENTO No. 7 in D, K. 205/167a was written, it may have premiered on August 8, 1773 in Salzburg for a University Graduation. Where most divertimenti are introduced with a march, this one is unusual in that is begins with a Largo, an unusually serious approach for lighter music. Instrumentation: 0.0.0.1: 2.0.0.0: Str (4-4-3-3-3 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 659859385532
SKU: 36-A182302
Instrumentation: 0.0.0.1: 2.0.0.0: Str (4-4-3-3-3 in set)

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) was born in Salzburg and spent his formative years composing under the patronage of the Prince-Archbishop. During his youth, he wrote prolifically across all genres, including dozens of divertimenti and serenades that showcase his gift for melody and orchestral color. These works reveal a composer already commanding the full resources of the orchestra while maintaining the lightness and charm that would define his mature style.

Why we love this

This divertimento breaks the mold by opening with a contemplative Largo rather than the expected march, giving young orchestras a chance to explore nuance and restraint alongside the lively movements that follow. The modest instrumentation (just two horns and strings) makes it accessible for student orchestras, yet the writing is unmistakably Mozart in its elegance and structural clarity. It's a work that sounds sophisticated without demanding virtuosity, making it ideal for building ensemble sound and ensemble discipline.

What to expect

Intimate and assured. The opening Largo feels almost like Mozart stepping back to reflect before launching into the charm and wit of the remaining movements. Throughout, there is an elegant restraint that rewards careful listening; nothing shouts, yet everything is precisely placed.

Who it's for

Student orchestras with solid fundamentals and string sections balanced enough to carry an entire piece. This work suits orchestras preparing for competition or concert performance who want a Mozart selection that feels substantial without requiring soloistic virtuosity.

How to get the most out of it

  • Balance the opening Largo carefully; Mozart's serious introduction should sing through the entire section without rushing, even though the tempo marking invites a certain restraint.
  • Keep the two horns transparent and rhythmically precise. They anchor the harmonic progression, so lock their part with the string basses early in rehearsal.
  • Shape each phrase with direction and purpose. Divertimenti are conversational, not declamatory, so listen for the give and take between string sections and take time to achieve clean sectional entries.

How to use it

Pair this with a more dramatic Romantic work to showcase range, or place it early in a concert to establish musical sophistication and ensemble control. The modest scale and Salzburg provenance make it a natural fit for educational concerts or chamber orchestra showcases.

Skills your students will build

  • Reading Classical period instrumentation and balancing transparent orchestration
  • Sustaining long Baroque-influenced phrases at slower tempos without losing forward motion
  • Ensemble listening and rhythmic coordination across multiple string sections
  • Stylistic sensitivity to divertimento conventions and Mozart's structural clarity

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