Mozart: Symphony No. 39 in E♭, K543 (First Movement)

Q: When was Mozart's Symphony No. 39 composed, and what wider set of works does it belong to?

It was completed on 26 June 1788 in Vienna as the opening work of Mozart's final symphonic trilogy (alongside Nos. 40 and 41).

Q: What is distinctive about the woodwind instrumentation in Mozart's Symphony No. 39?

There are no oboes in the score; Mozart scored for 1 flute, 2 clarinets in B♭, and 2 bassoons to highlight the warm, mellow tone of the clarinets.

Q: How are the brass and percussion instruments scored and tuned in the first movement?

The brass consists of 2 horns in E♭ and 2 trumpets in E♭ , while the timpani are tuned to the tonic and dominant pitches: \(E\flat\) and \(B\flat\) .

Q: What overall structural form governs the first movement of Symphony No. 39?

It is cast in Sonata Form preceded by a dramatic Slow Introduction ( Adagio – Allegro ).

Q: What are the key musical features and stylistic influence of the Adagio Slow Introduction (Bars 1–25)?

Set in \(E\flat\) major and common time (\(\mathbf{C}\)), it evokes the French Overture style with grand dotted rhythms, heavy tutti chords, descending demisemiquaver scales, and an unresolved pause on a dominant seventh chord (\(B\flat^7\)).

Q: How does the First Subject (Bars 26–53) contrast with the Slow Introduction in tempo, metre, and character?

It switches to \(\mathbf{3/4}\) time at an Allegro tempo, presenting a lyrical, quiet ( piano ) melody in the 1st violins in \(E\flat\) major accompanied by pulsating lower strings and horn pedals.

Q: What is the primary harmonic role and character of the Transition (Bars 54–97)?

It modulates from the tonic \(E\flat\) major to the dominant \(B\flat\) major using a sudden tutti forte , driving syncopations, and running quaver string runs.

Q: What texture and tonal center characterize the Second Subject (Bars 98–118)?

It is in the dominant key of \(B\flat\) major and features an antiphonal dialogue (call-and-response) between the violins and the woodwinds.

Music 7010 · CCEA AS Level · 7 min read · Updated: 31 Aug 2026

Welcome to Mozart's Symphony No. 39 in E♭ major, K. 543 (First Movement)

Welcome to your study notes for AS 3: Music for Orchestra, 1700–1900! In this guide, we will break down the first movement (Adagio – Allegro) of Wolfgang Amadeus Mozart’s celebrated Symphony No. 39 in E♭ major, K. 543.

If score analysis or classical form feels intimidating, don't worry! We will take this step-by-step, turning complex terms into clear, manageable concepts so you can walk into your CCEA AS exam with confidence.

1. Historical Background & Context

Mozart composed this masterwork during the summer of 1788 in Vienna. It is part of an astonishing creative burst known as his final symphonic trilogy, all written in quick succession without a specific known commission:

Symphony No. 39 in E♭ major, K. 543: Completed on 26 June 1788
Symphony No. 40 in G minor, K. 550: Completed on 25 July 1788
Symphony No. 41 in C major ("Jupiter"), K. 551: Completed on 10 August 1788

Genre & Style: Classical Symphony in the High Classical style, demonstrating balance, clarity, sophisticated thematic development, and expressive depth.

Key Takeaway: Symphony No. 39 represents Mozart at the peak of his symphonic craft, opening the legendary 1788 trilogy with warmth, majesty, and elegance.

2. Orchestration & Scoring

Mozart chose a very distinctive orchestration for this symphony. Understanding this layout is essential for both your aural perception and written score-reading papers.

The Instrumentation:

Woodwind: 1 Flute, 2 Clarinets in B♭, 2 Bassoons
Brass: 2 Horns in E♭, 2 Trumpets in E♭
Percussion: Timpani (tuned to the tonic and dominant: \(E\flat\) and \(B\flat\))
Strings: Violins I & II, Violas, Cellos, and Double Basses

The "Missing" Instrument — A Top Examiner Clue!

Notice anything missing? There are NO oboes in this symphony!

Mozart deliberately left out oboes to give the clarinets a starring role. Pairing the warm, mellow tone of the clarinets with bassoons gives the work its characteristic rich, singing woodwind colour.

Memory Tip: No Oboes = Clarinets Shine! Whenever you see a Mozart symphony score with 2 Clarinets, 2 Bassoons, and 1 Flute (but zero Oboes), think Symphony No. 39.

3. Structural Blueprint: Sonata Form with a Slow Introduction

The overall structure of the first movement is built around Sonata Form preceded by a dramatic Slow Introduction.

Think of Sonata Form like a three-act drama:

Exposition: Introduces the main musical "characters" (Theme 1 in Tonic, Theme 2 in Dominant).
Development: The characters are put into conflict (key changes, fragmented themes, drama!).
Recapitulation: The conflict is resolved (both themes return in the Tonic key).

