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    Symphony No

    Symphony No. 40 (Mozart) Learn more about Symphony No. 40 (Mozart)

    The 40th Symphony is sometimes referred to as the “Great” G minor symphony, to distinguish it from the “Little” G minor symphony, No. 25. The two are the only minor-key symphonies Mozart wrote, with the possible exception of an early and recently rediscovered A minor symphony known nowadays as the Odense symphony. ([1])

    [edit] Composition

    Mozart wrote the 40th Symphony during an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies. It has been speculated that he was preparing these works for a planned journey to England which never occurred.

    In fact, there is no documentary evidence that the 40th Symphony was performed in Mozart's lifetime at all. There is one clue, namely the fact that the work exists in two versions, the initial version from 1788 plus a later revision in which Mozart added parts for two clarinets and altered the oboe parts. It seems fairly likely that this revision would have been created with a specific performance in mind.

    [edit] The music

    The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, bassoon, 2 horns, and a string section containing the usual first and second violins, violas, cellos, and double basses. Notably missing are trumpets and timpani.

    The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony:

    Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form.

    The first movement begins darkly, not with its first theme but with accompaniment, played by the lower strings with divided violas. The technique of beginning a work with an accompaniment figure was later used by Mozart in his final piano concerto (KV. 595) and later became a favorite of the Romantics (examples include the openings of Mendelssohn’s Violin Concerto and Sergei Rachmaninoff’s Third Piano Concerto).

    The second movement is a lyrical work in 6/8 time, in E flat major, the submediant major (rather than the more usual mediant) of the overall G minor key of the symphony.

    The minuet begins with an angry, cross-accented hemiola rhythm; various commentators have asserted that while the music is labeled "minuet," it would hardly be suitable for dancing. The contrasting gentle trio section, in G major, alternates the playing of the string section with that of the woodwinds.

    The fourth movement is written largely in eight-bar phrases, following the general tendency toward rhythmic squareness in the finales of classical-era symphonies. A remarkable modulating passage, which strongly destabilizes the key, occurs at the beginning of the development section, in which every tone but one in the chromatic scale is played. The single note left out is in fact a g-natural (The key of the piece).

    Unlike many minor-key finales of the Classical era, this movement remains resolutely in the minor mode to the very end.

    [edit] Reception

    This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing “Grecian lightness and grace”. Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony "a work of passion, violence, and grief."

    Although interpretations differ, the symphony is unquestionably one of Mozart's most greatly admired works, and it is frequently performed and recorded.

    [edit] Influence

    Ludwig van Beethoven knew the symphony well, copying out 29 measures from the score in one of his sketchbooks. It is thought that the opening theme of the last movement may have inspired Beethoven in composing the third movement of his Fifth Symphony; for details see Symphony No. 5 (Beethoven). In addition, the opening movement of Beethoven's Piano Sonata Op. 2, No.1 in F minor seems to echo some of the rhythmic motives found in the final movement of the symphony (see Piano Sonata No. 1 (Beethoven)).

    Several works by Schubert, including one of his string quartets and, especially, the minuet of his Fifth Symphony, show some influence from this work, though Schubert's minuet lacks some of the rhythmic and contrapuntal complexities of Mozart's.

    [edit] Other

    Like many famous works of classical music, Mozart's 40th symphony plays an occasional role in popular culture. For example, in 1971 a "pop" version by Waldo de Los Rios became a hit single in the UK; some individuals cause their cellular telephones to ring to the first few notes; and so on.

    [edit] A performance of the symphony

    The following files contain a digital recording of a performance of the 40th Symphony by the Fulda Symphonic Orchestra. The performance took place on March 18, 2001 in the Orangerie in Fulda, Germany.

    Video Mozart: Symphony No

    Mozart: Symphony No. 40 in G Minor

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    Video description

    In this video used music: Mozart Symphony No. 40 in G Minor, K. 550 Performer: Musopen Symphony Composer: Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only minor key symphonies Mozart wrote. The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani. The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony: 1. Molto allegro, 2/2 2. Andante, 6/8 3. Menuetto. Allegretto -- Trio, 3/4 4. Finale. Allegro assai, 2/2.

