The first movement of the Symphony #39 opens with a slow, serious, chromatic introduction, colored by brass fanfares and descending lines. Such solemnity was a new type of beginning for Mozart. And he offered another innovation— his orchestration omits oboes and includes, instead paired clarinets.
This stately beginning yields quietly to the opening Allegro section. However, instead of a brisk beginning, the music begins modestly in ¾ meter before announcing contrasting, substantial main themes. From that point forward, Mozart takes firm control, following traditional sonata-allegro format for the duration of this movement.
The Andante con moto begins quietly with the declamation of its main theme which is repeated. Another theme enters and again is repeated. Mozart omits a full development section and opts for tonal and dynamic coloration of his ideas instead of motivic treatment. Tempo changes also add variety.
A traditional Austrian landler, a country based folk dance, provides the content for a minuet. This choice results in a bit of informality and geniality, rather than the poised aloofness traditional minuet behavior.
Mozart chooses a single theme, which emerges in two formats for his finale—each begins the same way, but continues into different regions as they extend. A rapid idea immediately dances onto the stage, with energetic orchestral responses. The music reflects high spirits and deft craftsmanship as the tune (in both shapes) is treated to ingenious, zippy personality changes in the development.
A traditional recapitulation concludes the movement without fanfare—and there is no coda.
Here is the Frankfurt Radio Symphony to perform this masterpiece for you:
