A fugue is made up of some common elements called the exposition, episode, subject, and countersubjects. The exposition is the opening statements of the subject and countersubject. In the case of this fugue, an original by Britten, there is a subject and three countersubjects. In the exposition, the subject is stated first by one instrument. When the first instrument finishes the subject, a second instrument will enter and play the subject while the first instrument plays countersubject 1. A third instrument will play the subject while the first two instruments play countersubject 1 and countersubject 2. Then finally, a fourth instrument will play the subject while the other three play the three countersubjects. Following the exposition is a brief improvisatory sounding section called the episode.

This fugue has three separate expositions and episodes followed by the climax of the piece as the brass play the Purcell theme overlaid over the top of the fugue subject and countersubjects in the woodwinds and strings accentuated with percussion.

As you listen to the subject, notice how the second set of four beats is basically an upside-down version of the first four beats. This is called "inversion." After the first 8 beats, 11 and 12 are upside-down with beats 9 and 10. Beats 13 to 16 bring the subject to a close. The timings below will help the listener focus on what is happening in the fugue.

Fugue & Finale

“The Young Person’s Guide to the Orchestra: Fugue and Finale” by Benjamin Britten

Exposition 1

0:24	Piccolo	Subject
0:30	Flute	Subject
	Piccolo	Countersubject1
0:41	Oboe	Subject
	Flute	Countersubject1
	Piccolo	Embellishment of Countersubject 1
0:44	Clarinet	Subject
	Oboe	Countersubject 1
	Flute & Piccolo	Countersubject 2
0:53	Bassoon	Subject
	Clarinet	Countersubject 1
	Oboe/Flute	Countersubject 2
	Piccolo	Countersubject 3
0:59	Episode: A brief episode begins. Each of the woodwinds play different fragments from the subject and countersubjects.

Exposition 2

1:03	Violin 1	Subject
	Violin 2	Subject in imitative counterpoint with violin 1
	Violin 2	Imitating what violin 1 does just a little bit later in the timing
	Woodwinds	Accompaniment
1:11	Viola	Subject
	Violins	Countersubject 1 still in imitative counterpoint between violin 1 and violin 2
	Woodwinds	Accompaniment outlining the chord progression
1:16	Cello	Subject
	Viola	Countersubject 1
	Violins	Countersubject 2
1:21	Double Basses	Subject
	Cello	Countersubject 1
	Viola & Violin 2	Countersubject 2
	Violin 1 & Woodwinds	Countersubject 3
1:27	Episode 2: This portion introduces two motifs that will be used in Eposition 3: A quick running figure (Episode Motif A) and a slower version run (Episode Motif B).

Exposition 3

1:31	Harp	Subject
	Strings	Outline the chord progression
	Bassoon, then clarinet, then flute
	Episode Motif A: A brief episode enters with the strings and harp working variations on Episode Motif B
1:43	French Horns	Subject
	Woodwinds	Countersubject1
	Viola, Cello & Bass	Countersubject 2
	Violins	Countersubject 3 in imitative counterpoint
1:48	Trumpets	Subject
	French Horns	Countersubject 1
	Woodwinds	Countersubject 2
	Strings	Countersubject 3 in imitative counterpoint
	Adds a brief three-measure episode featuring episode motifs A and B
1:57	Trombones	Subject (Notice the sliding of the notes with the trombone slides)
	Trumpets	Countersubject 1
	French Horns & Violin 2	Countersubject 2
	Woodwinds	Countersubject 3 in inversion
	Violin 1	Episode Motif A
	Lower Strings, Harp	Outlining harmony in accompaniment
2:01	Percussion	Subject: Rhythms of subject with some tonal similarities
	Strings & Woodwinds	Countersubject 1
		Countersubject 2 is absent
	Brass	Countersubject 3 in imitative counterpoint

Climax

2:12	Meter shifts into triple meter for the old Purcell melody performed by the brass and bassoon. Cello and double bass provide the underlying harmony.
	The fugue subject of Britten is continued with the strings and woodwinds. Toward the end of this section the upper strings play the Episode Motif A before coming to the coda. The descriptive marking is "con slancio" or "with dash or impetus."

Coda

2:42

A coda means " the tail" or "end." In this coda, the composer continues the rhythm of the fugue subject in the snare drum while having the rest of the orchestra play chords to bring the piece to a conclusion on a full D major chord.