DAILY DOSE of BEETHOVEN (December 3, 2020)
On September 16-17, 2020, we wrote a two part series called “reveling in Fugue”.  We think that it is one of the most beautiful and mentally challenging musical forms that exists in the annals of human music. We therefore, return to our discussion of the fugue. 
Beethoven obviously loved the fugual form. We will not count all of the works of Beethoven which contain fugues-there are simply too many. Neither will we count movements that contain double-fugal writing—such as the first movement of the Ninth Symphony. Today, we will look at entire movements that are based on Beethoven's double-fugal method.
The difference between a “fugue” and a “double fugue” can be summarized as this: A fugue has a subject that repeats at different intervals, as well as a counter subject that does the same, but does not have equal weight with the subject. A double fugue has two subjects of equal weight, both of which develop fugally. In Beethoven's hands, those two subjects bring about great change in each other and themselves.
We use the term “double fugal method”, because Beethoven does not limit himself to formal fugal writing throughout these movements. However, in the parts that are not fugal, you will see the same two thematic ideas in play.
We provide a short audio just to identify the main subjects: https://drive.google.com/…/1iCTyhrHM6O4V7CVZao1UVvNJf…/view…
1. We could include the third movement of Cello Sonata No. 5, Op. 102 No. 2, from 1815. We just discussed it a few days ago. So we refer you to the post of November 30th.
2. The 4th movement of the " Hammerklavier Sonata"—Piano Sonata No. 29, Op. 106. Like the fourth movement of the Ninth Symphony, this begins with a long improvisation, as if searching for a theme. After the soulful third movement closes on a repeated F# major chord the F# drops to F and we hear octaves of F in the piano.
To our minds Beethoven seems to be reviewing the fugal writings of Bach and Handel, in order to find his own voice.
The fugue begins at measure 15 (2:52 in this recording) with just the first subject. The second subject joins in at measure 26 (3:08).
We feel that most performances of this movement are too fast, so we have chosen an excellent slower one. You can find many fast versions for comparison's sake.
2. Ninth Symphony Fourth Movement. We discussed this movement extensively in several postings beginning April 21st. The two fugue subjects appear simultaneously at 17:30 in the recording.
3. “Et Vitam Venturi” from the Credo of the “Missa Solemnis”. One fugue subject is on the words "Et vitam venturi saeculi" (and the life of the world to come), and the other on "Amen" (see the posting of September 14rth.) It opens with the two subjects at the same time.
4. “Grosse Fuge”: This work was originally the last movement of String Quartet Opus 130. It is massive enough that Beethoven was convinced to publish it as a seperate work—Opus 133. We discussed it over several postings beginning June 2nd. The first subject can be heard alone at 0:55 in this recording. The second subject joins it at 1:08.