And once again, Jean-Paul's new, beautiful composition gave me no peace. This wealth of ideas in the relatively short piece is unparalleled. Therefore, there is now a double fugue in which 2 motifs are fugalised, processed and also sound together. Actually there are three motifs, because towards the end Jean-Paul resorts to semiquaver triplets, and so the fugue condenses in the coda and all the motifs sound together. At first hearing, it may sound a little chaotic, but on closer inspection, the motifs are easily recognisable, and they fit together so well that they can be played simultaneously without violating the strict laws of classical harmony in any way.
My fugue is broad this time and requires a number of new attempts until the 147 bars have faded away. Have fun with my composition and, of course, with Jean-Paul's original: