Sara Evans - I Could Not Ask for More
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“Nobody is able to do everything: joking and shaking, causing laughter and touching deeply, and everything is equally good as Haydn can do,” wrote V. A. Mozart, G.’s younger contemporary, who had an undeniable impact on G.’s later work. In turn, G. anticipated the figurative and stylistic. features of the work of L. Beethoven. In separate productions. G. reflected sublime philosophical-focused meditations, in meaning and in means of embodiment directly related to Beethoven's work (Largo symphonies G-dur, 1787; Largo e sostenuto sonatas for piano no. 37 D-dur). The character of some themes also prompts a comparison with Beethoven’s work. The prototype of the Beethoven theme of fate arises in the first part of the sonata for fp. Es-dur (1789-90). G. preceded some expressive means of romanticism, especially in the field of harmony (Andante strings.Quartet B-dur, 1803; introduction to the creation oratorio). With the exception of the triptych of early symphonies (“Morning”, “Noon”, “Evening and Storm”, 1761, written, apparently, not without taking into account the tastes of P.A. Esterhazy), symphony No. 26 (“The Walls”), instrur. Passion "Seven words of the savior on the cross", G. did not create software (in the proper sense of the word) proizv. However, many others. his writings subsequently received names, indicating the ease of the emergence on their basis of more or less justified subject and subject associations.