The "Jupiter" Symphony: when Mozart challenged the musical gods

Wolfgang Amadeus Mozart was born in Salzburg, Austria on this day in 1756.

I have had an obsession with the finale of his 41st and final Symphony for many years now.

This is when the composer triumphantly goes all out with all of his techniques. It's almost a fugue worthy of Bach himself, working five different themes together. He had used Baroque counterpoint in other works late in life: the Requiem, the Magic Flute (especially the Overture) and of course the Adagio and Fugue, K.546.

His music was also becoming heavily dramatic, especially in his unfinished Requiem. Had he not have died much too soon, he would've started the Romantic era of music decades before Beethoven did. (He already was part of the Sturm und Drang movement since the 25th Symphony, in G minor.)

Also, the chromatic stuff that began the development in the final movement of the 40th symphony? (See Leonard Berstein's commentary, beginning at 7:48.) He uses note of the chromatic scale except G, since it was a symphony in G minor and he had used the note enough. Almost a tone row à la fellow Austrians Arnold Schoenberg and company, but with a few repeated notes. And he had done it at other times.

I mean it; Mozart was really getting good near the end.