The main theme consists of four notes:įour additional themes are heard in the "Jupiter's" finale, which is in sonata form, and all five motifs are combined in the fugal coda.
But there are fugal sections throughout the movement either by developing one specific theme or by combining two or more themes together, as seen in the interplay between the woodwinds. In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68–71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.įinally, a remarkable characteristic of this symphony is the five-voice fugato (representing the five major themes) at the end of the fourth movement.
#Wolfgang amadeus mozart molto allegro full
Midway through the movement there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43–51) before the full orchestra returns. The third movement, a menuetto marked " allegretto" is similar to a Ländler, a popular Austrian folk dance form. The second movement, also in sonata form, is a sarabande of the French type in F major (the subdominant key of C major) similar to those found in the keyboard suites of J.S. With the exception of the usual key transpositions and some expansion of the minor key sections, the recapitulation proceeds in a regular fashion. The first theme group's final flourishes then are extensively developed against a chromatically falling bass followed by a restatement of the end of the insertion aria then leading to C major for the recapitulation. A false recapitulation then occurs where the movement's opening theme returns but softly and in F major. The development begins with a modulation from G major to E ♭ major where the insertion-aria theme is then repeated and extensively developed.
#Wolfgang amadeus mozart molto allegro series
Following a full stop, the expositional coda begins which quotes Mozart's insertion aria "Un bacio di mano", K. 541 and then ends the exposition on a series of fanfares. From there, the second theme group begins with a lyrical section in G major which ends suspended on a seventh chord and is followed by a stormy section in C minor. What follows is a transitional passage where the two contrasting motifs are expanded and developed. This exchange is heard twice and then followed by an extended series of fanfares. Movements Īudio playback is not supported in your browser. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest.
Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. According to Otto Erich Deutsch, around this time Mozart was preparing to hold a series of "Concerts in the Casino" in a new casino in the Spiegelgasse owned by Philipp Otto. It is not known whether Symphony No. 41 was ever performed in the composer's lifetime. Īround the same time as he composed the three symphonies, Mozart was writing his piano trios in E major (K. 542), and C major (K. 548), his piano sonata No. 16 in C (K. 545) – the so-called Sonata facile – and a violin sonatina K. Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 41, as the final work, has no introduction (unlike No. 39) but has a grand finale. No. 39 was completed on 26 June and No. 40 on 25 July.
Symphony No. 41 is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. The symphony is scored for flute, two oboes, two bassoons, two horns in C and F, trumpets in C, timpani in C and G, and strings.
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