-Overture to “Don Giovanni” KV527 (1787)
This overture concentrates, in a few lightning pages, all the dramatic and metaphysical expression
dramatic and metaphysical expression of the opera. In the form of a sonata allegro, it is in a way the abridged version of the drama, drawing the psychology of its characters by a theme that characterizes them with strength and clarity.
– Concerto No. 20 in D minor KV466 (1785)
While in many of Mozart’s works, the drama hides, it bursts here with a power, a vigor, a tragic intensity.
power, vigor and tragic intensity. The second movement, “Romance,” is indeed a seraphic melody, but at its heart there is a tempestuous and pathetic episode. As for the finale, if the composer’s will to overcome the ordeals, not to “admit defeat”, prevails in the end in a joyful coda, one will not be able to forget what was previously breathless and oppressive
-Symphony in C major “Jupiter” KV551
On August 10, 1788, Mozart completed his last symphony, which posterity has named “Jupiter.
called “Jupiter”. Along with the 39th and 40th symphonies, it is part of a trilogy about the genesis of which we know nothing.
A brilliant composition in which Mozart demonstrates a remarkable science of counterpoint,
under the obvious and recent influence of the discovery of Johann Sebastian Bach.
The first movement is heroic: the resources of the double meter, its multiple
oppositions and combinations in sonata form are admirably used.
Also built in sonata form, the andante in F major is of great rhythmic complexity.
rhythmic complexity. Its clear and ardent song resounds, giving way abruptly to a dramatic episode in D minor. Then it resumes, completed by a third theme, first airy, then nonchalant, sensual. It is then peace that reigns. Tight counterpoint and
chromaticism of the minuet. The finale is grandiose, a masterful and dizzying synthesis of sonata form and fugue. Mozart’s genius seems to have touched the boundaries of the art of sound.

Translated with www.DeepL.com/Translator (free version)