Wolfgang Amadeus Mozart 
(1756-1791)

Symphony No. 39 in E-flat Major, K. 453
Composed 1788

Mozart composed his final three symphonies—Nos. 39, 40, and 41—in a remarkable burst of creativity during just six weeks in the summer of 1788. Symphony No. 39, completed on June 26, marked the beginning of this extraordinary trilogy. While the exact circumstances surrounding its premiere remain unclear, its enduring status as one of Mozart’s masterpieces is unquestionable.

Among the trilogy, Symphony No. 39 stands out for its noble and refined character, exemplified by its choice of E-flat major—a key often associated with brightness and grandeur. Musicologists have noted the unique modernity of this symphony compared to its companions. While it lacks the darker emotional weight of the Great G Minor Symphony (No. 40) or the grandiose complexity of the Jupiter Symphony (No. 41), it charms with its elegance, restraint, and a sense of lyricism that is often described as autumnal.

The opening Adagio sets a stately tone with dotted rhythms and dramatic scale passages, creating an atmosphere of dignified anticipation. This introduction culminates in a moment of tension before yielding to the Allegro’s cheerful and pastoral theme, where horns and bassoons echo the violins in a harmonious dialogue. The development section, notably concise for Mozart, subtly explores nearby harmonic territories before returning home with a seamless recapitulation.

The second movement, an Andante in A-flat major, contrasts simplicity with profound expressiveness. The main theme evolves through intricate elaborations, with highlights including the interplay between strings and woodwinds, and a striking turn to the minor that enriches the movement’s emotional depth.

The third movement, marked Menuetto, provides a lively contrast with its robust rhythms and infectious energy. The Trio features one of Mozart’s most charming clarinet solos, with delicate responses from the flute—a testament to Mozart’s pioneering use of the clarinet. In this symphony, he opted for clarinets instead of oboes, creating a gentler, warmer woodwind timbre that aligns beautifully with the symphony’s overall character.

The finale, a spirited Allegro, has often been likened to Haydn’s style for its wit and economy of thematic material. Its principal theme, built around a bustling sixteenth-note motif and a playful “hiccup,” propels the movement forward with relentless energy. Mozart’s ingenuity shines as he transforms this simple theme through unexpected key changes, silences, and intricate orchestral interplay, culminating in a joyous conclusion.

The instrumentation of Symphony No. 39 further underscores its distinctiveness within Mozart’s late symphonic output. The inclusion of clarinets, relatively novel in symphonic writing at the time, reflects Mozart’s deep appreciation for their expressive range, which he also explored in chamber and operatic contexts. The absence of oboes, combined with the presence of trumpets and timpani, lends the symphony its noble, luminous character.

While Symphony No. 39 has historically been less performed and studied than its companions, it is no less a masterpiece. Its refined elegance, innovative orchestration, and emotional depth remind us of Mozart’s unparalleled genius—a composer whose artistry transcended his tragically brief life. The symphony invites listeners to experience a world of poised beauty, where every note feels both inevitable and inspired.

In this first installment of his final symphonic trilogy, Mozart demonstrated his ability to balance tradition and innovation, charm and profundity. Symphony No. 39 remains a shining example of Classical-era perfection, and it continues to captivate audiences with its timeless grace.

Instrumentation – one flute, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings

Duration – 29 minutes

~ Kenneth Bean
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra