File:Wolfgang Amadeus Mozart - Symphony 40 g-moll - 1. Molto allegro.ogg
Summary
Performance
- Conductor: Simon Schindler
- Ensemble: Fulda Symphonic Orchestra
- Location: Grosser Saal der Orangerie Fulda
- Date: 2001-03-18
The first movement, in sonata-allegro forms opens with an intense theme for the violins that establishes the home key of G minor. This theme flowers out of a three-note motive that is genuinely symphonic in its capacity for growth. A vigorous transitional passage that sustains tension through a steady cresecendo leads into the contrasting key: the relative major, B-flat. The second theme provides an area of comparative relaxation in the fast-paced drive of the movement. In the codetta are echoes of the basic motive and establishes the cadence in the contrasting key.
The development, which modulates rapidly from one key to the next, concentrates on the three-note motive from the exposition. Mozart develops his material in a number of ways: by changing the melody, putting it in the bass with a new melody above it, combining motives, expanding them through a descending sequence, or turning them upside down (inversion). This section is crowned by the transition back to the home key, one of those extraordinary passages that only Mozart could have written.
The recaptitulation follows the course of the exposition. This transition is expanded and circles about the home key and the second theme is shifted to G minor rather than major, taking on a more tender tone. The coda energetically confirms the home key.
Other Movements
The second movement, an Andante in E-flat, is also in sonata-allegro form. With its graceful embellishments, this movement reflects the courtly refinement of the era. The third movement, a minuet and trio in G minor, recaptures the emotional tension and vigour of the first. The finale, Allegro Assai (Very fast), is a compact sonata-allegro form, abrupt and commanding, with a first subject that represents the kind of rocket theme much favoured in the Classical Era. In all, this symphony is the work of a great artist functioning at the height of his powers.
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| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 07:49, 5 January 2017 | 0.0 s (10.39 MB) | 127.0.0.1 (talk) | <i>Performance</i> <dl> <dd>Conductor: Simon Schindler</dd> <dd>Ensemble: Fulda Symphonic Orchestra</dd> <dd>Location: Grosser Saal der Orangerie Fulda</dd> <dd>Date: 2001-03-18</dd> </dl> <p>The first movement, in sonata-allegro forms opens with an intense theme for the violins that establishes the home key of G minor. This theme flowers out of a three-note motive that is genuinely symphonic in its capacity for growth. A vigorous transitional passage that sustains tension through a steady <i>cresecendo</i> leads into the contrasting key: the relative major, B-flat. The second theme provides an area of comparative relaxation in the fast-paced drive of the movement. In the codetta are echoes of the basic motive and establishes the cadence in the contrasting key. </p> <p>The development, which modulates rapidly from one key to the next, concentrates on the three-note motive from the exposition. Mozart develops his material in a number of ways: by changing the melody, putting it in the bass with a new melody above it, combining motives, expanding them through a descending sequence, or turning them upside down (inversion). This section is crowned by the transition back to the home key, one of those extraordinary passages that only Mozart could have written. </p> <p>The recaptitulation follows the course of the exposition. This transition is expanded and circles about the home key and the second theme is shifted to G minor rather than major, taking on a more tender tone. The coda energetically confirms the home key. </p> <p>Other Movements </p> The second movement, an Andante in E-flat, is also in sonata-allegro form. With its graceful embellishments, this movement reflects the courtly refinement of the era. The third movement, a minuet and trio in G minor, recaptures the emotional tension and vigour of the first. The finale, Allegro Assai (Very fast), is a compact sonata-allegro form, abrupt and commanding, with a first subject that represents the kind of rocket theme much favoured in the Classical Era. In all, this symphony is the work of a great artist functioning at the height of his powers. |
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