Wolfgang Amadeus Mozart, the second Viennese classicist, a composer of genius, developed a unique style – easy and transparent, perfect and thorough. Throughout his life, Mozart was preoccupied with the genre of symphony; he composed about 50 of them. Among his later symphonies, C major (Linz), D major (Haffner), D major (Prague) stand out. Mozart- symphonist’s path culminated in summer of 1788. In six weeks, the composer wrote three symphonies: Es major, G minor and C major (the latter known as Jupiter). Mozart’s last symphonies are significant in the history of instrumentation and are considered to be the most perfect 18th-century symphonic works. Symphony No. 39 in E flat major is unusual in several respects. There are no oboes in the score, which means that special attention is paid to the clarinets. Also, the introduction (Adagio) is livened up by the power characteristic of the French overtures, majestic double-dotted rhythm and rich harmony. Without revealing what will happen next, the composer creates suspense: as if teasing the listeners, he moves away from the main key, but deceptively and unexpectedly introduces to Allegro. Both the calmly flowing second movement (Andante con moto) and the lyrically swift third movement (Menuetto. The Allegretto – Trio) resemble the mood and energy of the middle movements of the symphonies No. 40 and No. 41. And the witty finale is unique in that it is based on a single, scrupulously crafted and exhibited theme.

Mozart’s striking opus is performed by the Lithuanian Chamber Orchestra, conducted by maestro Vilmantas Kaliūnas.