The intense development section begins in the unexpected key of F-sharp. It is either a revelation of Mozart’s mood swings, or absolutely unrelated to personal emotion. Furthermore, he supposedly created them out of an inner desire to provide a symphonic last will and testament. This was a time of what was called, ‘Patronage’. 25. 12, Mozart casts the last movement of the symphony in a sonata form. He composed his first symphony at the age of 8. What should be a calming slow movement is agitating. 40 in G Minor, K. 550, symphony by Wolfgang Amadeus Mozart. This Valentine's Day, our own Redlands Symphony musicians star in a concert filled with great solo works. No. Mozart simply didn’t work that way. Symphony No. And this is not all down to the minor mode, but also the attitude of the themes: the first a rising figure that continually turns back on itself, the second sweeter but still searching because of its chromatic twists and turns. At these concerts, Trevor Pinnock conducts Mozart’s revision of the score, adding a pair of It has one of the catchiest opening movements of any symphony, too, which helps - within seconds you're transported to a tense world of opulence and bad wigs. 40 (written 15 years later). They are both in a minor key with flats. Although simpler in texture, the trio is striking as the only extended passage in the whole work that is in the major mode—it is the “bright spot” in the harmonic gloom of the rest of the symphony. As summarized by A. Peter Brown, the work’s reception is a series of diametric opposites. Nothing could be farther from the truth. Of the three 1788 symphonies, the Symphony in G minor, K. 550 (popularly referred to as No. He wrote 41 complete symphonies including Jupiter, Paris and Prague. It’s one of only two sym-phonies Mozart wrote in a minor key - along with the Symphony No. Einstein might have been closest to the mark in assessing the symphony’s character. During the 19th century, it was popularly believed that Mozart wrote the works with no specific performance in mind. In the space of slightly over six weeks, he composed the Symphony in E-flat, K. 543; the Symphony in G minor, K. 550; and the Symphony in C major, K. 551. In 1788, he had no reason to assume that these would be his last symphonic works. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). 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. Enjoy our concerts? 40 is arguably the most popular of all of Mozart’s forty-one symphonies, despite the fact that its first movement became one of the most annoying ringtones of the mobile phones of the 90s. Its character is operatic in scope, or else, as Einstein put it, “a fatalistic piece of chamber music.”. The traditional sunny minuet is again in a heavily chromatic G minor. “Symphony No. Mozart has written in a minor key before (25th symphony), but ironically “No. Symphony No.40 in G minor, K.550 (Mozart, Wolfgang Amadeus) Incipit see below I. Movements/Sections Mov'ts/Sec's: 4 movements Composition Year 1788 (completed 25 July, revised 1788-91) Genre Categories: The complexities of counterpoint and meter bely its more straightforward minuet and trio form. Composed in 1788, it is one of only two symphonies he wrote in minor keys and reflects his interest in the artistic movement known as Sturm und Drang (Storm and Stress), in which darker and stronger emotions were showcased. 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