Question: What piece by the composer of Piano Concertos K. 107 is used as a cliche to convey refinement?

full_context: Document 1: Classical music: Wind instruments became more refined in the Classical era. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.
Document 2: Concerto for Violin, Piano, and Orchestra (Mozart): Mozart only wrote the first 120 bars of the first movement, and only the first 74 bars are completely scored. Alfred Einstein believed that the work was abandoned due to the disbanding of the Mannheim orchestra; however, that had happened earlier that year when the Elector moved to Munich and most of his orchestra followed him, so the "Academie des Amateurs" replaced the Mannheim orchestra. The most likely explanation for the concerto being abandoned is that Mozart left Mannheim in December 1778, perhaps because the "Academie" did not start as early as he thought it would. It is unknown why he did not continue working on the concerto on his journey home or when he was back in Salzburg.
Document 3: Classical music: Similarly, movies and television often revert to standard, clichéd snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture.
Document 4: Symphony, K. 95 (Mozart): The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 95, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 95 is given the number 45 in this numbering scheme.
Document 5: Symphony, K. 97 (Mozart): The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 97, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 97 is given the number 47 in this numbering scheme.
Document 6: Classical music: Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and both vocal and instrumental performers would improvise musical ornaments. J.S. Bach was particularly noted for his complex improvisations. During the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto. During the Romantic era, Beethoven would improvise at the piano. For more information, see Improvisation.
Document 7: Classical music: Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.
Document 8: Classical music: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.
Document 9: Piano Concertos Nos. 1–4 (Mozart): Wolfgang Amadeus Mozart began his series of preserved piano concertos with four that he wrote at the age of 11, in Salzburg: K. 37 and 39–41. The autographs, all held by the Jagiellonian Library, Kraków, are dated by his father as having been completed in April (K. 37) and July (K. 39–41) of 1767. Although these works were long considered to be original, they are now known to be orchestrations of sonatas by various German virtuosi. The works on which the concertos are based were largely published in Paris, and presumably Mozart and his family became acquainted with them or their composers during their visit to Paris in 1763–64.
Document 10: Classical music: Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.
Document 11: Symphony, K. 96 (Mozart): The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 96, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 96 is given the number 46 in this numbering scheme.
Document 12: Classical music: Several works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?.
Document 13: Classical music: The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8 to 10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).
Document 14: Piece in F for Keyboard, K. 33B (Mozart): Mozart wrote this piece in pencil on the back of a circular by the Zürcher Musikkollegium (Zürich Music College) dated 30 September 1766, when the Mozart family came to the end of their Grand Tour. The circular invited sponsors, music lovers and other people who might be interested to concerts by "the young (9 years old) Master Mozart as well as his maiden sister" (Maria Anna – Nannerl) on October 7 and 9. It can be assumed that Mozart played or improvised this lively piece in one of those concerts, the programs to which are lost. Mozart wrote it on the back of the circular probably as a souvenir for the College's board; otherwise he would have used his sister's notebook or his third book of sketches (""), which is also lost. The autograph became known very late (in 1942), and so is missing from Alfred Einstein's 3rd edition of the Köchel catalogue.
Document 15: Piano Concertos K. 107 (Mozart): These concertos remained unpublished in the Alte Mozart-Ausgabe, the first complete edition of Mozart's works, so they were not given a number by the publishers of that edition, Breitkopf & Härtel (as the other 27 concerti were given in that publication). Therefore, when these works are enumerated with the rest, it can be seen that Mozart composed 30 keyboard concerti. These three works, however, and the concerti numbered as Piano Concertos 1 through 4 are actually not original compositions, but arrangements of works by other composers.
ground_truth: Eine kleine Nachtmusik
sub_queries: Piano Concertos K. 107 >> composer Answer: Mozart
What piece by Mozart is used as a cliche to convey refinement? Answer: Eine kleine Nachtmusik