Mozart: Symphony No. 39 in E-flat major, K. 543 (with Score)

Wolfgang Amadeus Mozart:
Symphony No. 39 in E-flat major, K. 543 (with Score)
Composed: 1788
Orchestra: Danish National Chamber Orchestra
Conductor: Adam Fischer
00:00 1. Adagio - Allegro (E-flat major)
10:19 2. Andante con moto (A-flat major)
17:48 3. Menuetto. Allegretto - Trio (E-flat major)
21:24 4. Finale. Allegro (E-flat major)
No group of Mozart's works has been the subject of more discussion than his final three symphonies, Nos. 39 in E flat, No. 40 in G minor, and the "Jupiter," No. 41, in C. They were apparently composed within the remarkably short space of about two months during the summer of 1788, and the composer's motivation for writing them has since been vigorously debated. In common with his contemporaries, Mozart composed nearly exclusively for practical purposes, yet none has been positively identified in this instance. Still, the least plausible explanation advanced is that Mozart composed his great final symphonic trilogy as a result of some personal "inner need," the attractive romanticism of the theory being compounded by the assertion that he did not live to hear these three pinnacles of the symphonic repertoire performed. Such a theory runs counter to all we know about Mozart's working practices. In particular, he would not have had the time for such indulgence during the period concerned, a summer during which his surviving correspondence is predominantly concerned with increasingly desperate begging letters to his benefactor and fellow Freemason Michael Puchberg. More practically, it has been suggested that Mozart intended to mount a series of subscription concerts for the fall or Advent season. It was thought that these concerts never took place, but recently the scholar H.C. Robbins Landon has persuasively argued that these concerts were in fact held, with the three last symphonies as the principal new works performed at them. It also appears highly likely that Mozart took the new works on the tour of Germany he undertook the following year.
In the three symphonies of 1788 (to which must be added in this regard the "Prague" Symphony of 1786) we find the culmination of Mozart's assimilation of the contrapuntal style of Bach and Handel he had first begun to study during the early 1780s. It was this synthesis of "learned" style with the clean clarity of classicism that caused so much trouble for Mozart's contemporaries, to whom his late style became increasingly "difficult." Each of the symphonies occupies a very specific world of its own. The E flat Symphony, entered by Mozart into his thematic catalog on June 26, 1786, is often characterized as being "warm and autumnal" (Robbins Landon), a description that (as so often with Mozart) tells only part of the story; it fails to bring to attention the symphony's tensile strength and a dramatic quality that does not preclude moments of pathos more readily associated with the G minor symphony. There are four movements. The opening Allegro is prefaced (as it had been in both the "Prague" and "Linz" symphonies, its immediate numerical predecessors) by a powerful slow Adagio introduction. The following Andante has a secondary theme which is much stormier (and also subjected to considerable development) than might be expected in a "slow" movement, while the succeeding Minuet has an elegant gait set off by a rustic central trio. The final Allegro is a dazzling display of good humor and contrapuntal wizardry, its complexity skillfully masked in one of those movements in which the composer conceals his art. The symphony is scored for flute, pairs of clarinets, bassoons, horns, trumpets, timpani, and strings.
All Music Guide
(www.allmusic.com/composition/...)
Wikipedia article
(en.wikipedia.org/wiki/Symphon...)
International Music Score Library Project (IMSLP)
(imslp.org/wiki/Symphony_No.39...)

[@loveclassicalmusicalot]

One of Mozart's gems! Good to listen to.

[@Fumozart]

Whenever I listen to orchestral works I tend to come to your channel since you use recordings with balanced orchestra. I like them because the brass is much louder than other recordings but they aren't that louder compared to the other sections. Keep up the good work my friend.

[@user-fc8yv2qv1i]

for personal reference
21:24
21:58
24:19

[@CostasCourtComposer]

Amazing Mozart!

[@Chelloboe75]

Beautiful version!! Thanks so much!!

[@valentinbouanchaud3801]

Yes !! my favorite symphony of Mozart, the great Mozart !!!

[@bornaerceg9984]

WOW! Thank you!

[@brendanward2991]

My favourite!

[@lardyify]

I wish I could like this more than once.

[@timdunlap9930]

21:23

[@nocomment2468]

Very clean recording, but I find it awkward that the strings truncate so many of their longer notes, especially during suspensions and dissonances. It really detracts from the lyricism and intensity.

[@user-yr2wy9sq4j]

2:16

[@JuliaCCCP]

senza oboe

[@muslit]

Timbalista overdoes it, or the recording does.