20141024 program note

ॡΎ௰тಏաᝳ୥ ͭ‫ޣ‬Ђᕅ˃·

演出時間│ 2014年10月24日 (星期五) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei 主辦單位│ 指定住宿│

演出長度│上半場約40分鐘，下半場約45分鐘

演出者 小提琴│費瑟林•帕拉希克弗夫 Vesselin Paraschkevov, violin 單簧管│朱玫玲 May-Lin Ju, clarinet NSO首席絃樂團 NSO String Ensemble 特別感謝│

1︱弓絃上的莫札特

歡 迎 親愛的愛樂朋友： 「國家表演藝術中心」於2014年四月 成立，本中心所屬單位包括臺北的國家兩廳 院、臺中國家歌劇院、高雄的衛武營國家藝 術文化中心及國家交響樂團。期盼這北中南 串連起來的平臺成為大家所愛的表演藝術大 家庭。誠摯地歡迎您來一同參與！

國家表演藝術中心董事長

Welcome The National Performing Arts Center opened in April, 2014. Our Center, which embodies the National Theater & Concert Hall in Taipei, the National Taichung Theater, the National Kaohsiung Center for the Arts and the National Symphony Orchestra, is dedicated to providing a platform for the performing arts connecting the whole of Taiwan.

We welcome you to become part of our performing arts family.

Chairman, National Performing Arts Center

演出曲目

Program

沃夫岡•阿瑪迪斯•莫札特（1756-1791）：

WOLFGANG AMADEUS MOZART

《小星星變奏曲》(李哲藝改編)

Twelve Variations on Ah vous dirai-je, Maman, K.

變奏一∼十二

(1756-1791) :

265/300e (arr. Che-Yi Lee) Variation I ~ XII

A大調第五號小提琴協奏曲，KV 219 I.

開放性的快板

II.

慢板

III. 輪旋曲（小步舞曲速度）

--中場休息--

A大調單簧管協奏曲， KV 622 I.

快板

II.

慢板

Violin Concerto No. 5 in A major, K. 219 I.

Allegro aperto

II.

Adagio

III. Rondo. Tempo di menuetto

~Intermission~

Clarinet Concerto in A major, K.622 I.

Allegro

II.

Adagio

III. 輪旋曲（快板）

III. Rondo: Allegro

G大調小夜曲，KV 525

Serenade in G major, K. 525, Eine kleine Nachtmusik

I.

快板

I.

Allegro

II.

浪漫曲（行板）

II.

Romanza. Andante

III. 小步舞曲（稍快板）

III. Menuetto. Allegretto-Trio

IV.

IV. Rondo. Allegro

輪旋曲（快板）

2︱弓絃上的莫札特

演出者介紹

Profiles

小提琴｜費瑟林•帕拉希克弗夫

Vesselin Paraschkevov, violin

費瑟林．帕拉希克弗夫是當 代最傑出的小提琴家之一。四 歲開始習琴，在俄羅斯聖彼得 堡跟隨米夏．韋曼學習，以優秀 成績完成學業，隨後在維也納和 日內瓦跟隨謝霖之大師班課程。 1973 年帕拉希克弗夫受聘為維也 納愛樂管絃樂團首席。 1980 年開始擔任德國埃 森福克旺音樂院小提琴教授，並多次榮獲國家 （保加利亞）及國際獎項。帕拉希克弗夫曾與許 多頂尖音樂家合作演出，其中包括指揮家汪德 （Günter Wand）、阿布瑞契（Gerd Albrecht）、 塔巴克夫（Emil Tabakov）、楊諾維斯（Marek Janowski）、哈格（Leopold Hager）等，音樂會 活動邀約不斷，足跡遍及歐洲、俄國、亞洲、 美國及全球各地。目前使用的小提琴為 1710 年 Guarnieri名琴。

Vesselin Paraschkevov is one of the leading violinists of our time. Born near Sofia (Bulgaria), he received his first violin instruction at the age of four. Having completed his studies with outstanding results he continued his formation with Mischa Wayman in St. Petersburg. He then attended master courses in Vienna and Geneva with Henryk Szeryng.

