Symphony No. 41 in C Major, Movement 4 - Full Score


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In the middle trio section, Mozart slyly puts the cart before the horse by beginning most phrases with a closing cadence in the woodwinds to which the violins must provide a suitable opening. And here, too, listen for a loud preview of the famous four-note theme that will spark the finale. Mozart leaves the best to last. Throughout the s, he had studied counterpoint — the art of weaving together many independent musical lines — with passionate interest and had poured over the scores of J. But rather than a ponderous display of contrapuntal erudition, he uses the intricate interplay of his instrumental lines here to create an overwhelming sense of richness, splendor, and excitement.

Mozart weaves his magic with a half-dozen pithy themes, beginning with the sturdy opening four-note motive. Symphony No.

Notes by Janet E. Bedell copyright One fine body….

Mozart, Symphony No. 41 in C major, K. 551. (Piano Arr.) (1st Movement) [Piano Tutorial + Sheets}

Theodor Kirchner Leipzig: C. Peters , n. Plates a—b. Plate Hugo Ulrich Mainz: B. Possibly a pirated ed. PDF scanned by Russ. Wilhelm Meves Braunschweig: H. Litolff's Verlag , n.

About 'Symphony No.41 in C Major (Jupiter), K.551 '

Braunschweig: Henry Litolff's Verlag , No. Jump to: navigation , search. This leads to a finale that modulates to introduce the unexpected slow conclusion, in which player after player leaves the platform, until only two muted violins are left. During his first visit to England Haydn was given the degree of doctor of music by the University of Oxford, an honour that Dr Burney induced him to accept.

Symphony No 92 in G major, later to be known as the Oxford Symphony , was played at the second of the concerts arranged, since the score had not been available for earlier rehearsal. The symphony opens with a slow introduction, played at first only by the strings, who also open the ensuing Allegro with a theme derived from the first section. The slow movement unusually includes in its scoring the trumpets and drums and in its concluding section a passage for wind instruments. The Minuet and Trio that constitute the third movement are followed by a characteristic final movement, its main theme announced by the first violin over a repeated cello obligato octave.

In Haydn had visited England for the first time, responding to the invitation and commission offered by the German-born violinist Salomon. Six new symphonies were to be provided for the subscription concerts organised by Salomon at the Hanover Square Rooms. Symphony No 94 was to be performed at a concert on 23 March , the sixth of the new series, and proved to have an enduring popularity. The first movement opens with a slow introduction, followed by a gentle enough first subject and a double second subject.

1788 Mozart No. 41

The well-known C major slow movement provides the surprise of a sudden burst of sound, interrupting the steady progress of the melody, which is then varied. The Minuet is much quicker than is usually the case, its Trio opening with first violins and bassoon in octaves. The finale is launched, as usual, by the strings, with a cheerful first subject, succeeded by a contrasting second subject in sonata form.

Six new symphonies had been commissioned, and of these Symphony No in G major was played at the eighth concert, on 31 March, in a programme that included the performance of a new Haydn quartet and a concerto composed and played by the violinist Viotti. The Grand Military Overture , as the new work was described, starts with a slow introduction, thematically connected with what follows. The Allegro is opened by the flutes and oboes, followed by the strings, a procedure that also marks the second subject, later to be imitated in military style by Johann Strauss.

The C major second movement, marked Allegretto , includes a military battery of kettledrums, triangle, cymbals and bass drum in its scoring, as well as allowing the wind band a proper share of the music. The Minuet is relatively slow, with a touch of the ominous in the G minor bars of the Trio. The symphony ends with a rondo, the main theme of which quickly became widely popular in England, where it was to serve its purpose in the ball-room.

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Towards the end of the finale the military percussion is again used, to the disapproval of one contemporary critic, but nevertheless providing an additional unity to the work. It was played at a concert on 3 March, followed by operatic songs, a performance by Viotti of a violin concerto and by Fiorillo of a Chaconne. Again, as with most of the London symphonies, there is a slow introduction, this time in D minor, an eerie preface to a bright D major movement from which the symphony derives its nickname, The Clock , its source the accompanying figure with which the movement opens.

