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| | Great Fugue: The New Yorker |
 | | In fact, Beethoven was always negotiating between the demands of his muse and the desires of the world, as the history of the Great Fugue shows. |
 | | When the piece is restored to its former position, as the finale of the Quartet Opus 130, a correspondence emerges: the first-violin part in the preceding movement, the Cavatina, comes to rest on the same note. |
 | | In opera, a cavatina is generally an aria of a short and simple type; this one is as slow, gentle, and lyrical as the Fugue is headlong, ferocious, and cerebral. |
| www.newyorker.com /critics/music/articles/060206crmu_music (1284 words) |
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