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"The Effect Was the Same, but Not for the Eye." From Playability to Augenmusik in Beethoven’s Arrangement of His Grande Fugue Op. 133/134
Beethoven’s four-hands piano transcription of the Grande Fugue Op. 134 is different from any other arrangement he ever made: firstly, it is given an opus number, which is something that conventional Klavierauszüge usually do not have; secondly, it has a dedication, namely to Beethoven’s patron and p
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