The Masters and their Music

ose of bringing out more clearly the individualities of their style and the predominant flavor of their work. In this compariso

for Beethoven the sonatas in F minor, opus 57, "Appassionata," the opus 106 in B-flat, and opus 111 in C minor. All these go much farther in the untrammeled expression of deep feeling than any of the works brought together upon the present program, even the "Moonlight Sonata," although the finale of this is distinctly

portant of these is that which regards Bach as having had a higher idea of his art than later composers had, and of having intended to illustrate in his works a very high degree of skill, contrapu

htest. Thus his highest and largest works have a good deal the character of play, so easily were they composed. True, they do not present to the player of the present day nearly so much of this quality, for the technic required to play them well is not quite that of the ordinary pianist. Bach expects the hands to play melodiously and very fluently, and the player to think in fugue; i.e., be able to follow the answering voic

OG

ugue in C-sharp maj

C-sharp minor ("Moonl

ntasia i

n C minor (from So

o from Itali

onata in E m

Fugue in G major

minor (Shakspere's "Tem

a "monody," a composition of one idea, which preponderates so decidedly as to enforce its character and individuality upon the work; nay, it is the work. Variety and symmetry are always present, but the variety is to be found in the modulatory treatment and in the counterpoint-the various accessory ideas which appear in the course of the work for better setting off the leading idea forming the substance of the composition. Hence we have in Bach, along with a unity which pervaded every single idea and every s

ll from the first volume of the "Clavier." There is no necessary connection between the prelude and the fugue following, except

33 to 46). Then the original theme is resumed in the subdominant of the principal key (F-sharp major) and is given entire in the original key of C-sharp, the repetition being exact. In measure 63 the conclusion begins. It consists of a pedal point upon G-sharp, treated very pleasantly, and relieved and developed in measures 75 to 91 by interesting

eginning, running two measures. This subject is repeated en

n ode if you like,-of a melancholy, grieving character. Its structure will be understood by aid of the following analysis: It begins with a prelude of four measures, after which the leading idea enters in the key of C-sharp minor, closing in E-major, four measures. After a measure of accompaniment the subject resumes in C major, proceeding immediately to B minor, after a cadence in which an accessory melodic bit is introduced, having the char

cond beat of this the Second enters and runs twenty-three measures. With the second eighth note of this measure a movement of eighth notes in chords enters, which forms the concluding piece. This carries us to the double bar, after which a free fantasia follows upon the sa

the first two measures and a half played in advance for defining the subject, and the fourth measure once, to define the second leadin

original being now imitated in downward directions and by the same interval. This taken as a new subject affords ground for much additional development, and later on the fugue becomes very complicate

easure. In the seventh the Principal subject is resumed, and in measure 10 a new motive appears in the vigorously ascending bass theme, which is immediately answered by a soprano counter theme, measures 11, 12, 14. This carries us forward to measure 30, where an episode comes in not unrelated to the first theme, and again in measure 44 a passage of chords practically forming

re in tenths for the bass (measures 55 to 58, and again later on), it presents no serious difficult

er pieces of Bach in this program. Without ever quite reaching the modern conception of

ulatory treatment of the leading idea in the first two pages, and the entrance of the lovely sl