Symphony No. 40 in G Minor, K. 550
Wolfgang Amadeus Mozart

THE STORY

Mozart’s penultimate symphony, No. 40, is considered by many a key work that bridges the worlds of Classicism and Romanticism. Richard Wagner remarked that the Symphony, with its dramatic mixture of unbridled intensity and restrained elegance, was “pivotal to the Romantic world.”

Symphony No. 40, along with its predecessor (No. 39) and successor (No. 41, “Jupiter”), was composed towards the end of his life in the summer of 1788, and musicologists believe he intended this trio of symphonies to be premiered at a series of subscription concerts. These performances may not have taken place, for Mozart’s music had fallen slightly out of fashion at this time.

While the historical circumstances surrounding the symphony’s first performance remain unclear, a Vienna performance may have even prompted Mozart to alter the symphony. The instrumentation originally calls for pairs of flutes, oboes, and bassoons in the woodwinds, but a revised version includes clarinets. These performances are of the original version.

LISTEN FOR

• The famous beginning of the symphony, which forgoes a formal introduction: the swell of the agitated accompaniment in the violas contrasts with the graceful sighing figure in the violins—and with the repeat of the first theme, the oboes join, adding a richer color to the orchestration
• Ominous moments in the second movement, in which thickly orchestrated repeated chords cloud the otherwise serene atmosphere of the Andante
• The recasting of the Minuet—usually a light dance—as something more severe
• Classical aesthetics of balance in the finale that are continually thrown off by the full orchestra’s passionate outbursts

INSTRUMENTATION

Flute, two oboes, two bassoons, two horns, strings

Notes on the music by Emily Shyr