In 1973, he was appointed concert master to the Vienna Philharmonic Orchestra and he has held a professorial chair at the Essen Folkwang Conservatory since 1980. He has won numerous national and international prizes and had played with many prominent musicians like Günter Wand, Gerd Albrecht, Emil Tabakov, Georg A. Albrecht, Marek Janowski, Leopold Hager, Christoph Stepp, Hiroshi Wakasugi, Emerich Smola, Klaus Arp, Miltiadis Karidis, David Chen, etc. His soloist and chamber music activities include concerts in Europe, Russia, Asia, America, extending all over the globe. Vesselin Paraschkevov plays on a violin made by Guarnieri in 1710.

雙簧管｜朱玫玲

May-Lin Ju, clarinet

單簧管師承 Henri Dr uar t 、 Guy Deplus、薛耀武及賴勇等教 授，獲法國國立瑪爾美松音樂院 （Conservatoire National de RueilMalmaison）卓越演奏獎及金牌演 奏獎。 1984 年隨救國團幼獅管樂團 赴東南亞巡迴演奏，擔任獨奏。 1985 年以第一 名畢業於國立藝專（現國立臺灣藝術大學）音樂 科，並與藝專交響樂團首演史博第二號協奏曲， 同年獲「全國豎笛大賽」冠軍。1987年考取教育 部公費留法獎學金赴法進修，在極短時間內連續 晉級畢業。1989年返國進入國家交響樂團擔任首 席迄今，並經常受邀參與各型態之音樂會，及國 人作品首演。1991年受邀赴日參加「太平洋音樂 節」（Pacific Music Festival），2004年再度受邀 參加，擔任單簧管首席。 自法返國至今，曾與國家交響樂團合作演出 德布西第一號狂想曲、莫札特 A 大調協奏曲、韋 伯第二號協奏曲，並於2000年赴澳門演出羅西尼 變奏曲。

May-Lin Ju, currently the Principal Clarinet Player of the National Symphony Orchestra, graduated number 1 of her class from the Taipei National University of the Arts in 1985. She had studied with Henri Druart, Guy Deplus, Yao-Wu Hsieh, and Yung Lai. Ju toured with China Youth Corps. Wind Orchestra in south Asia, and performed as soloist in 1984. The next year, she performed L. Spohr’s Clarinet Concerto in E flat Major with Taipei National University of the Arts Orchestra and she also won the first prize of the Taiwan National Clarinet Competition.

In 1987, she won the scholarship offered by Ministry of Education and went to Conservatoire National de RueilMalmaison in France for her Masters Degree. There, she also won the Gold Medal and Best Performer from school competitions. Upon her return to Taiwan in 1989, Ju joined the National Symphony Orchestra, and was often invited to perform in chamber music concerts and music composition premiere. In 1991, she was invited to Pacific Music Festival (PMF) in Japan. In 2004, she was re-invited and became the Principal Clarinet Player of the PMF orchestra Ju has performed Debussy’s First Rhapsody, Mozart’s A Major Clarinet Concerto, and Weber’s Clarinet Concerto No. 2 with the National Symphony Orchestra. In 2000, she was invited to Macau to perform Variations on a theme by Rossini.

NSO首席絃樂團

NSO String Ensemble

「優美的線條，勾勒出美麗、純淨的聲音，因為 精簡、完美的默契，出於淬鍊」

After having fulfilled their duties solely as members of NSO for twenty one years, the most respected members

3︱弓絃上的莫札特

經歷 21 年的沈潛淬鍊， NSO 國家交響樂團 以數位絃樂聲部首席領軍，隆重推出「 NSO 首 席絃樂團」，並於 2008 年 4 月 24 日在國家音樂廳 舉行創團首演。期以豐富的演奏經驗及絕佳的默 契、全新的演出理念以及最純粹的音響效果，展 現NSO音樂家們另一種專業風采。 小編制的En s e m b l e絃樂室內樂團，在國 際樂界上已成為主流的演奏形式之一。其對 音 色 的 要 求 （ To n e ） ， 氣 息 合 一 拉 奏 的 方 式 （Articulation）和演奏時的態度（Form），都 是Ensemble追求的極致目標。誠如首席吳庭毓所 說：「在沒有指揮引領的情況下，演出者彼此間 的互動、傾聽、默契更為重要；而每個成員對 『音樂』的成型與詮釋都有發言權。」經過長時 間的磨合互動，才能建立完美的默契與不同凡響 的精準詮釋。Ensemble演出編制在柏林愛樂、德 勒斯登、邦貝格等德國各大專業交響樂團內已蔚 為風尚，NSO首席絃樂團也希望能藉由這樣高度 默契的演出形式紮根國內，成為台灣第一支職業 絃樂團。 「站著演出」的首席絃樂團在未來的節目規 劃中，也計劃邀請不同的當代作曲家為絃樂團 「量身訂作」樂曲，希望藉此建立團隊風格之 外，也鼓勵當代作曲家們持續為絃樂團寫出能展 現精簡純淨的樂音！

