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There is no introduction. The first phrase of Mozart's 40th Symphony is almost as famous as Beethoven's knock on the door of fate, which also has no introduction. Above the swinging tremolo background of the viola, the violin's singing theme gradually unfolds, like a confession in a dream, forming this The chromatic descent of the theme often represents sighs and sadness in Western music, and is matched with the trembling viola tremolo to establish a melancholic atmosphere. Under the leadership of the violin, the woodwind instrument group (flute, oboe, bassoon) entered in unison (14 bars, 00:16), and then the whole band played in unison, and the pathos sound broke through the melancholy shell. On the second beat of bar 20, the violin plays the theme again (00:23). This time the viola tremolo enters 2 bars later than the beginning of the movement, and then there are the sounds of oboe and bassoon floating on the string instruments (violin, Over the viola, cello), the rhythm quickly developed into a firm pace, the feeling of tension gradually increased, and the sound of the band was like a huge wave boiling. After a short pause, at bar 44 (00:49), the second theme enters, with the same downward movement, but the restlessness and excitement disappear, and gentle sadness takes over the theme. The flute and oboe play again, and soon the third theme Elements of a theme reappear, and the tension is revived. At bar 100 (01:54), the exposition ends. At this time, according to convention, it should be repeated, that is, the previous part should be played again from the beginning of the movement.

After the repetition of the presentation part, after a short transition, the development part begins. From measure 103 (3:50), although we can still hear the sound of the first theme, it is different from the beginning of the movement. In contrast, the auditory feeling has changed a lot. This is because the theme has been transferred from the original G minor to an F-sharp minor that is very far apart in tonality. Because of this tonality shift, it gives the listener a feeling of instability. , the music then tries to return to the original G minor through constant shifting of keys, and we will hear the first theme with constantly changing colors. At the same time, the bassoon is accompanied by gloomy harmony. At bar 113 (04:05), the cello's rich voice plays the theme, which brings the band's explosion. The harmony of the flute and oboe is quite sharp, and the violin and cello parts play alternately. The theme and accompaniment bring the climax of the entire movement. The first theme is transformed and appears in various parts. The bass string instruments gradually disappear, leaving only the violin on one side, the flute on the other side, and the oboe on the other side, talking to each other. The first theme The shapes are still clearly audible, and the bassoon harmonies are full of plaintiveness. At bar 152 (04:48), the band became excited again, and the horn played a rhythm like a heartbeat. At the end of the development section, the flute played some sound patterns that looked like the second theme without development (04:57).

The recapitulation begins in measure 164 (05:02). The recapitulation is to modulate the presentation part again and change it. The first theme appears almost as it is, the only difference from the beginning of the movement is the plaintive harmony of the bassoon. Later we heard similar processing techniques as the exposition, but in the recapitulation, various developments of the theme may be further explored. The recapitulation is 135 bars long, accounting for almost half of the total length of the movement, and Mozart's genius processing techniques can be seen one by one. exhibit. The first theme was greatly developed, and the emergence of the second theme did not alleviate the sadness of the first theme at all. Instead, it also seemed melancholy and gloomy, and the movement ended in uneasy imagination.

The first movement is a typical sonata form, consisting of presentation, development and recapitulation. The presentation part has a first theme and a second theme, and the two themes contrast in sound. The development department develops variations on the two themes, using the motives provided in the theme to develop. Here Mozart does not develop the second theme, but emphasizes the pathos of the first theme. The recapitulation plays both themes again, with variations.