I know that music students get tested on their skills at music analysis but if any professor gives the Grosse Fuge as an assignment then he must be pretty mean since there's virtually no definitive way to analyze this. I looked at 4 published sources and none of them agreed for the most part, and in my personal final analysis I deviated drastically from the experts. So if any readers use today's post as a source for some assignment - expect a "D"! However the way I broke it down makes the sense to me so that's how I'll present it. Because this is a "Grand Fugue" many writers use fugue terminology such as subject, counter-subject, counter-exposition, stretto, episode, etc....I'm going to analyze it in a somewhat less technical fashion based on what I hear and not so much what I can circle in the score....besides one could say the whole thing is just a massive variation of the first 10 bars....
String Quartet Op.133 "Grosse Fuge" (1826)
Performed by the Takács Quartet, one of my favorite modern quartets.
(The numbers in ( ) refer to the theme number, C = counter-theme, I = inversion. Letters refer to the score sections)
Overture (with 4 main theme subjects)
(1) : note the end trill, also the 1st bar grace motif, Allegro, 6/8, GM
(2) : irregular zigzag shape, 6/8, GM
(3A) : even zigzag w. (3B) countersubject 2nd time), Meno mosso, 2/4, FM (dominant)
(4) : restrained here, but explodes in Part I, Allegro, 4/4, BbM (tonic)
Part I: Double fugue on (4) and (4C). (4C) is derived from (1), Allegro, 4/4
Exposition: Subject entrances, followed by "Codetta" variation
Development:
Pt 1 - 8th triplets, scalar variations, (Letter A)
Pt 2 - big interval leap version of (4), (Letter B)
Pt 3 - Cross-accents, hybrid triplet/duple rhythm, (Letter C)
Pt 4 - (4C) triplets vs (4) straight duple, (Letter D)
Part II: Double fugue on (3), Meno Mosso E Moderato, GbM
Exposition: Subject entrances
Development:
Pt 1 - several (3B), (3A) entrances
Pt 2 - (3B) fragments varied
Pt 3 - (3A) Variations, (3B) become unison, (Letter E)
Part III: MARCH using (2) with "jaunty" counter-theme, Allegro, 6/8, BbM
Part IV: GROSSE DEV w 3 fugue STAGES
STAGE 1. Double Fugue on (1), (2) inverted, AbM (Letter F)
... trill frag of (1) leads to rhythmic unison, (Letter G)
STAGE 2. (1), (2i), BbM…(Letter H)
... trill unisons leading to key change to EbM (Letter I)
...(2) variations; Bar 1 motif, EbM
STAGE 3. (4C), (1) further variation, AbM, (Letter J)
...(1) fragment becomes descending 3 note sequence, (Letter K)
...Reprise of Part II more forcefully, (3B), (1), Meno Mosso E Moderato, AbM,
...Transition w Drifting chords; low trills
Part V: MARCH (recap) (2), Allegro BbM
Part VI Codas
Coda 1, 2nd theme (high slurrs), Bb, (Letter L)
...(2) in cello, pizz
...(1), wistfully, (2), (Letter M)
Coda 2, Reminiscence of previous themes (4C, 3B, 1, 2, March, low trilling), Allegro
...trading (1) trills, (4C) fragment, (Letter N)
Every time I review this analysis I see something I missed - but I have to stop now, it seems to be getting out of control again....
M.A.M. image. |
Some more Grosse Fugue "opinions":
http://www.aeiou.at/bt133-mu.htm
http://www.mattsound.com/grosse.html
http://formandanalysis.blogspot.com/2007/10/beethoven-grosse-fuge-analysis.html
OK...don't expect alot of thought for the next 2 days :)
It's a very good idea to divide the sections with colours to simplify the work. Congratulations for the analysis! :)
ReplyDeleteKraus