from each string section, with their principals as leaders, join forces to found the NSO String Ensemble. Their debut was held at the National Concert Hall on April 24, 2008. With their rich performances, unparalleled unity, innovative notions, and mastery of sound, the NSO String Ensemble surely brings an unforgettable music experience to all audiences.

Small-scaled ensembles has become a trend in the modern music world, since the qualities of tone, articulation, and the form are easier to control. According to NSO’s concertmaster TingYu Wu, “Without the direction of the conductor, the tacit understanding among the performers becomes more important to the performance while each member plays a part in shaping the music.” A performance of unity and precision can only be achieved after years of collaboration among musicians. Most of the prominent German orchestras, such as the Berliner Philharmoniker, Sachsische Staatskapelle Dresden, and Bamberger Symphoniker have established their affiliated ensembles. We hope, the NSO String Ensemble will flourish through the same practice and becomes the first professional string orchestra in Taiwan.

樂團首席｜吳庭毓

Ting-Yu Wu, concertmaster

出生於高雄，1982年畢業 於國立藝專音樂科（現國立臺 灣藝術大學），曾任國防部示 範樂隊、臺北市立交響樂團首 席，1988年赴法國馬爾梅頌音 樂院國立音樂院（ Conservatoire

Born in Kaohsiung, Ting-Yu Wu studied violin with Melle Brignon in France and graduated from the Conservatoire National de Région de RueilMalmaison in 1989. Upon returning to Taiwan in 1989, he was appointed the concertmaster of the National Symphony Orchestra, a position he still holds today. Having 25 years of experiences appearing on stage with orchestras, Wu has been invited to various countries to perform, including China and Russia. In 2002 he recorded for the French Three-Hundred Years Art Exhibition music CD, as well as performing at the Exhibition’s concert. In May 2002, he recorded Vivaldi’s Four Seasons with the Philharmonic Chamber Orchestra of Moscow. Since 2007, he is Music Director of the “Salut Taiwan Music Festival”, and founded the “NSO String Ensemble” in 2008. His incisive soloist performance received critical acclaims. As a soloist with recitals and chamber music activities, Wu is also committed to educate young talents in Taiwan.

National de Région de Rueil-Malmaison）最高級 班留學，隨教授 Melle Brignon 學琴。 1989 年畢 業返國後，擔任國家交響樂團首席至今。累積25 年豐富的舞台經驗，經常獲邀至國內外演出。 2002 年應法國在台協會之邀錄製法國三百年繪 畫展音樂專輯以及音樂會演出，並與俄羅斯愛樂 室內樂團錄製韋瓦第的《四季》專輯； 2007 年 起擔任「夏綠 台灣」（Salut Taiwan） 國際音樂 節的音樂總監， 2008 年創立「 NSO 首席絃樂團 」，其淋漓盡致的演奏技術備受肯定。除了各項 音樂活動及指揮演出，吳庭毓也積極致力於教學 工作，目前任教於交大研究所、輔大、北藝大以 及臺藝大音樂系。

4︱弓絃上的莫札特

NSO首席絃樂團 NSO String Ensemble

第一小提琴│FIRST VIOLIN

李宜錦

李家豪

蔡竺君

曾智弘

玉 珊

Yi-Ching Lee

Chia-Hao Lee

Chu-Chun Tsai

Chih-Hong Tseng

Shan Yu

第二小提琴│SECOND VIOLIN

陳怡茹

康信榮

洪章文

蔡孟峰

潘俊蓁

Yi-Ju Chen

Hsin-Jung Kang

Chang-Wen Hung

Meng-Fong Tsai

Chun-Chen Pan

呂昭瑩

蔡秉璋

李靖宜

呂孟珊

Chao-Ying Lu

Ping-Chang Tsai

Jing-Yi Lee

中提琴│VIOLA

大提琴│CELLO

Meng-San Lu

低音提琴│DOUBLE BASS

熊士蘭

陳怡婷

黃日昇

傅永和

連珮致

Lana Hsiung

I-Ting Chen

Jih-Sheng Huang

Yung-Ho Fu

Pei-Chih Lien

長笛│FLUTE

雙簧管│OBOE

安德石

宮崎千佳

王怡靜

李明怡

Anders Norell

Chika Miyazaki

I-Ching Wang

Ming-I Lee

低音管│BASSOON

法國號│HORN

簡凱玉

簡恩義

劉宜欣

曹予勉

Kai-Yu Jian

En-Yi Chien

Yi-Hsin Cindy Liu

Yu-Mien Tsao

5︱弓絃上的莫札特

樂曲解說 撰文│邱秀穎 (德國柏林自由大學音樂學碩士)

