Programme Notes - Mozart's Great G Minor Symphony

Symphony No. 40, KV. 550

Wolfgang Amadeus Mozart
Born 27 January 1756, Salzburg, Austria
Died 5 December 1791, Vienna, Austria

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Mozart's symphony in G minor is often referred to as the 'Great G minor symphony', and is one of only two that Mozart wrote in a minor key, the other being the 'little G minor symphony' No.25.

Symphony No.40 is a deep and passionate symphony, and was completed on 25 July 1788. This is approximately the same time when he also completed his 39th and 41st symphonies.

First Movement

This movement starts with the dark and suspenseful main theme, with powerful chords leading to a more jubilant feel as the music makes a transition - the tense atmosphere starts to brighten, and the 'bridge' theme fully gives way to the more light-hearted key of B-flat major.

We are then introduced to a new theme, depicting dialogue between the wind and string instruments, building the listeners expectation into a sharp and short section which is used as closing material. This in turn leads into some imitation of melody between clarinet, oboe and bassoon. There is a feeling of unease here, as the music is trying to close, but is prevented from doing so. Ultimately however with all instruments working together the theme is brought to a jubilant end.

We then hear an exact repeat of all previous material, building familiarization for the listener, as this material will soon be found in different guises. After the repeat the music goes through a transformation, the mood becoming dark and stormy, with Mozart altering the now familiar themes to create a period of unrest and uncertainty. Listen to how the main theme is remodelled into different but still recognisable forms.

Eventually the music finds stable ground again, with a return to the exact theme as heard at the beginning of the piece, save for a new, thoughtful melody from the bassoon. Again we have familiar themes from before, but changing key to create contrast from the beginning, and new interest. Instead of our bridge section residing in bright B-flat major as before, it now starts to head home, bringing attention back to the darker main key of G minor.

We hear our second theme again, now in G minor, leading to the closing material which again has an uneasy feel as it tries to close. We have some new material introduced to serve as an ending but also featuring the main theme. There is then the promised triumphant ending in the main key.

Second Movement

Here Mozart provides some respite from the turbulent first movement. His chosen timing of one two three four five six provides a rounded and stately feel to the piece, and the key of E-flat major provides a much calmer setting than before. After the initial theme is established, we hear it again in a slightly modified form, following by the introduction of an idea paired around two very short notes 'demisemiquavers'. This two-note fragment is used extensively from here on in as part of a new theme, and you can listen for it being passed around between the instruments.

After a repeat of all previous material, it is now developed, with the paired short notes still taking prominence, albeit with an overall darker sound to the music before leading back to the main theme first heard at the beginning of the movement.


Third Movement

Mozart gets back to business with this determined minuet and trio. The first section in the home minor key is repeated before a similar theme, this time mostly in a contrasting major key comes to the fore. There is a calming passage from the woodwinds at the end of this second section which seems almost a plea for order before a repeat for this theme is also heard.

This call for order seems to have been heeded, as the trio takes a much brighter and more stately stance. This is continued in the trio's second theme, but there is an underlying tension as if trouble is just around the corner. As in the minuet, both themes are heard twice.

As anticipated, the drama of the minuet returns, this time both themes are heard without repetition, with the whole movement wrapped up with the quiet wind-led passage.


Fourth Movement

The spell is broken with a curious dynamic battle between soft and loud. The ascending detached notes are heard played quietly, then they are smashed by the quicker, louder and smoother notes that follow. After this idea has been firmly established in the listeners mind, it is expanded upon in a furious display of continual short quaver notes, occasionally backed up in similar fashion by other instruments, especially the winds, but generally the orchestra provides sparse accompaniment to this string outburst.

We then have a more plaintive, sweeter theme, in such sharp contrast to the previous that you almost wonder if you dreamt it. This new theme is initially presented by the violins and viola, and shortly afterwards the clarinet and oboe take their turn to sing a more decorated version of the tune. The mood then becomes more jubilant as this first section is brought to a close with a passage reminiscent of the quick quaver notes heard previously.

After a repeat of all previous material, it is then developed, beginning with a very strange passage that you'd think came from a contemporary work if you didn't know any better! Soon however you can hear the theme from the start of the movement; familiar but being treated and molded in various different ways, being passed between the various instruments in the orchestra creating flashes of colour and timbre.

We then return to the opening theme as heard at the beginning of the movement, and very familiar. We may then expect the plaintive and sweet second theme to follow, which it does but now presented in the home key of G minor. The sweetness has evaporated and we are left with a theme that although familiar feels like it is weary, and has been drained of its life-force. We then finish with a short, abrupt but turbulent closing section to the symphony.


My Response

I especially enjoyed exploring this great piece of music in detail. I am now becoming much more comfortable in discerning the structure of certain musical forms, particularly sonata form and minuet and trio, although I still require assistance from the musical score, and analysis I find on the internet. I found it quite difficult in this exercise to describe musical elements and events in non-technical terms. Instead I've tried to provide a type of narrative using colourful and descriptive language that would hopefully conjure strong imagery in a listeners mind and encourage them to hear the music in an emotive rather than technical way.