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

and back without a sign that anything out of the ordinary has happened. It is not,
however, fifth-related movement that here gets Mozart from one key to the next.
Instead, this movement shows an extraordinary predilection for stepwise sequences,
both ascending and descending. Why such a dependence on rosalia?
A possible answer can be seen in the fugues of Eberlin. Like virtually every
late-Baroque composer, Eberlin’s style was heavily dependent upon sequential writing.
If his use of this device was seldom as perfectly judged as that of Bach or Handel,
neither was it as tedious and mechanical as that of the lesser Kleinmeister. Unusual,
however, is the way his fugues depend so much on stepwise sequential transpositions.
In the G major fugue (eighth out of the IX toccate e fughe), for example, bb.27-29
present the same cadence first in E minor, then in D major, then in C. The three
succeeding bars show the same procedure in reverse; taking a new cadential figure
from C to D back up to E minor. None of this takes us out of the normal tonal orbit;
but in bb.36-38 a similar procedure is used to engineer a more interesting shift
(Ex.4.3):
This time the transposed module is one and a half bars long. Emerging out of
an interrupted cadence (V-VI) in E minor, it travels by means of G major to a cadence
in D. Unexpectedly, however, this cadence is in the minor, and this enables Eberlin to
repeat the whole passage a tone lower, cadencing on C by way of F major—an
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