聲響很纖柔輕盈；而小提琴獨奏的部分，由於莫 札特本人並不執著於炫技，所以獨奏的部分通常 都不會過於艱澀，在他寫給父親的信上便曾言

沃夫岡•阿瑪迪斯•莫札特：《小星星變奏曲》

明，說他對於將獨奏部分寫得很難，以便讓演奏

（李哲藝改編）

者展現卓越技巧這樣的事情，並不太感興趣。是

在經歷工作不如意、母喪以及失戀的一連

故，莫札特的小提琴協奏曲與稍晚期那種管絃樂

串打擊後， 1781 年莫札特下定決心轉往維也納

聲響磅礡、著重獨奏家技巧的協奏曲作品，大異

發展，在那裏他以自由音樂人的身分，主要靠

其趣。

著演奏會以及教學的收入維生，這是莫札特開

完成於 1775 年年底的這首 A 大調 KV 219 是

始獨立自主的第一步，也是他藝術生涯的一個

五首小提琴協奏曲的最後一部，也是五首中技巧

重要轉捩點。為了提高維也納貴族學生們學琴

最為純熟、風格最為特出的一部。從第一樂章的

的興趣，進而為自己廣闢財源，莫札特在這段

術語─「開放性的快板」即可窺見一二，此處指

期間創作了許多旋律好聽又不會太困難彈奏的

隨興之意：樂章的開頭，樂團陸續奏出第一以及

鋼琴變奏曲，其中包括大家耳熟能詳的《小星

第二主題，此時，小提琴獨奏才正式登場，但卻

星》變奏曲（ 12 Variations on Ah, vous dirai-je

將速度轉換為慢板，其抒情的旋律也與兩個主題

maman , KV 265 ）。

無關，而且僅只持續六小節，就又再次回到開頭

所謂的變奏曲，就是以一段簡短的旋律為主

的快板速度與樂團主題；第二樂章則是一個變奏

題（Theme ），以它變化發展出不同的變奏段落

曲式與歌謠曲式的綜合體，曲調帶著淡淡的哀

（ Variations ）。在創作變奏曲時，許多作曲家

愁；第三樂章輪旋曲，則刻意加入了「土耳其」

會引用當代流行的歌謠或旋律為主題，最著名的

色彩，莫札特讓大提琴和低音提琴使用弓背來演

就是這首創作於 1781年到1782年之間的《小星星

奏，以模仿土耳其式的聲響，這在當時算是相當

變奏曲》，它的主題取材自法國當年流傳於街頭

前衛的手法，也因為這個樂章的濃厚異國風味，

巷尾的香頌《媽媽，請聽我說》（Ah, vous dirai-je

後世便暱稱莫札特的這首協奏曲為「土耳其協奏

maman），莫札特應是在年前的巴黎行途中聽到了

曲」。

這個曲調，在抵達維也納後應教學上的需求，決定 以它來創作一首變奏曲。但我們今日所熟知的「小 星星」一名並非來自莫札特，它其實是後人另外再 填上的英文歌詞。

此曲以主題旋律為基礎，在其節奏、和聲、 裝飾音、高低音域的聲部對換上作不同變化，以 此發展出十二段不同風味的變奏，由於極受歡 迎，所以這首鋼琴變奏曲被改編給許多不同的樂 器演奏，今晚演出則是由李哲藝所改編的絃樂團 版本。

