Of all the forms in which a priori a musical structure can be organised, the fugue seems the most severe and closed upon itself, controlling and governing the musical discourse, from its beginning in choosing the base and the foundation for the whole work, the theme, up to its development and conclusion through all the different manipulations which are affected by this… We seek to channel the analysis which allows a composer to organise this structure but we also insist that the irrational, “dark” element must be able to make headway through such an apparently strict form.