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

The next fugue is more consistently successful, largely as a consequence of two
factors: its restriction to two parts only, and the secure—if conventional—harmonic
direction given by the subject (a variation on the old descending tetrachord). Although
the two parts are sometimes rather distant, they sound much less like a harmonic
outline Wesley is uncertain how to fill.
The third fugue tentatively reintroduces a little three-part writing; still without
conspicuous success, it has to be admitted (the bar before the third entry is particularly
awkward: Ex.2.13).
As might be expected, whether in two, three, or four parts, his voice-leading is a lot
more secure when presenting standardised cadential patterns (for which he has a good
memory) than when evolving free-flowing counterpoint. Most of the episodes are
built over a repeated quaver bass, recalling many early galant sonatas and symphonies.
Derived from the first bar of the subject , the thematic logic is impeccable—but it is
rather an easy way out as a means of constructing a contrapuntal texture. He essays a
curious formal experiment here: the fugue is followed by a four-bar pomposo section
in the relative minor, rather like the outline (treble and bass) of a tiny French
ouverture, after which the fugue is to be repeated.
The fourth and last fugue shows some progress, not so much in his handling of
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