Album available // Mozart: Symphonies Nos. 29, 39, 40 & 41 "Jupiter" by Ferenc Fricsay
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Wolfgang Amadeus Mozart (1756-1791) Symphony No. 40 in G minor, K. 550
00:00 I. Molto Allegro (2024 Remastered, Studio 1960)
09:28 II. Andante (2024 Remastered, Studio 1960)
18:47 III. Menuetto: Allegretto (2024 Remastered, Studio 1960)
23:19 IV. Allegro assai (2024 Remastered, Studio 1960)

Wiener Symphoniker
Conductor: Ferenc Fricsay
Recorded in 1960
New mastering in 2024 by AB for CMRR
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As of 1788, the last years of Mozart's life remain a mystery. His father Leopold having just died, we no longer have the priceless source of information provided by the letters they wrote to each other nearly every day. We merely have the distress calls which Wolfgang sent to his main moneylender, the Freemason, Puchberg. Mozart, in physically weak condition, sank into silence and solitude. The mystery of his existence is enlightened only by the emergence of masterpieces, the origins of which are increasingly unclear.

Paradoxically, though the man was wounded, his creative instinct remained as strong as ever. Between June 26 an August 10, 1788 - in 45 days! - he composed his last three symphonies, No. 39 in E flat major, No. 40 in G minor and No. 41 "Jupiter". They crown his works for orchestra and express, with incomparable brilliance, the power of his musical genius. As no trace of their performance has reached us, we are unable to say whether Mozart heard them during his lifetime, other than in his mind.

Symphony No. 40 in G Major, K. 550 // Completed on July 25, 1788, it stands as one of Mozart's most tragic works and forms an absolute contrast with the cheerful symphony in E-flat major, which was finished barely a month earlier. "This symphony," wrote Hermann Abert, "expresses in a poignant way the deep-seated and fatalistic pessimism that was rooted in Mozart's nature... while works such as The Magic Flute and the Requiem show only extreme sadness and reveal that... this symphony was just one stage of his spiritual evolution."

The work was initially written for strings, flute, two horns, two oboes, and two bassoons, but Mozart revised the score and added two clarinets. Both versions are performed nowadays. The symphony has been described as "tragic," "pathetic," or "romantic." Eric Blom explains why he prefers the latter qualification: "... The personal feeling that distinguishes romanticism from the objective and severe perfection of classicism has never been felt more strongly in any musical work than in this symphony... It can be said that in the Symphony in G minor, romanticism and classicism meet..."

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