José Rodríguez Alvira
After the exposition, a short episode leads us to a second exposition (or counter-exposition). Bach will continue to systematically exploit the stretto possibilities of the subject in both the original (rectus) and inverted (inversus) form.
Here is the structure of the fugue. Click on the graphics to view in detail each section:
2. Second exposition
1. Exposition - The alto starts with the subject. The bass answers with the inverted subject in stretto followed by the soprano (also inverted) and finally the tenor ends the exposition with the subject in its original form. All voices enter in a 12 beats stretto.
Although we do not find a counter-subject, several motives from the subject will be constantly used as free counterpoint and as material for developing the episodes.
2. Second exposition - A short episode based on the last notes of the subject takes us to a second exposition or counter-exposition. We will see again the use of the original and inverted forms of the subject appearing in stretto. This second exposition remains in the key of D minor with the exception of the tenor that is in the key of A minor.
3. Stretto inversus-rectus 2 beats
4. Stretto rectus-inversus 2 beats
3. Stretto inversus-rectus 2 beats - Another episode takes us to F major (we visit the Bb flat major and G minor keys before). The subject appears in measure 33 in an inversus-rectus stretto at a 2 beats distance between the bass (inversus) and soprano (rectus).
4. Stretto rectus-inversus 2 beats - After an episode, we find a new stretto similar to the previous one but in the key of G minor between the tenor (rectus) and the bass (inversus).
5. Stretto rectus 6 beats and episode
6. Stretto inversus 6 beats and episode
5. Stretto rectus 6 beats and episode - A new episode leads us to another stretto between the bass and the tenor in the key of B flat major. Both voices use the original form of the subject. The entries are at the distance of 6 beats. The stretto is followed by an episode made of another stretto. This time it is a four voice stretto using the first notes of the subject.
6. Stretto inversus 6 beats and episode - This section is similar to the previous one. Now the subject is used in the inverted form and it appears in the soprano and alto voices. Follows a similar episode using the first notes of the subject (inverted). We are again in the key of D minor.
7. Stretto rectus 4 beats
8. Stretto inversus 4 beats
7. Stretto rectus 4 beats - After the 2 and 6 beats stretti (and those of the exposition and counter-exposition at 12 beats), Bach creates a stretto between the soprano and the tenor at a 4 beats distance using the subject in its original form.
8. Stretto inversus 4 beats - As expected, Bach repeats the previous stretto, this time using the inverted form between the tenor and alto.