DAILY DOSE of BEETHOVEN (June 9, 2020)
In Part 7, we presented the key breakthrough of the Grosse Fuge in a combined musical/philosophical/poetical analysis. We also compared it to the analogous moment in the Finale of the Ninth Symphony.
Both works continue to a victorious conclusion in their own unique way. Both celebrate creative discovery.
In the Ninth, two themes—one associated with Joy most beautiful of Gods sparks-- and the other with "Be embraced, O ye millions", join in a great double fugue. After that double fugue, we hear variations of those two ideas, in playful succession.
After the breakthrough in the Grosse Fuge, we hear a strange section that just seems to rest on a series of isolated trills. Where does it come from? Closer examination reveals that it shows a new and unexplored potential in the intervals of the first subject. It is then followed by a repeat of what we called the “celebratory dance” in 6/8 time. Twice now, a breakthrough in the Grosse Fuge has been celebrated with the same idea.
After a playful extension of this dance, the music abruptly stops, and we hear something puzzling, though familiar. To our amazement, the opening Overtura is being repeated—except in the reverse order! Now instead of the overture moving backwards from the last variant of the main subject to the first 4 3 2 1, as a puzzle, it proceeds with those four transformations in the same order they occur in the piece, 1 2 3 4. All should be clear (although it may take us mere mortals a few listenings ).
The last theme in the work, is another short dance in 6/8 time, with both fugue subjects played in their entirety, and in perfect resolution and harmony, as they dance off the stage. Compare it to the exuberant last statement of the Ninth. (We provide the audio that makes this all clear in a way that words cannot capture.)
Audio: https://soundcloud.com/user-385773006/the-grosse-fuge-and-the-ninth-symphony-the-grand-finales
A private premiere of the original version of Beethoven’s String Quartet No. 13 in B♭ major, Op. 130, with the Grosse Fuge as the finale, was given by the Schuppanzigh Quartet. When Beethoven asked for the audience reaction, he was told that they requested encore performances of inner two movements, including the Cavatina (see April 29th post). When he inquired about the Grosse Fuge and was told that no repeats were requested, he exclaimed: "asses and cattle!" The audience as well as the players had great difficulties with the movement, finding it nearly incomprehensible.
But Beethoven’s comment is not a display of disdain on his part for the people—rather the opposite. His last works, including the Grosse Fuge (completed in 1826, the year before his death), far from showing any trace of decay or used-up ideas, continue to push the boundary of human imagination. He music constantly asks us to stretch the boundary of our reason and creativity, so that we are able to think clearly. Beethoven had said that if his music was understood, there would be no war. Today, where so many news outlets seek to manipulate emotional responses, learning to "Think like Beethoven", is even more necessary. So, we thank all the readers and listeners who have stuck with such a challenging but rewarding subject.
Before we sign off, we share with you the orchestral version of the Grosse Fuge, conducted by the inimitable Wilhelm Furtwangler: