The concert of choice is Mozart’s ‘Symphony No. 40 in G minor, K.550’ that was written just for a small orchestra like the one conducted in this concert. It is retrieved from YouTube. Leonard Bernstein conducts it while the Boston orchestra performs. Mozart wrote it in 1788 summer, and it’s one of the two main symphonies with minor keys that he wrote. The aspect can be noted from the performance of the orchestra. The minor keys can be noted right from the start. The concert is made up of one song, and the song has four movements. The movements include: Molto allegro, Andante, Menuetto. Allegretto-Trio; and Finale. Allegro assai. All the movements can be noted step by step in the performance of the orchestra as well as the conductor’s movements.
The symphony has a brass and woodwind sections that can be heard even from the beginning. The players are few, and some of the instruments that are used include violins, flute, oboe, clarinets, and bassoons. The melody lines are graceful and have balanced phrases of eight bars. The melodious texture of the symphony can be noted as it is being performed. The most evident instrument in the performance is the violins that play in unison that can be stated clearly by any audience listening. The brass in the symphony is the French horn that is also heard. The movements are in conjunction with various steps that include steps and leaps; the leaps are notable than the actions. At the beginning of the symphony, there is a soft dynamic marked by -p bringing about a dark nature rather than the usual loud opening in most symphonies. That is followed by crescendos that are normal, but the interrupted by bridging then a loud -f that is a contrast of the beginning. These two different dynamics that are applied make the symphony even more unique compared to other minors that have been performed.
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Other notable parts of the performance are the pedals and the end that has a homophonic texture. The meter of the symphony, according to the performance, is duple, precisely a quadruple nature. The central theme is Molto allegro played in a tempo that can be noted when well with the accompaniments. The opening had a G minor harmony that moves to b flat as it progresses to the next stages. The structure of the symphony from the performance is generally an exposition that is followed by a development and eventually recapitulation. It is significant to note that the keys are organized in that the G minor is played. Other keys are performed in the development, but eventually, the G minor is then brought about in the end at the recapitulation. The playing of oboes and bassoons is harmonic, and the chords appear to be sustained, unlike the other instruments used.
The first movement is Molto allegro, 2/2 it starts darkly but not with the opening theme accompanying it. However, it has the accompaniment of viola strings. It shows the characteristic appearance of such accompaniments as in romantics. Mozart introduced the use of this technique in his symphonies. This being his symphony, it also applies it as the performance progresses. It is a technique that gets the audience in the mood for the performance and also grabs the attention of the audience curious to know what is next. Its lack of theme at the beginning brings about the tension that makes one keep watch for what awaits them.
The playing of the violins at the start is significant by the way the bars are done. It starts with descending four bars that can be seen by even the movement of the performers as an observer one can feel them as they move and connect with them. The performance is significant and notable at this point, making the following performance very substantial throughout. There is also chromaticism used in the subsequent movements significantly seen in the second subject. There is the feeling of argumentation that is felt later in the performance that is brought about by doubling original notes, and this brings out great value to the whole performance.
The first movement is then followed by a lyrical flow that is Andante, 6/8. This lyrical key used is not as dominant relative to the G minor (B♭ major): E♭ major. Its subdominant nature makes it captivating, but it gets lost as soon as it appears. It is interesting to the ear. It is lyrical and therefore brings some light to the previously darkly start of the first movement. It is also soothing to the audience since it brings about a lively musical effect to the ear.
The theme that introduces the last movement is the next thing that catches the attention of the audience. Menuetto. Allegretto-Trio, ¾ is minuet that begins with an angry theme that brings out the emotions of the listener. Its, therefore, engages the audience emotionally to the performance. It has a cross accented cross-accented hemiola rhythm and a pair of three-bar phrases. This makes its accompaniments even more interested. As part of the audience, one would be captivated by the emotions portrayed by the performers and the vigor of the conductor.
The fourth and the last movements show an exciting orchestral technique called Mannheim rocket. The opening is made of a very interesting ascending tonic triad. It shows a melodic line that contains crescendo in it. This movement continues with the series of ascending notes that keep one’s eyes glued to the performers. The changes are well-orchestrated such that any person looking at it would not miss its unique nature. As the performance end, it is very obvious that anyone looking at the bad would wish to see the performance one more time. It ends remarkably as it started. Every note observed, and every accompaniment well planned, making it perfect.
The performance has a melancholic mood that is felt from the beginning, mainly in the second move. The movements are excellent in bringing the mood out such that any audience would flow with them. Their movements are energetic and significant such that it can be seen in every step. It is also very notable how the whole performance keeps one interested. The conductor is the most exciting part of the performance. His movements seem to be well calculated, and he communicated to the orchestra so efficiently. The players of the instruments and the strings most significantly, so it is a very efficient way. The orchestra does the whole symphony justice. It is a minor and therefore supposed to be played by a small orchestra, and that is observed in this case. It is the key reason why the performance comes out so well. The piece generally makes one feel like they are in the performance. It is captivating that an observer could be tempted to move along with the instrumentalists as they move. The performance is simply magnificent.
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