The British Museum contains the only copy known of his "Six Divertimentos for Two Violins". Each consists of two parts only.
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Given that Tárrega's compositions were personal divertimentos at the time, it has been published many times over in different collections and has been given different catalogue numbers. However, no definitive cataloging system has been established for any of Tárrega's compositions.
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The influence of popular music of the 1930s can be seen in Weinzweig's work, especially his Divertimentos No.2 and 3, which mimic the quirky rhythms of this music. His Divertimento No. 8 and Out of the Blue exhibit elements of both blues and ragtime. Even his Violin Concerto and Wind Quartet show characteristics of blues in their melodies.
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Wolfgang Amadeus Mozart (1756–1791) was a prolific composer and wrote in many genres. Perhaps his best-admired work is in opera, the piano concerto, sonata, the symphony, the string quartet, and string quintet. Mozart also wrote many pieces for solo piano, other forms of chamber music, masses and other religious music, and numerous dances, divertimentos, and other forms of light entertainment.
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The work was the first of Haydn's that he titled Sonata. He had called his earlier multi-movement works for solo keyboard "divertimentos" or "partitas". It was not until later that these works also assumed the title of Sonata. The sonata was published by Artaria in 1780 in a set of six sonatas dedicated to the sisters Katharina and Marianna Auenbrugger.
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Eleanor Weingartner recorded his Clarinet Concerto with the Camerata de las Américas (José Luis Castillo, conductor) for the Urtext label, and the Trio Cordilleras recorded his Piano Trio op. 30 for the Meridian label. More recent work for compact disc includes the recording of Leonardo Balada’s Divertimentos with the Carnegie Mellon Contemporary Ensemble for Albany Records, and a CD for Naxos with the Seville Royal Orchestra.
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This type of piece was probably an important inspiration for his own compositions. Piano works were the main compositional focus of Tajčević before the Second World War. After the war he began composing more often for strings, recalling his first musical steps with violin as his instrument. He wrote six works for strings, four of them titled divertimentos for three violins or string orchestra.
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Vicente has a museum devoted to him in Segovia, Spain, the Museo de Arte Contemporáneo Esteban Vicente, and a street named after him in Turégano. In March 2011 the Grey Art Gallery at New York University exhibited Concrete Improvisations: Collages and Sculpture by Esteban Vicente. In addition to 60 paper collages, the exhibit included 20 of Vicente's small-scale assemblages called divertimentos (toys), composed from pieces of found wood and covered with white plaster, with others composed of plastic and wood with architectonic elements.
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The harpsichord or pipe organ basso continuo role in orchestra fell out of use between 1750 and 1775, leaving the string section woodwinds became a self-contained section, consisting of clarinets, oboes, flutes and bassoons. While vocal music such as comic opera was popular, great importance was given to instrumental music. The main kinds of instrumental music were the sonata, trio, string quartet, symphony, concerto (usually for a virtuoso solo instrument accompanied by orchestra), and light pieces such as serenades and divertimentos. Sonata form developed and became the most important form.
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His compositional work is effectively split in two at this time. Ries composed most of his orchestral works during his time in London: six of his eight symphonies (as well as two of his five concert overtures) were created for concerts of the Philharmonic Society. On the other hand, he wrote now increasingly light fare for the piano: fantasies, rondos, variations, adapted divertimentos and others, mostly about well-known opera arias or popular folk song melodies. the production of chamber music (string quartets, violin sonatas) and intermediate piano music (sonatas) came almost to a standstill.
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Thomas Hardy, 1792 By the late 1750s there were flourishing centers of the new style in Italy, Vienna, Mannheim, and Paris; dozens of symphonies were composed and there were bands of players associated with musical theatres. Opera or other vocal music accompanied by orchestra was the feature of most musical events, with concertos and symphonies (arising from the overture) serving as instrumental interludes and introductions for operas and church services. Over the course of the Classical period, symphonies and concertos developed and were presented independently of vocal music. Mozart wrote a number of divertimentos, light instrumental pieces designed for entertainment.
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He wrote some ten plays (none with particularly strong plots) as divertimentos, some of them later serving as entertainments at the royal court. The plays fill Volume 6 of his collected works. In 1783, Bellman brought out The Temple of Bacchus (Bacchi Tempel), perhaps hoping to establish his reputation as a poet, rather than the merry entertainer that he was in fact known as at the time; but he always stood out in people's minds as unique, a different kind of writer and performer. Wash drawing by Pehr Hilleström in a 1792 letter showing Bellman in Swedish dress with Mollberg playing bowls. Bellman's main works are the 65 Fredman's songs (Fredmans sånger, 1790) and the 82 Fredman's epistles (Fredmans epistlar, 1791).
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