discuss mozart's use of instrumentation of symphony 41 allegro vivace?

Symphony n.41 K.551 ‘Jupiter’ in C major was written in summer 1788. It is one of the most beautiful, brilliant, powerful demonstrations of Mozart’s genius and his rational faith in enlightment; and it’s his last symphony.

The score has:
1 flute; 2 oboes; 2 trumpets (not used in 2nd mov); 2 bassoons; 2 horns; drums; strings.

The reference edition I am quoting is the following, lasting about 8 minutes:

http://www.youtube.com/watch?v=noAPeUlOjfc&feature=related

The first tempo ‘Allegro vivace’, in sonata form, starts out without an introduction. A net, powerful shot by the whole orchestra in 1st bar determines the atmosphere, followed by an ascending phrase by violins. This happens twice. On the ‘forte’ of the whole orchestra, drums are supporting strings. The development of first theme is immediate, even before the second one is exposed; the ripresa of first theme is exposed by flute and clarinets, for the variation. Beethoven and particularly Brahms (listen to his 1st piano concerto, 1st mov) reapplied this clever technique. The initial episode lasts about 1’30”.

The second theme is light and enjoyable, exposed by violin, then by bassoon and other woodwinds and contended between violins and flute (twice), then a sharp pause (2’10”) and all the orchestra jumps in dramatically. The episode closes at about 2’40” with strings and bassoons.

At this point, the real development section starts, with modulations introduced by oboes; bridges to come back to tonality are led by strings in fugato form (up until 4’). The ripresa of the first theme is exposed by horns, then oboes and a new dramatic full orchestra entry takes place at 4’30”, with new development. Strings and winds nearly in trio-way lead to a ‘da capo’ and a new repsonse, this time in minor. At 5’45”, the finale comes, in bright assertive form.

He chose those intruments because it was his traditional structure for symphonies; the (extraordinary) way he blended them is impossible to explain. He was Mozart.

Here's a score right here:

http://imslp.org/index.php?title=Symphony_No.41_(Mozart,_Wolfgang_Amadeus)&

And you seem to have forgotten that you have already asked this question a few days ago:

http://answers.yahoo.com/question/index;_ylt=AmF90xKCCJFy6BS6J6O19YLty6IX;_ylv=3?qid=20081206134815AAz4lSt&show=7#profile-info-GKh4KN7uaa

sonata form. right it is a coarse explaination approximately sonata form: a typical sonata form flow contains a 2-area tonal shape, articulated in 3 substantial sections. the 1st area (‘exposition’) divides right into a ‘first team’ interior the tonic and, after transitional textile, a ‘2nd team’ in yet another key (many times the dominant in substantial strikes, the relative substantial in minor ones), usually with a codetta to around the area off. the two communities could contain various diverse themes. In 18th-century music the exposition is almost continuously directed to be repeated. the 2nd area of the form involves the the rest 2 sections, the ‘progression’ and ‘recapitulation’. the 1st many times develops textile from the exposition in one in each of those techniques, shifting with the aid of various keys. in comparison with the exposition, this area is many times one in each of substantial tonal instability and of rhythmic and melodic rigidity. It additionally prepares the structural climax, the ‘double return’ to the appropriate topic and to the tonic key which starts off the recapitulation. This very final area restates the subjects of the exposition, many times interior a similar order; the 2nd team is now heard interior the tonic (probably tonic substantial if the flow is minor), and there could be short-term excursions to different keys. in the previous 1780 the 2nd area (progression and recapitulation) became many times directed to be repeated. After that date this repetition grew to become extra and extra uncommon; the finale of Beethoven's ‘Appassionata’ Sonata furnishes a prior due occasion. To the above define of sonata form could be extra a sluggish creation and a coda. the regular function of the creation is to strike a extra severe or grander tone and to be certain a larger scale of action than could be possible via the Allegro by myself. A coda many times restates the appropriate topic, and maximum codas contain some emphasis on the subdominant, exceedingly if none has got here approximately interior the recapitulation.

Darling, you will have to explain to us why it is that you are taking this course. If you were qualified to take it then you wouldn't need to ask about something as straightforward as instrumentation in a Mozart symphony.

Might I suggest that if you spent twenty minutes doing your work instead of hours finding ways to avoid it this problem might have already been solved. Get on youtube (at the VERY least) and listen to the symphony yourself. Figure it out.

You aren't serious!!??? ......... The sort of question most people could answer in a few simple sentences! I suggest you should have paid more attention to your music teacher! Get a copy of it and listen and do your own homework!