Symphony No. 39 (Michael Haydn) 41 in C major (also written in 1788). The last movement is a vigorous fugato, something else this work has in common with Mozart's Symphony No. 41 and Haydn's own Symphony No. 28 in C major which Mozart certainly studied. Unlike the "Jupiter" Symphony, in this symphony the fugal theme is at its first instance accompanied by its usual countersubject: Robbins Landon speculates that Mozart also studied Haydn's No. 39 before writing his No. 41, since he "often requested his father Leopold to send him the latest fugue that Haydn had written." (Robbins Landon, 1967) Whether Mozart knew Haydn's later
Symphony No. 7 (Shostakovich) and religious sentiments, the authorities were no longer suppressing Orthodox themes or images. Yet for all the importance he placed on them, Shostakovich may have been right in writing the symphony without a text, in view of the censorship that would eventually be reimposed. Something else Shostakovich played for his composition students were the 12 variations of what later became known as the "invasion" theme. This has been taken historically, especially in the West, as portraying the invading "Wehrmacht", and was listed as such in the official program. For many years this was considered irrefutable. New information now casts some