W.A.

Mozart
Symphony no.40 in
G minor
Subtitle
Italian Overture – Sammartini – Overture to Memet (1732)
Style Galant – C.P.E. Bach – Symphony in C major. Wq.182/3

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Mannheim School - Techniques

• Mannheim Rocket – a swift ascending passage played forte or with a

crescendo (Mozart 40 – 4th mvt. Beethoven P.S. 1 – 1st mvt.)

• M­annheim sigh – Putting more weight on the first of two descending

slurred notes (Don Giovanni – Death of the Commendatore. Mozart
Requiem – Lacrimosa)

• Mannheim crescendo – Whole orchestral crescendo usually over a

pedal point (Stamitz – Symphony in D)
Mannheim School –
C. Cannabich – Symphony for 2 orchestras in C major
Binary Form

Sonata Form
Sonata Form

• Good examples for study

• W.A. Mozart – Eine Kleine Nachtmusik mvt. 1

• W.A. Mozart – Piano Sonata no. 13 in B major K.333 mvt.1
• L. van Beethoven – Piano Sonata no.1 in F minor op.2 no.1 mvt.1

• Steer clear of Haydn symphonies as they are often monothematic – the

2nd subject is the 1st subject transposed to the dominant – as might
cause confusion to pupils not totally confident with the concept.
W.A. Mozart – Symphony no.40 in G minor K.550 (1788)

• 1788 not a good year for Mozart.

• Became almost totally ignored in Vienna
• Publisher wrote to him ‘write in a more popular style, or else I can neither print nor pay for
any more of your music!’
• Great outpouring of creativity in summer of 1788 with Symphonies 39, 40, and 41 all
completed within 6 weeks of one another

• There are two different versions of Symphony no. 40

• Original has 2 flutes, 2 oboes, and 2 bassoons
• Revision contains only one flute, 2 oboes, 2 clarinets and 2 bassoons
W.A. Mozart – Symphony no.40 in G minor

• Instrumentation

Strings Woodwind Brass

1st violin
1 flute
2nd violin
2 oboes French horn in B♭
Viola
2 clarinets in B♭ French horn in G
‘Cello
2 bassoons
Double bass
W.A. Mozart – Symphony no.40 in G minor
Mannheim Features of the 1st movement

• The 1st subject of the 1st movement is an example of the Mannheim ‘sigh’
W.A. Mozart – Symphony no.40 in G minor
Mannheim Features of the 1st movement

• The transition section of the exposition with its ascending triadic figures and ascending
scales is reminiscent of the Mannheim ‘rocket’.
W.A. Mozart – Symphony no.40 in G minor
Mannheim Features of the 1st movement

• At the end of the transitional material in the exposition there is a 1 bar silence –
a favourite technique of the Mannheim composers.
Exposition
• 1st subject (G minor)
Exposition
• Transition Section (G minor to B major)
• Sequence and Mannheim ‘Rocket’
Exposition
• 2nd Subject (B major)
• 2 x 4 bars phrases. First phrase ends with an imperfect cadence (Ic-V). Second phrase ends
with a perfect cadence (iib-V7-I)
Exposition
• Codetta (B major)

• Imitation and Augmentation

Development
• Music modulates immediately to F minor
• 1st subject developed by constant changes of key.
• Elongated Cycle-of-5ths.
Recapitulation
• Recapitulation begins before Development ends
• Dominant Pedal Point on D signals return of G minor
• 1st subject almost exactly the same as the exposition
Recapitulation
• Transition material extended
• Modulates to E major – Mozart’s favourite trick was to modulate to the subdominant in
the transition section of the recapitulation
Recapitulation
• 2nd Subject
• In G minor – very important to know the differences between the exposition and
recapitulation
Recapitulation
• Codetta
• In G minor – extended from the codetta of the exposition
Classical Period Stereotypes

• Simple, conjunct melodies with diatonic harmonies and regular cadences confirming the key
• 8-bar ‘call-and-response’ phrases with cadences after 4 and 8 bars
• Regular pulse. Molto Allegro tempo. Duple metre.
• Melody-dominated-homophony texture
• Compositional techniques such as sequences, cycle-of-5ths and pedal points
• Use of contemporary techniques of the Mannheim School
• More dynamic markings than a Baroque piece but still very few dynamic indications
• Sonata Form – always used for the 1st movement of a symphony