The Serenade No. 10 for winds in B-flat major, K. 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments: twelve winds and string bass. The piece was probably composed in 1781 or 1782 and is often known by the subtitle "Gran Partita", though the title is a misspelling and not in Mozart's hand. It consists of seven movements.
La Sérénade KV 361 en si bémol majeur, dite Gran Partita, est une œuvre de Wolfgang Amadeus Mozart pour douze instruments à vent et contrebasse en sept mouvements. Consacrée à l'origine au plein-air, cette « musique du soir » dépasse l'esprit simple du divertissement pour rejoindre celui de la grande symphonie.
Grâce à sa musicalité et l'équilibre de son écriture, la diversité de ses formes et de ses genres, avec ses dimensions et son effectif imposants, chaque partie étant destinée à un instrumentiste soliste, cette sérénade est considérée par beaucoup comme le chef d'œuvre absolu du répertoire de musique de chambre des vents
The Serenade in B flat major "Gran Partita" K 361, completed in 1781, is without doubt one of Mozart's most beautiful instrumental works..
Ensemble Zefiro was founded in 1989 by oboists Alfredo Bernardini and Paolo Grazzi together with bassoonist Alberto Grazzi and consists of talented musicians drawn from leading Baroque orchestras. Zefiro regularly appears to great acclaim at major European, Asian and South American festivals.
The greatest of Mozart's wind serenades and the toughest of Alban Berg's major works might seem an unlikely pairing, but in an interview included with the sleeve notes for this release, Pierre Boulez points up their similarities. Both works are scored for an ensemble of 13 wind instruments (with solo violin and piano as well in the Berg) and both include large-scale variations as one of their movements - and Boulez makes the comparisons plausible enough in these lucid performances. It's rare to hear him conducting Mozart, too, and if the performance is a little brisker and more strait-laced than ideal, the EIC's phrasing is a model of clarity and good taste. It's the performance of the Berg, though, that makes this such an important issue; both soloists, Mitsuko Uchida and Christian Tetzlaff, are perfectly attuned to Boulez's approach - they have given a number of performances of the Chamber Concerto before - and the combination of accuracy and textural clarity with the highly wrought expressiveness that is the essence of Berg's music is perfectly caught.