Serenade in E-flat Major

From Wind Repertory Project
Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (ed. Daniel N. Leeson, and Neal Zaslaw)

This work bears the designation KV 375. It is also known as Serenade No. 11.

General Info

Year: 1781 / 1979
Duration: c. 25:00
Difficulty: III (see Ratings for explanation)
Original Medium: Six-instrument chamber group
Publisher: Bärenreiter
Cost: Score and Parts (print) - €27.95   |   Score Only (print) - €12.50


1. Allegro Maestoso - 7:35
2. Menuetto/Trio - 3:40
3. Adagio - 6:05
4. Menuetto/Trio - 2:50
5. Finale/Allegro - 3:45


Full Score
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II
E-flat Contra-alto Clarinet (or Double Bass) (optional)
Horn in F I-II


None discovered thus far.

Program Notes

The Serenade in E-flat, K.375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet.

From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa.

The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextet with the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work’s melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave.

- Program Note from publisher

Mozart’s ability to seamlessly juxtapose operatic lyricism with endearing folk melodies is brought to life in his Serenade No. 11. Clarity of texture and form allow individual voices to sing with nuance and expression, and seasoned performers will relish the opportunity to perform this piece. Although the complete work is not as lengthy as Mozart’s Serenade No. 10, its duration may require the performance of selected movements; however, the flow from one movement to the next reflects the composer’s design and should be retained if at all possible.

- Notes from Great Music for Wind Band


State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • University of Minnesota (Minneapolis) Symphonic Band (David Roush, conductor) - 15 April 2021
  • Ohio State University (Columbus) Chamber Ensemble (Scott A. Jones, conductor) - 5 March 2021

Works for Winds by This Composer

Adaptable Music

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