Mozart. Symphonies

In the summer of 1788, in an incredibly short period of time, Wolfgang Amadeus Mozart created his three last symphonies: No. 39, No. 40 and No. 41. These masterpieces, which were not written to order, were born practically in one breath “for the soul”, becoming the highest manifestation of his genius. In this music, Mozart appears as an unsurpassed psychologist, a master of the most subtle human feelings, whose hand seemed to be guided by Providence itself.

This cycle is opened by Symphony No. 39 in E-flat major. It radiates light, nobility and majestic peace. The rejection of oboes in favor of the soft sound of clarinets gives it a special warmth and velvety color. This is music of harmony with the surrounding world, where the solemn introduction turns into a radiant joy of being.

The central place in the triad is occupied by Symphony No. 40 in G minor - a work that everyone knows today. The appeal to the disturbing minor key, which was extremely rare in Mozart's symphonies, makes it tense and confessional. It amazes with the filigree perfection of every detail, but behind this perfection lies a deep spiritual vulnerability. It is in this symphony that Mozart transcends the boundaries of restrained classicism, anticipating the psychologism and sensuality of the Romantic era. It is not for nothing that musicologist Alfred Einstein remarked: "This is not just music, it is a fatal inevitability. Mozart's G minor is the voice of fate from which it is impossible to escape." The cycle is completed by the grandiose Symphony No. 41. It sounds like a divine revelation, where human suffering and anxieties dissolve in the ideal order of the universe. If Symphony No. 40 is the voice of the heart, then “Jupiter,” as it was later called, is the greatness of the mind, uniting the earthly with the sacred.

Together, these three symphonies travel a long way from earthly light to heavenly grandeur. This is music that has transcended its time and remains an eternal standard of what human genius is capable of.