Polythematic imitative fantiasia in mode 8. Analysis: (bar numbers from Griffiths1982)
Five sections
- I = 1-11
- II = 11-19
- III 19-22
- IV 22-32
- V 32-41.

One theme is developed imitatively in all sections except III.
• Section I – theme is only a motivic phrase head, each entry (7 in all) having a different tail. The pairing of the first exposition creates a 3 against 2 rhythmic grouping. Second exposition only presents 3 entries, theme Z being introduced in S (bar 5). The theme is not more than a tonic/dominant symbol.
• Section II. The head of theme 2, is an inversion of the previous thems. Bars 9-11 are a bridge constructed to allow a return to G after section I cadenced in C. The tail of theme two is used significantly as a unifying motive throughout the work and is inverted to be important later in theme 4.
• Section III placed precisely in the centre of the piece is an interlude with upper voice redobles capturing interest.
• Section IV introduces theme 3 and restores the polyphonic character of the piece. The texture is active in upper voices – entries occur ATS with B silent until its final entry – but S then repeats the theme with its last bar (31) becoming the reentry of Z which then runs on with a free extension until cadential preparation to end the piece begins in bar 37.
• During this time, Section V has begun with 4 statements of Theme 4 in the lower B parts until the final conclusion.
Theme Z therefore adds more symmetry to the work’s construction. It is significantly kept high in the texture – at least a 5th above Alto line. The individuality of the work is thus obtained through this device, the intrinsic character of the principal themes and the central interlude.
[Parallel 4ths & 5ths are used in bars 14 & 21]
(edited 19/02/2019)