However, Beethoven’s pursuit of receiving Mozart’s instruction did not stop there. Since Mozart died before he could teach Beethoven, Beethoven returned to Vienna once again to seek a new teacher, Joseph Haydn, who was another brilliant Classical composer. Beethoven hoped he could “receive Mozart’s spirit from Haydn’s hands”, but sadly, Haydn wasn’t such a great teacher. According to Beachy, a previous composition major at West Virginia University who studied Beethoven’s influences from a pedagogical standpoint, Haydn neglected to fix Beethoven’s mistakes and bad compositional habits, which fostered negative feelings between the student and teacher. However, it was impossible for Beethoven to learn nothing from Haydn’s teachings. As historian
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For example, numerous similarities can be found between Mozart’s Sonata No. 14 in C minor, K. 457 and Beethoven’s Sonata No. 1 in C minor, Op. 10. Despite the fact that this is only one comparison between the the pieces of the two composers, it demonstrates numerous ways Mozart influenced Beethoven’s music. Although the pieces contain different notes, the two characters they depict are nearly identical. Characters can be created with a multitude of different elements: dynamics (volume), phrasing (tapering of phrases, voicing certain notes, building up to the peak of the musical line, etc.), articulation (how a note is played), and many others. Throughout the first couple lines, Beethoven stayed consistent with Mozart’s mood, tone, and character changes. Not only did he imitate the emotional side of Mozart’s sonata, he also copied the interactions between the two characters. The melody passes back and forth between the two unique characters in both pieces, with the shy one always responding to the accusations of the angry one. The first character can be defined by its loud and brash notes, usually played with a heavy arm and fast key speed. These factors make the character out to be angry and temperamental, always shouting at the second character. The second character sounds quieter and gentler, creating a shy and meek personality. The interactions between the two characters form the main theme of the piece, appearing in the A section of both
For example, numerous similarities can be found between Mozart’s Sonata No. 14 in C minor, K. 457 and Beethoven’s Sonata No. 1 in C minor, Op. 10. Despite the fact that this is only one comparison between the the pieces of the two composers, it demonstrates numerous ways Mozart influenced Beethoven’s music. Although the pieces contain different notes, the two characters they depict are nearly identical. Characters can be created with a multitude of different elements: dynamics (volume), phrasing (tapering of phrases, voicing certain notes, building up to the peak of the musical line, etc.), articulation (how a note is played), and many others. Throughout the first couple lines, Beethoven stayed consistent with Mozart’s mood, tone, and character changes. Not only did he imitate the emotional side of Mozart’s sonata, he also copied the interactions between the two characters. The melody passes back and forth between the two unique characters in both pieces, with the shy one always responding to the accusations of the angry one. The first character can be defined by its loud and brash notes, usually played with a heavy arm and fast key speed. These factors make the character out to be angry and temperamental, always shouting at the second character. The second character sounds quieter and gentler, creating a shy and meek personality. The interactions between the two characters form the main theme of the piece, appearing in the A section of both