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Duration of performance: c. 32 minutes The symphony was finished on August 10th, 1788. Together with the G-minor symphony K.550 and the E-flat major symphony, K.543 it belongs to the high points of Mozart’s musical work. The 3 symphonies are often subsumed under the name "symphonic tryptich of 1788". Even if the year 1788 was a rather precarious one for Mozart, his worries about daily needs did not affect his musical creativity at all. To improve his financial position he formed the plan to leave Vienna, especially because he was only promised 800 florins instead of 2000 as successor to the Imperial Court musician Christoph Willibald Gluck, who had died in 1787. Mozart’s journey to Berlin to King Frederic William II served the purpose of gaining a better-paid position. This expectation was not fulfilled. Comment on the term "symphony" The name "Jupiter Symphony" The name "Jupiter Symphony" was only used after Mozart’s death and goes back to the composer and impresario John Peter Salomon (born 1745 at Bonn, died 1815 in London). It was Salomon who induced Haydn to travel to London in 1790 and 1792. The name is justified by the perfect balance in its formal structure and by the spiritual heights he achieved in shaping his material. Stylistic position of the Jupiter symphony The Jupiter symphony represents the climax of classical symphonic art before Beethoven and is a synthesis between the classical and the baroque mode of composition, in which the fugues of the 4th movement are used as a means of extension and intensification within the frame of the classical sonata form. The 4th movement, consisting of 5 musical subjects reaches its apotheosis in the Coda when all themes sound up simultaneously. In this very movement the union between fugue and sonata, between baroque and classical art is achieved. Detailed information: 4th movement The main theme of the 4th movement, which Mozart uses 8 times in his work and which is of Gregorian origin, appears in contrapuntal transformation at each repetition. This is a first hint at the principle of non-repeatability, of permanent change, a characteristic that plays a great part in the music of the 20th century. Baroque elements are the use of organ point, sequences, general pauses, which reflect the terraced dynamics of baroque music. The imitations and the fugue within the sonata form (4th movement) belong to the baroque world in which all voices are equal, e.g. the secondary theme of the 4th movement, also the 3rd theme of the 4th movement. Classical elements are the use of the sonata form, the melodic continuation of the theme in the sense of a "singing Allegro", like in the secondary theme of the 1st movement. This technique was first used by the Italians, e.g. Pergolesi, then by Johann Stamitz and Johann Christian Bach. Mozart got to know it from Johann Christian Bach during his stay in London in 1764. The idea of splitting motifs is used like the thematic work of the Viennese Classical School, especially in the developments.
Movements
1st movement: Allegro vivace
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