Notes – English
The Six Viennese Sonatinas, K. 439b (also frequently cataloged as Anh. 229) occupy a unique space in the Mozartian canon because they are not, in their original form, keyboard works at all. They are posthumous arrangements of movements drawn from a series of 25 divertimenti composed between 1783 and 1785. Mozart originally scored these pieces for an ensemble of three basset horns—a deep, tenor-register member of the clarinet family that he favored for its haunting, vocal quality. The transition to the piano was likely handled by editors and publishers in the early 19th century, such as Ferdinand Rahm, to capitalize on the booming market for domestic piano music in Vienna.
Historical and Stylistic Context
These works represent the peak of Mozart’s “Galant” style, characterized by a focus on melodic clarity, balanced phrasing, and a certain aristocratic playfulness. Because the music was translated from three independent wind voices to the keyboard, the resulting textures are remarkably transparent. Unlike Mozart’s later, more virtuosic piano sonatas, the sonatinas avoid thick, chordal writing in favor of two- and three-part counterpoint. This thin texture places a high premium on the performer’s ability to maintain a “pearly” touch and absolute rhythmic evenness, as every note is exposed.
Structural Characteristics
While the original divertimenti were often sprawling multi-movement works, the sonatinas were distilled into more traditional three- or four-movement structures. They typically begin with a concise Allegro in sonata-allegro form, followed by a slow movement or a Minuet and Trio, and conclude with a spirited Rondo. Despite their brevity and their frequent use as pedagogical tools, they are not “simple” in a musical sense. They contain the same harmonic wit and sudden shifts into minor-key shadows that define Mozart’s more “serious” chamber music.
Performance Practice
From a technical standpoint, the Viennese Sonatinas demand a sophisticated approach to articulation. Since the original wind parts required distinct tonguing and breath control, a pianist must avoid a heavy, modern legato. Instead, a light, detached touch that mimics the “speaking” quality of woodwinds is often preferred. The lack of a dense bass register also means the sustain pedal should be used sparingly, if at all, to preserve the crystalline clarity of the internal lines. For a performer or a listener, they offer a rare glimpse into how Mozart’s social, outdoor “serenade” music can be successfully reimagined as an intimate, indoor keyboard experience.
01 No. 1 in C major, 1. Allegro brillante
02 No. 1 in C major, 2. Allegretto
03 No. 1 in C major, 3. Adagio
04 No. 1 in C major, 4. Allegro
05 No. 2 in A major, 1. Allegro
06 No. 2 in A major, 2. Allegretto
07 No. 2 in A major, 3. Adagio
08 No. 2 in A major, 4. Rondo, Allegro
09 No. 3 in D major, 1. Adagio
10 No. 3 in D major, 2. Allegretto
11 No. 3 in D major, 3. Allegro
12 No. 4 in B-flat major, 1. Andante grazioso
13 No. 4 in B-flat major, 2. Allegretto
14 No. 4 in B-flat major, 3. Rondo, Allegretto
15 No. 5 in F major, 1. Adagio
16 No. 5 in F major, 2. Menuet, Allegro
17 No. 5 in F major, 3. Polonaise
18 No. 6 in C major, 1. Allegretto
19 No. 6 in C major, 2. Menuet, Allegretto
20 No. 6 in C major, 3. Adagio
21 No. 6 in C major, 4. Finale, Allegro
Genres: Vienna Classicisme, Sonatina, Salon Music, Piano Solo
Similar Composers: Claude Debussy, Maurice Ravel, Francis Poulenc, Federico Mompou
Cover Art: « Painting of the Vienna Exposition in 1873 » (1873)
from Allemagne, ALLMGN003
Released 20 March, 2026
© 2026 Allemagne
℗ 2026 Allemagne