Question: What piece by the composer of Bastien und Bastienne is used as a cliché to convey refinement?

full_context: Document 1: Wolfgang Amadeus Mozart: Wolfgang Amadeus Mozart (/ ˈwʊlfɡæŋ æməˈdeɪəs ˈmoʊtsɑːrt / MOHT - sart; German: (ˈvɔlfɡaŋ amaˈdeːʊs ˈmoːtsaʁt); 27 January 1756 -- 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era.
Document 2: 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 3: Johann Baptist Schenk: Schenk was born in Wiener Neustadt. While still a boy he composed songs, dances and symphonies, and became a proficient violinist and keyboard and wind instrument player. In 1773 he went to Vienna to study with Georg Christoph Wagenseil. Beginning in 1777 he was composing religious works for Saint Stephen's Cathedral. In the 1780s he became a prolific composer of incidental music for plays and singspiele. His best-known singspiel is "Der Dorfbarbier", which premiered in 1796. His other compositions include numerous cantatas, ten symphonies, several concertos (including a well-known one for harp), and five string quartets. Mozart was a good friend of Schenk and Beethoven studied under him in 1793.
Document 4: 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 5: 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 6: 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 7: London Sketchbook (Mozart): Most pieces are extremely short, normally lasting from 40 seconds to a minute; however, some span as long as four minutes in total (see K. 15t). According to the "Neue Mozart-Ausgabe", the intended purpose of this book was not for musical exercise, as once thought, rather for the young Mozart, who had just learned how to use pen and ink, to write down his own inspiration without needing anyone's help. Corrections by his father Leopold appear in pencil only.
Document 8: Bastien und Bastienne: Although he was very young, Mozart already had excellent vocal writing skills and a knack for parody and whimsy which would reach full flower in his later works. "" is possibly the easiest to perform of Mozart's juvenile works.
Document 9: 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 10: 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 11: Betulia liberata: The Mozart is the best known, if only because the composer's output receives more examination. Composed in March to July 1771 when Mozart was 15 years old, K. 118 (74c) is a 140-minute "azione sacra" on a text by Metastasio tracing the story of Judith and Holofernes from the biblical "". It was commissioned in March 1771 by Giuseppe Ximenes, Prince of Aragon, while Mozart and his father Leopold were on the way home to Salzburg from their first journey to Italy. It is the only oratorio Mozart ever wrote. Its two parts comprise sixteen arias, with solo or choral parts, scored for soloists, choir and orchestra. Not performed in Mozart's lifetime, "La Betulia liberata" is shaped stylistically to works by Leonardo Leo and Johann Adolph Hasse.
Document 12: Mitridate, re di Ponto: Mozart wrote "Mitridate" while touring Italy in 1770. The musicologist Daniel E. Freeman has recently demonstrated that it was composed with close reference to the opera "La Nitteti" by Josef Mysliveček. The latter was the opera being prepared for production in Bologna when Mozart met Mysliveček for the first time with his father in March 1770. Mysliveček visited the Mozarts frequently in Bologna during the summer of 1770 while Wolfgang was working on "Mitridate". Mozart gained expertise in composition from his older friend and also incorporated some of his musical motives into his own operatic setting. The opera was first performed at the Teatro Regio Ducal, Milan, on 26 December 1770 (at the Milan Carnival). It was a success, having been performed twenty-one times despite doubts because of Mozart's extreme youth – he was 14 at the time. No revival took place until the 20th century. This opera features virtuoso arias for the principal roles, but only two ensemble numbers: the act 2 ending duet between Aspasia and Sifare ("Se viver non degg’io"), and the brief quintet that ends the opera, very characteristic of standard baroque opera seria where the opera ends with a short "coro" or "tutti" number.
Document 13: Il re pastore: Metastasio wrote the libretto in 1751, basing it on a work by Torquato Tasso called "Aminta". The libretto was picked up when Mozart (just 19 at the time) and his father saw a performance of it set to music composed by Felice Giardini – Mozart's version, however was two acts rather than Giardini's three, and has a few substantial changes. Each act lasts for around an hour in performance. The Salzburg court chaplain Varesco was largely responsible for this editing of Metastasio's libretto.
Document 14: 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 15: 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.
ground_truth: Eine kleine Nachtmusik
sub_queries: Bastien und Bastienne >> composer Answer: Mozart
What piece by Mozart is used as a cliche to convey refinement? Answer: Eine kleine Nachtmusik