The second movement, an andante, also adheres to convention, though it is remarkable for its combination of elegance and intense expressiveness. Its opening adagio is a model of restraint, adhering to strict sonata allegro form and opening onto an allegro that recalls the unfinished cadence we heard in the introduction (an effect that Charles Rosen calls “cinematic”-hardly an 18th-century adjective). 39 is more modern in its refinements than its surprises. Musicologists love to speculate on how Mozart’s career might have progressed if he had lived beyond age 35, since his mastery and musical daring were only accelerating his Symphonies No. “ in itself is something of a puzzle,” insists the distinguished writer Phillip Huscher, “for it is no less a masterwork.” In fact, he notes, it is also the least studied of the three. 39 is in E-flat major, a key that Mozart specialists call bright and auspicious, though they wonder aloud why it is the least performed of the great-great final three. 40, is known as the Great G Minor to distinguish it from No. One of the difficulties in writing about Mozart is trying (in vain) to limit the word “great.” His symphonies from 26 to 41 are sometimes called his great symphonies, but of these, the final three have been accorded a special degree of greatness.
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