Hall: Concert Hall
Subscription: D2 - Symphonic concerts, Z2 - Golden subscription
Price: 50-110 zł
Tickets available from 16 September 2019.
Penned in the summer of 1788, the triptych of Symphonies in E-flat Major (No. 39), G Minor (No. 40) and C Major (No. 41) crowns Mozart’s opulent oeuvre and is treated as his symphonic testament. However, it is hard to find anything that would suggest that Mozart treated them particularly seriously and that with them he intended to stop composing symphonies. Nor do we know whether Mozart wrote them for any particular occasion, or whether (perhaps with the exception of Symphony No. 40) he had a chance to hear them in his lifetime. In the context of Mozart’s then difficult personal life (a lack of commissions for new pieces, financial problems and deteriorating health), researchers have tried to find some kind of connection between the symphonies and the circumstances in which they were written. However, these hypotheses are greatly flawed because – contrary to many 19th-century composers – Mozart’s creativity and invention remained intact irrespective of external factors.
From a formal point of view, Symphony in E-flat Major is the most Haydn-like in style. It is comprised of a first movement with an introduction, a slow Andante con moto, a minuet and a finale. However, as far as the sound layer is concerned, due to its emotionally charged form and the use of operatic dramatic devices, it is a thoroughly modern work.
The most frequently performed of the three symphonies is the melancholic Symphony in G Minor. Beethoven and Schubert must have known it quite well as they made creative references to its finale in their fifth symphonies.
And Symphony in C Major received its nickname “Jupiter” from Johann Peter Salomon – a German violinist and impresario, who in assigning this moniker wished to draw attention to its perfect composition rather than to its brilliance and majestic character.