4. Bar-by-Bar Detailed Analysis

A. Slow Introduction: Adagio (Bars 1–25)

Key: \(E\flat\) major (Tonic).
Metre: Common time / alla breve (\(\mathbf{C}\) or \(\mathbf{C}\llap/\)).
Character & Style: Majestic and grand, evoking the French Overture style with sharp dotted rhythms.
Features to Spot:
- Starts with powerful tutti forte chords reinforced by timpani rolls.
- Contrasted by gentle, lyrical descending violin scales in rapid demisemiquaver/sextuplet patterns over syncopated string chords.
- Rich chromatic harmony creates tension.
- Ends on a pause over an unresolved dominant seventh chord (\(B\flat^7\)), building suspense right before the tempo changes.

B. Exposition: Allegro (Bars 26–142)

Tempo & Metre Change: Shifts dramatically to \(\mathbf{3/4}\) time at an energetic Allegro tempo.

1. First Subject / Theme 1 (Bars 26–53)

Key: \(E\flat\) major (Tonic).
Features: A lyrical, noble, and singing melody played quietly (piano) by the 1st Violins.
Texture & Color: Accompanied by pulsating repeated quavers in the lower strings and sustained horn pedals. The phrase is answered directly by warm echoes in the clarinets and bassoons.

2. Transition / Bridge Passage (Bars 54–97)

Function: To modulate (change key) from the tonic (\(E\flat\) major) to the dominant (\(B\flat\) major).
Features: Energetic, bursting in with a sudden tutti forte. Features rapid running quaver passagework in the strings, syncopation, and driving rhythms that build harmonic momentum.

3. Second Subject / Theme 2 (Bars 98–118)

Key: \(B\flat\) major (Dominant).
Features: Elegant and conversational. Mozart creates an antiphonal dialogue (a musical "call and response") where the melody is shared seamlessly between the violins and the woodwinds (clarinets and flute).

4. Codetta (Bars 119–142)

Key: Confirms \(B\flat\) major.
Features: Joyful, fanfare-like cadential motifs bringing the exposition to a bright conclusion. The section ends with a repeat sign.

C. Development (Bars 143–183)

Starting Key: Opens in G minor (Bars 143–144).
Harmonic Journey: Moves rapidly through closely related and chromatic keys, including C minor, A♭ major, and F minor.
Thematic Treatment: Interestingly, Mozart does not dissect the First Subject here. Instead, he develops motifs from the transition and codetta!
Techniques: Rapid string arpeggiations, woodwind imitation, and sudden dynamic contrasts.
Retransition (Leading back): Features a prolonged dominant pedal on \(B\flat\), creating harmonic tension that prepares the ear for the return of the home key.

D. Recapitulation & Coda (Bars 184–308)

First Subject (Bar 184): Triumphantly returns in the home key of \(E\flat\) major.
Transition: Recomposed and shortened so that it no longer changes key, keeping the music firmly anchored in \(E\flat\).
Second Subject: Now transposed to \(E\flat\) major (the Tonic), fulfilling the golden rule of Classical Sonata Form!
Coda Extension: Reaffirms \(E\flat\) major with robust, celebratory tutti cadence patterns to close the movement.

Key Takeaway: The movement moves from an imposing \(\mathbf{C}\) Adagio introduction into an elegant, dance-like \(\mathbf{3/4}\) Allegro sonata structure, transitioning from \(E\flat\) major to \(B\flat\) major in the exposition, and resolving everything in \(E\flat\) major during the recapitulation.

5. Key Musical Elements Summary Table

Section	Bars	Key / Tonality	Metre & Tempo	Primary Textures & Features
Slow Introduction	1–25	\(E\flat\) major \(\rightarrow\) ends on \(B\flat^7\)	\(\mathbf{C}\) or \(\mathbf{C}\llap/\) (Adagio)	French overture dotted rhythms, tutti chords, descending demisemiquaver scales.
1st Subject	26–53	\(E\flat\) major (Tonic)	\(\mathbf{3/4}\) (Allegro)	Lyrical 1st violins, lower string pulsation, horn pedals, clarinet/bassoon dialogue.
Transition	54–97	Modulates \(E\flat \rightarrow B\flat\)	\(\mathbf{3/4}\)	Tutti forte, syncopation, rapid quaver runs in strings.
2nd Subject	98–118	\(B\flat\) major (Dominant)	\(\mathbf{3/4}\)	Antiphonal woodwind vs. string dialogue; graceful character.
Codetta	119–142	\(B\flat\) major	\(\mathbf{3/4}\)	Fanfare-like cadential figures; ends with repeat sign.
Development	143–183	G minor \(\rightarrow\) C minor \(\rightarrow\) A♭ \(\rightarrow\) F minor	\(\mathbf{3/4}\)	Based on transition/codetta ideas; imitation; ends on \(B\flat\) dominant pedal.
Recapitulation	184–308	\(E\flat\) major throughout	\(\mathbf{3/4}\)	Theme 1 (Bar 184) and Theme 2 both restated in \(E\flat\) major; final cadential coda.

