Certain pitches draw my attention more than the others. The D Major harmony in Fugue 1 marked a climactic point. Now in Fugue 2, the lowest pitch of the bass again arrives in measure 20. It is preceded by a diminished 5th harmony (E natural to A flat), and plunges to D. The subject in the soprano appears on the tonic C for the last time until the end. The motific subphrase C-B-C is then treated in stretto form, followed by its restatement in the Bass and lastly in Soprano. Is there a Golden Mean to this fugue? YES! Measure 20 it is! Finally, as far as texture is concerned, there is more use of voices moving in parallel lines at the same time, as opposed to the stretti of Fugue 1. I find it to be a texture that Bach uses mainly as a filler and not a tension builder. Though very rhythmic and perfectly structured, Fugue 2 engages in conversation without overly developed emotional tension.
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