The 'Grosse Fuge': An Analysis

Author(s): Sydney Grew

Source: Music & Letters, Vol. 12, No. 3 (Jul., 1931), pp. 253-261
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/726363 .
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 THE 'GROSSE FUGE': AN ANALYSIS
THis workof Beethoven'sexemplifies the kind of composition that
eludesanyestablished systemofdescribing form. Sinceit is a highly
organicthing,it mustappertainto one or moreofthehighlyorganic
forms-as the fugue, the sonata (' firstmovement ' form),the
variations, thefantasia(in Bach's sense),therondo(in Beethoven's),
and so forth. But the momentwe tryto interpret it in the termsof
any one oftheseclassicalforms,it breaksthatform,howeverelastic
we may make the formin orderto bringit and the musicinto a
reasonableagreement.Even whenwe tryto let the worksuggestof
its ownaccorda fusionoftwoor threeofthe forms,it is suresooner
or laterto do something whichasks us to incorporate still further
familiar typesofarchitecture, untilwe feelfora littlewhileeitherthat
the workis formless,or that it is simplythe manifestation of an
attempt to adaptall formsto one end.
In suchcases as this,wehaveto appealto thespiritofthecomposi-
tion. If that spirit answers the appeal, everythingbecomes
satisfactory.The workprovesto be informed withreasonand purpose
throughout, and we see thatthestructure couldnotbe otherthanit is,
howeverpeculiar,anomalous,or arbitrary it may be whentestedof
anyofthe set standards.
My own experienceof the ' Grosse Fuge ' has taught me that the
workis formally perfect, in viewofwhatthecomposer has to express.
But myperiodofinstruction was notbriefor easy. Even aftersome
fifty hoursofstudying thescore,I couldnotfeelthecentralgoverning
energythatbroughtthe workinto the shape it has, and so it still
seemedas apparently rhapsodical, and indeedchaotic,as it had during
the moments whenI firstglancedat the pages. Knowledge beganto
cometo me, however, fromthehourin whichI realisedthe character
and probablepurposeof the passage frombar 351 to bar 414 (the
passage that completesthe firsthalf of the big A flatmovement,
leadingthe movement to its middlecadencein E flat,and bringing
aboutthereturnofthe mainthemeofthebig B flatmovement).In
this passageI discoveredthe climaxof all the precedingeffort and
labour;and withthatdiscovery made,it was ofcoursean easymatter
to work backwardsand forwards,until the entire thingbecame
coherent-thatis orderly, or ofperfect form.
But all attemptsto reducethisorderly formto an intelligibleoutline
werefora longtimefailures. An explanation ofmusicalarchitecture

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254 MUSIC AND LETTERS
has to be analyticalin its stagesand syntheticin its results. The
local expressionsused have to be conventional, and the finaleffect
on the readerhas to be something whichcan be statedin a single
term,eithersimpleorcompound.I couldnothelpmyself bystudying
thescientific
or testhetic
literatureon thework,becausethereis none.
Neithercould aniything in Beethoven'sotherfuguesthrowlighton
the problemshere,not even thosein the same keywhichbelongto
the Hammerclavier Sonata and the Mass in D-for reasonsI cannot
at this momentdetail. ThereforeI could not employany of the
ordinary methodsofformalexposition in myeffortto statethenature
of the formof the ' GrosseFuge,' or try to make clear what I
wishedto say by help of comparison and analogybetweenthis and
otherworks. What eventually did put me on a fairlysensiblepath
camefromtwoverydifferent quarters-from suchworksofBeethoven
as theRondoin G, op. 129 (' Angerovera lostpenny,ventingitself
in a Caprice') and fromsome of the workswrittenby Bach in his
youth,whilehe was still in thrallto the NorthGermantypesof
composition.
The personalnatureof the foregoing remarksmust be excused.
Theyare made simplyto encouragethe studentto keep at his task
of tryingto discoverthe secretof this, the mostenigmatic(super-
ficially
considered)composition ofthenineteenth century,by showing
himthathis difficultiesare not peculiarto himself,
and by suggesting
thattheyare certainlynotinsoluble.The studentwill,however, findin
theendthatthereis a widerangeofchoicebeforehimin thematterof
whichparticularformhe is to allocatetheworkto; butbeforetheseare
mentioned, it will be betterto have the obviousplan of the fugue
described.The following, then,is the sequenceof themovements or
sectionsof the ' Grosse Fuge ' afterthe Introductioin (Ov'ertura),
whichis a simplestatement of the chiefmodifications
of the leading
themeofthework-

