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The sighing Andante seems a lighter, brighter world, if only through the major key (E-flat) and more sedate pace. Amazingly, Mozart is able to increase tension throughout, into a coda of deepest, darkest feeling.
#Wolfgang amadeus mozart symphony no. 40 full#
Schumann found the work “full of Hellenic grace,” but it is also full of violent dislocations, such as the abrupt lurch into F-sharp minor for the development section of the opening movement, in which harmony is further stretched as Mozart obsesses with the head of the main theme. The beginning – soft, murmurous accompaniment waiting on its melody – became a Romantic-era trope, but was surely a shock to Mozart’s contemporaries. In either version, however, this is urgent, passionate music. (The clarinets seem so characteristically Mozartian, but he only used them in four of his symphonies, and two of those – including this one – as revisions.) In the 19th century the work was known primarily in its original version, but performing it with the clarinets gradually became standard practice in the 20th century. (In another irony, those concerts were benefits for widows and orphans, of which the composer would shortly leave his own.) For these performances Mozart added a pair of clarinets to the orchestration, working them into his existing oboe parts. The G-minor Symphony, however, was indeed performed twice in April 1791, when the conductor was Antonio Salieri, the composer and court musician most remembered today for the unfounded claim that he poisoned Mozart seven months later.
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He undoubtedly wrote them for a series of subscription concerts he planned for that summer, but there is no indication that those performances ever took place. Little is known about the performance history of these three symphonies under their composer. If you believe that any review contained on our site infringes upon your copyright, please email us.Mozart’s last three symphonies were written in the summer of 1788, with the composer finishing the G-minor Symphony on July 25th.
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