Building a Collection #44: Mozart's Symphony no. 40

With recommended recordings

Building a Collection #44

Symphony no. 40 in G minor, K. 550

By Wolfgang Amadeus Mozart

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We are now at #44 on our Building a Collection list, and we return to Mozart for the 7th time already.  This time it is for his Symphony no. 40 in G minor, one of his most popular works.  If you don’t know the symphony, you may be familiar with some of the tunes from movies and television.  If you are like me when I think of Mozart, I think of all the sunny and upbeat music he wrote.  But this symphony along with his opera Don Giovanni and his Requiem show Mozart to be a more complete and complex composer than sometimes portrayed.   

Wolfgang Amadeus Mozart

The incomparable genius Wolfgang Amadeus Mozart (born 1756 – died 1791) was an Austrian composer of opera, symphonic works, concertos, choral and vocal works, keyboard pieces, orchestral works, and chamber music.  Despite his short life, Mozart produced more than 800 works, and scholars say he likely composed even more that will never be known or recovered.  Mozart was the only son of a proud, infamous, and rather exploitative father by the name of Leopold Mozart.  When Leopold realized his son’s prodigious talent, he toured him all around Europe to show him off.  It is debated whether these trips contributed to Mozart’s chronic illnesses, as he had bouts of typhus and smallpox during childhood.  In any case, it left Mozart with a lot of resentment for his father.  Indeed, Mozart would later boycott his own father’s funeral.  

Although Mozart was employed off and on by royalty beginning in 1782, he was essentially self-employed.  He married Constanze Weber in 1783 without his father’s approval.  Astonishingly, by the age of 20 Mozart had written nine operas, five violin concertos, at least 30 symphonies, sets of divertimentos and serenades, many liturgical works, six sonatas, and six concertos for piano.  Although Mozart had several teachers, including his father, he was increasingly influenced by Michael Haydn (younger brother of legendary composer Franz Josef Haydn).  Between the years 1782 and 1786, Mozart produced a group of piano concertos from no. 12 to no. 25.  He would go on to write only two more piano concertos before his death.  His final five operas are generally considered his greatest:  Le Nozze di Figaro (The Marriage of Figaro), Don Giovanni (Don Juan), Cosi Fan Tutte (All Women Act That Way), Die Zauberflöte (The Magic Flute), and La Clemenza di Tito (The Clemency of Titus).  His symphonic production reached its apex with his final four symphonies, nos. 38 – 41.  

Symphony no. 40

Mozart composed this symphony in 1788, the year in which he also composed Symphony no. 39 and Symphony no. 41 “Jupiter”.  Indeed, he composed all three symphonies between June 26th and August 10th of that year which led the late cellist and conductor Nikolaus Harnoncourt to speculate that the three symphonies were conceived as a larger unified work.  As evidence of his theory, he points to the beginning of Symphony no. 40 as not really being like a proper introduction and the finale as being on a lesser scale to Symphony no. 41.  We will probably never know for sure.

There are two versions of Symphony no. 40, the original one being written without two clarinets.  Mozart added the clarinets in a revision, and when he did so also altered the flutes and oboes to accommodate the clarinets.  Most performances and nearly all recordings use the revised version with clarinets, although there are a few recordings out there using the original version.  Some scholars maintain that Mozart wrote the final three symphonies for posterity rather than for performance purposes, and that he never heard the final two symphonies performed during his lifetime.  However, this is almost certainly incorrect since there is evidence Mozart attended at least one performance which prompted him to make the revisions.  Mozart was usually motivated by preparing music for specific concerts or performances and so the idea that he never intended for the symphonies to be performed seems unlikely.  In any case, the great composer Johannes Brahms acquired both versions of the score in the 1860s, and he later donated the manuscripts to the Gesellschaft der Musikfreunde in Vienna where they have been ever since.

The differences between Symphonies 39, 40, and 41 are striking, each presenting the listener with different moods and gestures.  The moody, serious, and turbulent 40th stands out for its use of a minor key but also because it doesn’t use any trumpets or drums. The first and last movements have an unease and even a discomfort made even more striking by the use of strong harmonic language complemented by the emotional lyrical content.  The composer Robert Schumann commented without irony that he admired the symphony for its “buoyant Hellenic charm”, but I’m not entirely sure if he was listening to the same symphony as the rest of us.  To be fair there are sections of charm and bliss, especially in the second movement Andante.  But the overall impression made by the symphony is of struggle and dissonance.

