| String Quartet No. 13 (beethoven) |
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#Adagio, ma non troppo - Allegro #Presto #Andante con moto, ma non troppo. Poco scherzoso #Alla danza tedesca. Allegro assai. #Cavatina. Adagio molto espressivo # Nomenclature: "danza tedesca" is a German dance, "Cavatina" a short and simple song, "Große Fuge" is "Great (or Grand) Fugue". For other terms, see Italian Musical Terms . After the first performance of this work, mixed reactions and publisher suggestion convinced Beethoven to substitute a different final movement, much shorter and lighter than the enormous ''Große Fuge''. This movement is marked: :6. Finale: Allegro The original finale was then published separately under the title ''Große Fuge'' as Opus 133. Modern performances often follow the composer's original intentions, concluding with the fugue. Beethoven was quite fond of Fugue s in his later years (others can be found in the final movements of the Hammerklavier Sonata , the Ninth Symphony , and the Piano Sonata No. 31 ). The work is unusual among quartets in being written in six movements. The six follow the cycle of movements seen in the Ninth Symphony and occasionally elsewhere in Beethoven's work (opening, dance movement, slow movement, finale), except that the middle part of the cycle is repeated: opening, dance movement, slow movement, dance movement, slow movement, finale. This quartet is among the most introspective and meditative of Beethoven's works, or indeed of any work in the entire chamber repertoire. Its opening movement sets out a grand scope for what follows. Although the impossibly sweet ''Danza tedesca'' movement takes a break from the weightiness, the ensuing ''Cavatina'' delivers the emotional punch of the work. It is intensely lyrical, with heartbreaking moans from the violin, evoking deep sympathy. The final ''Große Fuge'' begins grimly with grinding dissonances and unresolved themes, and works through some of the densest 15 minutes of music ever composed before moodily concluding. |
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