Listening Online - Let’s find out about Mozart and his music! on NPR - National Public Radio Mozart’s Deceptive Simplicity on NPR Mozart’s last symphony: the giant Jupiter Wikipedia on Mozart’s Jupiter Mozart and his last symphony Jupiter ANALYSIS AND OUTLINES Biography of Mozart The Mozart Project - everything Mozart Musical Elements Used NAME OF PIECE named Jupiter after Mozart’s death by Johann Peter Salomon INSTRUMENTATION usual classical orchestra instrumentation but with no clarinets KEY C Major, this was the key of coronations and festive occasions in the eighteenth century. HARMONY Trio of the Third Movement Menuetto is unique: it begins with a perfect cadence FORM & STRUCTURE & MORE Sonata Allegro Form Composed as a “Sonata Cycle”, which is the general term describing the multi-movement structure found in sonatas, string quartets, symphonies, concertos, and large-scale works of the eighteenth and nineteenth centuries. CHECK HERE FOR ABOVE ANALYSIS First Movement Allegro vivace, 4/4, written in Sonata Allegro Form, opens with no introduction. Opening theme features the alternation of martial bluster and lyric gentleness. As the Exposition proceeds, Mozart continues to exploit the alternation between machismo and lyricism that characterizes theme 1. At the end of the exposition, Mozart suddenly introduces an entirely new theme so that he might have something to develop in the development section. He inserts the tune of a concert aria he had just finished intitiled “Un bacio di mano”, “A Kiss on the Hand” Second movement Andante Cantabile 3/4 in F Major is a romantic expression that anticipates the broader, emotive slow movements that would appear in Beethoven’s symphonies, written in Sonata Allegro form. Scored without the trumpet and percussion that dominated the first movement. Third movement Broad courtly minueto in typical 3rd movement time signature of 3/4, moderate tempo, Trio of the Third Movement is unique: it begins with a perfect cadence. The minuet became popular during the 17th and 18th cent. The minuet was performed by couples who made graceful and precise glides and steps. The minuet left a refined but definite imprint on music; it appears frequently as a movement in the symphonies and sonatas of Haydn and Mozart. Finale movement, The last movement is a tour-de-force of developmental and polyphonic writing, in which almost everything grows out of the superb first theme that begins the movement. Finale violin theme heard in whole notes in the opening bars, this theme appears in two of his masses and Symphony #33 Molto Allegro, in 2/2, Mozart assumes a serious, almost austere attitude (somewhat after the manner not uncommon with Haydn), and creates a contrapuntal masterpiece worthy of the great Bach, sacrificing to this end, it must be admitted, the winning qualities of sheer musical beauty to some extent. Its Exposition is woven out of five Themes, each one a proper thematic contingement as in any regular Exposition. (Theme 5 partly resembles Theme 4.) After the statement of the subordinate Theme, the Exposition is spun out with contrapuntal manipulation of Themes 2,3 and 4, interspersed with a few extra motives. The Development, also, naturally deals with these Themes (including No. 1), rather briefly, but in a great variety of shapes (inversion, stretto, diminution, shifted measure, even "retrograde"). The Recapitulation copies the Exposition closely (with the transpositions), but is slightly abbreviated. Then follows the Coda, and this Coda becomes a stage for the most remarkable polyphonic feat in symphonic literature---a feat that is very rarely encountered in any type of published music. After twenty-seven measures of polyphonic network involving Themes 1,4 and 3, all of the five Themes are announced simultaneously, and thus carried through a complete fugal "exposition" in five successive presentations, and, of course, in Quintuple-counterpoint, so applied that each voice presents the entire set of Themes in succession. The first announcement is scored in the string quintet, duplicated in the wind-body. The combination starts in G major, and alternates with C, so that the final (fifth) announcement shall be in C, the principal key. Then a few additional homophonic measures bring the Symphony quickly to an end. Taken from http://symphonysalon.blogspot.com/2005/11/mozart-symphony-in-c-major-k551.html Mozart’s #40 Berstien Lecture at Harvard on how Mozart used the cycle of 5ths to change keys http://en.wikipedia.org/wiki/Symphony_No._41_(Mozart)http://w3.rz-berlin.mpg.de/cmp/mozart.htmlhttp://www.mozartproject.org/http://cnx.org/content/m12402/latest/http://cnx.org/content/m12402/latest/http://library.thinkquest.org/22673/forms1.htmlhttp://en.wikipedia.org/wiki/Symphony_No._41_(Mozart)http://library.thinkquest.org/22673/forms1.htmlhttp://cnx.org/content/m12402/latest/Cycle_of_5th_-_Key_Change.htmlshapeimage_3_link_0shapeimage_3_link_1shapeimage_3_link_2shapeimage_3_link_3shapeimage_3_link_4shapeimage_3_link_5shapeimage_3_link_6shapeimage_3_link_7shapeimage_3_link_8shapeimage_3_link_9

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