Mozart: Serenade in G major, "Eine kleine Nachtmusik"; K. 525 Eine kleine Nachtmusik - 'A Little Night-music' (as Mozart himself named this Serenade) - is a beguiling title for a piece of music, and one that even a publisher could not have improved upon. It is also a title with, perhaps, a special appeal to sufferers from insomnia, who would be glad to enliven the long watches of the night (as indeed science now enables them to do) with these enchanting strains. The Serenade, scored for first and second violins, violas, cellos and double basses, begins with a lively Allegro, introduced by an opening fanfare in unison, and with a second subject formed out of some lovely phrases, one of which comes into the brief "development" section. Handel: Concerto Grosso in A minor, Op. 6 No. 4 Handel composed the twelve concertos of Op. 6 between September 29th and October 30th, and though not all of them reach the same high level - which is hardly surprising considering the remarkably short period of their composition - the set as a whole, as Basil Lam says in the Handel Symposium, "represents Handel at the very peak of invention". Analysis of that "invention" shows, paradoxically, Handel's indebtedness as regards the form and material of his Concerti grossi to his Italian predecessors in this field, particularly to Corelli whose own Op. 6, publushed posthumously in 1714, was a set of Concerti grossi, and to Vivaldi, but Handel sets the seal of his noble and invigorating style on these works, so that if we heard them unawares we should know at once to whose music we were listening. Mozart: Symphony No. 25 in G minor, K. 183 Up to the middle of 1773 (his eighteenth year) Mozart had modelled the majority of his symphonies on the three-movement Italian operati sinfonia - which was hardly surprising for a musician who, despite his tender years, had already travelled extensively in Europe and made no less than three visits to Italy. But between July and September 1773 he was enabled, thanks to a protracted stay in Vienna with his father that was apparently undertaken with the object of securing for Wolfgang some musical post at the Imperial court, to hear some of hte latest Viennese symphonies, and he returned to Salzburg the richer for the experience, if no better off in terms of hard cash. During the winter months he produced three symphonies (No. 25 in G minor, No. 28 in C and No. 29 in A - the numbering of the Complete Edition is not an accurate chronological guide) that, besides being more mature in musical content than any of their predecessors, are unequivocally cast in the weightier, four-movement form adopted by Haydn and his Viennese contemporaries. The G minor Symphony is the most striking of the three, not least because of its remarkable affinity with Mozart's only other minor-key symphony - the great G minor of 1788 (No. 40).

1. Serenade In G Major "Eine Kleine Nachtmusik" K.525, I: Allegro
2. Serenade In G Major "Eine Kleine Nachtmusik" K.525, II: Romanze (Andante)
3. Serenade In G Major "Eine Kleine Nachtmusik" K.525, III: Minuet (Allegretto) And Trio
4. Serenade In G Major "Eine Kleine Nachtmusik" K.525, IV: Rondo (Allegro)
5. Concerto Grosso In A Minor, Op.6 No.4, I: Larghetto Affettuoso
6. Concerto Grosso In A Minor, Op.6 No.4, II: Allegro
7. Concerto Grosso In A Minor, Op.6 No.4, III: Largo
8. Concerto Grosso In A Minor, Op.6 No.4, IV: Allegro
9. Symphony No.25 In G Minor K.183, I: Allegro Con Brio
10. Symphony No.25 In G Minor K.183, II: Andante
11. Symphony No.25 In G Minor K.183, III: Minuet And Trio
12. Symphony No.25 In G Minor K.183, IV: Allegro