B FLAT MOVEMENT, BARS 31-158

A fugueon twosubjects:

(bar 11)
El_I

qv w~ ~ ~ ~~($ (t~

C s)

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 THE 'GROSSE FUGE': AN ANALYSIS 255
Of these subjects, the lower one shown in the quotationis the main
theme. It acts almostas a leit motivin a Wagneropera.
Thereare fourindividualsectionsin this fugue:
(1) Bars 31-58. A normal expositionof the double-subject(to bar
47). The fifthentryof the themes (50) is followedby a modulation
into E flat.
(2) Bars 58-109. Development,in two parts:
(i) 58-79. E flatto F major.
(ii) 79-108. F to D ininor.
An accompanyingmotoperpetuo,beginningthus-

EX2 (Ba',s)

bringsenergyintothe music: it ceases in bar 94, at the pointwherethe

finalpiece of working-out starts.
The thirdentryof the subjects (bar 68) is in G minor. The main
theme of the work (quotation 1) effectsregularlya modulationto the
key a tone above, which modulationis resolvedback into the tonic or
the dominantwhen the theme concludes. Thus in the firststatement
of the theme the music, startingin B flat, entersC minor,and then
returnsto B flat. Now with the music in G mninor,this interior
modulation,carriedout accordirng to plan, would turn the music into
A minor. That key is impossible,and so Beethoveninflectsthe music
into A flat. The change bringsabout one of those rich cadences of
the ' NeapolitanSixth ' whichhave so noble an effectin Bach's earlier
organ compositions. It also fora momentinveststhe rough,agitated
uppertheme witha softercharacter;so that this incidentin the fugue
becomes one of the ' touches of human beauty and feelingwhich
listenersfeel the firsttime theyhear the musii-

(Or 6,9)

A _

(3) Bars 111-138. The 12-8 moto perpetuoof the second section of
this movementmodifiesitself into a little figurein the anapaestic
rhythm:*

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256 MUSIC AND LETTERS
This lapses in bar 127, its work as an element of creative energy
finishingthere.
The two subjects are sent out in the formof subject (bar 111) and
answer (115), with the upper theme so modifiedthat its two halves
can be given to different
instruments. From bar 123 (key A flat) the
music gatherspowerby means of close strettoimitations.
In this section of the movementthe main theme of the work is
furthersyncopated. The firstquotationshows that its notes strikein
on the second and fourthcrotchetsof the bar. The fourthquotation
shows that they now strikein a quaver earlier. The next section of
the movementretainsthis excitingrhythmicalquality.
(4) Bars 139-158. Both themes are diminished,and the upper one
is convertedinto a 12-8 rhythm. The result is an effectlike that of
a doppio movimento:

(B&r.3i.)
_
Ex~

s---F ~J"
_J -. - 7_
__ L ---

At bar 153 the musicreturnsto its originaldottednote rhythm. But

in bar 158 the tonalityis turnedfromB flatto G flat the note G flat,
which is taken in bar 157 as the dominant minor ninth of B flat
becomingthe tonicof the approachingkey.

G FLAT SECTION (Meno mosso e moderato)(159-232).