6. Common Pitfalls & Examiner Warnings

Don't drop easy marks! Keep these common examiner-reported traps in mind:

Mistake 1: Assuming standard double woodwind.
Correction: Always remember that Mozart completely omitted oboes in this symphony. State clearly that clarinets in B♭ provide the primary treble woodwind color.
Mistake 2: Confusing the metres of the two sections.
Correction: The Adagio Introduction is in \(\mathbf{C}\) / cut common time, while the Allegro is in \(\mathbf{3/4}\) time. Do not mix them up in listening questions!
Mistake 3: Stating that the Development focuses on the First Subject.
Correction: In K. 543, Mozart relies on material from the bridge (transition) and codetta during the development section, rather than dismantling the primary first subject.
Mistake 4: Vague harmonic descriptions.
Correction: In Paper 1 (Aural) and Paper 2 (Written Analysis), never write "it changes key." Always state the exact key (e.g., "\(B\flat\) major", "G minor") and identify specific cadences (e.g., "Perfect cadence: \(V^7 - I\) in \(B\flat\) major").
Mistake 5: Lack of technical vocabulary in essays.
Correction: Use proper terminology such as pedal point, antiphony, suspension, imitation, and contrary motion, ideally tied to specific bar ranges or structural sections.

7. Quick Revision Checklist

Before your exam, test yourself with these rapid-fire review questions:

In what year and month was Symphony No. 39 completed? (June 1788)
Which standard Classical woodwind instrument is excluded from the score? (Oboe)
What keys are the timpani, horns, and trumpets pitched in? (Timpani: \(E\flat\) and \(B\flat\); Horns & Trumpets: in \(E\flat\))
What key and metre are used in the Slow Introduction? (\(E\flat\) major; \(\mathbf{C}\) or \(\mathbf{C}\llap/\))
What chord does the Slow Introduction end on? (An unresolved dominant seventh / \(B\flat^7\) pause)
What key does the Development section start in? (G minor)
What harmonic device prepares the return of the First Subject at the end of the Development? (A dominant pedal on \(B\flat\))
In what key is the Second Subject played in the Recapitulation? (\(E\flat\) major — the tonic)

Quick check

Can you answer these now?

Open each question to check the key ideas from this chapter.

When was Mozart's Symphony No. 39 composed, and what wider set of works does it belong to?

It was completed on 26 June 1788 in Vienna as the opening work of Mozart's final symphonic trilogy (alongside Nos. 40 and 41).

What is distinctive about the woodwind instrumentation in Mozart's Symphony No. 39?

There are no oboes in the score; Mozart scored for 1 flute, 2 clarinets in B♭, and 2 bassoons to highlight the warm, mellow tone of the clarinets.

How are the brass and percussion instruments scored and tuned in the first movement?

The brass consists of 2 horns in E♭ and 2 trumpets in E♭, while the timpani are tuned to the tonic and dominant pitches: \(E\flat\) and \(B\flat\).

What overall structural form governs the first movement of Symphony No. 39?

It is cast in Sonata Form preceded by a dramatic Slow Introduction (Adagio – Allegro).

What are the key musical features and stylistic influence of the Adagio Slow Introduction (Bars 1–25)?

Set in \(E\flat\) major and common time (\(\mathbf{C}\)), it evokes the French Overture style with grand dotted rhythms, heavy tutti chords, descending demisemiquaver scales, and an unresolved pause on a dominant seventh chord (\(B\flat^7\)).

How does the First Subject (Bars 26–53) contrast with the Slow Introduction in tempo, metre, and character?

It switches to \(\mathbf{3/4}\) time at an Allegro tempo, presenting a lyrical, quiet (piano) melody in the 1st violins in \(E\flat\) major accompanied by pulsating lower strings and horn pedals.

What is the primary harmonic role and character of the Transition (Bars 54–97)?

It modulates from the tonic \(E\flat\) major to the dominant \(B\flat\) major using a sudden tutti forte, driving syncopations, and running quaver string runs.

What texture and tonal center characterize the Second Subject (Bars 98–118)?

It is in the dominant key of \(B\flat\) major and features an antiphonal dialogue (call-and-response) between the violins and the woodwinds.

Which thematic ideas does Mozart develop in the Development section (Bars 143–183), and what tonal journey does it take?

Rather than developing Theme 1, Mozart develops motifs from the transition and codetta, starting in G minor and passing through keys such as C minor, A♭ major, and F minor before ending on a \(B\flat\) dominant pedal.

How does the Recapitulation (Bars 184–308) fulfill the tonal requirements of Classical Sonata Form?

Both the First Subject (Bar 184) and the Second Subject return in the tonic key of \(E\flat\) major, with a modified non-modulating transition.

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