JOHANN SEBASTIAN BACH.

I. BACH AND GRIEG.

JOHANN SEBASTIAN BACH.

Born at Eisenach, Prussia, March 21, 1685.
Died at Leipsic, in Saxony, July 28, 1750.

Johann Sebastian Bach came of a family long famous
for musical capacity, and scores of prominent positions
as organist and court musicians were held by men of
this family for a century before and after the great Se-
bastian. Moreover, they had a curious fondness for the
name of Johann, as is shown by our hero receiving this
name when it had already been bestowed upon his older
brother, Johann Cristoph, still hale and hearty, and
destined to be like a father to his younger brother. The
father of Johann Sebastian was town musician in other
words, musical director for parades, and all kinds of of-
ficial goings on, at the city of Eisenach, Prussia, where
Martin Luther was born.

It may be supposed, therefore, that the young Johann
Sebastian showed his inclination to music at an early
age, and during his first nine or ten years he received
careful instruction from his father. When the boy was
nine years old his mother died, and a year later his
father also. He now went to live with his older brother,
Johann Cristoph, who was organist at Ohrdruf. Here
Sebastian was admitted to the church choir ,on account of

his fine voice, and he also was taught the violin, clavier

10-




JOHN SEBASTIAN BACH.
-11-



12 THE GREAT IN MUSIC: FIRST YEAR.

(the small piano of those days) and organ; and with
excellent effect, as later events show.

He was ambitious from the start, and while his brother
was considering him a mere child Sebastian desired to
be introduced into the best music which at that time
existed. There was one volume in particular which he
coveted, a hand-written collection of pieces by all the
best masters of that time. This book his brother would
not entrust to his use, believing it too advanced, and
also he was perhaps unwilling to risk the hardly earned
pages in the careless handling of a boy. Sebastian stud-
ied hard upon this problem, and at length managed to
draw the roll through the wire lattice work of the cup-
board in which it was kept, and so for every moonlight
night in six months he worked at copying it, returning
the volume by day. Just as he had finished his task
and was beginning to play some of the pieces, his
brother found out what he had done, and heartlessly
confiscated the copy ; nor was the young musician able
to get back his own again for about three years. Disci-
pline was a great thought in those days.

When the boy was fifteen he gained admission to St.
Michael's school at Luneberg, where he had free tuition
in letters and music in return for singing in the choir,
while his soprano voice lasted, and playing the violin
or organ as wanted. From this point he made two
journeys on foot to the city of Hamburg to hear cele-
brated organists there, Reinken and Luebeck. So well
did he improve his advantages, that, in 1703, he being
then about eighteen, he gained his first position, as vio-
linist in the private band of Prince Johann Ernst, of
Weimar. Here he remained, however, only a few
months, leaving it in favor of the position as organist



J. S. BACH. 13

in the new church at Arnstadt. Here he remained for
about three years, although the church authorities were
by no means satisfied with his independence. He ob-
tained a month leave of absence in order to hear a cele-
brated master named Buxtehude, at the city of Lue-
beck ; there he was so delighted that he remained four
months, leaving his deputy to carry on his work.

In 1707 he married his cousin, Maria Barbara, and
was appointed organist at Mulhausen, .where he had a
better organ. A year later, however, he was appointed
court organist and director of chamber music to the
Duke of Weimar, and six years later he was raised to
the rank of general musical director. Here he remained
until 1714, and the Weimar period may be regarded
as the end of his student years. He was now one of
the most famous organists in north Germany, a com-
poser of distinction, and of works in many styles. Par-
ticularly, up to this time, he had written for the organ,
the violin, and the clavier, the latter but little.

In pleasant recognition of his mastership was his
next position, which was that of chamber musician to
the young Prince Leopold of Coethen. Here he had
no organ or choir ; it was his duty to prepare chamber
music for the private concerts of the prince. Prince
Leopold was a young man of about twenty-four, who
had only lately come into his title and fortune ; he was
very musical, and already in Italy he had acquired a
taste for the finer forms of music, such as at the time
were little cultivated in Germany. He was an amateur
himself, and while in this service for about six years
Bach was the friend and confidential associate of the
prince, who took his musician with him upon his trav-
els, stood god-father to one of Bach's children, and in



14 THE GREAT IN MUSIC: FIRST YEAR.

every way testified his affection for the sterling young
master, who was only a few years older than himself.

