Symphony No. 39 in E-flat
de Wolfgang Amadeus Mozart
Background and Context: In the summer of 1788, 32‑year‑old Mozart was living in Vienna during a turbulent time. Earlier that year the Austrian Empire (under Emperor Joseph II) had entered the Austro-Turkish War, drawing many nobles into military service and shrinking Vienna’s concert audiences[1][2]. Mozart himself was a successful freelance composer-performer, but the war and economic slump had disrupted his income[1]. He optimistically planned a series of summer concerts, yet ultimately had to cancel them[1][3]. In spite of these difficulties (and even personal tragedy – his young daughter died days after he completed this work[3]), Mozart used his extra time to pour energy into composition. During just six weeks in June–August 1788 he wrote his last three symphonies. Symphony No. 39 (K. 543) was completed on 26 June 1788[4] as the first of this trio; Mozart then finished No. 40 on July 25 and No. 41 (“Jupiter”) on August 10[5][6]. (Some scholars view these three works as a kind of triptych or “monumental trilogy”[7].) The world of 1788 was on the eve of great change – Enlightenment ideas circulated even as Europe slid toward political upheavals – and Mozart’s mature style was unusually bold for its time[8]. Indeed, commentators note that late‑18th‑century audiences generally expected symphonies to be “small and light,” so Mozart’s rich textures and emotional depth in these works were quite novel[8].
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Composition and Premiere: No dedicated commission is known for K. 543. Mozart likely wrote it for one of his planned Viennese concerts, but the series was cancelled due to poor ticket sales[3]. It is not known to have been performed in his lifetime (Mozart apparently distributed orchestral parts, suggesting he hoped it would be heard[9], but no report of a concert survives). The first documented performance occurred after his death – at a Mozart memorial concert in Hamburg, March 1792 – where an eyewitness described its opening as “so majestic… that even the coldest, most insensitive listener… was put all ears”[10]. This report underscores how impressive the work’s grand opening was to early audiences.
Instrumentation
Symphony No. 39 calls for a larger classical orchestra than Mozart’s earlier symphonies. The scoring is:
Winds: 1 flute, 2 clarinets (in A and B♭), 2 bassoons
Brass: 2 natural horns, 2 natural trumpets (in E♭)
Percussion: Timpani (tuned to E♭ and B♭)
Strings: First and second violins, violas, cellos, and double basses
In effect, Mozart replaced the usual pair of oboes with clarinets[11]. This was highly unusual for him – K. 543 is the only major symphony of Mozart’s adult life without oboes[11] – and it gives the work a rich, mellow wind sound. The clarinets are featured prominently (one early writer notes this as Mozart’s “first big orchestral use” of the instrument)[12][13]. The addition of trumpets and timpani (which were optional in orchestras of the day) contributes to a festive, ceremonial color[14][15]. Overall, the orchestration is flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings[16][17].
Structure and Musical Character
The symphony has four movements, following classical form with some distinctive twists:
- I. Adagio – Allegro (E♭ major, 2/2 and then 3/4 time): A grand Adagio introduction opens the work. It is solemn and chromatic, marked by bold brass fanfares and descending figures[18][19]. After this stately opening, the music flows into an Allegro in sonata-allegro form[20][18]. In the Allegro, Mozart introduces lively main themes (some writers note a sparkling “walking” theme in the second group), with active interplay between winds and strings[20]. The overall character is both majestic and energetic.
- II. Andante con moto (A♭ major, 2/4 time): The second movement is a lyrical slow movement. It begins gently with a simple theme in the strings[21][22]. Mozart treats this in a shortened sonata style: he states a theme (repeating it with varied instrumentation) but omits the usual full development section[21][22]. The effect is intimate and song-like. Midway the mood becomes slightly animated before returning to the tranquil main idea. The key A♭ major (the subdominant of E♭ major) adds a warm, mellow color.
