How Does Beethoven Come To The Third Movement?

Finally we come to the third movement, ‘Rondo: Allegro’. The sonata closes with a 2/2 movement back in the tonic key, C minor. The main theme resembles the second theme of the ‘Allegro’ of the first movement. It’s melodic pattern is identical for it’s first four notes, and it’s rhythmic pattern for the first eight notes.
There is also a modified representation of the melody from the second movement, helping to connect all three movements together. Beethoven shows great use of the classical Piano Sonata. He also shows us how he was able to use and develope ideas already put forward by other composers such as, Haydn and Mozart and developes them further, so that his music and compostions were up-to-date with the times and that he could show
The second movement, ‘Adagio cantabile’, makes great use of a theme very similar to that of the spacious second movement of Mozart's sonata. However, Beethoven's sonata uses a unique motif line throughout, a major difference from Mozart’s creation.
The second movement, ‘Adagio’, opens with a famous cantabile melody. This theme is played three times in Ab major, separated by two modulating episodes. The first episode is set in F minor, further modulating to E-flat major before returning to the main theme. The second episode begins in Ab minor and modulates to E major. With the final return of the main theme, the accompaniment becomes richer and takes on the triplet rhythm of the second episode. Then there is a brief coda at the end.
We then move to the development where subject two can be heard for the second time. This is explored by Haydn as he includes dialogue by using imitation and contrasting dynamic. He also further develops the subject as he modulates through many keys; C, F, Bb, g, a, d, C, g, C, and finally back to F, the
Ludwig van Beethoven was the youngest of the three composers, but this does not mean he lacked musically or intellectually in any way.
Beethoven’s Piano Sonata No. 8 in C minor was written in 1798 and was published the following year. Beethoven dedicated this particular work to his friend, Prince Karl von Lichnowsky.
Beethoven opens his Piano Sonata in the first movement with a slow introductory theme, marked ‘Grave’, which means slowly, with solemnity. The allegro section is in 2/2 time, in the tonic key of C minor and modulates, like most minor-key sonatas of this period, to the mediant, which is E-flat.
Subject 2 is in the key of Eb minor, which would have been an unusual mode- mixture. Beethoven uses some of Haydn's compositional techniques by returning to the introduction section twice, at the beginning of the development, and in the coda.
In this essay, I will discuss Sonata form, Haydn’s Piano Sonata No.23 in F major, Mozart's Piano Sonata No.457 in C minor and Beethoven’s Piano Sonata No.8 in C minor. I will then discuss how these musical works are an expression of the late eighteenth