_Savage_

Nahhh, that’s so unprofessional

Im sure u played it fine

​@@ameliadesecka904thanks amelia but i played it in half speed. but don't worry because i'm planning to get it to the right speed during summer

​@@TouchingGrass101and I think whether to take this sonata for the final exam ...

agree

sonata op 22

You need to specify; if anything, the famous Lestat section from the slow movement foreshadows to my ears the sonorities of Schubert.

@@elaineblackhurst1509 what? Play 3 Haydn sonatas with contrasting topics and then play some early Beethoven sonatas and the influence will be apparent. This is not a secret it’s common knowledge to any pianist. I’m just saying this is a good example. 🙄 relax maestro

@@dozie85 Maestra.

Which became the motif for the 5th symphony

and sonata op 22

Which one?

@@simoneliloni6117 I was talking about the fate motif

@@yuk_notkim7658 I got it now. Thanks

Beethoven first met Haydn* in 1790 in Bonn on his way to England; the last time in 1808 in Vienna at a performance of The Creation conducted by Salieri. It is 99% certain Haydn did not attend either rehearsals or the first performance of Beethoven’s 3rd symphony, in spite of what goes on in the ‘Eroica’ movie. * Who is Hadyn (sic) ?

I don’t think Beethoven stole the motif, but he did know his Haydn whose music he studied carefully; he assimilated what he learned,* then did his own thing. Similarities with the famous ‘fate’ motif that opens Beethoven’s Symphony 5 (1808) are not difficult to find in Haydn; besides the example you spotted from this sonata, check out the following works by Haydn: Symphony 28 (1765) - first movement. String quartet Opus 50 No 4 (1787) - first movement. Additionally, in terms of mood rather than actual notes: Missa in tempore belli (1796) - timpani solo from the Agnus Dei (Beethoven again recalled this movement much later in his Missa solemnis). The above is not really surprising as both Haydn and Beethoven shared a common compositional technique of working intensively with powerful rhythmic motifs that offered enormous possibilities for endless investigation and development; it’s a procedure found much less in Mozart who did things differently, though Mozart also uses the ‘Fate’ motif in the opening movement of his Piano Concerto No 25 (K503). * Forget the nonsense often quoted when Beethoven said: ‘I learned nothing from Haydn’. This comment - invariably taken out of context - referred *specifically and only* to the counterpoint lessons Beethoven took with Haydn on and off for about fourteen months between his arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794. Outside this context, Beethoven owed a profound debt to Haydn, though could never properly bring himself to acknowledge it.

Beethoven was writing for a generally learned audience where that rhythmic transition was ubiquitous in music of the time. The music of this period was syncopated in this manner and some other. In fact, Beethoven might have even been mocking or parodying the prevalence of such a cliché in his Fifth but people never caught on because they treat him and that Fifth Symphony so seriously. Mozart's 25th Concerto also used this.