Mozart: Symphony No. 41 in C major, K. 551 "Jupiter" (with Score)
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- čas přidán 24. 06. 2024
- Wolfgang Amadeus Mozart:
Symphony No. 41 in C major, K. 551 "Jupiter" (with Score)
Composed: 1788
Orchestra: Danish National Chamber Orchestra
Conductor: Adam Fischer
00:00 1. Allegro vivace (C major)
11:20 2. Andante Cantabile (F major)
22:09 3. Menuetto. Allegretto - Trio (C major)
26:28 4. Molto Allegro (C major)
Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. The longest and last symphony that he composed, it is regarded by many critics as among the greatest symphonies in classical music. The work is nicknamed the Jupiter Symphony, probably coined by the impresario Johann Peter Salomon.
Symphony No. 41 is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. No. 39 was completed on 26 June and No. 40 on 25 July. Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 41, as the final work, has no introduction (unlike No. 39) but has a grand finale.
Around the same time as he composed the three symphonies, Mozart was writing his piano trios in E major (K. 542), and C major (K. 548), his piano sonata No. 16 in C (K. 545) - the so-called Sonata facile - and a violin sonatina K. 547.
It is not known whether Symphony No. 41 was ever performed in the composer's lifetime. According to Otto Erich Deutsch, around this time Mozart was preparing to hold a series of "Concerts in the Casino" in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. Historians have not determined whether the concert series was held, or was cancelled for lack of interest.
Wikipedia article
(en.wikipedia.org/wiki/Symphon...)
International Music Score Library Project (IMSLP)
(imslp.org/wiki/Symphony_No.41...) - Hudba
33:56 - Here comes the part we all were waiting for, with all the main themes of the Finale being combined into a quadruple-counterpoint "Stretto". Hats down to the genius of Mozart!
The finale may be one of the most epic finales of all time.
Викторина Мурова
I часть
0:05 - ГП
0:44 - СвП
1:32 - ПП
2:42 - ЗП
II часть
11:20 - ГП
11:37 - СвП
13:20 - ПП
14:07 - ЗП
III часть
22:09 - Менуэт
24:19 - Трио
IV часть
26:28 - ГП
27:29 - ПП
can someone explain this in English?
@@dariusgoh5314 ГП - главная партия - main part (as translator says), ПП - побочная партия - side part, СвП - связующая партия - bonding part, Трио is trio, Менуэт is minuet
@@gusevski_m thank you so much! I’ve seen these short forms in a few piece breakdowns but I can’t find anything on the internet about it! Is this somewhat equivalent to the exposition development and recap of sonata form? What’s the meaning of ЗП?
The amazing C major symphony!!
26:28 (Theme 1)
26:44 (Theme 2)
27:13 (Theme 3)
27:28 (Theme 4)
28:24 (Theme 2: Inversion 1)
31:00 (Theme 2: Inversion 2)
31:15 (Theme 2: Inversion 3)
31:28 (Theme 2: Inversion 4)
31:32 (Theme 2: Inversion 5)
33:40 (Theme 2 Inversion 6)
33:43 (Theme 1 two inversions)
Så fruktansvärt läckert, allt, upp och ner ibland.
And like that Beethoven was born.
10:38 is my favorite moment!
It's a Mozart's joke, a schezo as sense/way of humour. I love this moment too.
@@eduardoxavier3005 I agree!
5:20 is my favorite moment!
I часть
Экспозиция
Гп 00:05
Сп 0:44
1я Пп 1:32
2я Пп
Зп 2:42
Разработка
1 раздел 6:23 развивает ЗП в ми бемоль мажоре
2 раздел 7:22 развивает СП
Релиза
8:41
Я запуталась что где там в репризе
II часть
ГП 11:20
СП 11:37
III часть
Менуэт 22:09
Трио 24:19
Финал
ГП 26:28
Гп 2й элемент 26:42
Пп 27:29
мы сами во всем запутались, но спасибо огромное
The gratis dinamic first movement is written by a cedule of a " tresillo" of semicorcheas. The, melody goles up and down withn singular wideness with some moments of clearly unbroken fortissimo. There is a third theme also with happines.The second mouvement has an extatic main theme ,and others relatives, in maggiore or minore tones. The third mouvement is descendent melody with some rays of greatness. The last mouvement has a contrapuntistic exercise of genious "vivace". A double fugue ends this "enlightening" score.
I’m doing this for youth symphony and it’s so frikin good but so fast 😭😭😭
I wish I never stopped playing the violin! It's probably been ~16 years since I've touched a violin but I still remember how to play one. One day I'll buy one and get back on it. Good luck with learning the piece!!
@@OmnipotentEnt thank you so much ❤️ I actually play the viola so it’s a tad different but still just as good!
We studied that Mozart wrote forty one symphonies, but in now days many sites publish symphonies numbered besides that 41, as symphonies 42 to 46. Koechel numbered only 41 and I believe in his Catalogue.
Danke. Zer are only 41 Mozart Symphonies.❤
@@TheBrothersMpeshaMD Yes, There are only 41 Mozart symphonies in Koechel's catalogue.
Actually those symphonies are juvenile works of Mozart's and they are as well included in the Koechel catalogue. Of course, Jupiter is the last symphony Mozart composed.
14:33
17:39
19:50
Genius
still genius
26:28
This theme appears many years before in another of his work.
27:31
6:40
^
ティンパニを強打するなんて御法度です。
why a little orchestra?
Orchestras were generally smaller back in the Classical era.
@@themobiusfunction Yup. The maximum size of "scored for..." is simply dictated by the number of skilled musicians expected to be available. Scores were smaller yet in the Baroque (think Vivaldi). With the rapid growth of European cities in the 19th century, orchestras grew to enormous size by the late Romantic (think Mahler) until they encountered physical limits on how many instruments you could bring to one place and play at once.
Jesus
I really hate how loud the timpani is in this recording.
For me, it well encompasses the nature of the piece. It is a triumphant symphony of the god of all gods.
@@ryanschlimme Well, the score does say "forte", and I agree that the tympani should be heard -- but there can be too much of a good thing. In the opening phrase, it's hard to hear the orchestra over the drumbeats, and I doubt Mozart wanted that. Were 18th-century tympani even capable of playing this loud?
26:28