Analysis of Wolfgang Amadeus Mozarts Symphony No.

40 in G Minor, K550

Mozarts Symphony No. 40 in G Minor was completed in July 25, 1788. Despite what is

known about it, there is not concrete evidence to confirm that this symphony was premiered

during the composers life. The instrumentation for Symphony No. 40 is flute, two oboes, two

clarinets in Bb, two bassoons, two horns in Eb, G, Bb-alto and strings. Symphony No. 40 in G

Minor is the penultimate symphony of this famous Austrian composer. It is known as the Great

G minor symphony to differentiate it from the Little G minor symphony, No. 25. These are

the only two symphonies that Mozart composed in minor modes. The Symphony is structured in

a conventional way for the classic period with four movements; I. Allegro molto, II. Andante, III.

Menuetto: Allegretto, and IV. Allegro assai, which finishes also in sonata form and concludes

the whole symphony. It is considered one of the most extraordinary symphonies of Mozart and

demonstrates the most absolute abstraction and formal purity of the classical period.

The exposition of the fourth movement of the Symphony No. 40 begins by emphasizing

from the beginning the main theme from measures 1 to 32, for which is not observable a motto

or a slow introduction. This fourth movement parallels the first movement. Once again a lyrical

theme is presented initially in Bb major that becomes tragic and introspective when it returns to

the key of G Minor. Through the course of the main theme we can observe that Mozart uses

various phrases structures to create from this movement an extraordinary culmination which

follows the three previous movements. As an example, we observe a double period from

measures 1 to 16, which contrast in dynamics alternating between piano and forte creating a kind

of question and answer between the strings and winds. From measures 17 to 32 we observe a
double sentence which also contrasts in its dynamic forte and piano, and it culminates in a

perfect authentic cadence in G Minor in measure 32.

Following the main theme, the transition occurs from measures 33 to 70, where

we can find a rhythmic agitation in cellos and violas in measures 48 to 55. Also, we find the first

and second violins in measures 37 to 48 and measures 56 to 68 with a healthy amount of passage

work by way of arpeggios and scales. We can also see a brief tonicizations of chord other than

tonic. The transitions end in measure 70 with a half- cadence in Bb Major.

The subordinate theme begins only in the strings from measures 71 to 85 in which

Mozart delights us with a clear and simple melody typical of the classical style. This melody is

adorned with appoggiaturas and chromatic scales that make up a contrasting period from

measures 71 to 78, an extended upbeat from measures 79 to 80 which it follows by a cadencial

phrase from measures 81 to 85. From measures 86 to 101 Mozart repeats the same melodic idea,

but this time highlighting the oboe as the main instrument and culminating in measure 101 with a

perfect authentic cadence in Bb Major.

In the following section, the exposition comes to a close from measures 101 to 124

highlighting the strings with passages of arpeggios, and in which the harmony moves from tonic

to dominant to tonic giving the feeling of culmination ending with a perfect authentic cadence in

measure 124.

The development starts in the same way as the exposition with a recall of the main theme

in measures from 125 to 126 in all strings and winds except in horns. From measures 135 to 187,

we can observe the core of the development in which Mozart uses a continuous elaboration of

the main theme by moving it from tonality to tonality in the logical way. It is also to be noted

that we can identify the measures 1 to 14 from the exposition are being used throughout this
section as a subject for the core. What follows is a retransition that occurs from measures 188 to

206 during which we observe a fragmentation into smaller and smaller units of the theme I motif,

seen in bars 188 to 201 in bassoons and oboes, and it moves throughout the orchestra in different

keys until the caesura in measure 205.

The recapitulation begins in measure 207 which is distinguished by the use of the main

theme until the measure 222. Unlike the exposition the main theme is only half as long in the

recapitulation. However, harmonically Mozart maintains the same chords as the exposition and

the same organization. Following the restatement of the main theme, the transition is from

measures 222 to 246, where exposition material from the exposition measures 37 to 48 are

deleted in the recapitulation. In the section corresponding to subordinate theme from measures

247 to 277, we can see that theme II is the same length in the recapitulation as it is in the

exposition. In terms of tonality the recapitulated theme II is similar to the exposition version,

however in a G Minor relative key.

Mozart then introduces us to the closing section from measures 278 to 308 with a loud

ending. The extension of the coda and the way that Mozart utilizes already heard material makes

it abundantly clear to us that this section is very important for the formal coherence of the

movement, establishing itself as a kind of final development.