The symphony is in the traditional four movements in the typical pattern of fast movement, slow movement, minuet, fast movement, laid out as follows:

I. Molto Allegro

II. Andante

III. Menuetto. Allegretto - Trio

IV. Finale. Allegro assai 

John Henken writes about the symphony for the Los Angeles Philharmonic:

…this is urgent, passionate music. The beginning – soft, murmurous accompaniment waiting on its melody – became a Romantic-era trope but was surely a shock to Mozart’s contemporaries…it is also full of violent dislocations, such as the abrupt lurch into F-sharp minor for the development section of the opening movement, in which harmony is further stretched as Mozart obsesses with the head of the main theme. Amazingly, Mozart is able to increase tension throughout, into a coda of deepest, darkest feeling.

The sighing Andante seems a lighter, brighter world, if only through the major key (E-flat) and more sedate pace. But Mozart takes this music to strange, chromatically unsettling, places, and the throbbing eighth notes prove as insistent as the more manic energies of the opening.

The bold swagger of the Minuet, back in minor mode, comes from its canonic reinforcement. The Trio section, in G major, is the only music in the Symphony that Mozart did not change in his revision, making the oboes a particularly prominent dash of color. Another long-spanned sonata form, the finale seeks to answer the questions that the first movement had asked, with vehement energy. But it too enters development with expectation-shattering strokes and finds further terror there. Propulsive confidence reasserts itself, of course, and closes the Symphony with great brilliance, refocusing rather than banishing the dangers. 

Other great composers such as Beethoven, Schubert, and Haydn all admired the symphony enough to copy portions of the score or even quote part of the symphony in their own work.  Jazz composer Vince Guaraldi (of Charlie Brown fame) developed a jazz piece from using the opening theme of the symphony, and portions of the symphony have been used in various TV programs, commercials, and movies.       

Recommended Recordings

There may be more quality recordings of Mozart’s Symphony no. 40 than any other work we have covered thus far.   While I don’t feel strongly enough about any of them to apply the essential label, the number of outstanding recordings listed below is long.  While I listened to many, many recordings in preparation for this post, it is quite possible I missed a few great recordings.  If you have a favorite one, I don’t mention here, I would love to hear from you.  Still, I am confident you will find some favorites of your own among those I have chosen.          

The 1937 recording by Sir Thomas Beecham and the London Philharmonic Orchestra is owned by Warner, and in addition to the historical value of the recording, the performance and sound quality are surprisingly good.  Beecham had a knack for the classical era composers (his Haydn recordings are recommended), and here he draws playing of character and personality.  Phrases are fresh and elegant while rhythms are sprung nicely.  Naturally the vintage sound has limitations, but if you are at all interested in older recordings you may love this one.

The great Otto Klemperer was known for his Mozart, and his 1956 recording for EMI (now Warner) with the Philharmonia Orchestra is big band Mozart at its finest.  Klemperer is direct as always, and while tempos are quite traditional, the sense of insight and communication makes for a satisfying listening experience.  No, this is not a modern or historically informed performance.  But it is very well done, and Klemperer reveals his vision of the symphony as a dark and rather foreboding work.  

In 1961 the Berlin Philharmonic Orchestra was Herbert von Karajan’s orchestra but that didn’t stop Austrian conductor Karl Böhm from leading them in some excellent Mozart recordings for the Deutsche Grammophon label.  Among these is an incisive recording of Symphony no. 40 in excellent sound.  Tempos are moderate and the music is given room to unfold.  The orchestra plays with affection, and there are subtle, appealing touches in the strings and woodwinds.  This one is also preferable to Böhm’s later recording with the Vienna Philharmonic.  

Bruno Walter’s 1961 account with the Columbia Symphony Orchestra on Sony takes a more heartfelt approach, and the second movement Andante has perhaps never come across with such feeling.  The brooding quality to the first and last movements is there, but Walter also brings out the lyrical moments quite well.  The sound quality, as with all of Walter’s “Indian Summer” recordings from the period, is good early stereo sound.

Those of you that are regular readers will probably know I am not a big fan of Daniel Barenboim’s conducting in general, although he is truly a great pianist.  But EMI/Warner gave him the reins of the English Chamber Orchestra in the late 1960s for some terrific recordings of the Mozart symphonies and piano concertos (with Barenboim conducting from the keyboard), and as a set these are probably Barenboim’s finest moments as a conductor.  The 40th is from 1968 (I think…I could not find the exact recording date), and it finds the ECO playing with drive, vitality and commitment.  The performance is excellent with moderate to swift speeds, plenty of energy, and relatively streamlined string and woodwinds.  The sound is full with just a hint of background hiss.  Recommended.

