alto entry at the beginning of bar 10 is followed a beat later by the soprano; and the tenor entry at the beginning of bar 16 is followed two beats later by the bass. The quaver countersubject and its inversion are heard throughout, as an unobtrusive accompaniment, yet to reveal their true character. Section 2 (bars 19–35). The C minor cadence in the middle of bar 19 would normally signify a new subject in a fugue. In this case, a leap upwards of a fourth in the soprano part, taken from the fugue subject, and then imitated in the tenor and bass parts, signals a renewed vitality and heralds the transformation of the countersubject into material derived from the fourth line of the chorale melody, comprising its highest notes and therefore easily recognizable. The new second 8-quaver subject is heard first in the soprano voice in the second half of bar 20 and the first half of bar 21: it is answered twice by its inversion in the bass in sequence. Then in bars 23–27, the soprano plays the second subject twice in sequence followed by the inverted form in the alto. Below the bass and tenor play the first subject with a stretto of one bar: for the only time in the fugue, however, these entries of the first subject are not prominent, but play a background role. After the second subject is heard a third time in the soprano, the music seems to draw to a close in the middle of a bar over a 2.5-bar-long pedal C in the bass. However, as the tenor takes up the second subject, the music surges up in semiquaver motifs in the soprano and alto parts to reach a climax at bar 30, when, in a moment of high pathos, the second subject is heard high in the soprano. But then in the succeeding bar, the music transforms into a peaceful and harmonious mood of consolation, with the major tonality heard for the first time. In a long and beautiful passage, the now-tranquil second subject descends in successive bars through the alto and bass parts, passing into the tenor part to reach the second main cadence of the fugue, after which it is heard no more until the last section. Section 3 (bars 36–56). At the cadence the fugue moves back into B minor. The musical texture becomes restless and eccentric;