Page 132 - (DK) The Classical Music Book - Big Ideas Simply Explained

130 INNOVATION IN THE CLASSICAL SYMPHONY

(and somewhat frivolous) finales of this was designed to impress
were also given greater weight by the worldly Viennese, as were the
these court composers, further audacious tonal choices that
revolutionizing the genre. Mozart made across all four
movements. These often require
The 40th symphony feats of musical ingenuity across
While several of Mozart’s early the scale, particularly at the
works flaunt these Mannheim- beginning of the development
influenced, dramatic musical section of the energetic finale.
characteristics—for example, Here, Mozart uses 11 out of the
juxtaposing the woodwind and 12 notes of the chromatic scale
string sections to powerful (leaving out only G, the tonic—or
effect—his later “Great” Symphony, central note—of the symphony),
No. 40 in G minor is characterized creating a complex and sometimes
by a more integrated instrumental dissonant sound. It is little wonder
palette. This style is typical of that Arnold Schoenberg, known for
works from Vienna, which along employing all 12 notes in a scale,
with Mannheim was the city most would later be drawn to this work
strongly associated with the in particular.
symphony as a genre in the 18th The home key, G minor, is also
century. While ostensibly more an important component of the Mozart created a second version
subdued, harmonic color and work. It was, for Mozart, the of Symphony No. 40 that included
melodic drama are in plentiful musical channel through which clarinets, which had only recently been
supply here as well. he frequently expressed pain or invented. These were created by the
Beginning with a sighing figure tragedy, not just in complete works 18th-century craftsman Jacob Denner.
in the strings, Symphony No. 40 but also in arias such as Pamina’s
in G minor features a number of “Ach, ich fühl’s” (“Oh, I feel it”) in first movement, which starts as if
bold, stormy passages, as well The Magic Flute. In addition to in mid-flow. Equally complex—and
as virtuoso writing for the entire Symphony No. 40’s harmonic twists sometimes quite confrontational—
orchestra. Indeed, the whole work and turns, its feeling of emotional is the orchestral texture. Although
has the feeling of an unspoken, unpredictability stems from the it never breaks out into a full fugue,
tragic drama and often echoes varying lengths of its musical as in the final movement of
Mozart’s music for the stage. All phrases, as at the beginning of the Mozart’s “Jupiter” Symphony

A musical hub Schubert (who was born in
Vienna), the Strauss family,
As capital of the Habsburg Brahms, Bruckner, Mahler,
Empire, Vienna was the center Schoenberg, and Webern.
of European music for two As the public interest in
centuries. It was home to many music expanded, new theatres
of the great Classical composers, and concert halls were built to
including Mozart, Haydn, and cater for them. Empress Maria
Beethoven. They converged on Theresa built the Burgtheater
the city in search of patronage close to the royal palace in 1741,
and audiences, the first in a and in 1833, the composer and
long list of composers, including conductor Franz Lachner
founded the Künstlerverein,
The Burgtheater on Michaelerplatz, the forerunner of the Vienna
Vienna, was operated by the Habsburg Philharmonic Orchestra, rival to
court. A number of Mozart’s operas the Berlin Philharmonic for the
were premiered here. title of world’s top orchestra.

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