The English composer and conductor Benjamin Britten also led the English Chamber Orchestra in a wonderful recording of the 40th from 1968, this time on Decca.  Recorded at the Maltings in Snape in the UK (essentially a barn adapted for recording purposes), the sound bears the hallmarks of the Decca sound, which is rich, full, and detailed.  Britten was selective with the symphonies he chose to record and thank goodness he chose the 40th.  Britten’s vision is not unlike Barenboim’s, on the quicker side especially for the time it was recorded.  String attack is incisive, dynamics are well-considered, and all the drama and angst are brought out marvelously.  Britten takes all the repeats, which I like.

Even though he hardly ever took the repeats, George Szell’s recordings of Mozart and Haydn symphonies are among my favorites.  His 1971 recording of the 40th with the Cleveland Orchestra on Columbia (now Sony) is still admired for its directness, sentimentality, and classical structure.  Overall Szell is one of my favorite conductors, and what he does with Mozart echoes Toscanini in that he refused to over-romanticize classical era composers.  In that sense he was almost a forerunner of what would become standard among historically informed recordings later.  This performance has drive, fire, and precision. It makes for some exciting listening.

Pioneering conductor and cellist Nikolaus Harnoncourt recorded the 40th several times, but his first account with the Royal Concertgebouw Orchestra from 1983 is the best and has the fewest odd mannerisms which Harnoncourt would develop later.  Speeds are moderate in the outer movements while the Andante and Menuetto are quicker.  The horns in particular can be heard to wonderful effect in the Finale.  The sound is quite good from Amsterdam, and with Harnoncourt you can always be assured things will be interesting.  His later recordings with the Chamber Orchestra of Europe and the Concentus Musicus Wien are also interesting if you want to give them a listen.  

Leonard Bernstein was never a big advocate for Mozart’s music, which is why it is somewhat surprising that his 1984 Mozart recordings with the Vienna Philharmonic Orchestra for Deutsche Grammophon are so fine.  Bernstein became more eccentric and slow in his later years, but this performance of the 40th nicely treads a middle ground in terms of tempos and tradition.  This recording (paired with no. 41 “Jupiter”) was awarded a Rosette by the old Penguin Guide to CDs and has consistently been praised by the musical press in the UK (a group not usually fans of Berstein over the years).  The sound is good early digital sound, and the VPO play gloriously.  The recording is taken from a live performance, so there is an extra dose of frisson.  Bernstein takes all the repeats.

Sir Charles Mackerras recorded a landmark set of the complete Mozart symphonies in the 1980s with the Prague Chamber Orchestra on the Telarc label.  The recordings were widely praised at the time and still hold up very well.  Mackerras was an advocate of using historically informed techniques with modern instruments, and this sort of hybrid approach pays great dividends in this 1986 recording of the 40th.  There is clarity, precision, and energy present throughout, and even though Mackerras chooses swift speeds there is no loss of personality.  Phrases are accented but the music also has room to breathe.  Mackerras’ later 2007 recording with the Scottish Chamber Orchestra (on the Linn label) is also excellent, and the conductor’s vision is largely unchanged from the earlier recording.  The biggest difference between the two is the Prague orchestra has a leaner, more sharp attack while the latter recording boasts fuller sound.  But both are very good.

I have often found many of Sir Roger Norrington’s interpretations on record to be too far out of the mainstream for general recommendation.  A period instrument pioneer, Norrington has made some very good recordings and some pretty weird ones as well.  Happily, his 1992 recording of the 40th with the London Classical Players on EMI/Warner is one of his best.  The recording is striking for its energy and panache, this is take no prisoners Mozart.  The sound from the orchestra is full unlike some other period performances, and the little touches here and there work well unlike some of Norrington’s later mannerisms.  Make no mistake, tempos are quick but consistently feel right.  Norrington instructs the strings to use less “staccato” attack on the notes for some phrases, which may seem odd at first.  But I thoroughly enjoy this one.

German conductor Günter Wand had a long career with mostly regional orchestras in Germany, and the high point in his career really came in the last decade of his life.  He was particularly good with the German classics, and he recorded the 40th multiple times spanning from 1988 through the 1990s.  All of the recordings show a remarkably consistent interpretation, and all have similar sound.  It is difficult to choose among them, and so I invite you to sample his recordings if you have access to a streaming service.  Wand did a lot of live recordings in his later years, so those include with the Deutsches Symphonie Orchestra Berlin (Profil, 1988), North German Radio Symphony (Profil, 1990), Munich Philharmonic (Munich, date unknown), and the Gurzenich Orchestra Cologne (Decca, date unknown).  His studio recording with the North German Radio Symphony is from 1991 on RCA.  You can expect reliably good sound and performances, nothing out of the ordinary in terms of tempos and phrasing.  But just very well done straight forward performances.  

