22-23 Program Book - Flipbook - Page 27
Symphony No. 41 in C major, K. 551 “Jupiter” (1788)
WOLFGANG AMADEUS MOZART
(January 27, 1756-December 5, 1791)
In some ways, Symphony No. 41 signals the peak of Classical style, while in
others it foreshadows the coming Romanticism of Beethoven. It is structured
in the typical four movements: the first is fast and dramatic, but there are
surprises along the way: no slow introduction, non-symmetrical phrases,
abrupt pauses, harmonic twists, and changes in volume and mood. The
second movement begins softly and serenely, but soon becomes restless,
even uncertain. This conflict continues and becomes more elaborate
throughout, but serenity eventually prevails. The third movement Minuet is
graceful and flowing, with a Trio that has more surprising contrasts.
The fourth movement is remarkable, especially for 1788—it was not
fashionable to write fugues at this time, yet that is exactly what Mozart does.
There is a motive consisting of four notes, which makes it easy to follow. In
fact, there are five themes that are used in this amazing movement that are
developed and re-combined. Counterpoint creates a sense of complexity…
and yet there is a clarity that makes it less academic and more dramatic, so
the sense of arrival at the end is much more satisfying. One can almost see
Beethoven coming over the horizon.
This symphony inspired many composers, especially Haydn, who used it
as a model for some of his London symphonies. Sir George Grove called
it “the greatest orchestral work of the world which preceded the French
Revolution.”
CLASSICAL SERIES: MOZART AND TCHAIKOVSKY
Mozart’s 41st symphony is the last of a set of three composed in rapid
succession during the summer of 1788, and the last symphony he ever
completed. Scholars have found no indication of a commission, so
speculation is that they were composed either in hopes of selling them,
for a concert in Vienna, or even for a London concert tour. Whatever the
circumstances of their composition, the symphonies were not published
in Mozart’s lifetime, and there is no clear evidence that they were even
performed before he died. The nickname “Jupiter” was not assigned by
Mozart but more likely by the impresario Johann Peter Salomon, inspired
by its majestic character and musical substance.
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