Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5. 1791. The “Jupiter” Symphony is scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.  Approximate performance time is thirty-one minutes.

Mozart completed his final three Symphonies—No. 39 in E-flat Major, K. 543, No. 40 in G minor, K. 550, and No. 40 in C Major (“Jupiter”) K. 551—over a remarkably brief span between June 26 and August 10, 1788. Mozart almost always composed large-scale works for specific concerts. However, there exists no specific documentation that any of Mozart’s final three Symphonies was performed during the composer’s lifetime. This has led some to hypothesize that Mozart composed these Symphonies not for monetary gain, but out of an overwhelming need to express himself in music.

But there is documentation of concerts conducted by Mozart in Germany in 1789 and 1790. The concert programs included symphonies by Mozart. While the specific symphonies are not designated in the programs, it is reasonable to assume that they would have included his most recent efforts; i.e., one or more of the final trilogy.

Mozart did not coin the C-Major Symphony’s familiar nickname.  In August of 1829, the composer’s son told publisher Vincent Novello and his wife, Mary, that it was the German violinist and impresario, Johann Peter Salomon (the same individual who arranged for Haydn’s London visits), who “christened” the Symphony as the “Jupiter.”

It is doubtful Mozart intended the “Jupiter” to be his final Symphony. The composer was only thirty-two at the time he completed the work. Illness prematurely cut short his life just three years later. Still, like his final Piano Concerto, K. 595 (1791), the “Jupiter” Symphony represents a fitting summation of Mozart’s achievements in the symphonic repertoire. It is a work of extraordinary power, majesty, and eloquence, culminating in a breathtaking, virtuoso Finale.

The “Jupiter” Symphony is in four movements. The first (Allegro vivace) opens with a bold orchestral statement, to which the strings offer a hushed reply. The contrast between heroic and more subdued elements continues throughout the movement. The poignant slow-tempo movement (Andante Cantabile) employs muted violins and violas, while excluding trumpets and timpani. The third movement is a noble Minuet (Menuetto. Allegretto). During the course of the finale (Molto allegro), Mozart introduces no fewer than five motifs, presented in tandem in the breathtaking coda. It is a testament to Mozart’s genius that the passage emerges not as an academic exercise, but rather, a thrilling musical experience. After this stunning achievement, Mozart concludes his “Jupiter” Symphony with a series of elemental C-Major chords.

Program notes by Ken Meltzer