The main theme becomes firsta lovelylittletwo-barprelude (which
reappears in ritornellofashion). Then a melody, delicately accom-
panied, is played, which, consideringwhat comes towardsthe end of
the ' GrosseFuge ' (bars 585-588,firstviolin),mightalso be conceived
as derivingfromthe upper theme of the firstB flatmovement. This
melodybecomes here the counter-subject of the main theme:

The music of this G flat moderatodoes not call forexplanation. It

is lightlyfugalin respectof the main theme,and it employsthe stretto.
The close (223-232) is a vigorousunison tutti on the counter-subject,
,whichsettlesupon a long cadence in B flatminor,wherethe last beat
of all containsan inexpressibly lovelyinflectionback into B flat.

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 THE 'GROSSE FUGE': AN ANAILYSIS 257

III

B FLAT (quasi-scherzo)(233-272).
The thirdindividualnmovement of the ' (3rosse Fuge ' is a bright,
robust, straightforward bit of music in the style of certain of
Beethoven's bagatelles. The main theme is renderedinto a vigorous
6-8; and it has a counter-subjectof which the trilled note and its
cadence come fromthe theme in its full proportions(see quotation8).
The music of bars 237-253is repeatedin bars 253-269.
The materialof this passage is:

Ex>(B&r 2k)
_ A

One of Beethoven's characteristicheadlong transitions(bars 269-272)

takes the music into A flat.

IV
A FLAT MOVEMENT (273-532).
The main theme is now freedfora time of the companionit had in
the great B flat movement(I). Its outlinesare the same. But now
it ends witha half-closeon the dominant,which is precededby a very
importanttrillingnote-importantby reason of the part the notes of
the cadence play in the immediate sequel. The theme has two
counter-subjects:the second does not appear until the ' answer' is
made-I copy as illustrationthe second appearance of the theme as
subject ':

gx.8a(zBo9) (: 289)

\ l E
t~~~~~~~~~~~~Ak I*

r-C__ L .I _ P?E
re-f-fl
,a v f,

Each counter-subjectderives from the themneitself. The first(the

lower voice of the quotation) representsthe 6-8 scherzo, the motive
being inverted. The second (the middle voice of the quotation)
representsthe moderato.
Thereis firstthe normalexpositionofthe theme(273-305)and a short
fugal treatmentof its firsthalf (309-324), and then comes a fantasia

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258 MUSIC AND LETTERS

or episode on the last threenotes of the theme (325-350). This episode

moves fromA flat to F minor,througha series of sharp keys-I use
the italicsto directattentionto the exceedinglysignificantcircunmstance
that it is only here, in the entirecourse of this long work,that sharp
keys are employed.
At bar 351 begins one of the grandportionsof the fugue. The key
is F minor,and the themeis used in shortenedform(the openinglong
note and the cadence). Anotheractive 6-8 counter-subjectis present,
derivedfromthe characteristicintervalsof the theme-

35
E:x 9

A powerfuleffortis made to achieve B flat minor(365-370),in which

the chords of the dominantand tonic are practicallypresent simul-
taneously. In sequel comes the last full presentationof the theme
(371-379), in G flat, at the close of which the music entersupon a
strikingsequential progressionthat eventuallyends with a full close
in E flat (414).
This sequential progressionis not easy to take in withoutthought.
But its form,frombar 379 on, is the 4-bar phrase, except that a
2-barphrase is interpolatedin bars 495-496. The clue to the interior
energyof the passage is to be foundin the second violinpart-

E.o10. (BaT 38+)

The cadence into E flat at bar 414 is the centrepoint of the A flat
movement. It is also the place where the main theme ends its work
in a conditionof detachment. The remainderof the A flat movement
consistsof:
(1) A fantasia on the two subjects (414-452). The material is (a)
the theme of the B flatmovement,eased now into the iambic rhythm
of quaver-crotchet,and (b) a fragment(inverted)of the main theme:

