Also called as the Great G minor Symphony, this symphony was originally composed in 1788. Mozart composed this symphony to perform in England, however this never really happened. The symphony includes an orchestra of one flute, two oboes, two clarinets, two bassoons, two horns, and strings. Originally in 1788, this symphony did not include the two clarinets. Although sometime after the trip to England got cancelled, Mozart chose to add two clarinets in the orchestra. This symphony is one of Mozart’s most famous symphonies, although it is not clear whether Mozart actually ever performed it.
The first movement of this symphony is in the Sonata Form, which includes the Exposition, Development, and the Recapitulation. Throughout the entire first movement, the music is homophonic, in the tempo of Allegro, and in a duple meter. The Exposition being the introduction of themes, forms the basis of the entire movement. (o:00) on track 13 is where the first theme is introduced by the violins, along with the violas playing in a agitated way. The clarinets come in at (0:16), introducing the listeners to the bridge. The bridge starts at (0:24), where the theme is restated by the entire orchestra. This time, the theme is played much louder in forte, as well as the strings rushing through. At (0:50), there is an obvious end to the bridge, where the orchestra plays the note in unison. Track 14 starts with a statement of the second theme. The violins are playing the theme in mezzo piano, while there is a call and response with the woodwinds. From (0:24), there is a crescendo, as well as the violins taking over the melody, ascending. After reaching its high point, the strings are descending in scale, where it reaches (0:37). This is where the first theme is restated by the woodwinds and strings. The strings alternate their dynamics from soft to loud, as the woodwinds and strings are responding to each other. (0:55) is where the exposition ends, starting with the strings rushing down the scales, followed by an emphatic ending with a chord in unison.
Track 15 covers the Development of the Sonata Form. The very first theme is reintroduced at (0:00) by the violins, with a newly combined harmony. (0:14) wakens the listener by the sudden crescendo leading up to forte. Here, the very first theme is played by the violins, also responded by lower violins. After the forte, there is a sudden drop in dynamics, where the violins and woodwinds play a phrase of the theme in piano. The violins play the phrase, then the woodwinds respond to the violins with the same phrase. At (0:53), the woodwinds changes this response to a three-note motive, which gives an unresolved sound to the phrase. However at (0:59), there is a sudden forte, where the descending three note motive is traded back and forth by the violins and the lower strings. This could be said as the climax of the Development, which hints the end to this section to the listeners. For the ending of the Development, there are no strings, giving a change in sound and dynamics. At (1:08), the flutes and clarinets again trade these three note motives, while descending in scale. This leads up to the Recapitulation; the final section of the Sonata Form.
The Recapitulation on track 16 begins with a restatement of the very first theme with violins. This is answered by the woodwinds. The woodwinds respond to the violins with louder chords. After creating tension, at (0:24), the violins repeat the theme once again. The woodwinds ascend, which introduces the listeners to the bridge at (0:35). This part is played in forte, where the violins ascend in scale with the three motives, while the lower strings create the homophonic texture. At (0:40), the strings rush through the scales, giving a strong ending in unison once again. This marks an ending, although brings back the second theme one more time before the Recapitulation ends. At (0:00) of track 17, the second theme is played by the violins with slurs in mezzo piano, while the woodwinds respond. At (0:24), the strings become louder with a crescendo, and also ascends in scale. When the strings hit their high points, they start to descend. However the lower strings ascend in scale, then rush down the scale once again, leading to (0:42). This is where the rhythmic motives from the first theme is used for the strings and woodwinds to call and respond again. They also alternate from loud to soft, bringing back the listeners to a section from the Development. At (0:58), the strings respond to the woodwinds with the three note motives, this time in forte, leading up to the Coda in track 18.
The Coda on track 18 starts off with strings playing eighth notes down the scale. However the strings rises few notes at certain points. After the descend, the strings and woodwinds slowly ascend at (0:06). The notes are also echoing amongst the strings as well. These chords are played in forte, increasing tension, and resolves with the chords played by woodwinds in piano at (0:10). (0:12) is where the first theme is played again, but this time slower, in ritardando. The theme is answered by the strings and woodwinds at (0:22), which plays in forte, introducing the end to the movement. The Coda ends with the tonic, third, then tonic once again. The woodwinds play an octave higher of the strings for cadence.