. The organ works of Bach. he greatest of Bachs fugues—at least three othersshow no less technical mastery combined withgreater depth and power—but it is an uniqueexample of his ability to carry through a long andelaborate scheme without a hint of failure eitherin deftness or spontaneity. The latter quality isthe more notable because Bach handicaps himselfby a regjilar counter-subject—indeed, we may saythere are two, for the treble of bars 10-12 sofrequently accompanies the subject and counter-subject that it is hardly less important. Thethree are used in triple counterpoint, five of thesix po
. The organ works of Bach. he greatest of Bachs fugues—at least three othersshow no less technical mastery combined withgreater depth and power—but it is an uniqueexample of his ability to carry through a long andelaborate scheme without a hint of failure eitherin deftness or spontaneity. The latter quality isthe more notable because Bach handicaps himselfby a regjilar counter-subject—indeed, we may saythere are two, for the treble of bars 10-12 sofrequently accompanies the subject and counter-subject that it is hardly less important. Thethree are used in triple counterpoint, five of thesix possible combinations being used. The fugueis rich in episodes, the most notable being thatwhich introduces the little figure alluded to onpage 53, probably a derivative of the: i fc^ with which the third episode opens. There is noneed to dwell on the numerous enjoyable featuresof so familiar a work, but mention may be made ofthe long series of chords of the sixth with whichbar 61 opens:- > r I,* T f T^f r ^zr^r Jug. WUMlUSU^^^ FUGUE IN G MINOR 171 —there are nearly forty of them, and they providea very jolly way of ^oing down the keyboards—and the manner in which the rather old-fashionedAlberti passage:
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