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Заголовок: 5 Doppelfugen
Время создания: 1793-5 г.
#01: 4 part double fugue in C major. No.1 from Nottebohm's chapter XI, p.152. First theme is nr.1 from Albrechtsberger's list, the other theme is probably Beethoven's invention. Nottebohm notes a shortcoming: Beethoven limits the use of parallel voices by coupling the soprano only to the tenor, and the alto only to the bass. Applying Freudian analysis in the same way Maynard Solomon does, shouldn't we conclude from this that Beethoven disapproved of adultery? Here scored for flute, english horn, clarinet & bassoon. Dates from about 1794-95.
#02: 4 part double fugue in F major. No.2 from Nottebohm's chapter XI, p.155. First theme is nr.12 from Albrechtsberger's list, the other theme is probably Beethoven's invention. Here scored for glockenspiel, clarinet, organ & harpsichord. Dates from about 1794-95.
#03: 4 part double fugue in C major. No.3 from Nottebohm's chapter XI, p.158. This fugue is one of the very few written in "freien Satz" (free counterpoint). Both themes are probably by Beethoven himself. Together with a Prelude, also in "freien Satz", and also written for Albrechtsberger, this fugue is part of Hess 31, Prelude and Fugue in C for String Quartet. Here scored for 2 violins, viola & cello, as indicated by Beethoven. Dates from about 1794-95.
#04: 4 part double fugue in C major. No.4 from Nottebohm's chapter XI, p.167. First theme is a variant of nr.1 from Albrechtsberger's list, the second theme is Beethoven's. Wow! Beethoven discovers the sound of parallel decimes (=octave + third) here, and falls in love with it. He forgets all the rules: there are no stretto's in this fugue. Albrechtsberger doesn't bother to correct Beethoven here. Parallel decimes would become a characteristic of Beethoven's piano writing. Here scored for trumpet, english horn, french horn & trombone. Dates from about 1794-95.