the second part starts with the (modified) fugue subject in the violin; followed by the subject in the harpsichord and the countersubject in the violin. as in the first part, there is a reprise of both interludes followed by a statement of the fugue subject/countersubject in the bass line/harpsichord, but now truncated from four bars to three. this is followed by an episode developing the material of the interlude, followed by the truncated fugue subject/countersubject in the harpsichord/violin. there is then a reprise of the episode with cascading semiquaver scales which leads this time into a fifth statement of the truncated fugue subject/countersubject in the violin/harpsichord. it is followed by the second interlude and a sixth and last statement of the truncated fugue subject/countersubject in the bass line/violin. this is immediately juxtaposed with the return of the original (uninverted 4 bar) fugue subject and countersubject in the harpsichord and violin, leading into a concluding restatement of the rhythmic eight bar interlude.