From your devoted disciple Johann Gottlieb Theophilus Goldberg one day in the year 1744, Dresden my faked amadeus image

Dear Great Cantor and Master; Honourable Court Composer to the Dresden Court and the Electoir of Saxony and King of Poland von Johann Sebastian Bach

Your honor will have the goodness to excuse a small and faithful disciple for taking the liberty of disturbing you with this present letter.
At first I must mention a little about my situation. Now I am happily working as a harpsichordist for Russian Ambassador Count von Keyserlingk in the Dresden Court. Every day or night I play some part or whole of the set of Variations you presented to my master two years ago. Thank you very much. I do also greatly appreciate you to have recommended me to be here to serve my wonderful master, Count von Keyserlingk and instructed me how to play the varistions beforehand. Count is so pleased to listen to the Variations that he calls them as "My Variations".

I humbly take this opportunity of providing you with the small things I am working. These days I am studying composition. The Well Tempered Clavier is the best learning material for me. I have already played Preludes and Fugues of The Well-Tempered Clavier many times with delight. But for studying composition, I have realized your deep thoughts of music little by little, even though I am not old enough to understand them. I am still seventeen years old.
The first thing which I found out is that the subject of the fugue on C can be transformed to the subject on G without adding any accidentals, I mean, sharps and flats. I think it is because the subject on C is between C and A. It does not include B. So the subject and its answer on G can be completely in the world of C Major scale. Even though this fugue's answer is a transposition of the subject up a fifth. They can be thought or felt truly identical. There may be some ways for counting how many times appears the subject in this fugue. I think it sounds 24 times in various forms.
One of my friends counted and said, "There are only 23." Another said," a little more, 26."
I paid attention to characteristic notes, "two sequential thirty-second notes", in the subject.

01	02	03	04	05	06	07	08	09	10	11	12	13	14	15	16	17	18	19	20	21	22	23	24
C5	G5	G4	C4	C6	G4	G5	G3	D5	E4	C5	G4	G3	G5	C6	G5	A4	D4	A4	E5	G5	B4	C4	F5

Starting notes of the subject are exclusively on the C Major scale. And all notes of the C Major scale are covered as the starting note, like C, D, E, F, G, A and B. Any other subject dose not show up here. For examle, C sharp can not be a starting note. Then I perceived your deep attachment to this C Major Fugue as it ought to be.

In measures from No.16 to No.18, the subject sounds simultaneously but not the same time in all four voices. This ia an unusual and spectacular stretto. I have learned that stretto is a part of a fugue where subject entries overlap. The next beginning starts before the previous subject has completed. There is excitement and ecstasy here. I love this part.

Listen! - C6 - G5 - A4 - D4 - If you don't mind, you can listen to it. I shall almost transgress the bounds of courtesy if I burden Your Honor any further by this humble comment of mine to your great work, and I therefore hasten to close, remaining with most devoted respect.