The Orchestral Serenade in eighteenth‐Century Salzburg1

Abstract

The Salzburg serenade repertory is defined and analyzed through two lines of investigation. A discussion of terms and terminology related to the social history of serenading in Salzburg allows for many surviving works of Salzburg composers to be identified as serenades. A second line of investigation focuses on the larger orchestral serenades, examining the characteristic features of the Salzburg repertory. These include the semi‐independence of the opening march, characteristic instrumentation, and two‐ and three‐movement cycles of concerto movements. In addition, the Salzburg orchestral serenades of the 1760s and 1770s move from being dominated by concerto movements to a movement‐sequence with more of a balance between symphonic and concerto movements. Works by Leopold Mozart, Michael Haydn, Wolfgang Amadeus Mozart, and Joseph Hafeneder are discussed in relation to this development.