After having listened a lot to the French baroque composer Jean-Baptiste Lully, I got inspired to write a so called "French Overture".
The overture of the opera was a self-contained work and was not generally specifically connected, thematically or emotionally, with the music that followed.
The overture, in three parts, before an opera could sometimes look like this:
First part - slow and pompous, often with double-dotted rhythms.
Second part - fast, fugal (sometimes repeated)
Third part - back to the slow section of first part, or a dance, often minuet, or a short final adagio.
(after the overture then followed a series of dance movements.)
The first exposition is in c minor. The second exposition is in its paralell key, E flat, where the counter-subject of the first exposition reappears in the bass (double-counterpoint), before the pedal tone C in the coda.
The fugue's final cadence ends in C Major. (picardian third.)
The French overture should not be confused with the Italian overture, a three-part quick-slow-quick structure.