During this period Bach composed mainly chamber
music, the prince's musical establishment consisting of
only six musicians, two or three of them, however, be-
ing quite celebrated. Here he wrote his violin sonatas :
which still remain among the most important composi-
tions for this instrument, as well as the most difficult.
There are a great number of concertos or concerted
pieces for a few instruments, and here also he composed
his famous "Well Tempered Clavier." This work con-
sists of twenty-four preludes and fugues in all keys, a
major and minor upon each tone of the chromatic scale.
The name "well-tempered" is derived from the system
of tuning, which was equal instead of unequal. In the
latter many of the "remote" keys (having many sharps
or flats) were unavailable for use. Bach believed in
playing in every key, and preferred the now universally
employed system of tuning all the keys alike. Here
also he wrote his inventions and many of his suites.

In 1723, Bach, now thirty-eight years of age, was ap-
pointed Cantor to St. Thomas school at Leipsic, and
musical director of the university. In this position he
had the direction of the music in the two principal
churches, and it was his duty to provide music for fes-
tival days, and the like. Accordingly during the twenty-
seven years that he lived there he composed a great
number of pieces for the church. The most celebrated
of these were five great "Passions" music, or oratorios
for church services on Good Friday, celebrating the pas-
sion and crucifixion of our Lord. Two of these works
are now lost, and of the three which remain that of "St.
Matthew" (so named by reason of the words being from



J. S. BACH. 15

this gospel) stands at the head. This work was written
tor organ, orchestra, solo voices, chorus and a supple-
mentary choir of school children, the latter singing oc-
casionally a well known chorale. All the way through
the work the elaborate music pauses long enough now
and then to permit the entire congregation to sing a fa-
vorite and appropriate hymn. In the middle of the
work was a pause for sermon. This work, which is now
esteemed one of the greatest which the art of music
contains, was first given on Good Friday in 1729; it
does not seem to have been given again until Mendels-
sohn had it performed in the same church exactly a hun-
dred years later, Good Friday, 1829.

Besides the passion music Bach wrote several hun-
dreds of what were called "cantatas" for every Sunday
in the year. These were short oratorios, lasting from
half an hour to forty minutes, consisting of choruses,
solos and occasionally a chorale, or congregational tune,
upon subjects taken from the gospel of the day. They
are generally accompanied by organ and orchestra.

These works are all of them very devout in character,
and well suited for church use. They are, however,
rather difficult for the chorus, and the solo parts are
frequently placed badly for the voice, so that in many
cases, no matter how good a singer may be, they sound
strained and uncomfortable. These qualities along with
the style, which owing to the change of fashion, now
appears somewhat antiquated, have combined to place
the Bach cantatas permanently upon the shelf, except-
ing as now and then they are produced for historical or
festival purposes.



16 THE GREAT IN MUSIC: FIRST YEAR.

GENERAL NOTES UPON THE BACH MUSIC IN
THIS PROGRAM.

All the selections in this program belong to the light-
er aspects of Bach's musical fancy. Six of them are in
dance form, popular in Bach's day, but now cultivated
mainly for novelty. In writing pieces of this class Bach
came as near composing in the popular manner as he
ever permitted himself. All these forms have something
in common, and something quite unlike each other. All
consist of two parts, of which the first at least is re-
peated. The first part generally ends upon the domi-
nant of the principal key and the second part begins with
new matter, the principal idea returning later, near the
close.

The Gavotte always begins with the last two quarters
of the measure. It was a quick dance of French origin,
always written in 2-2 measure, and never had shorter
notes than eighths.

The Bourree, also of French origin, was in 4-4 meas-
ure, always beginning with the fourth beat. It had
frequent syncopations between the second and third
beats of the measure.

The Passepied (English "Papsy") was an old French
round dance. It was in triple measure, quite lively.
The Minuet was also in triple measure, but in moderate
pace and with dignity. In the present case the move-
ment is far from fast, and the air has a tender grace
very rare in music of the period when this was written.

The Sarabande was an old Spanish dance, in triple
measure of half notes, in stately movement, almost slow.
The sarabande begins upon the first beat of the meas-
ure. In this form Bach wrote many very expressive



J. S. BACH. 17

melodies. In the suite it occupied the place which the
slow movement now holds in the sonata.

All of these dance forms belong to what is sometimes
called the group of "idealized folks songs" ; i. e., popu-
lar movements treated in a musicianly and poetical man-
ner.

OF THE BACH SELECTIONS IN DETAIL.

