Scored for a very small group of players, this Divertimento was probably written to commemorate the graduation of a close friend of Mozart’s, Sigmund Robinig, from his law studies at the University of Salzburg in 1780. It also seems that Sigmund was a fairly decent violinist — he is thus described in a surviving letter from Leopold Mozart — and the first violin part is somewhat ambitious and may have been crafted with him in mind.
This was a particularly turbulent period in Mozart’s life; his mother had died during his recent trip to Paris, and he had both found and lost his first love, the fickle soprano Aloysia Weber.
In six movements, the work is scored for two violins, a viola, bass, and the two horns. The first movement allegro is almost quartet-like, although both horns are subtly and expertly integrated and the bass provides a firmer footing than would otherside be present in so small an ensemble.
The second movement, an extended theme and variations, is a stately andante. Particularly effective is a horn duet at about the midway.
A more extended minuet follows and it is rather more upbeat and buoyant; however, it seems to pause, as if briefly in contemplation, part way through.
The nine and one half minute rondo allegro which concludes the work is nearly symphonic in scope and the listener may forget that the piece is actually of chamber proportions, scored for only six players. Once again, the first violin is featured in several extended passages with the horns and bass used most effectively to sustain the full bodied sound. The piece is among the best of Mozart’s works in the divertimento format, and it could serve as a textbook in how to make such slight resources take on such grand proportions.
Here is a magical performance of the Divertimento as led by Sandor Vegh:
