So yeah, probably the only people understand the title are Jessi and Corinne, but I thought it was funny. I'm writing tonight on the piece I'm analyzing for the theory paper: Mozart, Sinfonia Concertante in E-flat major K. 297b. I think one of the most interesting things about this piece is that there is great controversy as to whether Moazart actually wrote it. I should probably say that is is attributed to Mozart. Anyway, it's still music, and where there is music, there is analysis...
The three movement work is for oboe, clarinet, horn, bassoon, and orchestra. I really like this piece as a whole, and the performance I have of it is amazing. A double exposition, first by the orchestra and then the soloists, opens the first movement with a somewhat jarring offset of meter. Although I guess if you are really paying attention the meter is still present. The way the soloists' sounds are woven together is usually a sort of call and answer, with a lot of unison and sequences. There are couple of place with an Alberti bass pattern in both the clarinet and bassoon.
The second movement is an adagio with intensely lyric falling patterns in first the bassoon, then clarinet, ending up in the oboe, which hands the melody to the horn. The solo parts really are fairly equal in how often they have the melody versus background parts.
The last movement is a theme with variations, and probably my favorite movement of the entire work. An orchestral interlude is in between each variation. A bouncy theme in the oboe seems to get mouthed off by the clarinet in the first variation, like a child back-talking a parent. The second variation is led by the bassoon with a legato line, interacting slightly with the horn.
The third variation brings it back to the clarinet, moving into triplet rhythms. A dolce fourth variation is dominated by the oboe, almost sounding menore. The fifth variation brings us back to duple with slured eighth notes in oboe and clarinet.
The sixth variation opens with flare on an oboe run which weaves with clarinet runs. The seventh variation is a duet between the horn and bassoon at first, moving into the clarinet. The ends of the phrases are owned by the oboe.
The eighth variation is a figural variation in the oboe with eigth notes interjected into the theme. The ninth variation opens with an impossible horn run to which Corinne says "Who are you?" It is reminiscent of the sixth variation. The tenth variation is again dolce with suspension sequences in the oboe against the rest of the quartete. This variation is extended by two measures compared to the rest. The final variations are in a triple meter, seeming to skip to the end of the piece. They alternate phrases between the oboe and clarinet for the most part. The last variation starts slow and then accelerandos to the end.