GAVOTTE IN G. From the 5th French Suite.

(3d Grade.)

A singularly graceful and lovely example of an an-
tique dance. Although of short compass (24 measures,
not counting repeats, which double its length), its mel-
ody is bright, its modulatory structure unusually varied
without anywhere being forced, and the whole is as
poetic as clever.

Like everything of Bach, it is developed out of a very
small number of melodic germs or motives. The most
frequent one is that of the opening figure of the melody,
the first three notes (play). This figure occurs again
in the next two measures, in the fifth measure, sixth,
etc. In the beginning of the second period, after the
double bar, it occurs in inverted form (soprano A, D,
F sharp), in the loth m. in its original direction, nth,
in the i/th inverted, and in the 2ist measure again.
The same figure practically occurs in the bass of the
9th measure, I3th, i6th. The frequent repetition of this
figure gives a unity to the gavotte and a sprightly qual-
ity not always found in the pieces of any composer.

The bass is beautifully written. It begins with the
broken octave figure (first four notes), which is re-
peated ; then in the fifth measure a contrapuntal motion
of eighth-notes begins, which in place of descending, as



18 THE GREAT IN MUSIC: FIRST YEAR.

the leading motive does, mostly ascends. This adds
greatly to the variety of the first period. (Play passage
in eighth notes in bass, without right hand part, then
with.) In the I3th and I4th measures the bass is formed
of the leading motive itself.

Despite the plainly artful character of these forms
of treatment (reflective rather than spontaneous), the
piece has the charm of an improvisation, and this spirit
should be given its interpretation.

PRELUDE IN C MAJOR. (Well Tempered Clavier, No.i, Vol.i)

(3d Grade.)

The famous prelude in C, the first in the Clavier, illus-
trates Bach's manner of using harmony as the medium
of poetic suggestion. If this piece be played through in
a rather dry manner, with plain finger touch and no
pedal, it will sound exactly like an exercise. But if the
pedal be employed with each chord (half measure) and
the sixteenths given a melodic quality, and the marks
of expression be carefully followed, the prelude will be
found to have a melody suggested in the upper voice
and the whole will sound poetical and mystical, like a
meditation.

After playing the prelude in its original form, it will
also be found interesting to hear it in the form given by
Gounod, who transposed it into the key of G and placed
over it a melody, an "Ave Maria." If this can be given
with organ, piano and voice or violin, the full effect of
Bach's suggestion will be realized, for while Gounod
made the effect more sensuous by his treatment, he
added very little to the actual notes of Bach.

Play steadily and sensitively.



J. S. BACH. 19

BOURREE FROM THIRD 'CELLO SUITE.
(4th Grade.)

This Bourree, like the Preamble later, is not quite in
the form in which Bach wrote it, but arranged for piano
solo and given a more modern lay of the work for the
two hands upon the piano. It is nevertheless as to its
melody and its harmony, exactly as Bach left it. It is
full of spirit, striking in melody, vigorous and pleasing.
After the first part is completed there is a middle piece
in G minor, which not only affords a contrast of mode
(major and minor), but also a marked contrast in spirit,
the middle piece being soft and somewhat plaintive.
Despite this undertone of melancholy, the tempo is but
little varied from that of the principal piece, a very little
slower. In the second period of the middle piece there
are some very striking dissonances (where the soprano
is upon A and the bass upon B flat) ; the harmony here
is very modern, and might well enough have been writ-
ten by almost any good Russian composer. After the
middle piece the first part is played again, but without

repeats.

INVENTION IN C
(No. i, 4th Grade.)

The Invention in C major well illustrates Bach's man-
ner of treating a theme for two voices. Although the
piece was probably written as an exercise to be studied
as a lesson, it still has a readiness of fancy and a certain
character or mood of its own, placing it entirely above
piano studies as written nowadays. Indeed, Bach's own
idea of these pieces is given in the preface which he
published with the first edition, in which he men-
tions the design as being to show a plain way, "not only
(firstly) to learn to play neatly in two parts, but so in



20 THE GREAT IN MUSIC: FIRST YEAR.

further progress ; (secondly) to play correctly and well
in three obligate parts ; and at the same time not only
to acquire good ideas, but also to work them out them-
selves ; and, finally, to acquire a cantabile style of play-
ing."

