Pablo Massa replies to me:

>>Actually, I think that the Eroica was somewhat of a tribute to Mozart.
>
>And the little rascal of LvB wanted us to believe that he wrote it for
>Napoleon!!!.  Now I understand why did he rip off the cover sheet...

Oh, I forgot, Beethoven's 3rd is so plain and simple -- it's a tribute
to Napolean, and nothing more.  I should know better than to allow my
imagination to participate in my listening experience, and I should know
better than to share my thoughts and insights.  (I can be sarcastic too).

>The formal complexity at the 1st movement of the Eroica is related to some
>specific structural issues of the classic sonata-form scheme.  I don't see
>what does it has to do with the finale of Mozart's 41, which is mainly a
>big fugue in quadruple inverted counterpoint.

What was I thinking?!? I guess I let my imagination get the better of me
again.  Next time I try to understand music, I'll simply consult the
authorities, rather than try listening to music.

>>Beethoven, much later in his career, used four notes again as a basis for
>>counterpoint, in his late String Quartets, but this time, the four notes
>>were taken directly from Mozart 41st.
>
>Why???.

I have no idea why. Why is it so important to know why?

>An exact match doesn't means that Beethoven took the theme from this work.
>Coincidences do exist, and this seems to be the most probable explanation.
>Rememeber that those four notes at Beethoven are just a part of a longer
>theme, which has its own character.  Beethoven used to derive works from
>other guy's themes, but I think improbable that he would wanted to derive
>a theme from a four note cell (even if the original owner was Mozart).

I was very excited when I heard and discovered this similarity, and I was
excited about being able to share my discovery with this group.  However,
much to my disappointment, it seems like the ideas I've offered have
encountered nothing more than sarcasm, hostility, and general
closed-mindedness.

Btw, it's not just four notes, it's eight notes.  Listen (if that's
possible) to the first eight notes of Beethoven's op.  132, then listen
to the 3rd movement of Mozart's 41st (the middle, trio section).  If you
aren't struck and impressed by the similarity, then I recommend that you
take up another interest besides music.

Mike