Mark Minkowski and his period instrument group Les Musiciens du Louvre recorded Mozart’s two final symphonies on Archiv (Decca) in 2006.  Although some critics did not warm to it, this recording has been one of my favorite period performances since it was released.  Tempos are quick, phrases are sharply accented, and there is plenty of vitality and passion.  There is nothing particularly new here in terms of comparison with other period recordings of this symphony, but I would argue that the quality of performance and sound take it to a higher level than most others.  It is an invigorating listen.

The ever-reliable American conductor Herbert Blomstedt has enjoyed quite a late career revival, and part of that includes the recordings he made with the Bavarian Radio Symphony Orchestra on the BR label.  His Symphony no. 40 from 2013 finds him and the orchestra in cracking form.  Blomstedt adopts some of the period instrument manners in taking things quickly, and the depth and precision of the BRSO is breathtaking.  There is drama and sharp accents to complement the taut ensemble.  The sound is exemplary, full and detailed as we have come to expect from BR.  

Also from 2013 we find Adam Fischer leading the Danish National Chamber Orchestra on the Dacapo label.  As part of a complete set of the Mozart symphonies, no. 40 is particularly fine.  This is a modern instrument band which Fischer encourages to use period performance techniques such as less vibrato, more staccato,  and quicker speeds.  This works quite well, although at times you might long for more variation from the orchestra.  I quite like the aggressive attack on strings and timpani, but I know other listeners may not.  There is a strident feeling to the performance, but this is the kind of thing I appreciate.  There is great execution and polish from the orchestra and the sound is generally very good.  If you like rock n’ roll Mozart, this is your version.

The 2019 recording by Riccardo Minasi and the Ensemble Resonanz on Harmonia Mundi is unlike any other recording of this symphony.  This is a contemporary style performance using modern instruments with the exception of period horns and timpani. Speeds are quick.  But where this recording shines compared to other similar recent recordings is in Minasi’s ability to create a varied orchestral palette in terms of phrasing, dynamics, and technique.  Nothing is taken for granted, and most decisions by Minasi seem to work in spades.  Some may find it overly fussy, but I find it really exciting.  The first movement is odd at times, but really the rest of the performance is delightful.  I will be returning to this recording many times.

Finally the 2021 recording by the Concert de la Loge and their director Julien Chauvin on Alpha is not quite as aggressive but every bit as exciting as the reviews above.  Chauvin draws a wide range of colors from the orchestra, and tuttis are delivered with power and resolve.  This is a clear and perceptive performance full of beautiful touches as well as deep and raw emotion.  There is a lightness to the playing of the strings, but when needed they bring the fire.  The woodwind in particular can be heard well through the mist.  Chauvin keeps tight control over dynamics, and there are even some intentional pauses on notes that sound entirely new and yet appropriate to me.  At times I wished for more heft from the band, but overall this is a winning performance and recording.

Other Notable Recordings

NBC Symphony Orchestra / Arturo Toscanini (RCA, 1938)

London Philharmonic Orchestra / Erich Kleiber (Decca, 1949)

NBC Symphony Orchestra / Arturo Toscanini (RCA, 1950)

Bamberg Symphony Orchestra / Joseph Keilberth (EMI, 1959)

Academy of St. Martin-in-the-Fields / Sir Neville Marriner (Decca, 1978)

Anima Eterna / Jos Van Immerseel (Zig Zag, 2001)

Orchestra of the 18th Century / Frans Bruggen (Glossa, 2010)

NDR Radiophilharmonie / Andrew Manze (Pentatone, 2017)

See you next time when we will cover Giuseppe Verdi’s opera Rigoletto.  See you then!

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Notes:

Clements, Andrew (23 July 2014). "Mozart: The Last Symphonies review – a thrilling journey through a tantalizing new theory". The Guardian.

Henken, John. Symphony no. 40 in G minor. Online at https://www.laphil.com/musicdb/pieces/5203/symphony-no-40-in-g-minor-k-550

Wigmore, Richard. Gramophone Magazine. Mozart’s Symphony no. 40:  A deep dive into the best recordings. March 2, 2022.

Pearl, Jonah. Review: Mozart – Symphonies No. 39-41 – Ensemble Resonanz, Minasi. Online at https://theclassicreview.com/album-reviews/review-mozart-symphonies-no-39-41-resonanz-minasi/. March 27, 2020.

Zaslaw, Neal (1983). Introductory notes to a recording of the 31st and 40th Symphonies made by Christopher Hogwood and the Academy of Ancient Music, Oiseau-Lyre 410-197-2.

Zaslaw, Neal (1994). "Mozart as Working Stiff". In James M. Morris (ed.). On Mozart. Washington: Woodrow Wilson Center Press. 

Zaslaw, Neal; Cowdery, William (1990). The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart. New York: W. W. Norton. Extracts cited at Google Books.