The Minuet returns from G major to the key of D major, its Trio providing a lopsided clock accompaniment to the initial flute melody. The symphony ends with a finale in which the second subject is a clear variant of the first. There is a D minor section, replaced by the major key to bring the work to a dramatic conclusion. The strong opening figure of the first movement is announced by woodwind and strings, followed by a gentler answer from the strings.

The second subject, in E flat major, is derived from the descending arpeggio. The opening figure starts the central development, now used in transposition and contrapuntally. The gentle first subject appears in recapitulation, followed by the second theme, now in C major, with brief additions. The E flat major Andante cantabile , without trumpets or drums, is introduced by the strings.

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The first variation uses a solo cello, followed by semiquaver triplets from the first violins, echoed by the solo cello. The next variation is in E flat minor, the melody offered by the first violins, and leads to a further version of the theme that allows the violins rapid demi-semiquavers, before a final moving re-appearance of the theme. The Minuet welcomes back the trumpets and drums, in a sinister C minor.

The Trio , however, is in C major, with a solo cello accompanied by plucked strings in cheerful contrast. C major is the key of the Finale , opened by the strings, later joined by horns and woodwind, with a particularly delightful accompanying figure for the bassoons. A fugal passage follows, after which the principal theme returns in recapitulation, with a touch more counterpoint to come before the firm conclusion.

According to custom the symphony opened the second half of the evening in a remarkably mixed programme. The slow introduction of the first movement starts with a drum-roll, followed by a long-drawn theme from cellos, double basses and bassoons, hinting at the Dies irae of the Requiem Mass, its final dynamic contrasts leading to a lively Allegro , towards the close of which the drum-roll and mysterious Adagio re-appear.


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The second movement is a set of double variations, its first C minor theme announced by the strings, joined by oboes, bassoons and horns for the second theme, in C major, both of which are apparently of Balkan folk provenance and are then varied in turn with all the subtlety of which Haydn was a master.

The Minuet has a companion Trio that allows the London clarinettists a dangerous prominence. French horns introduce the Finale , remarkably based on one theme and as original as anything Haydn wrote. In Haydn had visited London for the first time, and this highly successful and lucrative visit was followed by a second in This final symphony is scored for pairs of flutes, oboes, clarinets, bassoons, horns, trumpets and drums, with the usual strings, and, at its first performance, Haydn at the pianoforte.

There is a slow introduction, which, as so often, has a motivic connection with what follows, a lively Allegro in the customary tripartite form, its central development a masterpiece of craftsmanship. The slow movement allows the strings to otter a theme of simple beauty, G major answered by a central section in G minor. The themes certainly have all the contours of folk-song, from whatever region, and are treated with consummate skill and imagination.

Symphony No. 41

Salomon had arranged a series of twelve subscription concerts, to be held in the Hanover Square Rooms, the first of which took place, after various postponements, on 11 March, and included a new Grand Overture by Haydn, probably the Symphony No 96 , which was certainly played during the earlier part of the season. Its nickname, The Miracle , came about because of the miraculous escape of a number of members of the audience who moved forward to see Haydn when he appeared, thus avoiding being crushed by a falling chandelier.

The first movement opens, as do most of the London symphonies, with a slow introduction, the solo oboe leading to the Allegro , in which the first violin proposes the principal theme, followed by a subsidiary theme in which the woodwind instruments at first answer the first violin.

The development seems to end with a sudden pause, but what follows is in another key, leading eventually to the recapitulation proper. The G major slow movement allows the wind instruments a gradually increasing share, after the announcement of the principal theme by the first violin. There is a middle section in a minor key, before the return of the main theme, with scoring for two solo violins.

The Minuet calls for the full orchestra, with its flutes, oboes, bassoons, horns, trumpets and drums, while the companion Trio is dominated by the solo oboe. The finale is opened by the strings with the principal theme, a lively and delicate rondo that includes an excursion into the minor, with the same theme, and a contrapuntal development of the material. Symphony No 98 in B flat major was introduced to the London public in at the third Salomon concert of the season, given at the Hanover Square Rooms on 2 March.

Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score Symphony No. 41 in C Major, Movement 4 - Full Score
Symphony No. 41 in C Major, Movement 4 - Full Score

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