From an aesthetic point of view there is no great
matter in this first invention, but it is clever and not
without musical spirit. From a technical point of view
everything turns upon the proper accentuation and the
expression of each phrase without holding back or inter-
rupting the rhythm as a whole. Most important of all,
the voices must be conceived vocally, a singing tone
being of the very first importance. Thus the left hand
has the burden of playing not alone as fast and as clearly
as the right, but also to sing as well and to sound as
intelligent a great difficulty in piano playing, where the
left hand is so persistently educated in playing accom-
paniments only to the right hand. In Bach's time this
was not so, but the left was expected to do quite the
same things as the right and to do them as well. With
regard to the phrasing of the first motive, I prefer to
carry the first phrase to the first note in the second
measure, as the Peters edition does, rather than to cut
it off at the eighth note (middle of first measure) as
Busoni, Riemann, and Mason do. These are high
authorities and the reading is legitimate, but I prefer

the other.

INVENTION IN F.

(No. 8, 4th Grade.)

The Invention in F major is one of the most spirited
and musical of the lot. Here, while the motive is carried
out as thoroughly as in the first invention, the musical
spirit is much more pronounced, the satisfaction of it



J. S. BACH. 21

lying in the complete antithesis between the upward
bounding opening motive and the answer to it with the
scale running passage downwards in the second meas-
ure. These two measures together make up the theme,
and a wonderfully clever and spirited piece Bach has
written within this narrow compass. Not alone must
the notes be played reliably, but more than that the
bounding spirit must be brought out, the spontaneous
musical life, as free in this little page as in many a diffi-
cult piece of many pages.

The contrast between the staccato in the first measure
and the legato in the descending runs must always be
made as strong as possible without overdoing. A light
hand motion will aid the staccato, together with a slighf
finger staccato. The effect is very pointed.

SARABANDE IN E MINOR.

(5th English Suite. 4th Grade )

In the Suite of Bach's time the Sarabande occupied
the position now held by the slow movement of a sonata.
It represented the moment of most intense interest and
songful quality. In the present case the melody, while
not modern in its spirit, still has not a little sentiment
and flow of feeling. In playing it the singing quality and
close legato are first in importance. Next to this the
proper rise and fall of feeling as the melody ascends or
descends. Particular care must be taken to give the
soprano a slight preponderance in song quality over the
alto, the notes of which played by the strong fingers
are apt to be played too heavily. In the second measure
where the melody comes to a repose and the bass voice
leads up to the third measure, give the rising counter-
point in the bass a crescendo effect. In the I3th and



2* THE GREAT IN MUSIC: FIRST YEAR.

I4th measures (not counting the repeat) there is a very
curious mysterioso effect, quite like many to be found
in Beethoven and Schumann. This dwelling upon the
diminished chord is to be kept quite soft, but the little
baritone voice is to be slightly brought out. In the iyth
measure a very charming crescendo begins, sequence
three times repeated in four successive measures, modu-
lating from G first to A major, and then to B, only to
subside later to the close. The proper movement is
very important in this piece, since if it is played too
slowly it drags; and if too fast it lacks repose. The
quarters should be taken at from 60 to 66. Perhaps 63
will be about right.

PASSEPIED IN E MINOR.

(5th English Suite, 4th Grade.)

The Passepied in E minor from the 5th English Suite
is another charming illustration of Bach's cleverness
in two-voice writing. While the mode is minor, the
spirit is bright and rather sprightly. Note in particular
in the bass the imitation of the leading soprano idea,
beginning with the third beat of the second measure,
and again in the loth measure, etc. The phrase-marks
in the Peters edition are not altogether fortunate. The
first phrase begins with the first note and ends with G,
at the beginning of the second measure ; then from E
(2d beat), we go to the B at the beginning of fourth
measure, etc., the measure form beginning with the
third beat and ending with the second or first. This
metrical form prevails mostly throughout. The same
false phrasing meets us in the repetition of the principal
idea in the relative major, m.i6 to 24, and again in the
free treatment of it, m.24 (last beat) to 32. The pedal
can be used for accents (one beat at beginning of meas-



J. S. BACH. 23

ure) and occasionally longer, as when the bass has an
arpeggio form (m.5, 6, etc).

MENUET.

(From the ist 'Cello Suite. 4th Grade.)

