The "Great Fugue" Op.133: Beethoven's "Art of Fugue"

Kirkendale, Warren

doi:10.2307/931606

Cited by 5 publications

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“…12 Em outro trabalho, Grew (1931b, 505) faz uma relação do processo de modificação perpétua do tema principal com uma espécie de leitmotif ao modo wagneriano. 13 Kirkendale (1963) identificou a origem do ritmo da abertura da Grande fuga, em um livro do professor de Beethoven, Theodor Albrechtsberger. Segundo Kirkendale (1963, 17), durante o processo de composição da Grande Fuga, Beethoven copiou, em seus esboços, "quase todos os exemplos musicais que Albrechtsberger dá para o 'Haupt-figuren'" (Johann Georg Albrechtsberger, Griandliche Anweisungzur Composition.…”

Section: O Tema Da Grande Fuga Op 133unclassified

Quarteto de Cordas nº 3 de Alfred Schnittke

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2021

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Este estudo é uma análise do processo composicional intertextual de Alfred Schnittke no seu Quarteto de Cordas nº 3 (1983). O objetivo da análise é compreender como Schnittke abstrai elementos musicais de obras de outros compositores (“textos”) para reutilizá-los em seu Quarteto, especificamente o tema da Grande Fuga op. 133 de Beethoven, um motivo do Stabat Mater de Orlando Di Lasso e o monograma DSCH de Dmitri Shostakovich. Para tanto, este estudo discorre sobre: o uso de citações e alusões segundo Schnittke; a gênese e a estrutura do Quarteto de cordas nº 3; e a forma como os textos apropriados por Schnittke são resignificados em sua obra. A análise demonstrou que Schnittke realiza diversas transformações nos textos abstraídos para adaptá-los ao contexto sonoro e estrutural do Quarteto de cordas nº 3.

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Section: O Tema Da Grande Fuga Op 133unclassified

Quarteto de Cordas nº 3 de Alfred Schnittke

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2021

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“…to the Groβe Fuge, he purports that "with the word recherchée Beethoven underlined his intention 'to employ all' the artifices 'at once in a single fugue.'" 43 Scholars Philip Radcliffe, Michael Steinberg, and Joseph Kerman, on the other hand, apply the phrase to the music itself, rather than arguing that it has a particular historical meaning.…”

Section: Grande Fugue Tantôt Libre Tantôt Recherchéementioning

confidence: 99%

“…Chua, The Galitzin Quartets of Beethoven, 212.28 Hatten, Interpreting Musical Gestures, Topics, and Tropes,[39][40][41][42][43] Ratner, The Beethoven String Quartets, 222. …”

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Beethoven's Janus-faced Quartet: Opus 130, the Groâe Fuge and the Allegro

Weinberg¹

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When I began this project, I had little notion of the enormity and complexity of my chosen topic. Without the guidance, encouragement, and patience of my advisors Yonatan Malin and Neely Bruce, I would surely have lost my way in the Beethovenian wilderness. I would also like to thank my family and friends for their unwavering love and support, and in particular my father, whose enthusiasm for music of all kinds first inspired me to play and to listen. fugal finale with the sonata-rondo Allegro? Such a biographical question is difficult to answer with absolute confidence, though historical evidence suggests that a mixture of financial inducement, pragmatism, and artistry influenced Beethoven's decision. As Alexander Wheelock Thayer notes in his biography of the composer, "Mathias Artaria, the publisher, who seems in this year [1826] to have entered the circle of the composer's intimate associates, presented the matter to him in a practicable light," offering to "remunerate him separately" for the publication of the Fugue as Op. 133. 2 Drawing on an account of Beethoven's fierce disappointment after the B-flat Quartet's premier, Michael Steinberg assures the Fugue's supporters that "Beethoven of course never doubted the intrinsic quality of his fugue, only its function in the context [of the quartet]." 3 To this, Joseph Braunstein adds that the composer had previously demonstrated a willingness to revise his work at his friends' request, citing his changes to the opera Leonore twenty years earlier. Pragmatism, Braunstein argues, won the day: "He probably realized that the audiences of 1826 … could not understand the language he spoke in the finale of the B-flat quartet," yet "he wished this work to be accepted by the musical world at large." 4 Artaria's offer both enabled the quartet to succeed and earned him extra income. Braunstein goes on to say that Beethoven "did not consider this task a chore" and that on the contrary, the composer "wrote this movement in good spirit and even penned it with gusto." 5

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Rehearsal Letters, Rhythmic Modes and Structural Issues in Beethoven’s Grosse Fuge

Cooper¹

2016

Nineteenth-Century Music Review

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Beethoven’s Grosse Fuge, published in 1827 after being detached from his string quartet Op. 130, appears to be the first work ever to have been allocated rehearsal letters. These were added by Beethoven’s friend Karl Holz at the request of the composer and his publisher Mathias Artaria. The rehearsal letters can be compared with the work’s structure, which is best perceived as dividing into three main ‘movements’, the third being much the longest. A different approach is necessary for analysing each of the three. In the first, reference to medieval rhythmic modes helps to clarify Beethoven’s procedure. The second is essentially a fugue, albeit unusually homophonic. The third is multi-partite but mainly in $$\raster="rg4"$$ , and includes a 32-bar theme that returns intact – the only substantial exact reprise of material. This movement also include two fugal expositions. Thus there are four full fugal expositions altogether, and each is a double fugue in which the exposition is more or less regular. Holz’s letters match up well but not perfectly with the structure of the work.

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The "Great Fugue" Op.133: Beethoven's "Art of Fugue"

Cited by 5 publications

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Quarteto de Cordas nº 3 de Alfred Schnittke

Quarteto de Cordas nº 3 de Alfred Schnittke

Beethoven's Janus-faced Quartet: Opus 130, the Groâe Fuge and the Allegro

Rehearsal Letters, Rhythmic Modes and Structural Issues in Beethoven’s Grosse Fuge

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