A大調第五號小提琴協奏曲，KV 219 現今流傳下來的莫札特小提琴協奏曲一共有

A大調單簧管協奏曲， KV 622 單簧管這個樂器大約誕生於 1700 年前後， 由於早期的單簧管有音準上的大問題，而且聲響 聽起來和自然小號很雷同，所以在一開始通常被 用來模仿遠方傳來的小號聲。經過不斷的樂器改 良，慢慢解決了其音準上的問題，這個樂器才漸 漸受到重視。莫札特第一次認識這個樂器，是在 他 1778年到曼海姆（Mannheim） 的旅行期間， 當時他對這項樂器的音色相當驚艷。 在過世前兩個月完成的這首A大調單簧管 協奏曲，題獻給單簧管演奏家安東•史塔特 勒 （ Anton Stadler ） 以 及 他 所 改 良 的 單 簧 管

五首，除了第一首降B大調KV 207以外，其餘的

（Bassettklarinette），這不僅是莫札特的第一部

四首皆創作於 1775 年，當時他只有 19 歲。根據

單簧管協奏曲，同時也是莫札特所寫的最後一首

音樂學者的推斷，莫札特的這五首小提琴協奏曲

協奏曲。莫札特在此曲中譜寫了許多快速的十六

應大多是寫來自己用的，而且極可能由他本人與

分音符音階或分解和絃，讓單簧管能充分展現其

薩爾茲堡樂團首演。這幾首小提琴協奏曲的共同

樂器特性與技巧，這首協奏曲共分三個樂章，第

特色是，樂團的編制很小，僅絃樂器外加兩枝雙

一樂章快板是明顯的奏鳴曲式，第二樂章慢板，

簧管與兩把法國號，可以想像它們所合奏出來的

也是此曲最著名的樂段，被許多電影引用為配

6︱弓絃上的莫札特

樂，第三樂章則是輪旋曲，一如典型的協奏曲一

sets of variations based on French themes at that time.

般在輕快活潑的快速樂章中結束在高潮。

Improvised variations were a standard element in any performer's repertoire and some of the sets of Mozart

G大調小夜曲，KV 525

Serenade一詞，意指「歡樂的夜」，它原是在 夜間戶外所舉行的露天音樂會，通常是為慶祝某 人或是為某些重要的社交活動而辦，故樂隊（通

variations are known to have been improvised in the first instance. The song Ah, vous dirai-je Maman, well known in Paris at least since 1761, is better known to Englishspeaking listeners as Twinkle, twinkle, little star, and in any case bears a remarkable similarity to the nursery

常是管樂）以演奏進行曲的方式進場，就定位後

rhyme Baa, Baa, Black Sheep. Under any name it was

再開始表演小夜曲，最後再以進行曲方式退場，

among the most popular melodies for variation in the

簡言之，是一種輕鬆歡樂的餘興節目。

later 18th century. The theme is well known in English-

莫札特自青少年時期起，便開始創作小夜

speaking countries as Twinkle, twinkle, little star and

曲，這首G大調作品525完成於1787年的夏天（大

first appeared in France in 1761 with accompanying

約和歌劇《唐喬望尼》同時），是他小夜曲系列

variations in a Paris publication Amusements d'une heure

作品中的最後一首，這首小夜曲是受誰委託或是

etdemi.

為了甚麼場合而作今日已不得而知，它的音樂特

The familiar tune is stated in the simplest possible

色是：莫札特用絃樂取代了管樂，使得原本樂隊

terms, with strings alternating in pizzicato (plucked)

以進行曲踏步進場的風味消失了，因此，也淡化 了小夜曲原有的餘興色彩，反而聽起來類似室內 樂作品。 此曲莫札特原本寫了五個樂章，但第二樂 章後來佚失，僅以目前看到的四個樂章版本傳

and bowed fragments. In Variation 1, the tune is embedded in rapidly flowing streams of notes in the violins. In Variation 2 it is divided among the upper strings. In 3 triplets are heard in the upper strings, in 4 in the lower strings. Variation 5 is played pizzicato to a short-long rhythmic pattern. Variation 6 combines

世。第一樂章由一個以 G 大調的主和弦和屬七

various procedures heard up to this point. Variation 7

和絃所構成的主題輕鬆開展，活潑而清新；第

brings scalelike flourishes in the upper strings, while

二樂章浪漫曲則在行板的速度中，如歌似地漫

8 introduces the minor mode. Variation 9 is full of

延，充滿著抒情甜美的況味、第三樂章小步舞

imitation. The tenth is playful, with much juggling of

曲精緻而優雅，令人遙想當年宮廷貴族在社交

the tune. Variation 11 is played adagio (very slowly) to

場合中，手挽著手漫步跳舞的迷人姿態；第四

a rhythmic distortion of the tune, with many decorative

樂章輪旋曲則充滿著活力，曲調中快速而大幅

touches added. The final variation makes for a grand

度的漸強，也將曼海姆樂派對莫札特後期音樂

finale.