.Wr- . i: .i
l I

This is the rapturousmoinentof the ' Grosse Fuge,' its culminating

achievementof ecstatic emotion.
(2) A very solid continuationof the foregoing. The key is A flat
again. The opening motiv of the main theme is powerfullyactive,
and the other theme, alteringits nature (or rather,recoveringsome-
thingit had in the latterportionsof parts 2 and 4 of the B flat move-
ment), both ascends and descends. The music moves to a dominant

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 THE 'GROSSE FUGE': AN ANALYSIS 259
pedal, and with the coiningof the pedal the counter-subjectderived
fromthe little6-8 scherzoreturns.
(3) The finishof the A fiat movementis a coda based on the main
theme as used in the moderato. This passage (493-510) is a summary
of the B flat,G flat and A flat movements. Its second half (501-510)
is a repeat of its firsthalf. The melodic counter-subjectis present,
also the openingmotive of the B flat theme, now eased still further
into a rhythmof equal semiquavers. The latter appears in alternate
bars during the firsthalf of the passage. In the second half it is
continuous.
This second moderatoends witha 6-4 5-3 cadence in A flat (510-511),
fromwhich the music makes its way back into B flat by a series of
quiet, but intenselydvnamic,chords.

B FLAT (533-742).
The little scherzomovement(III) is repeated,to lead to a rhapsody
or fantasiain whichBeethovenreachesone of his peaks of tonal beauty
and musical expression. The rhapsody begins at bar 565 with a
soatenuto that reflects,perhapsin a mysticalmanner,the main theme;
and this so8tenuto passes at bar 581 into a similar ' vision of the
theme,in whichthe spiritof the othertheme can be felt:

In bars 597-605the 'cello and the viola play the motiveof the theme
pissicato, and then comes what may perhaps strikeall studentsas the
spiritualclimax of the ' Grosse Fug'e.' At bar 609 the theme enters,
piani8simo,in a high register,accompaniedby sustainedchords. The
key is B flat. But the final inflexioninto the close on the tonic is
deferred;forat12~ ~~ the chordof A minoris taken, and at bar 620
bar 017
ion,58
the leading-noteof the key of B flat is bent back upon G sharp, so
that for a momentthe music rests in the puirekey of A minor. The
cadence when it arrives (627-636) is expressedin ,shortsharp chords
that at firststrikein on the up-beats.
The remainderof the work is isimple. The lofty8ostenutoof bars
585-600is resumed (bars 637-666). Then the mind is turnedback to
earlier conditionsand circuimstancesby a couple of reminiscences,
one of the B flat movement,the other of the mnoderato, afterwhieb
the themeis presentedvigorouslyin the formsused in the A flatmovE,
ment and the little scherzo. The latter opens into anotherquiet and
spacious presentationof the themeas it was givenin the sentencethat
touched A minor. The trillingcadence is played with for a while.
And at last the ' GrosseFuge ' ends withthe two themesin association

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260 MUSIC AND LETTERS
and expanded,theconflict
modified betweenthemwhichcharacterised
theB flatmovementresolvednowintoa spiritualharmony.

The A flatmovement (IV) is so distinctively

a fuguein its firstpart
thatoneis inclinedto call it the ' secondfugue' ofthework. It has a
normalexposition, and all thematerialin its firstpart(bars273-414)
is exclusively
derivedfromtheone theme. But whatformsthesecond
partof the movement is notfugalat all, thoughthe twothemesare
combinedin ways characteristic of fugalcomposition.Therefore if
one called thisA flatmovement a fugue,one wouldhave to qualify
the termwithsome such expressionas a capriccio;whichis what
Beethovendoes in the case of the Rondo,op. 129, whereafterthe
normal ' rondo ' he writesa ' capriccio,' and names the worka Ronudo
a capriccio.
It has, however, beenpointedout to me thatif the B flatand the
A flatmovements wereto be regardedas twofugues,Beethovenwould
probablyhave calledthe work' grosseFugen.' And the returnin
the secondhalf of the movement of the upperthemeof the B flat
movement certainlylinksthe A flatwiththe B flatin a mannerthat
makesit ratherarbitrary to call the A flatmovement a fugueon its
ownaccount. Vincentd'Indy,whosestudents at theScholaCantorum
haveplayedtheworkin an arrangement forstringorchestraformany
years,doescall theA flatmovement the ' secondfugue,'buthe ends
it at the E flat cadence,and termsthe remainderof the A flat
movement a seriesof divertissements. That cadenceinto E flatis,
however,too clearlya middle cadence for the movementto be
conceivedas endingthere.
If we put aside thefirstmoderatoand the little6-8 scherzowhich
followsit, we have left:

