Dynamization of Da Capo Principle by the Example of J. S. Bach’s Clavier Fugues

The article for the first time considers J. S. Bach’s innovative approach to interpreting a form-generating potential of the da capo principle, which is widely represented in his clavier fugues. Dynamization of this principle at the tonal level is associated with the high degree of freedom and individualization when developing the fugue final theme in the basic and dominant tonalities. From the historical viewpoint, this experiment became an important landmark in the process of the three-part form formation and anticipated reprise dynamization in homophonic compositions of Vienna’s classical composers.