BACH'S ' 'THE ART OF FUGUE'
Played by JAMES CHING
Fugues Ten and Eleven
THE Tenth Fugue opens with a new theme, thus:— which bears a resemblance to a portion of the original tune. That basic theme only comes in (in the Treble) after the first theme has been dealt with. We hear the first theme again in the course cf the Fugue, which is of somewhat quieter character than the boldly springing No. 9.
The Eleventh Fugue begins with a varied form of the original theme, with the gaps filled up. but with broken rhythm (rests between each of the first three pairs of notes)!
When this has been treated, there are a few bars of treble music, and then, in the Tenor, enters the tune with which the Eighth Fugue opened ; but now it is upside down. Later on. the excited little tune referred to as entering second in that Fugue appears again. also inverted—now scrambling up (in the Tenor) instead of trotting down.
Thus, Fugue 11 deals with the same material as did No. 8, though it is all turned upside down, and four voices are usej instead of three.