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| Mozart: Symphony 40 in G Minor, K.550 Моцарт: Симфония №40 в си-минор, К. 550Mozart: Symphony 40 in G Minor, K.550 Моцарт: Симфония №40 в си-минор, К. 550Understanding Music MUS 100 Work Report by: Vladislav Exxx Wolfgang Amadeus Mozart Symphony No. 40 in G Minor, K. 550 Instructor: Dr. Timothy M. Crain DePaul University 11 November 2002
Being an admirer of the music of Wolfgang Amadeus Mozart, I chose to analyze Mozart’s Symphony No. 40 in G Minor. An early analyst and critic of Mozart’s music, Otto Jahn called the Symphony No. 40 “a symphony of pain and lamentation.” Another critic said it was “nothing but joy and animation” (Kramer 480). While these two remarks may be used as extreme ways to interpret the symphony, its character and mood are captivating and touching. The standard instrumentation for this piece includes woodwinds The symphony itself is comprised of four movements: Movement One – Molto allegro Movement Two – Andante Movement Three – Allegretto Movement Four – Allegro assai The first movement of the symphony opens in a minor key with a piano
but agitated principal theme that repeats itself throughout the movement. Obediently following the sonata plan, Mozart slows down his second movement to andante. Violas play the principal theme and are later joined by the first and second violins, imitating one another. The dominating strings maintain dynamics within range of piano, but sforzandos are contributed by the basses. The meter in this movement is duple compound, and like in the first movement, this one is composed in sonata-allegro form. Homophonic accompaniment in an E-flat tonality supports a wide-range, but conjunct-motion melody that is characterized by regular periodic structures. The third movement is in triple simple meter with the orchestra once again dominated by the strings. The minuet and trio form naturally divides the movement into three sections with different keys, dynamics, and a da capo. The minuet section and its a da capo are played forte and in a minor key, while the trio is piano and in a major key. The tempo remains allegretto throughout the entire movement. Unlike the second movement, the motion of the melody is disjunct and wide-range, structured in regular periods. The movement begins in a G minor tonality and then changes to G major. The texture remains homophonic throughout the entire movement. The final movement of the symphony is again dominated by the strings. II. Composer background. At the time of this symphony’s composition, in the first half of 1788
when Mozart’s creative powers were at their peak, his everyday life
suddenly began to deteriorate. Although he had recently been appointed a
composer to the Court of Emperor Joseph II, the salary was meager and the
duties were light. Two or three years previously Mozart’s concert schedule
was busy and an abundance of students provided him with an adequate income. Nevertheless, Mozart continued to compose with his characteristic and
inspiration. The failures of his performances and the consequent financial
hardships took a heavy toll on Mozart’s already fragile health. The lack of
commission or public recognition, however, did not stop Mozart from
writing. Mozart composed his last three symphonies (Nos. 39, 40, and 41) in
only two months, without commission or payment. Furthermore, at least two
of these symphonies were never performed during his lifetime. As to why
they were not performed, some people believe that Mozart had such an
intense inner need to express himself that he could not wait for a patron
from whom to charge commission. Perhaps these were the circumstances that
inspired such a feeling of insecurity, anxiety, and urgency in Symphony No. IV. Personal Reaction. On a personal level, I was also inspired with the same unexplained
feeling of urgency and anxiety while listening to this symphony. The first
movement creates this mood with its very first motive. However, it seemed
hard for me to follow through the entire piece without having lost some of
this impression to the more subdued second and third movements. Perhaps Either way, my personal preference remains with the more sonically
and emotionally powerful productions of such composers such as Chaikovsky, Broder, Nathan, ed. Mozart: Symphony in G minor, K. 550. New York: W.W. Norton & Company, 1967. Orchestral Repertoire. New York: Schirmer Books, 1988. 1995. Inc., 1983. Reception. New York: Oxford UP, 1989.
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