fuge

The Grosse Fuge (German spelling: Große Fuge, also known in English as the Great Fugue or Grand Fugue), Op.

One can listen to the intricacies of the Passacaglia und Fuge c-Moll and glimpse an inscrutable world behind it.

In fact the Große Fuge was regarded as incomprehensible for quite some time after Beethoven's death.

Play Grosse Fuge loud and make everyone hate you.

The Takacs quartet recording of Beethoven's Grosse Fuge is a great example with the extreme contrast between the soft, slow section and the two loud fugues that sandwich it[1].

In fact, I doubt if the enemies of contemporary music would sit through the Grosse Fuge if they did not know that Beethoven wrote it.

I greatly admire Williams, but if I had to, I'd gladly exchange his oeuvre for Bach's 18 great chorale preludes, Schubert's string quintet, Beethoven's Große Fuge or Finzi's Eclogue.

Bach already thought of that music, and many thousands, possibly millions of people have played the particular pieces I have worked on (The first suite for unaccompanied cello in Gmaj, the Prelude to the first Fuge in Cmaj from Book One of WTC).

Indeed I find of their two examples the "consonant harmony" is a bit dull and the "dissonant harmony" sounds like it might be from something more interesting like the Große Fuge, one of my favourites and probably more dissonant than their example.

This reminds me of Beethoven's Große Fuge, which some called repellent and other called a masterpiece.

Think of how different the world would be if all Beethoven composed were Für Elise-type pieces, and he never composed anything as complex--and inaccessible--as his Grosse Fuge.

I found whipping through the grammatical logic trees in German, and exceptions, were like the grammatical equivalent of composing a Fuge, or writing a Lisp function on the spot.