This lovely and poetic piece consists of two forms,
the second being in D minor. The first part affords
some delightful study in melody playing. The melody
should be song-like, with full round tone yet never loud.
It must sound as if it sang for its own pleasure, and not
as made to sing by playing it more resolutely. Care
must be exercised to have the soprano preponderate
over the alto and chords, and the chord effects should
always be in subjection to the singing melody. In other
words, do not interrupt the singing of the soprano for
the sake of more solid playing of the chords which ac-
company it. The second part (in minor) is to be delicate
and never forced. The whole, while simple of construc-
tion, is full of beauty. The mood is quiet, the move-
ment being about 60 to 72 for quarters.

CAPRICCIO ON THE ABSENCE OF A DEARLY LOVED
BROTHER.

This curious experiment in program music is about
the only work of the kind we have from Bach. Spitta
says that it was composed, probably, in 1704 or 1705,
when his older brother, Johann Jakob, determined to
enter the Swedish guard as an oboe player, in the serv-
ice of Charles XII. The suggestion for this kind of
piece was already given in Kuhnau's six Biblical sonatas,
published four years previously, each of which illustrated
in music a Bible story. The idea of illustrating a story
or a poetical scene by music was not new even then ; it
had been attempted by the Netherlandish composers,



24 THE GREAT IN MUSIC: FIRST YEAR.

and it was said that Froberger could depict whole his-
tories on the clavier, "giving a representation of the per-
sons present and taking part in it, with all their natural
characters" ; he also states that he was in possession of
a suite by the same composer "in which the passage
across the Rhine by the Count von Thurn and the dan-
ger he was exposed to from the river is most clearly
set before our eyes and ears in twenty-six little pieces."
Bach's piece in this form is to be taken rather as a
joke than as a serious effort. It consists of six little
pieces. The first is Arioso, Adagio, in B flat : "Coaxing
the Friend not to insist upon taking this journey" ; sec-
ond movement, fugato in G minor, "a representation of
the casualties which might befall him in his journey."
Third, Adagissimo, "a general lament for the Friend,"
in F minor, curiously enough written with three flats
signature. Fourth, very short: "Here comes the
Friend, who says it cannot be avoided and he must take
his departure" ; fifth, Aria of the Postilion, "poco alle-
gro" in B flat. Sixth, Fugue, "in imitation of the cornet
of the postilion."

PREAMBLE IN E MAJOR. FROM THE 6TH VIOLIN
SONATA.

(6th Grade.)

The Preamble in E major is a pianoforte transcription
of a movement written by Bach for violin solo. In its
original form it is one of the most difficult pieces for
violin ; in its new form the spirit of the original is ex-
tremely well preserved, and the movement as a whole is
full of life and motion and exuberance of feeling.

This Preamble or Prelude is in the form of an im-
provisation composed upon a very few leading ideas,
which are intermingled in a charming manner. The



J. S. BACH. 25

opening idea (mm.i and 2) is very little used. In the
original Bach refers to it at the close ; the cases where
it occurs in the arrangement (mm. 30, 31, 34, 35, 52, 80,
81, 84, 85, 91, etc.) are added by the arranger. Most of
the development takes place upon the subject in mm. 29
and 30, where we have it in the key of E. In mm. 33, 34
we have the same in C sharp major; again in mm. 79
and 80, in A ; and so on. Between the opening and this
there is a second idea, a very lovely "effect" idea, which
is quite as much an "effect" upon the violin in the
original form as here upon the piano (mm. 17 to 28) ; this
idea occurs in mm. 67 to 78. The Prelude as a whole is
remarkable for the freedom of its harmonic treatment
and the modulations. These, together with the ex-
uberant rhythm and the bright melodic character, give
it a charming and inspiring quality.

In playing it too great rapidity is not desirable ; about
144 Ifor quarters will be fast enough, and if well and
evenly played it will be effective at a slightly slower
speed. All the subtle "come and go" must be ob-
served, the frequent little climaxes and the instant sub-
sidence into a softer tone. The tempo, however, is kept
up almost without modification, like a perpetual mo-
tion.

CHROMATIC FANTASIA AND FUGUE.
(8th Grade.)

One of the greatest clavier pieces written by Bach is
the Chromatic Fantasia and Fugue, a work of the larg-
est dimensions, extremely modern in spirit, beautiful
in its musical and poetic conception, and full of that
delicate fancy and humor which distinguished this great
master more abundantly than perhaps any other com-
poser who ever lived. While demanding for a first-rate



26 THE GREAT IN MUSIC: FIRST YEAR.

performance unusual powers on the part of the pianist,
technical powers and a quick understanding of the
suggested possibilities of musical expression, togethei
with* a mature and educated musical sensibility, the
standard of playing is now so high that there are many
clubs where some one can be found able to give at least
a fair idea of this master work ; and such a preliminary
study, even if not wholly adequate, will nevertheless give
an idea of its general build and character, and pave the
way for a more perfect understanding of it when played
by an artist.

