See also:

• SERENADE (from Ital. serenata, Lat. serenus, bright; the Italian term being applied, partly by confusion with serus, late, and partly through the use of Serena—cf. Gr. ve?i7vri—as an epithet for the moon, to a form of courting music played at night in the

SERENADE (from Ital. serenata, See also:

• LAT

Lat. See also:

• SERENUS
• SERENUS, SAMMONICUS

serenus, See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright; the See also:

• ITALIAN

Italian See also:

• TERM

term being applied, partly by confusion with serus, See also:

• LATE

late, and partly through the use of See also:

• SERENA, or LA SERENA

Serena—cf. Gr. ve?i7vri—as an epithet for the See also:

• MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
• MOON, SIR RICHARD, 1ST BARONET (1814-1899)

moon, to a See also:

• FORM (Lat. forma)

form of courting See also:

• MUSIC

music played at See also:

• NIGHT

night in the  open See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air; whence also the synonym Notturno), in See also:

• MUSIC

music; a See also:

• TERM

term classically applied to a See also:

• LIGHT

light See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• SYMPHONY

symphony, more rarely a piece of chamber music, in a light See also:

• SONATA (From Ital. sonare, to sound)

sonata See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style with several extra movements, and in a few cases (as in the two serenades of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven) not containing any fully See also:

• DEVELOPED

developed examples of first-See also:

• MOVEMENT

movement See also:

• FORM (Lat. forma)

form . The divertimento is a similar See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition., more often for chamber music, and frequently on a See also:

• SCALE
• SCALE (1) A

scale altogether too small for the sonata style to show itself, though some examples by See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart (e.g. those for strings and two horns) are very large . The cassation is a smaller composition, beginning (like Beethoven's See also:

• SERENADE (from Ital. serenata, Lat. serenus, bright; the Italian term being applied, partly by confusion with serus, late, and partly through the use of Serena—cf. Gr. ve?i7vri—as an epithet for the moon, to a form of courting music played at night in the

serenade op . 8) with a See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

march . The See also:

• CLASSICS

classics of the serenade forms are among the See also:

• WORKS

works of Mozart and See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn . Mozart's larger and later serenades, from the " Haffner " serenade onwards, are among his most delightful and voluminous lighter instrumental works . His two serenades for eight See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENTS

instruments are more serious, and that in C See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor (which he afterwards arranged as a See also:

• STRING

string quintet) is a majestic See also:

• WORK

work in four normal movements, which Mozart probably called a serenade only because he did not find the term octet then in See also:

• COMMON

common use . The typical See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of a large serenade or divertimento differs from that of a symphony only in having six movements instead of four, the additions being another slow movement and See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

minuet or See also:

• SCHERZO (Italian for " a joke ")

scherzo . Beethoven's septet and See also:

• SCHUBERT, FRANZ PETER (1797-1828)

Schubert's octet are on this See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, and are just as much serenades as Mozart's " Haffner " serenade, which is (not counting introductions) in eight movements with a kind of See also:

• VIOLIN

violin See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto in the See also:

• MIDDLE

middle . The six-movement scheme (though without the serenade style) was adopted by Beethoven in one of the profoundest and most serious works in all music, the string quartet in B See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, Op . 130 . See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms's first essays in symphonic form took the shape of two orchestral serenades, of which the first was originally sketched for a large See also:

• GROUP

group of See also:

• SOLO, OR SOLO WHIST

solo instruments .

If it had finally taken that form Brahms would have called it a divertimento . Other applications of the term in music are merely See also:

• LITERARY

literary . Even its use, from the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century onwards, for a kind of operetta was clearly no more than a natural allusion to the notion of serenades as addressed at See also:

• NIGHT

night by minstrels to ladies and by clients to patrons . (D . F .