The "Jupiter" Symphony in C, K. 551: New Perspectives on the Dramatic Finale and its Stylistic Significance in Mozart's Orchestral Euvre

Abstract

Few works in the western music tradition have received more lavish praise than Mozart's 'Jupiter' Symphony. Although periodically criticized at the end of the 18th century and in the 19th century for its over-abundance of 'harmonic riches,' erudition and 'laborious technical procedures,' in short for '[pushing] things a little far,'1 the 'Jupiter' quickly established itself as a classic, a symphony perceived as shattering, exalted and 'wholly above discussion,' featuring a last movement that is 'without doubt the most successful masterpiece' in the symphonic medium.2 While down to earth 20th-century analytical studies of the 'Jupiter' Symphony inevitably set deified views of the work into welcome relief, they cannot obscure the fact that a large proportion of 20th-century commentators are to all intents and purposes in awe of it, especially its famous finale.3

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