The composer went half-way through one of Bach’s lesser-known fugues from Book 1 of the Well-Tempered Klavier and plucked out the Secondary Subject. From this mere shred of a motive, he spins out a whole new fugue, sporting all our favorite fugal treatments including inversion, diminution, augmentation and even retrograde. Stepped down to the very recorder-friendly key of C, this fugue is at once cerebral and non-threatening except for a brief sojourn into A major and back. There are a couple high C’s in the soprano and the bass line needs a Great Bass to hit the lowest notes.