- III. Menuetto: Allegretto – Trio (E♭ major, 3/4 time): This minuet is spirited and dance-like, with a clear 3/4 beat. The outer Menuetto sections are firm and robust. The central Trio section is particularly distinctive: Mozart sets it in the style of an Austrian ländler folk dance[23][24]. Here the winds shine – the clarinets (and a flute) create a duet where one plays a simple, graceful melody over the other’s rhythmic arpeggios[25][24]. This gives the Trio a rustic, pastoral charm. Altogether, the minuet-and-trio alternates between courtly formality and a homespun folk character.
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- IV. Allegro (E♭ major, 2/4 time): The finale is a lively, bustling Allegro in sonata form. Its main theme is largely built on an ascending-and-descending E♭ scale (a bit like a playful climbing line)[26]. Mozart develops this idea with great spirit and wit; the music is bright, emphatic, and full of rhythmic drive. Notably, the movement does not have a conventional large coda. After the recapitulation, instead of a grand closing gesture, Mozart brings the symphony quietly to a close. The last few bars simply fade away on a descending E♭ major scale[26][27], giving an almost cheeky sense of mischief to the ending (as if the theme has “the last word”[28]).
Reception and Legacy
Symphony No. 39 has long been admired as one of Mozart’s great orchestral works. Ironically, it seems Mozart himself never publicly presented it: the planned “Concerts in the Casino” where it might have debuted were cancelled[3]. After his death, the work entered the public ear by a 1792 Hamburg performance, from which comes the famous listener’s reaction (quoted above) praising its “majestic” opening[10].
Today, the E♭ major Symphony is a staple of the concert repertoire. Critics and historians often call it a masterpiece of the Classical style. Noted journalist Andrew Clements remarks that Mozart’s last three symphonies are “among the most familiar works in the symphonic repertoire”[29], and many concert programs pair No. 39 with Nos. 40 and 41. Modern listeners still find its music powerful: even now “the majestic introduction… still holds a captivating power”[30]. Its rich winds and innovative scoring (especially the clarinets) influenced later composers’ orchestral writing. Some modern analysts, like conductor Nikolaus Harnoncourt, have even theorized that Mozart conceived Nos. 39–41 as a unified trilogy (with the slow Adagio of No. 39 acting like an overture)[7].
In sum, Symphony No. 39 reflects Mozart’s mature genius: it blends ceremonial grandeur, warm lyricism, and inventive drama. It holds a secure place in musical legacy, performed widely in concert and recording. Its memorable themes and unusual features (such as its slow introduction and clarinet writing) continue to captivate audiences and give insight into Mozart’s final creative period[11][30].
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Sources
Authoritative program notes, historical accounts and musicological studies[4][20][10][11][31].
[1] [8] [9] [11] [16] [19] [25] [28] Symphony No. 39 in E-flat, K. 543, Wolfgang Amadeus Mozart
https://www.laphil.com/musicdb/pieces/3981/symphony-no-39-in-e-flat-k-543
[2] 1788-1791: Austro-Turkish War | Mozart & Material Culture
https://mmc.kdl.kcl.ac.uk/entities/event/austro-turkish-war/
[3] [18] [22] [24] Mozart: Symphony No 39 | Indianapolis Symphony Orchestra
https://www.indianapolissymphony.org/backstage/program-notes/mozart-symphony-no-39/
[4] [5] [17] [20] [21] [23] [26] Symphony No. 39 (Mozart) - Wikipedia
https://en.wikipedia.org/wiki/Symphony_No._39_(Mozart)
[6] [13] Mozart's 8 Most Popular Symphonies on YouTube Ranked
https://interlude.hk/the-8-most-viewed-mozart-symphonies-on-youtube/
[7] [29] [31] Mozart: The Last Symphonies review – a thrilling journey through a tantalising new theory | Wolfgang Amadeus Mozart | The Guardian
https://www.theguardian.com/music/2014/jul/23/mozart-last-symphonies-nikolaus-harnoncourt-review
[10] [15] [27] [30] Mozart’s Symphony No. 39 in E-flat Major: Majestic and Celebratory – The Listeners' Club
[12] [14] Symphony No. 39 in E♭ major, K. 543 - Tucson Symphony Orchestra
https://www.tucsonsymphony.org/program-notes/mozart/symphony-39/