In 1995, French composer Jean Françaix (1912-1997) arranged the quintet to a Nonetto for nine instruments (oboe, clarinet in B ♭, horn in E ♭, bassoon, 2 violins, viola, cello and double bass), reworking the piano part for the strings.Mozart’s 19 Piano Sonatas, as music critic Christopher Morley comments in his booklet notes, “cover so much of his short life… and a huge range of styles and genres, from quasi-concertos without orchestra to simple study pieces… There are generic dance-movements, there are movements of exquisite contemplation, there are explorations of searching counterpoint, there are the most exquisite melodies, and there is the perfume of opera”. The compositions share their key and scoring. 16 by Ludwig van Beethoven, who composed this tribute in 1796. This piece was allegedly the inspiration for the Quintet in E ♭ for Piano and Winds, Op. The finale of the piece was rewritten by a person other than Mozart, but since the autograph is accessible, the attempted forgery was discovered and corrected. After many bars of piano, the movement ends on two tutti E ♭ major chords. It is not until some time of cadenza-like material has passed that the third appearance of A is heard. Unlike the concerti Mozart wrote in this time period, this cadenza is played by all five instruments of the quintet. Towards the end of the C section, the piano and winds play a E ♭ major I 6Ĥ chord with a fermata, prompting a cadenza. After the B section, which is primarily in B ♭ major, the A returns for a second time. The third movement, marked Allegretto, is a five-part rondo (in A-B-A-C-A form), with the primary theme played first by piano solo and then by the winds shortly thereafter. The development, after spending one bar on a German augmented sixth chord with a root of C, abruptly goes into the distant key of E minor for one bar, and four bars later, ends up back in the home B ♭ major.

The opening theme is played by the winds at the beginning of the movement but by the piano in the recapitulation.

The second movement is often marked Larghetto, but the indication is missing from the autograph.

The movement ends with two E ♭ major chords. The theme appears in the development with the piano in A ♭ major, B ♭ minor, C minor, and then in C major by the oboe. After the slow section cadences on a B ♭ dominant chord with a fermata (where the pianist will often improvise an eingang), the movement's main theme appears featuring solo piano and is taken up by the winds a few bars later. It opens with a slow introduction, marked Largo.

Wolfgang amadeus mozart piano