During the summer of 1788 Wolfgang Mozart composed three symphonies representing the acme of the symphonic work of the great Austrian composer: Symphony No. 39 in E-flat major, Symphony No. 40 in G minor and Symphony No. 41 in C major (“Jupiter”) cf which the G minor symphony with its sincere iyrics passion and ingenuousness of expression won the greatest . popularity. The Symphony was born in an atmosphere that called into being some works of Schiller and young Goethe, in an atmosphere of “storm and stress”.
Hence its deep emotionality and dramatism.

The Symphony in G minor is a classical four-movement cycle, integral in its dramatic composition. Thus three movements of the Sonata (the first, the second and the fourth) are written in sonata form; first movement and the finale are connected by common emotional and structural features.

The first movement (Allegro molto) begins with the exposition of the theme of the main part, which is excted and very melodious. The second theme (the collateral part) is of a different nsturale: it is graceful, gallant and somewhat refined. The theme of the main part is then intensively and dramatically developed. The tonal unsteadiness of the development as well as the polyphonic devices lend it- a tense and dynamic character.

In the Second movement of the symphony (Andante) a mood of calm and bright lyrics prevails. Both themes of the Andante do not contrast to any great extent and art united by a characteristic rhythmical-intonation tune which is further elaborated in the development.
The third movement (Menuetfo. Allegro) is minuet, traditional for the symphonies of the pre-Beethoven period; however, its dance-like nature is not pronounced here, except in the major middle section and it is saturated with the same dramatism as the first movement and finale.

The Finale (Finale. Allegro assai) with its compositional peculiarities has much in common with the first movement and this gives the symphony exceptional dramatic integrity and completeness. The only considerable difference here is that the main part of the finale possesses an inner contrast which is absent in the main part of the first movement of the symphony. But the nature of the contrast between the main and collateral parts, fone correlations between them in the exposition and reprise, devices of development are in many ways similar.

The perfect mastery with which Mozart embodied in the music of the symphony the world of lyrical enotions, the wealth and subtleness of a human emotions is trully amazing.
B. Levlk

Mozart composed his Symphony in B-flat major in 1773: the seventeen-year old composer had not long returned from Italy where he perfected his craftsmanship under the guidance of the famous Padre Martini. By this time the talented youth was already the author of 23 symphonies.

As the majority of his early symphonies (the first of them was written by eight-year old Mozart in 1764) the 24-th symphony was created under the influence of Italain symphony music.

The Symphony in B-flat major was composed for a small symphony orchestra (the string are supplemented only by a flute, an oboe and French horn). This was dictated by the fact that court orchestra of the Prince-Archbishop of Salzburg of which Mozart was then konzertmeister was not large.

The music of the symphony is notable for its amazing lightness, gracefulness and purify of thought and feeling. The symphony is not large: it consists of three movements, the traditional minuet being absent. The first movement (Allegro spiritoso) which is impetuous, optimistic and joyful, is followed by a melodious and charming Andantino grazioso, touching in its ingenuousness and simplicity. A rapid and brilliant finale (Allegro) crowns the symphony, a superb example of Mozart’s earlier symphonism.
K. Seghensky