{"id":36386,"date":"2020-10-23T06:00:00","date_gmt":"2020-10-23T04:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=36386"},"modified":"2022-09-04T10:41:17","modified_gmt":"2022-09-04T08:41:17","slug":"beethovens-great-fugue-a-masterpiece-at-the-risk-of-being-misunderstood","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/musique\/la-grande-fugue-de-beethoven-un-chef-doeuvre-au-risque-detre-incompris\/","title":{"rendered":"Beethoven's \u00abGreat Fugue\u00bb, a masterpiece at the risk of being misunderstood"},"content":{"rendered":"
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Le Regard Libre N\u00b0 67 - Jean-David Ponci<\/p>\n\n\n\n

Five years ago, Neuch\u00e2tel Conservatoire piano teachers Rapha\u00ebl Colin and Emile Willemin set out to perform Beethoven's Great Fugue, transcribed for piano four-hands. This work was composed in 1825 as the sixth and final movement of the String Quartet No. 13. When Beethoven was told that only the second and fourth movements had been bisected, he flew into a memorable rage: \u00abAh, the oxen! Ah, the donkeys! They're having them served up again! Why not the fugue? That alone should have been re-enacted.\u00bb Following the lukewarm reception of the Grande Fugue, the publisher Artaria persuaded Beethoven to publish it in a version for piano four hands. The composer asked Anton Halm to make the transcription. Halm's work did not satisfy Beethoven, and so he made the\n

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