Talk:Symphony No. 40 (Mozart)
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[edit] Recent edits
- The first music download Wolfgang_Amadeus_Mozart_-_Symphony_40_g-moll_-_1._Molto_allegro is 0 bytes when downloaded!
- I, uhh deleted the following "Mozart loved children and liked to have a gentle touch on their little parts. Just Enjoyable." from the "other" section.
- I reverted unexplained deletion of whole section.
- I removed the theory that the symphony was written by Andrea Luchesi; this is apparently the work of a crank and has never appeared in a peer-reviewed publication. For discussion please see Talk:Andrea Luchesi.
- Add musical quotation for the amazing chromatic passage. Piano reduction will be added when the piano that I use gets tuned.
- Added a suitably conspicuous billing for the Fulda Symphonic Orchestra. I think it's appropriate to acknowledge these artists right here on the page, and not as a kind of footnote attached to the sound files.
Opus33 16:55, 22 January 2006 (UTC)
[edit] Antony or Anthony?
One of the sources is attributed to a Anthony Hopkins. It seems more likely that Antony Hopkins, the composer and musical analyst, is meant. Somebody more qualified than myself could correct this, please.
i don't get it.
I'm pretty sure that it's "Anthony."
[edit] Quoted Passage
Are we sure it is at the beginning of the development section? It seems to occur in the middle of it; as it is 2/3 of the way through the movement and well past the first statement of the themes.
It does not matter that one of Mozarts significant pieces had a sudden change from a major to a minor!
- Yup, we're sure. Look at the score, linked from the article, and also (if necessary) at Sonata form.
- I think the reason you're unsure on this point is this: the fourth movement has a relatively short development and recapitulation section (exposition 125 bars, development 81 bars, recapitulation 102 bars), so once the prescribed exposition repeat has been played, we're already 58% through the piece . That's probably late enough to be mistaken for "2/3". Opus33 23:02, 1 August 2006 (UTC)
[edit] personal opinion
Symphony No 40 tastes of death and extreme grief. Very intense piece of music indeed. At the same time it celebrates life, transient as it is. This symphony is indeed Mozart's "great" symphony celebrating life and death all in one piece. Very close to real life, isn't it? —The preceding unsigned comment was added by SunnieBG (talk • contribs) 16:18, 8 September 2006 (UTC).
[edit] Minor to major
Unlike many minor-key finales of the Classical era, this movement remains resolutely in the minor mode to the very end.
I think this sentence should be removed. Many, if not most, movements which start in the minor remain in the minor (and plenty of symphonies in the minor do as well).--Zeisseng 18:26, 12 November 2006 (UTC)
- This is true- see Alfred Einstein's discussion of Mozart's stylistic fingerprints in Mozart: His Character, His Work, for instance- of... 9 of 10 movements Mozart wrote in minor, especially those in sonata form. (So much so that when a Mozart work such as the first movement of the K442 trio switches to D major in the recapitulation, it sounds more like something Haydn would do than Mozart, in his opinion, and suggests that the movement was left incomplete and finished by another hand, as the K397 fantasia was by the Abbe Stadler.)
- Those finales in variation form- eg the finales of the (second) D minor string quartet and C minor serenade- some of those are exceptions to the end-where-one-began rule, and not all of those, either (the finale of the C minor concerto, imhonesto one of the greatest works of this late period of Mozart's life, does no such thing); another exception of course is the rondo-finale to the D minor piano concerto. And some works in minor end with movements in major (the piano quartet and string quintet in G minor, for instance) but that's another matter altogether.
- Most individual movements in minor by this composer not only end where they began, but contrasting material (major-mode second groups, say) often gets converted to not only the main key but the main mode in the recapitulation, also, as in the outer movements of this symphony. Haydn's practice was indeed usually opposite on this point in his later years (not always), and it is worth contrasting them (not in a single work article, maybe, but somewhere more general- the sonata form article?)- to quote several authors who've described the effect of these different approaches. Schissel | Sound the Note! 16:21, 23 November 2006 (UTC)
