Patterns of play: Orlando Gibbons, Simon Lohet, and J. S. Bach’s Fugue in E Major BWV 878/2. Part II

This article, the second of two parts, discusses the interpretation of Bach’s E major fugue from the second book of the Well-tempered Clavier (BWV 878/2) through analysis of its form and structure, its use of stretto, the design of its subject and the motivic development of its countersubject, and through comparison with its presumed model, the E Major Fugue in the Ariadne musica by J.C.F. Fischer (1656–1746). The accompanying musical supplement contains a new complete transcription in open score by the author of the Fugue in E major BWV 878 by J.S. Bach and the Fugue in E major by J.C.F. Fischer