txtCommentary1=To understand the novelty of such a {\uldb passage}{\v 90954}, we have only to listen to the {\uldb Baroque}{\v 139635} version of musical equality: the {\uldb fugue}{\v 136089}. In a fugue, an opening {\uldb subject}{\v 135660} stated in one {\uldb instrument}{\v 84565} is shared subsequently by all the {\uldb voices}{\v 105907}. On the surface, this seems quite democratic. Indeed, in the early stages of the {\uldb string quartet\'92s}{\v 154839} development, {\uldb Joseph Haydn}{\v 132423} wrote {\uldb finales}{\v 82354} that were largely fugal. His Quartet in
txtCommentary2=\par\par\par\par F {\uldb minor}{\v 88035}, {\uldb Op.}{\v 134155} 20, No. 5 (1772), has an angular 5-{\uldb note}{\v 89586} main subject (introduced by the {\uldb second violin}{\v 140221}), invariably accompanied by a {\uldb stepwise}{\v 97763} {\uldb countersubject}{\v 5958} (played first in the {\uldb viola}{\v 105422}).{\fs24\uldb \'80}{\v next}
