Of course! I thought so too :)

Good catch!

And the fact that he turned it into a little fugato must have been a reference to Symphony 41?

I love it when he quotes Mozart ❤

Agreed about Beethoven and Hummel. Beethoven took Classicism absolutely as far is it could possibly go, but Hummel fully embraced the bud of Romanticism, and did so fairly early, as much I think as Schubert did. Agreed about Mendelssohn too, who was relatively conservative harmonically and effectively remained a lifelong Classicist in accordance with his early training; still, I adore Mendelssohn.

Agreed on everything you said but it sounds like you're throwing shade at my favorite composer, Mendelssohn. He was definitely harmonically conservative as the previous comment said but I think he was genuinely one of the most unique composers we've seen. He so effortlessly blended a classical foundation and principles with romantic themes and ideas and in turn created very conservative music yet packed with so much emotional intensity. You may call him harmonically sterile, but simply listen to the yearning, sentimental opening theme of his first quartet or the absolutely tragic, grief-stricken fourth movement of his sixth quartet, and compare that to the emotional intensity of, let's say a Mozart string quartet? It's quite literally a perfect blend of classicism and romanticism. There's nothing particularly "experimental" about his music, and yet I genuinely believe it reaches a level of emotional intensity rivaled by few composers. I think the way I would sum it up, Mendelssohn was such a fantastic classicist that it made him a fantastic romanticist. He found his style and didn't need to go anywhere beyond that.

The more you listen to him, the more you delude yourself into enjoying his music

@@Whatismusic123

@@Whatismusic123

If he was mozart's pupil he clearly learned nothing from him when it came to composition. This is more akin to CPE bach and his successors than mozart.

What's so bad about it?

@@sabersalsh1200 E-natural is the more natural option, (no pun intented), it would create a Gminor6 chord, rather than retroactively changing the G minor chord into an Ebmajor7 chord. It also would allow for a natural sequence to develop and enter the next part of the piece, the sequence consisting of F, E - G, F - Ab, G - Bb, Ab, - C, Bb - F

@@Whatismusic123

You don’t know what music is. The e flat doesn’t sound bad, probably sounded better in whatever well temperature Hummel used back then.

@@TheLifeisgood72 temoeraments don't do anything. There is no discernable difference between something like 12 tet and well temperament. It's just pseudoscience.

This person is a troll, just ignore them

Undoubtedly H was a good musician but there is always the feeling that sth is missing amidst the tons of notes he wrote. This sonata is way to long for the ideas it contains. The main theme f.i.is just a basic harmonical cliché.

​@@christianwouters6764who cares if it's a harmonic cliche, the theme is good.

@@Whatismusic123

Thank you for your comment! Your organ playing is lovely, by the way!