SYMPHONY IN G MINOR (KOECHEL NO. 550)
I. Allegro molto II. Andante III. Minuetto; trio IV. Finale: allegro assai
It seems as if Mozart lost his classic serenity whenever he chose the key of G minor. In the immortal symphony there is, except in the beautiful, characteristically Mozartian andante, a feverishness, an intensity not to be found in his other symphonies; and so in the perfect flower of his chamber music there is a direct, passionate appeal of one theme (G minor again) that reminds one of the terribly earnest Verdi of the ’fifties.
Some years ago, a prominent writer about music, a wild-eyed worshiper of Liszt and Wagner, published the statement that this symphony is interesting only in a historical sense. His idols would have been the first to laugh at him. There are few things in art that are perfect. The G minor symphony is one of them. Its apparent simplicity is an adorable triumph of supreme art.