The Chromatic Fantasia (working from the Von Bue-
lo'.v. edition) consists of four principal ideas, which oc-
rur over and over again in contrasted forms. The first
idea is a bravoura run, occupying the first two meas-
ures. This idea occurs again (m.i7 to 26), and is sug-
gested in a few other places. The second is the lovely
harmonic idea contained in mm.3 to 14; a third idea is
the lovely succession of chords arpeggio, beginning in
m.28 and occupying the greater part .of the interest up
to m.32, where the fourth idea begins, a succession of
short, recitative phrases, nearly all closing upon dimin-
ished chords and beautifully expressive both in melody
and in harmonic succession. The fantasia rises to sev-
eral great climaxes, the main one being in 111.75. This
movement concludes in m.8o, where a lovely coda be-
gins, the whole closing in m.85. This coda is one of
the most beautiful passages anywhere to be found. It
is a poem complete.

THE ITALIAN CONCERTO.
(8th Grade.)

The Italian Concerto of Bach is one of a large num-
ber of pieces under the general name of concertos which



J. S. BACH. 27

he developed in the style of the Italian master Vivaldi,
who wrote for the violin and for stringed instruments.
The Italian Concerto in its complete form is in three
movements, the first being bright and sprightly, the
second the slow movement and the third a very lively
one. The general disposition of the parts very much
resembles the modern sonata. In the present program
we have to do with the first movement only. It is re-
markable for the variety of musical ideas it contains,
the consistency with which they are treated, and the
bright and sprightly, yet serious, effect produced by the
work as a whole. The most characteristic element in
the first movement is the principal subject, beginning
in measure i and continuing four measures in the tonic.
It is then repeated in the dominant. This is followed
by a second half-period, coming to a close on the domi-
nant in measure 15; and here begins in the left hand
part a new idea which more or less prevails for six or
seven measures. All of this belongs properly to the
principal subject, which ends in measure 30. Then
begins a very charming movement, also in the key of F,
which continues to measure 53, where the first subject
is suggested again in the dominant, but is brought in
full and square upon the tonic in measure 57. It is.
however, not carried out, but other ideas interfere, and
the treatment is quite different from that in the first
instance. Another pleasing episode is one upon the
dominant in the relative minor beginning at the last end
of measure 90. This, however, is short and requires
little attention. The first subject is recurred to again
in measure 103 in the key of B flat ; also in measure
139 and 143, and its final return takes place in measure
162. Analysis is of but little use in a piece of this char-



28 THE GREAT IN MUSIC: FIRST YEAR.

acter, since three or four leading ideas recur over and
over again in all sorts of keys and a great variety of
chords, but always introduced in the happy and spon-
taneous manner which shows the master hand. The
aesthetic impression of this piece is pleasing, animated
and imaginative, and there is nothing in it of the mor-
bid or the depressed.

THE FANTASIE IN C MINOR.
(6th Grade.)

This short movement is a very characteristic style of
Bach's. The pith of it is contained in the first three
measures, in which the principal subject is repeated
three times. In measure 4 a pleasing relief is given
by some running work in the right hand, but in measure
6 the original motive of the soprano returns in the bass
in full, and this takes place again in measures 7, 8 and 9,
the whole of the first subject concluding in measure 10.
In measure II the second subject begins, a pleasing
harmonic effect of no great depth, and so at length the
cadence into the dominant and the double bars. This
first part of the Fantasie should be repeated in order
that the hearer may become more familiar with it. After
the double bar we have the first of the original first part
in a new key, but the carrying-out from measure 25 to
28 is different from the former. In measure 29 the har-
monic idea occurs again, corresponding to that in meas-
ure u, but differently treated, and in measure 38 the
principal subject returns, and so at length the end in the
44th measure.

The general character of this piece is that of a study.
It sounds as if it might have been written for a lesson.
Yet the musical treatment is clever and in a sense as



J. S. BACH.



29



spontaneous as that in the Italian Concerto already dis-
cussed ; the present phase of the Bach spirit is much the
same as that in the invention in C major, only the Fan-
tasie in C minor is much more extended and weighty.