In 1829 (38 years after Mozart died), Franz told a visitor, Vincent Novello ( English composer & publisher), that the finale to his father’s Symphony in C was the highest triumph of instrumental composition. A rising melody in woodwinds, then falls comically. No explanation exists as to why, but there are some suggestions. The output of other composer’s provides support for the latter argument. Mozart’s writing here is stylish but restrained, without the exuberance and Sturm und Drang dramatics that had characterized the “Little G Minor” Symphony just six months before. This very clear musical analysis of the finale from Mozart's Jupiter symphony reveals every ounce of the great composer's contrapuntal genius. Mozart gives his concert aria some “prime time” exposure in the development. Closing Section carries on the momentum (same as in Exposition) with Motive, The Mannheim Cadence is varied: Bassoon plays an inversion of Motive, The Coda continues quietly in strings, with a, The section has a fugal beginning with Motive. This video analyses the counterpoint (note-against-note movement) found in Mozart's Symphony No. Thus music historians have difficulty recording the reception of his symphonies, something that became easier in the post-Beethoven Romantic Era. The movement is full of short, infectious melodies and musical figures and this video digs deep into the contrapuntal structure and techniques the composer used to weave them a masterful symphony. The two note cadential figure of Phrase a is extended and developed in a loud, agitated, A-minor passage. Strings extend the violin response in a quiet passage. A popular style, arioso theme in strings, easy to remember & whistle. It is also unsure whether Mozart heard this work performed live, or if it was performed during his lifetime at all. 41 in C major (‘Jupiter’) Instrumentation Strings, flute, 2 oboes, bassoon, 2 horns, 2 trumpets, timpani Movements I: Allegro vivace (C) II: Andante cantabile (F) III: Menuetto (C) IV: Molto Allegro (C) Overview Mozart’s last, longest and most famous symphony. The last movement could on its own have… This refers to an outstanding orchestra that existed in Mannheim, its accomplishments peaking in the second half of the 1700s. Thick textures (multiple simultaneous lines of music). Mozart began composing the Requiem in October 1791. Analysis ofthe Finale from Symphony No. Theme 1 returns in the home key of F major, but is altered. On the 250th anniversary of Wolfgang Amadeus Mozart's birth, we look at his final symphony: No. 5. 9 to 37 Symphony No. Programme Essay for Mozart's Symphonies 39-41: 'A Drama of the Soul' (This essay was originally published in the programme for a performance of these symphonies by Nikolaus Harnoncourt and Concentus musicus Wien, at the 2014 Salzburg Festival.) In this movement Mozart delivers yet another Sonata Form structure but the music features the complex polyphony of an era bygone to Mozart. Symphonies # 39, 40 and 41 were composed in the summer of that year. Thus there is very little known about the genesis of the symphony. Mozart plays briefly with theme B and uses two final repetitions of the consequent phrase of theme B combined with a strong harmonic bass accompaniment to end the exposition in a solid G major. 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