FTP, name this late Beethoven work, a massive, highly dissonant essay in a contrapuntal form typically associated with J. S. Bach.
This piece is quoted along with Shostakovich's D-S-C-H theme and Lassus's Stabat Mater in Alfred Schnittke's Third String Quartet. One puzzling aspect of this piece's notation is its composer's use of pairs of tied eighth notes rather than quarter notes in one form of its main theme. A thirty-measure "Overtura" that begins with all the instruments playing a G in octaves opens this piece, which Stravinsky called an "absolutely contemporary piece of music that will be contemporary forever." Originally intended as the finale to its composer's String Quartet in B-flat, opus 130, it shares its form and key of B-flat major with the finale of its composer's Hammerklavier sonata. FTP, name this late Beethoven work, a massive, highly dissonant essay in a contrapuntal form typically associated with J. S. Bach.
This piece is quoted along with Shostakovich's D-S-C-H theme and Lassus's Stabat Mater in Alfred Schnittke's Third String Quartet.
{Grosse Fuge}, {op.} 133 [or {Great Fugue} or {Grand Fugue}]