(1) A movement
in B flat.
(2) A movement
in A flat.
(8) A movement
ofa fantasia-like
naturein B flat.
Movement (1) is as an exposition ofthemes,in themostelaborateand
extensivemodernmanner. Movement(2) is as a development ofthe
samethemes.Movement (3) is as a codatotheothertwomovements.
Read thus, the ' Grosse Fuge ' becomessimplya large example
of sonata first-movement form,whichdiffers fromthe examplesto
be foundin Beethoven'searlypiano sonatasonlyin the degreethe
finaleoftheChoralSymphony differsfromthefinaleoftheEroica.
The omittedmoderato and little6-8 scherzofindtheirplacein such
a schemewithout difficulty. The moderato is a lyricalinterlude,
akin

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 THE 'GROSSE FUGE': AN ANALYSIS 261
in natureto the broadpassage Beethovenlikes to introduceinto a
sonatamovement towardstheend ofthe coda. The little6-8 scherzo
is one ofhis jokes. It boundsin afterthemoderato as thoughit saw
its chanceto bringthe workto a conclusionstraightway.But it is
made to bound out again, and in a very brusquemanner (the
modulatory chordsof bars 269-272);forits servicesare not needed
until what has to be expressedin the A flatmovementhas been
attendedto. Alongthislineofimagination, its returnaftertheA flat
movement becomesunderstandable.
The ' Grosse Fuge ' is of course a double-fugue. But it does not
followthe normalcourseof a double-fugue, whichis (1) exposition
and development ofthefirsttheme,(2) thesameofthesecondtheme,
and (8) the same of the two themesin combination.This work
expoundsanddevelopsthetwothemestogether at theoutset. Thenit
liftsforwardthe themewhichhas hithertooccupiedthe inferior
position,and developsit in variousways. That done,it allowsthe
otherthemetoreturnand to workwithits companion again; butonly
in a subordinate
positionuntilthe actualclose.
A correspondent writesto me: ' The generalidea is not'thatof a
fugue,whichexpoundsa themeby settingcounterpoints againstit
(doublein the twelfth, stricttriple,etc.--Beethoven'scounterpoint
has nothingstrictaboutit, and he has no doubleexceptin theoctave),
but of a sonata which develops the theme frominside. It is
appliedfugue,in the same sortof way as " Gotterd-ammerung" is
applied symphony. It is a " sonata fugata." ' I cannot myself
imagineany wiserremarkbeingmade on the formof the ' Grosse
Fuge ' thanthis. Nor can I imaginean analogymorepregnantof
intimations regarding
the vastnessof the workand the immensity of
the composer's conception.
As to the successof Beethoven'sattemptto ' apply' fuguein this
way, that is a matterwhichdoes not come into the scope of this
article,the onlyobjectof whichis to give studentsa lead in their
attempts to mastertheformofthework. I showedin thelastnumber
OfMUSIC AND LETTERS that expert,but not well-informed, critical
opinionduringthe last hundredyears has declaredthe attempta
failure. But againstthatestimatewe can nowset the factthatthe
Grosse Fuge ' interestsaverage audiences, and that it very deeply
movessensitivelisteners,both thosewho have studiedit carefully,
and thosewhohave encountered it withno morepreparation
thanan
ordinaryworkingknowledge ofBeethoven'smusicin general.
SYDNEY GREW.

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