I got the highest degree of English I can get, but still some things pass me by. For starters, there is the obvious rapacious theft Beethoven committed. Indeed he made it his own, but the germ came from Mozart Beethoven op. Originally Posted by Victor Don't forget the Adagio in B minor! Not too much "thunderous bass" in Mozart, but when he uncorks it, it really gets your attention. Originally Posted by AZNpiano.
Whenever Mozart ventured into a minor key, the result is really awesome. Of course, the C Minor Fantasy is just awesome, too. Mozart is not all light and fluffy.
There's a real dark side to him. Mozart's fifth Violin Concerto, the last movement, when I heard it I was like wow, really didn't expect that from him. It also has some fantastic Beethoven-like moments! Like you, Victor25 also missed my tongue firmly planted in my cheek. Unlike you, he didn't degenerate into your usual anti-social snottiness. I'm no music historian, so I may well have this all wrong , but the K simply sounds fuller, like Mozart was either exposed to bigger pianos, or was anticipating them. Like you, Victor25 also missed my tongue firmly planted in my che [b]ek.
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In the same key too Ab. Not to mention the theme in the first movement of the Mozart, over the broken G-octave, which is very similar to the Pathetique's allegro.
Originally Posted by Victor25 Ow Oh, don't worry. No offense taken. I frequently miss 'humor' like that myself!
Or, indeed, Don Giovanni! Have you ever tried K. Even compared to , it's orchestral in scale and quite impressive. It has a lot of octaves too. Our Most Popular Forums. Digital Pianos - Electronic Pianos - Synths Piano Forum.
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However, the sounds of the triad occur on weak parts of the beat while the embellishments occur on stronger parts of the meter. This creates an ambiguity since the aggregate could also be understood as a German Augmenmted chord SD resolving to D in the second bar. Toward the middle of this first section we arrive at G Major, the Dominant which is weakened by the preceding modulations.
The section ends on V of B minor, the relative minor key of D, the tonality of the second section. A single, repeated f makes the transition.