Composed in 1788, the Symphony No. BORN: May 11, 1895 in Woodinville, Mississippi DIED: December 3, 1978 in Los Angeles, California WORK COMPOSED: … … Near the exposition’s end Mozart injects the last of numerous themes to populate this movement, a lighthearted, skipping tune (self-borrowed from his concert aria “Un bacio di mano”) that, for all its simplicity, reveals a brilliant touch of orchestration. His books are available at the Symphony Store in Davies Symphony Hall. 41 in C Major, K. 551, “Jupiter” 1. 41, Jupiter. Ravel, 1919)–by Maurice Ravel (1875–1937) The Four Seasons of Buenos Aires (arr. 10 is a very special piece for me. 41 is the … It may remind listeners of Mozart’s opera Le nozze di Figaro in its propulsive exuberance as well as the slyness with which it reveals its surprises. In the summer of 1788, Mozart found himself in financial despair. for piano, flute, violin, and cello that was issued by Chappell in 1823. The first and second movements both included passages in which the bass line descended by chromatic steps. PARTAGER PLAYLIST. The Symphony No. 40 0 obj <> endobj Home; Concerts. 39, 40, and 41 – were composed in nine weeks during the summer of 1788. It rings true: the earliest concert programs to use the nickname were Scottish and English, and the first printed edition to slap the name on the title page was a piano transcription of the symphony published in London in 1823. The Occasion Franz Joseph Haydn lived in a time of great social change and political foment. 41 in C major, "Jupiter" For many years the source of the nickname "Jupiter" for Mozart's last symphony was unknown. Education & The Marianne Williams Tobias Program Note Annotator Chair. Symphony No. The work is nicknamed the Jupiter Symphony, likely coined by the impresario Johann Peter Salomon. Notes Possibly a pirated ed. 0 The last of the three, Symphony No. 41 in C major, K. 551, on 10 August 1788. In the summer of 1783, Mozart brought his new wife Constanze to meet his father and sister in Salzburg. Mozart’s biographer Neal Zaslaw remarked, “No symphony of Mozart’s, not even the ‘Jupiter’, has aroused so much comment as this one.” THE LEGACY Symphony No. An arrangement of the work for piano, four-hands was published in England around 1820 with the sobriquet, but with no explanation. 39 was completed on 26 June and No. In late July of 1782, Mozart was at work on a wind-band arrangement of the orchestral parts of his recently premiered Opera, The Abduction from the Seraglio , when he received a letter from his father in Salzburg with a commission for a Serenade for some friends, the Haffners. Program Notes by Martin Pearlman. Writing music wasn’t about expressing your emotions as much as it was crafting excellent musical structures – the composer’s own emotions were kept hidden. With the mystifying disaster that was Vienna’s disdain for Don Giovanni, closing after only 15 performances, Mozart’s debts accrued beyond control. 33. Program notes – Glen Phillips ... Those composers wrote for the present, not the future, hence Mozart’s 41 Symphonies and Joseph Haydn’s 70-plus string quartets. La Symphonie no 41 en ut majeur, K. 551, dite Jupiter, est une symphonie composée par Wolfgang Amadeus Mozart en juillet-août 1788 et achevée le 10 août 1788, alors qu'il était âgé de 32 ans. of the piano part of Hummel's original arr. J'AIME . This is a joke that had recently been made by Mozart’s friend Haydn, in his Quartet in D major (Opus 50, no.6, nicknamed the Frog); it was published in October 1787, about ten months before Mozart wrote this symphony. It makes vivid the mathematical sublime.” That climax may be viewed as looking both backward, to the sort of contrapuntal virtuosity we associate with Bach and Handel, and forward, to the dramatic power of fugue as demonstrated in many of the greatest compositions of Beethoven. Mozart begins by stating a four-note motif that composers had obsessed over for generations, a motif doled out in simple whole-notes, one per measure. In her monograph on this symphony, Elaine Sisman wrote: “The mass of simultaneously writhing fragments, at all rhythmic levels and in all instruments, with the relentless background of the four whole-notes, cannot be taken in. But he was no boat-rocker, unlike his former student Beethoven, who once told a prince that his high position was “an accident of birth.” For much of his life, Haydn had a steady job. They stayed until October and, on their return trip home to Vienna, stopped at Linz, where Mozart’s patron Count Thun offered them his hospitality. PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, June 2, 2016, at 8:00 Friday, June 3, 2016, at 8:00 Saturday, June 4, 2016, at 8:00 Tuesday, June 7, 2016, at 7:30 Edo de Waart Conductor Daniel Gingrich Horn Mozart Symphony No. Conductor Xian Zhang leads the Seattle Symphony in music by William Grant Still, Wolfgang Amadeus Mozart, and Ludwig van Beethoven on Thursday, September 24, 2020 at 7:30pm on Seattle Symphony Live. The “Jupiter” has the traditional four movements of the Classical symphony. Learn More. This symphony was written within the remarkable period between June 28 and August 10 wherein he composed his last three symphonies: 39, 40, and 41. It reveals vistas of contrapuntal infinity. We are privileged to continue publishing his program notes. - 0.0/10 2 4 6 8 10 (-) - V / V / V - 4635×⇩ - Caprotti. Victoria Symphony Virtual Season; Tickets. This website uses cookies. Of his 50-odd symphonies, produced between 1764 and 1788, the earliest ones are conventional but precocious, reflecting influences of Johann Christian Bach, Giovanni Battista Sammartini, and Joseph Haydn. We have no reason to doubt the account provided by the English composer and publisher Vincent Novello, who (along with his wife) visited Mozart’s widow and their son Franz Xaver in 1829 and reported: “Mozart’s son said he considered the Finale to his father’s Sinfonia in C—which Salomon christened the Jupiter—to be the highest triumph of Instrumental Composition, and I agree with him.” This would have been the German violinist Johann Peter Salomon, remembered especially for having established himself as an impresario in London and arranging Franz Joseph Haydn’s two stints in Great Britain in the 1790s. In modern-day Austria, writing and directing for their bustling cultural life ( “ ”! 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