Unlike symphonies by composers which are their ‘last’ and imply that death prevented them from writing another, Mozart wrote his set of three symphonies in 1788 – a good three years before death. Symphonies weren’t making him money, and so he didn’t write 42 onwards.
The last three can be seen as a set – a formal and grand opening in 39 (in E flat major), with 40 (in G minor) as a sort of elongated slow movement, and 41 (in C major) concluding the trio of works. This is particularly apt given that 40 and 41 do not have formal introductions as was common in the Classical symphony as you can see in the opening movements of other contemporary symphonies.
Symphony 40 is one of two minor symphonies (the other, 25, also in G minor) was composed in 1788, and Mozart rewrote part of it after a poor first performance, including clarinets and rewriting the other wind parts. The opening movement has no grand opening but is subtle, dark, with a repetitive sighing motif – this was once a GCSE set work.
The second movement is in E flat major, and somewhat reminiscent of his first symphony. The third movement – a traditional Minuet and Trio – opens similarly to that in Symphony 25, with a syncopated opening motif.
The final movement opens with a rising arpeggio finished with the sighing falling semitone from the first movement. There’s a lot of chromaticism before the finale finishes.
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