Mike Leghorn to Daniel Christlein:

>Daniel, thanks for sharing this fascinating story with us!  As you may
>know, I was the "village idiot" who fanned the flames of the fire.  I feel
>a little vindicated now!  I can't help but believe that someone must have
>thought of the possible connection between Mozart's Jupiter and Beethoven's
>Late Quartets.  This is the first I've heard of it.  Very exciting!

Those works (Mozart's and Beethoven's) don't share the same motive!!!.  So
tell me someone please where the connection lies?

>Since this topic has been brought up again, I'd like to share another one
>of my (hair brained?) findings with the list: In the finale of Beethoven's
>Eroica, just after the frantic introduction, measures 12 through 19 fit
>nicely with the opening measures of the Jupiter finale.

As will fit *every* four note melody that may be harmonized with the
I-V-V(7)-I progression.  Do an experiment: play together the "basso"
(Beethoven) and the Mozart theme, and sing at the same time the first
four bars of the Rondo of Mozart's 3rd Violin Concerto (one measure per
note).  There are hundreds of melodies that can fit for many many bars
with Beethoven's theme (which was originally the bass of a Kontretanz)
and even with Beethoven and Mozart's themes played together.  We fall
again in the same topic: the similarity that you point is very evident,
but what's the conclusion that you deduce from it?.  That there's a
deliberated connection?.  The response in my opinion should be "no",
because (according to your criteria) every composer that invented a
melody fitting with the harmonic scheme "tonic-dominant-dominant-tonic"
would have been quoting the "Jupiter" Symphony's finale.

>Have a field day everyone!:-) .)

Thanks. Sorry for ruining up *your* field day, Mike!!:-)

Pablo Massa
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