This degree of motivic planning and integration is found only in the later symphonies of Mozart and Haydn, or else in the works of Beethoven. Almost all of the material developed in the sonata form of the first movement derives from the opening half-step sigh in the violins. However, Mozart’s manipulation of form is symphonic in scope. The hesitant opening, without either a slow introduction or a bold first theme, is also more typical of chamber music. The orchestra was the smallest Mozart had used after leaving Salzburg, and the outer movements in particular are nearly transparent in texture. Its character is operatic in scope, or else, as Einstein put it, “a fatalistic piece of chamber music.”Įinstein might have been closest to the mark in assessing the symphony’s character. It is either a revelation of Mozart’s mood swings, or absolutely unrelated to personal emotion. The symphony either looks forward to Romanticism, or backward to the Baroque.
Wolfgang amadeus mozart symphony no. 40 series#
Peter Brown, the work’s reception is a series of diametric opposites. 40 in G minor is one of his most frequently performed works and yet, despite the consensus as to its appeal, there is no agreement to be had in terms of interpretation. Few classical works more clearly point the way toward 19th century romanticism. The famous passage at the beginning of the development section briefly destroys both the rhythm and the tonality. The finale carries the intense chromaticism of the first movement to new heights. The traditional sunny minuet is again in a heavily chromatic G minor. What should be a calming slow movement is agitating. As the symphony plays itself out, there are surprises at every turn. The intense development section begins in the unexpected key of F-sharp. The contrasting second theme, divided between the strings and woodwinds, is almost purely chromatic. What does appear is a simple repetition of notes a half-step apart followed by descending passages that stop just short of outlining what would be a comforting octave. Mozart wrote only three substantial mature works in G minor, a key commonly associated (according to 18th century aesthetic principles) with “lamentation” and “suffering.” There are no traditional opening chords at the beginning of the first movement, only a quiet accompaniment figure in the violas waiting for a melody to appear. The choice of key is, in itself, a measure of the work’s profundity. Few works from then 18th century are as intense, chromatic, and unconventional. 53), is the most original and has had the greatest influence on future composers. Of the three 1788 symphonies, the Symphony in G minor, K. Even a single symphony was too big a work to undertake without the promise of some type of financial gain. As for composing them without having a performance in mind, this is also fiction. Had he been able to follow Haydn to London in 1792, as had been planned, he would have most certainly composed at least six more. In 1788, he had no reason to assume that these would be his last symphonic works. Furthermore, he supposedly created them out of an inner desire to provide a symphonic last will and testament. During the 19th century, it was popularly believed that Mozart wrote the works with no specific performance in mind. The entries in Mozart’s catalog are dated, respectively, June 26, July 25, and August 10. In the space of slightly over six weeks, he composed the Symphony in E-flat, K. PCM Stereo, DTS HD Master Audio (BD), PCM Stereo, Dolby Digital 5.1, DTS 5.Mozart’s last three symphonies come from the extraordinarily creative summer of 1788. The “Pathétique” would become his legacy as Tchaikovsky died only a few days after its premiere. Tchaikovsky was an admirer of Mozart’s music and paired the premiere of his Sixth Symphony, which he himself conducted, with dances from Mozart’s “Idomeneo”. 40 is one of only two that Mozart wrote in a minor key, which only adds to its singular reception in his canon of symphonies. The festive series of concerts to celebrate the inauguration of Andris Nelsons as the 21st Gewandhauskapellmeister and the 275th anniversary of the Gewandhausorchester concluded with a riveting performance of two of music history’s great symphonic works.