的重要影響顯露無遺。

Edited by Robert Markow

本中心表演藝術圖書館典藏相關節目資料，詳見http://serv.lib.ntch. org.tw/related_catalog/index.asp?q=201410，並歡迎親洽表演藝術圖 書館(國家戲劇院地下層)借閱使用。

Violin Concerto No. 5 in A major, K. 219 The Concerto in A major, K. 219, opens, again, with the customary orchestral exposition, followed unexpectedly by an Adagio entry for the soloist, the first two notes poised perilously over an abyss of orchestral silence, before the murmur of the moving orchestral

Program Notes

accompaniment is heard. This is a prelude to the soloist's

W. A. MOZART: Twelve Variations on Ah vous dirai-je, Maman, K. 265/300e (arr. CheYi Lee)

and recapitulation.

own version of the Allegro, and subsequent development The slow movement allows the solo violin to repeat and complete the opening theme, while the middle

The twelve variations on the French song Ah, vous

section offers a contrast of theme and key. This is

dirai-je Maman, K.265, were probably written during

followed by a final movement in the speed, at least

Mozart's stay in Paris in 1781-1782, one of three such

of a Minuet and in the form of a rondo, one of its

7︱弓絃上的莫札特

contrasting episodes an example of what passed for "Turkish" music in Austria in the late eighteenth century, a fashionable piece of exoticism. © 2014 Naxos Digital Services Ltd

Clarinet Concerto in A major, K. 622 O f t h e w o r k s w h i c h Mo z a r t c o m p o s e d f o r t h e outstanding Viennese clarinetist Anton Stadler (1753-1812), the Clarinet Quintet in A, K581, written in 1789, and the present Concerto in A, completed less than two months before the composer's death in 1791, are the crowning achievements. Work on the Concerto was started in 1789.

Mozart originally intended the work to be for basset horn, but revised it for clarinet. However, the version widely known today differs from the work Mozart produced for Stadler, since the original version was written for an instrument with an extended bass compass that allowed Stadler to demonstrate his famed ability to play low notes. The transcription for standard clarinet (published ten years after Mozart's death) therefore requires an octave transcription of the notes that cannot be produced on it, which changes the color of the work. The first performance was given by Stadler on 16 October 1791, not in Vienna, but at his benefit concert in the Prague Theatre. It therefore seems certain that the composer never heard the composition that has become one of his best known. Cast in the usual three movements, the gentle, nostalgic lyricism of much of the Clarinet Concerto has drawn such epithets as "valedictory" and "autumnal," an assessment that downplays the extraordinary vigor and verve of this inspired work.

The specific occasion for which the Serenade was written is not known, but some have suggested that the work's grace, elegance, and perfection of form were intended as an antidote to the deliberate banality and clumsiness of the composer's Ein musikalischer Spass (A musical joke), K. 522, composed some six weeks earlier. However, this seems to run counter to the character of a composer quite capable of unapologetically coarse musical humor (as in some of his vocal canons, for example). The musicologist Alfred Einstein, also makes the questionable assertion that Mozart wrote the Serenade to fulfill a personal inner need -- if true, certainly atypical for a composer who rarely produced music without some external motivation or purpose, whether financial or otherwise. The extant movements of the Serenade are as follows: Allegro; Romance (Andante); Menuetto (Allegretto); and Rondo (Allegro). © 2014 All Music

© 2014 All Music

Serenade in G major, K. 525, Eine kleine Nachtmusik The Serenade in G major (1787), the most enduringly popular of all of Mozart's works, was written during the a period when the composer was also hard at work on his opera Don Giovanni. The title Eine kleine Nachtmusik (A Little Night Music) is Mozart's own; "Nachtmusik" was actually a common designation for serenades of this type. While Mozart composed several such works during his years in Salzburg, the Serenade in G is unique to the period of his residence in Vienna (1781-1791). The work differs from Mozart's earlier serenades in its comparatively lean scoring: two violins, viola, cello, and double bass. Mozart's entry for this work in his catalogue shows that the work originally had five movements; the original second movement, a minuet, was later removed.

For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://serv.lib.ntch.org.tw/related_catalog/index. asp?q=201410