malik@ajax.DEC (08/03/84)
Subj; Notation in Beethoven's Grosse Fugue Has anyone heard a convincing explanation of what Beethoven had in minds when he wrote that curious rhythmic notation (2 eighth notes tied together) in his Grosse Fugue? ...that should be 'had in mind'. I've always wondered about that. - Karl
ark@rabbit.UUCP (Andrew Koenig) (08/05/84)
Here is an excerpt from the liner notes of the Cleveland Quartet's excellent recording of Beethoven's late quartets (RCA ARL4-4509): "The Grosse Fuge notation is the most notorious and problematic. Most performers traditionally do not audibly repeat the second note; it is also our judgment that reiterating it simply becomes monotonous and distracting coming so often and at such a fast tempo. The double-note concept, however, was important enough to Beethoven that he took the trouble to write it these hundreds of times -- he also kept it in the keyboard version of the Grosse Fuge (Op. 134), though he offered no fingerings (and I have not heard any piano performances audibly reiterate). We view it as his way of notating the violent intensity he sought. "Feeling" each second note internally produces a physical pull in the bow arm somewhat akin to the way a dog holds onto a bone, and insures a maintaining of intensity to the instant of release. The vagueness of notation, then, raises frequent questions for performers. More importantly, it also leaves room for various interpretive approaches; it is in the final analysis fortunate for the creative process that one can and must trust his musical instinct and common sense." These notes were written by Paul Katz, cellist in the Quartet.