There is hardly any other fugue in the history of classical music that would attract such a long row of controversial and striking epithets besides the renowned work by one of the most influential composers of all time, Ludwig van Beethoven.
The massive one-movement “Große Fugue” is definitely in the row of the most complex and complicated classical creations out there. At the time of its composition around 1823, the critics universally reproved the work, calling it all possible negative names: “incomprehensible like Chinese”, “Armaggedon”, “eccentric”, “a confusion of Babel”, “inaccessible”, “filled with paradoxes”, “an indecipherable, uncorrected horror” and so many more. For the record, it annoyed the composer: Beethoven would scream in irritation “Cattle! Asses!” when he found out that the work was never asked for encore, for he never doubted the grandeur of his unique creation.
Originally, the fugue was part of Beethoven’s string quartet No.13 serving its final movement. However, the publisher of the work miraculously managed to convince Beethoven (which is surprising as a fact) to write a different finale. The fugue was thus published independently in 1827.
The awareness of the fugue’s greatness only came in the 20th century. Like Stravinsky mentioned, the fugue was an absolutely contemporary piece that will remain contemporary forever. Perhaps it was too contemporary for its time?
The music critics and researchers never came to a consensus in terms of the fugue’s analysis. Dozens were trying to break down its structure and stylistic patterns but no universal description emerged. Beethoven’s fugue will keep fascinating musicians for years to come, remaining one of his biggest achievements and a truly challenging piece to master.
 |
| Your face when you are trying to analyse Beethoven's Große Fugue |
Originally, the fugue was part of Beethoven’s string quartet No.13 serving its final movement. However, the publisher of the work miraculously managed to convince Beethoven (which is surprising as a fact) to write a different finale. The fugue was thus published independently in 1827.
The awareness of the fugue’s greatness only came in the 20th century. Like Stravinsky mentioned, the fugue was an absolutely contemporary piece that will remain contemporary forever. Perhaps it was too contemporary for its time?
The music critics and researchers never came to a consensus in terms of the fugue’s analysis. Dozens were trying to break down its structure and stylistic patterns but no universal description emerged. Beethoven’s fugue will keep fascinating musicians for years to come, remaining one of his biggest achievements and a truly challenging piece to master.
