V.A. Mozart Symphony No. 40
One of the most piercing and well-known instrumental works, the treasure of classical music is the symphony No. 40 by Mozart. She enters a symphonic triptych, written in one breath in the summer of 1788. 39, 40 and 41 ("Jupiter") Symphonies embody the composer's mature musical thinking, they simultaneously continue the traditions of Bach and Handel and anticipate the spiritual lyricism of the romantics.
Symphony No. 40 is one of the most incomprehensible works, and at the same time it is understandable to everyone at some personal level. It contains a deep, developed opera drama and a subtle psychologism inherent in the Mozart language, the motive of Czech folk dance and a sophisticated learned style.
Joseph Haydn, Mozart's best friend, his elder comrade, supporting everything, spoke of the emotional nature of Wolfgang’s music: "He is so enlightened in the field of human feelings that it seems that he is the creator of them, and then people only have mastered the feeling."
The history of the Symphony No. 40 by Mozart and the content of this work can be found on our page.
History of creation
History has not preserved documents from which one could judge the idea of creating all 3 symphonies that came out from the pen of Mozart that summer. They were not written to order. Probably, the author planned to perform them in the fall and winter during the so-called "Academies". During this period of his life, the composer was already very much in need and hoped to earn at concerts "by subscription". However, the dreams did not come true, the concerts were never given, and the symphonies were performed during the life of the author.
All of them were written in the shortest possible time; noteworthy is the summer. The disciples departed, Constanta in Baden. Not constrained by the scope of the order, Wolfgang can create at will, embodying any artistic intent.
And Mozart, as a true innovator, took this freedom of choice with due respect. By itself, the symphony genre has gone from a small musical screensaver designed to tell the audience that the opera is starting, and it is time to stop talking, to a separate orchestral piece.
Working on the symphony of G minor, Mozart greatly expands the dramatic boundaries of the genre. The father, Leopold Mozart, from his childhood inspired that the basis of any work should be high conception, the idea, the technique is secondary, but without it the whole concept is not worth a penny broken. For the first time in this symphony, Wolfgang allows himself to communicate with the listener, he sincerely narrates "without unnecessary words," and even somewhere intimate confession. Such a manner was fundamentally different from the cold concert and academic character, adopted at that time and understandable to the public at that time.
This work was truly appreciated only in the 19th century, when the symphonies of Beethoven and Schumann were already fully performed, when the subtle romanticism of Chopin became habitual.
The choice of the minor key, the rejection of the slow introductory part immediately lead away from the entertainment genre into the unknown. There is no solemnity, no sense of celebration in the orchestra (there are no trumpets and tubals in the orchestra), no "mass", despite the orchestral sound. The symphony, full of anxious change of moods and themes, contrasts and mergers, tells about the deep personal experiences of a person, therefore, invariably finds a response in the soul of each listener. At the same time, there remains the general delicate and gallant style corresponding to that century.
Shortly before his death, 3 years after creation, Mozart made changes to the score by introducing clarinets into the orchestral composition and slightly editing the oboe part.
Modern processing
The closest to the original interpretation is considered to be the g-moll symphony of such conductors as Trevor Pinnock, Christopher Hogwood, Mark Minkowski, John Eliot Gardiner, Roger Norrington, Nikolaus Arnoncourt.
However, there are many modern treatments of this work:
The Swingle Singers - an unusual performance of a symphonic work by a famous ensemble of vocalists. (listen)
Version of the German musician, arranger and music producer Anthony Ventura. (listen)
French guitar player Nicolas de Angelis (listen)
Waldo De Los Rios is an Argentinian composer, conductor and arranger. His treatment was recorded in 1971 by the orchestra of Manuel de Falla and took first place in the Dutch charts, and also entered the top ten in several other European countries. (listen)
Content
The exact number of symphonies written by Mozart cannot be established; many of them written in adolescence are lost forever (approximate number about 50). But in the minor, only the Fortieth sounds (and another one, No. 25, in the same key).
The symphony is traditional for that time. 4 private formhowever, she does not have an introduction, she begins immediately with main party, which is not typical for the canon of the time. The melody of the main part is the most popular motive in the whole world, a kind of business card of the composer. The side game, contrary to tradition, does not perform in sharp contrast, but it sounds more languid, mysterious, and light (thanks to the major). Sonata allegro of the first part gets almost a through development: the solo violins of the main part, the rhythm of the binder, a slight enlightenment performed by the woodwind (oboes, clarinets) of the secondary part, all this gets a bright development and a conflict appears in the final part, which only increases with voltage . Reprise does not allow the resolution of this conflict, even a secondary party acquires a minor character. The overall sound becomes even gloomy, reminders of the frustration, the unreasonableness of impulses, the inconsolable suffering.
The second part of, like a calm after a storm, performed at a leisurely pace (andante), calm and contemplative nature. Appears pacification, the melody becomes melodious, there are no more contrasts. The sound symbolizes light and mind. The general form of the part is again sonata, but due to the lack of opposition to the leading themes, it is felt as a through development. Musical tissue, including several semantic turns, is continuously developing, reaching a sweet-dreamy climax in the development and approval of the reprise. Some short breath phrases are similar to pastoral nature.
Despite the name 3rd part - Menuetto ("Minuet"), this is not a dance at all. Three-part size rather emphasizes marching and severity of sound. The hard, persistent repetition of the rhythmic figure inspires anxiety and fear. Like an irresistible superpower, cold and soulless, threatens punishment.
The theme of the trio leads away from the ominous threats of the minuet, and to an extent even approaches in character to the light dance minuet. The melody, sounding in G major, is bright, sunny, warm. It is set off by the extreme harsh parts, giving even more expressiveness by this contrast.
Returning to G minor seems to return to the present, tearing it from dreams, tearing it out of an intoxicating dream and preparing a dramatic finale of a symphony.
Final 4th part ("Allegro assai") is written in sonata form. The absolute prevalence of the main theme, played at a fast pace, as if sweeps in its path the melodies and phrases of the linking, side-by-side themes that arise here and there. Development gets rapid, rapid development. The energetic nature of the music tends to the dramatic climax of the entire work. Bright contrast between themes, polyphonic and harmonic development, roll calls between instruments - everything rushes toward the inevitable finale with an unrestrained flow.
This dramatic development of images throughout the entire work is a characteristic feature of Mozart, distinguishing his symphony.
Genius Mozart in this symphony embodied and at the same time became immortal. Truly, there is no other symphony that can be compared in popularity with this one. Like Gioconda's smile, simplicity hides too many secrets that humankind can unravel for centuries. In contact with such works, you think that God himself is talking to a man through the talent of his chosen one.
We are pleased to offer you a symphony orchestra for the performance of "Symphony No. 40" at your event.
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