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Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. [1] The longest and last symphony that he composed, it is regarded by many critics as among the greatest symphonies in classical music. [2] [3] The work is nicknamed the Jupiter Symphony, probably coined by the impresario Johann Peter Salomon. [4]
Symphony No. 6: Score and critical report (in German) in the Neue Mozart-Ausgabe; 45 45 Symphony No. 7: D major: 11:08 1768 Vienna January 16 Symphony No. 7: Score and critical report (in German) in the Neue Mozart-Ausgabe; 48 48 Symphony No. 8: D major: 12:01 1768 Vienna December 13 Symphony No. 8: Score and critical report (in German) in the ...
Symphony No. 41 (Haydn) in C major (Hoboken I/41) by Joseph Haydn, 1769 Symphony No. 41 (Michael Haydn) in A major (Perger 33, Sherman 41, MH 508) by Michael Haydn, 1789 Symphony No. 41 (Mozart) in C major (K. 551, Jupiter ) by Wolfgang Amadeus Mozart, 1788
As Neal Zaslaw has pointed out, writers on Mozart have often suggested – or even asserted – that Mozart never heard his 40th Symphony performed. Some commentators go further, suggesting that Mozart wrote the symphony (and its companions, Nos. 39 and 41) without even intending it to be performed, but rather for posterity, as (to use Alfred Einstein's words) an "appeal to eternity".
Symphony No. 3 in C major (1949) Havergal Brian: Symphony No. 4 Das Siegeslied (1932-33) Symphony No. 7 (1948) Symphony No. 13 (1959) Symphony No. 23 (1965) John Alden Carpenter: Symphony No. 1 in C major (1916-17) [12] Alfredo Casella: Symphony No. 3, Op. 63 (1939-40) George Whitefield Chadwick: Symphony No. 1 (1881) [13] Felix Draeseke
K 1 K 6 Year Title Mvts Comments Ref(s) K. 17 Anh. C11.02 1765? Symphony in B flat major "No. 2" (In AMA, Series VIII) 4 Attributed to Mozart in K 1 on the basis of a 19th-century copy, and labelled his second symphony, the provenance of this work has since been questioned, chiefly on the grounds of low quality (Dearling calls it "rustic and rather awkward.")
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The last movement is a vigorous fugato, something else this work has in common with Mozart's Symphony No. 41 and Haydn's own Symphony No. 28 in C major which Mozart certainly studied. Unlike the "Jupiter" Symphony, in this symphony the fugal theme is at its first instance accompanied by its usual countersubject:
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