Fugue in D major

I've recently begun work on a Gloria which I hope to have completed before the end of this year.

I've started drafting the final movement to conclude the piece (which is fugal, and therefore a hard task I want to get out of the way first). It is set to the last two lines of the Latin text, which begins first with a grave (which I have not doodled yet) and ends with a fugue on "Cum sancto spiritu."

This is the fugue, in its incomplete form. It needs some polishing and some minor reworking, but I think it is well crafted given the fact that it took literally only an hour to write.

Thanks.

I've updated the post with a newer version. I'd appreciate any comments you have.

This is GREAT! fantastic work, im realy impressed!

Very very nice. I like it all, but I prefer the expositions to the episodes.

Wow! This is amazing! And it only took you an hour? I'm more than a little jealous.

Is this the ending? If so, it seems rather abrupt (especially for the final movement of a Gloria!). Maybe a bit of rhythmic augmentation or pedal point action (or inaction, techincally i suppose) would help make it a bit more final, if you want that... Also, is the slow section starting in G? It seems a little weird to end in the subdominant of the original key...

And if it isn't your final ending, please disregard the previous paragraph. Either way, this is fantastic!

My main criticisms (having observed the above praise) would be the general lack of harmonic interest and development. Considering your decision to write counterpoint that is rather homophonic, I think it's a shame that you don't use the descending chromatic motif to lever the work into more adventurous keys. Often I thought the piece was about to do so, (for example) presenting a counterexposition in a different mode and key, but my hopes were slightly deflated. The exposition (or at least the first fifteen seconds of music) sound like they're trying desperately to escape from the tonic, but the same reinforcing tones keep being heard again and again.

If, for example, one considers Pergolesi's fugato sections of the 'Stabat Mater', there are barely any passages in the home key between the first and last system. The part writing itself is difficult to fault, but I can't help feeling this is primarily because it's not as risque as it might be. It's a fugue, it's the finale, it's set at a quick tempo - the listener will not want to hear circles of fifths. We hear the beginning of a delicious descending chromatic scale... but it just rises to the tonic! That is an anticlimax of an inexcusable order, relieved by the last few pages of the composition, which I felt formed by far the strongest section. This criticism is harsh, but given your fonts of talent, I hope it will prove useful.