Symphony n° 39 of Mozart

The Symphony nº 39 in major E flat, Kv 543 , is a Symphonie composed by Wolfgang Amadeus Mozart in July - August 1788.

At the time of the summer 1788, Mozart composed three large Symphonie S. One is unaware of for which reason they were written (probably for a series in concerts which it projected) and nothing proves that the Compositeur heard them of alive sound. The first of these three chiefs of work is the Symphony n°39, Kv 543, in major E flat . As for the two other symphonies of 1788, one knows nothing the circumstances of his creation. This symphony is the single one of Mozart has to be orchestrated immediately with Clarinettes in the place of the Hautbois.

It consists of four movements:

  1. Adagio, Allegro
  2. Andante idiot motor bike
  3. Minuet & Trio
  4. Allegro.

Just like the “Linz” and the “Prague”, the symphony nº 39 starts with a slow introduction. Daring for the time, diverting, and very imposing, it presents already a heroic connotation characteristic of the tonality major E flat , which precedes the following movements.

The Allegro which follows is indeed heroic proportions, violent and distressed, even sometimes melancholic person. The Andante idiot motor bike , agitated with abrupt sudden starts, was composed in the same vein; the Menuet is also heroic with however a rustic Trio of savor that Haydn would have readily tasted.

As for the finale, it is distinguished clearly from the three preceding movements, by its corrosive humor and the freedom of its form which form a coded merry and triumphal with this work in E flat .

Hocquard wrote this symphony: “One feels there with work a matured force, a heroism not within the meaning of a conquest at the conclusion of a combat, but which on the contrary Marie perfectly with a softness which is widespread here with profusion”. Indeed, Hermann Albert will speak about a “romantic symphony”, by his abrupt changes of mood in the Andante , by the horn S which succeed in echo the Clarinette S in the first movement, and by the sentimentality of the last Allegro .

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