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J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

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By the time the halfway point is reached, a number of expectations have been<br />

set up that must be fulfilled before the end of the piece. The key needs to return to the<br />

tonic (no great distance in a fugal context; see pp.27-31 above); the pedals need to re-<br />

enter; and the second subject needs to combine with the first, which itself has to appear<br />

in the tonic. The Classical sonata style would tend to concentrate these sorts of events<br />

together on important ‘structural downbeats’, such as the beginning of the<br />

recapitulation or the return of a ‘second subject’. Bach, by contrast, diffuses these<br />

104

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