Sentential Fugue in D minor (inspired by Bach, with Cinematic Strings)

Score download: https://www.dropbox.com/s/yphxbmldu90waeb/Sentential%20Fugue.pdf?dl=0 The reason I've dubbed this the "sentential fugue" is because of the sentence-like phrase structure of the subject, which is atypical of Baroque music. I also to chose the descriptor "inspired by" rather than "in the style of" because there are a number elements within this fugue that are not necessarily stylistic of Bach. That being said, all of the fundamental fugal strictures are faithfully followed and the voice-leading has been checked countless times. For the extremely inquisitive, here is a list of precisely every detail I recognize that is not stylistic of Bach: 1) The subject's sentential phrase structure 2) The recurring lower chromatic neighbor tone on scale degree 5 in the subject and its derived motives 3) The fugue itself is not playable on keyboard, organ, or presumably by any ensemble of 3 voices besides a string trio/orchestra 4) the first bridge between the second and third statements of the subject becomes a recurring transitional motif. 5) There is something akin to a 2nd counter subject which recurs whenever it can, but because it is neither invertible nor always interesting, it doesn't 6) This next detail actually breaks fugal stricture: Both the subject and counter subject are altered somewhat in the major entries to accommodate a chain of secondary dominants. However, this actually improves the contrapuntal fluency of these entries 7) The syncopation itself, which begins in one of the episodes between the first major entry in F major and it's re-entry with the modified (syncopated) version of the subject/counter subject. At the end of this episode there are three parallel chromatic diminished fifths between the soprano/alto leading into the entry. I'm not sure if this is totally unstylistic, and I've seen chromatically descending diminished triads in Bach before, but this is different. Regardless, I like the way they sound. 8) In the entry in a minor, the tonal answer in e minor seems a bit far-off from the central key of d minor, and to be honest I'm not sure if Bach ever does this, but that's why I quickly moved away from that tonality as soon as the entry was over. 9) The omnibus progression/chromatic voice exchange between scale degrees #7/5 in the bass/soprano leading into the final entry is clearly a Romantic contrapuntal progression, but I really really wanted to invoke a sense of drama before the final entry. 10) At this point the overall range of the the fugue is unstylistic, the soprano part well above C6, which I believe is the highest note reached in the entirety of the WTC. 11) In the last measure of the final entry there are parallel octaves between the alto and bass between beats 2/3, however, I left them in because I really liked the bass line in that measure, and the alto was playing the CS and could not be altered. 12) The fugue itself has a narrative/dramatic structure in my mind, a trait which did not start to appear until late in the Classical era and did not become prominent until the Romantic era I believe these are all of the unstylistic elements, hence why I preferred the moniker "inspired by", rather than "in the style of." That being said, the only other source of inspiration I drew from was Mozart's K 546 I'd like to thank Stephen Malinowski for developing the Music Animation Machine, and for allowing it to be downloaded for free here: http://www.musanim.com/player/