Chap. XI.]
Fugue.
193
Here the first exposition is separated from the second by a short symphony for the orchestra. In the second exposition, the subject in the alto is answered by the treble; but the bass and tenor have only free imitations of its first notes, and there is no complete exposition of the second subject. After the cadence in G major, the two subjects are combined; but the freer style is soon resumed, as will be seen from the last bars of our quotation.
387. Our next illustration is somewhat more regular in treatment.
