Mozart, Symphony No. 40 in G Minor
I recall a relative many years ago taking a course in music appreciation and falling in love with Mozart’s Symphony No. 40. She had some prior exposure to Classical music, but this was probably her first serious study. I’ve known others who are particularly fond of the work, and it’s worth considering the objective factors that might cause such an immediate favorable reaction.
In the case of this symphony, I think people respond to its clarity of form, catchy themes, energy, and variety. It begins abruptly with no introduction. The opening theme relies on a repeated three-note rhythmic pattern with an energetic accompaniment. The theme is short and clear, and Mozart uses the three-note motive throughout the first movement in various guises. The listener can immediately perceive how it provides unity and coherence. The second theme (introduced at 0:56) offers an interesting contrast with its relaxed descending line.
While clarity and repetition make the movement easily understood, it nevertheless has considerable sophistication. The theme has an unusual melodic contour, and the repetitions of the main motive are varied and layered in interesting ways. Shifting textures and dynamics add drama. In the end, the listener gets the gratifying sense having understood something complex and worthwhile.
The clarity also makes the first movement a good introduction to sonata-allegro form, a sequence of musical events that forms the backbone of music throughout the Classical and Romantic periods. Leaving aside many details, it is relatively easy to follow the sequence.
| Exposition | Theme A (0:06) Theme B (0:56) |
Made up primarily of two contrasting themes, the exposition contains other material, transitions, and movement to the dominant or relative major key. |
| Exposition repeated | Theme A (2:04) Theme B (2:54) |
This is a literal repeat sometimes omitted in performance. |
| Development | (4:02) | A free section in which the composer may present the themes in various ways: segmented, in new keys, more virtuosic, etc. |
| Recapitulation | Theme A (5:19) Theme B (6:30) |
Much like the Exposition but without the key change. Transitions therefore are necessarily different. |
Sonata-allegro form is not a straightjacket, so there are many variations and nuances from one work to another, but this movement presents the essentials nicely. The form often includes a slow introduction, and a coda may be appended to punctuate the ending. Mozart includes a short coda here.
Don’t stop with the first movement. The rest of the symphony has no less appeal and also provides a good example of the overall four-movement symphonic form.
