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Little Divertimento: Woodwind Duo & Ensemble, Trio, Conductor Score & Parts

$8.95 USD
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Little Divertimento Cover Image
Little Divertimento: Woodwind Duo & Ensemble, Trio, Conductor Score & Parts

Little Divertimento: Woodwind Duo & Ensemble, Trio, Conductor Score & Parts

By Wolfgang Amadeus Mozart, ed./arr. by Richard McChesney

Grade: 3

Item: 36-10402421
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Description
These sketches were composed by W.A. Mozart during a visit to Chelsea, England when he was eight
years old. There is no way to determine what instrumentation he had in mind. These sketches have
been published as piano pieces. Originally, these sketches consisted of melody and bass lines. In
arranging these pieces for woodwind trio the melody line is unaltered and the bass line changed only
where concessions had to be made for the range of the instrument. The middle part is the arranger's
addition. LITTLE DIVERTIMENTO is very practical since it is not demanding and can be performed by no
less than eight different possible combinations. Instrumentation: Clarinet I (or Oboe), Horn (or Clarinet II), and Bassoon (or Bass Clarinet). Included: I. Allegro; II. Andante; III. Minuet; IV. Presto.

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Additional Details
Series: LudwigMasters Woodwind Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-361892-7
ISBN13: 978-163-361-8923
UPC: 612735866594
SKU: 36-10402421
Instrumentation: Clarinet I (or Oboe), Horn (or Clarinet II), and Bassoon (or Bass Clarinet)

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756–1791) stands as one of history's most prolific and influential composers, having written over 600 works across every major genre. Born in Salzburg, Austria, he began composing before age five and spent much of his childhood touring European courts as a virtuoso performer. His extraordinary facility with melody, harmony, and form shaped the Classical era and continues to define how we understand musical architecture.

These particular sketches date from Mozart's 1764–1765 visit to England at age eight, a period of intensive musical development during his grand tour with his father and sister. Though their original instrumentation remains unknown, their survival as melodic and harmonic fragments offers a window into how even a child prodigy worked out musical ideas. For educators, Mozart's juvenilia serves as both a treasure and a teaching tool: these pieces demonstrate that even nascent compositional thinking possessed clarity and grace.

Why we love this

Richard McChesney's arrangement respects Mozart's melodic gift while building a genuinely musical middle voice rather than padding the texture. The built-in flexibility (eight possible instrumentation combinations from the same parts) means you can cast this to match what you have on any given day, making it an uncommonly practical addition to the Grade 3 woodwind repertoire.

What to expect

Elegant and purposeful, these movements feel like a musical conversation written by someone who understood phrasing from the start. The Minuet has courtly grace, the Andante invites lyrical playing, and the outer movements move with the kind of natural forward motion that makes young players sound more sophisticated than they are.

Who it's for

Grade 3 woodwind ensembles ready to tackle music with real harmonic interest and period style. This works equally well for mixed homogeneous groups (three clarinets) or heterogeneous trios and serves programs that need accessible Mozart without sacrificing musical substance.

How to get the most out of it

  • Balance the melody with restraint in the accompaniment voices. Mozart's melodic lines sing best when the supporting parts stay transparent and rhythmically steady, especially in the Andante.
  • Observe the character contrasts between movements. The Allegro and Presto benefit from crisp articulation and forward momentum, while the Minuet asks for gentle, aristocratic phrasing and the Andante requires singing tone and patience with longer phrases.
  • Experiment with which instruments take the melody line. Because multiple doublings are possible, try different voicings in rehearsal to hear how the character shifts when the oboe leads versus the clarinet.

How to use it

Program this as a palate cleanser between heavier works or as the opening of a woodwind showcase that demonstrates your ensemble's range and control. It pairs naturally with other Classical-era chamber music and gives younger players direct experience with Mozart's voice before tackling larger works.

Skills your students will build

  • Balancing melody and accompaniment in chamber settings
  • Playing with period-appropriate phrasing and articulation
  • Reading and responding to harmonic movement
  • Adapting to multiple possible instrumentation combinations
  • Sustaining longer phrases across multiple movements

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