    Symphony in G minor, (Mozart, Wolfgang Amadeus)

    Symphony No.40 in G minor, K.550 (Mozart, Wolfgang Amadeus) Содержание Performances Recordings For Orchestra (Composer) For Recorder Ensemble (Yamanaka) Synthesized/MIDI For Piano (Novegno) Sheet Music Full Scores

    Symphonien, Bd.3, No.40 (pp.1-49 (181-229))

    (see footnote on page 1).

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    Sinfonien, Band 9 [NMA IV/11/9]

    This “urtext” or “scholarly” (scientific) edition was published at least 25 years ago in Germany and thus is public domain in its country of origin. Such editions are also public domain in Canada because they fail to meet the minimum ‘threshold of originality’ to qualify for copyright as an ‘adaptation’. It may not be public domain elsewhere, however. More information about this can be found here.

    Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.

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    Arrangements and Transcriptions For 2 Pianos 8 hands (Kirchner)

    For Violin, Cello and Piano (Hummel)

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    For 2 Horns (Spira)

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    For Violin and Piano (Gottwald)

    For 2 Pianos (Singer)

    For Piano 4 hands (Ulrich) For Piano (Godowsky)

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    For Piano (Horn)

    For Piano (Meves)

    For Piano (Pauer)

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    For Piano (Stradal)

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    Molto Allegro (No.1) For Clarinet and Piano (Legrand)

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    Allegro and Menuetto For Piano Trio (Vilbac, Schulz, Plock)

    Andante (No.2) For Piano (Novegno)

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    Menuetto (No.3) For Piano 6 Hands (Vilbac)

    For Cello and Piano (Vogel and Guérout)

    For Piano (Alkan)

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    For Piano (Novegno)

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    Free Recordings
    • Columbia University Orchestra
    I. Molto allegroII. AndanteIII. Menuetto - Allegretto - TrioIV. Allegro assai

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    Mozart Symphony No

    symphony no 40 mozzart live bet Mozart Symphony No. 40

    Don’t miss this special one-night-only performance as members of the orchestra perform masterful selections by Haydn, Fauré and Mozart. The Seattle Symphony’s own principal musicians step into the spotlight for this enchanting evening of classics.

    Assistant Conductor Pablo Rus Broseta shares the drama of hearing Mozart performed live.

    Dates and Tickets

    1 hour, 32 minutes

    1 hour, 30 minutes prior to performance

    S. Mark Taper Foundation Auditorium - Benaroya Hall

    Performers Pablo Rus Broseta

    Pablo Rus Broseta studied composition and saxophone at the Conservatory of his native Valencia, carrying out further studies in conducting in Lyon, and at the Conservatorium van Amsterdam and Universität der Künste Berlin.

    Mary Lynch

    Mary Lynch joined the Seattle Symphony as Principal Oboe in 2014. She previously held the position of Second Oboe with The Cleveland Orchestra and has toured internationally with both The Cleveland Orchestra and the Pittsburgh Symphony Orchestra.

    Seth Krimsky

    Bassoonist and composer Seth Krimsky has been with the Seattle Symphony since 1986, and was appointed Principal Bassoon in 1990.

    Emma McGrath

    Seattle Symphony Associate Concertmaster Emma McGrath was most recently the Assistant Concertmaster of the Colorado Symphony, having previously performed with the Pittsburgh and Chicago symphony orchestras and the Australian Chamber Orchestra.

    Cello

    Korean-born Canadian cellist Eric Han made his concerto debut with the Toronto Symphony Orchestra at the age of 14.

    Meeka Quan DiLorenzo

    Before joining the Seattle Symphony in 2009, Assistant Principal Cello Meeka Quan DiLorenzo held the title of Associate Principal Cello of the Utah Symphony for five seasons.

    Seattle Symphony

    The Seattle Symphony is one of America’s leading symphony orchestras and is internationally acclaimed for its innovative programming and extensive recording history.

    Ludwig van Beethoven

    Leonore Overture No. 3, Op. 72b

    Joseph Haydn

    Sinfonia concertante, Op. 84, Hob. 1:105, for Oboe, Bassoon, Violin and Cello

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