CHAPTER III

In the year 1637 was born at Massa de Valnevola (Tuscany) Bernardo Pasquini,[48]who is said to have been one of the most distinguished performers on the organ and also the harpsichord. He studied under Loreto Vittori and Antonio Cesti, but his real master was evidently Palestrina, whose scores young Bernardo studied with fervent zeal. He was appointed organist of Santa Maria Maggiore, Rome, and, according to the monument erected to his memory by his nephew, Bernardo Ricordati, and his pupil, Bernardo Gaffi, in the church of San Lorenzo in Lucina of that city, the composer was for a time in the service of Battista, Prince Borghese. The inscription runs thus:—

"D.O.M."Bernardo Pasquino Hetrusco e Massa Vallis Nevolæ Liberianæ Basilicæ S.P.Q.R. Organedo viro probitate vitæ et moris lepore laudatissimo qui Excell. Jo. Bap. Burghesii Sulmonensium Principis clientela et munificentia honestatusmusicis modulis apud omnes fere Europæ Principes nominis gloriam adeptus anno sal. MDCCX. die XXII. Novembris S. Ceciliæ sacro ab Humanis excessit ut cujus virtutes et studia prosecutus fuerat in terris felicius imitaretur in coelis. Bernardus Gaffi discipulus et Bernardus Ricordati ex sorore nepos præceptori et avunculo amantissimo moerentes monumentum posuere. Vixit annos LXXII. menses XI. dies XIV."

"D.O.M.

"Bernardo Pasquino Hetrusco e Massa Vallis Nevolæ Liberianæ Basilicæ S.P.Q.R. Organedo viro probitate vitæ et moris lepore laudatissimo qui Excell. Jo. Bap. Burghesii Sulmonensium Principis clientela et munificentia honestatusmusicis modulis apud omnes fere Europæ Principes nominis gloriam adeptus anno sal. MDCCX. die XXII. Novembris S. Ceciliæ sacro ab Humanis excessit ut cujus virtutes et studia prosecutus fuerat in terris felicius imitaretur in coelis. Bernardus Gaffi discipulus et Bernardus Ricordati ex sorore nepos præceptori et avunculo amantissimo moerentes monumentum posuere. Vixit annos LXXII. menses XI. dies XIV."

Pasquini enjoyed reputation as a dramatic composer, and the success of an opera of his performed at the Teatro Capranica, Rome, during the festivities in honour of Queen Christina of Sweden (1679), is specially noted; or, according to Mendel, he wrote two successful operas, one for the opening of the Teatro Capranica, and a second for the festivals. He also wrote an oratorio:La Sete di Christo. Pasquini died in the year 1710.

But, it will be asked, Why is he mentioned in a book which is concerned with the sonata? It is known that he was a skilful performer on the harpsichord, and some Toccatas and Suites of his appear to have been published in a collection of clavier music at Amsterdam in 1704. Fétis, in hisBiographie Universelle des Musiciens, even states that he wrote sonatas forgravicembalo. Here are his words:—

"Landsberg possédait un recueil manuscrit original de pièces d'orgue de Pasquini, dont j'ai extrait deux toccates, composées en 1697. Ce manuscrit est indiqué d'une manière inexacte dans le cataloguede la bibliothèque de ce professeur (Berlin, 1859) de cette manière: Pasquini (Bernardo)Sonate pei Gravicembalo(libro prezioso). Volume grossoE scritto di suo (sua) mano in questo libro. Ce même catalogue indiqué aussi de Bernard Pasquini:Saggi di contrapunto—Anno 1695. Volume forte.E scritto di suo (sua) mano in questo libro. Malheureusement ces précieux ouvrages sont passés en Amérique avec toute la bibliothèque musicale du professeur Landsberg."

Whether these precious volumes actually went to America seems doubtful. Anyhow both volumes are now safely housed in the Berlin Royal Library. It may be mentioned that the first contains no real sonata: its contents consist principally of suites, toccatas, variations, and fugues.

In the story of Italian instrumental music, Pasquini is little more than a name. The fourth volume of A.W. Ambros'History of Musicconcludes thus:—"So ist uns von dem gerühmten Meister nichts geblieben, als seine Name u. seine stolze Grabschrift in San Lorenzo in Lucina." (Thus of the famous master (i.e.Pasquini) nothing remains except his name and his proud monument in San Lorenzo in Lucina). The writer of the article "D. Scarlatti," in Sir George Grove'sDictionary of Music and Musicians, remarks that the famous harpsichord player and composer "has been called a pupil of Bernardo Pasquini." But he considers this "most improbable, seeing that Pasquini was of the school of Palestrina, and wrote entirely inthe contrapuntal style, whereas Domenico Scarlatti's chief interest is that he was the first composer who studied the peculiar characteristics of the free style of the harpsichord."

Of Pasquini as a performer on the harpsichord, Mattheson relates "how on his visit to Rome he found Corelli playing the violin, Pasquini the harpsichord, and Gattani the lute, all in the orchestra of the Opera-house." And, once more, in the notice of Pasquini in the same dictionary, we are informed that the composer "exercised a certain influence on German musicians." In C.F. Weitzmann'sGeschichte des Clavierspielsthere is an interesting reference to some Toccatas of Pasquini published in "Toccates et suites pour le clavecin de MM. Pasquini, Paglietti et Gaspard Kerle, Amsterdam, Roger, 1704." A Toccata was published (most probably one of those in the above work) by I. Walsh in his

Second CollectionofToccates, Vollentarys and Fuguesmade on purpose for theOrgan and HarpsichordCompos'd byPasquini, Poliettiand othersThe most Eminent Foreign Authors.

Of Polietti,[49]court organist at Vienna before J.S. Bach was born, Emil Naumann has, by the way, given an interesting account in an article "Ein bisher unbekannt gebliebener Vorgänger Seb. Bach's unter den Italienern" (Neue Berl. Mus.-Ztg.Jahrgang 29). The Toccatas of Pasquini, published by Roger, and a so-called "Sonata,"[50]printed by Weitzmann in the work just referred to, constitute, we believe, all that has hitherto appeared in print of this composer.

And yet surely Pasquini may lay claim to a place in the history of instrumental music and the sonata, for he not only wrote suites, but also sonatas for the harpsichord, or, to be quite exact, for two harpsichords. Some, at any rate, of his music is to be found in the British Museum. There are three volumes (Add. MSS. 31,501-3). On the fly-leaf of the first is written:—

"Ad Usum Bernardi Felicij Ricordati de Baggiano in Etruria."

Then comes in pencil a note probably made when the volumes came into the possession of the British Museum:—

"These are original MSS. by the hand of Bernardo Pasquini, 1637-1710, the greatest organist of Italy in the second half of the 17th century, and written for his nephew B. Ricordati. They are the only MSS. of Pasquini known to bein Europe. This vol. is dated at the end, Dec. 3, 1704; at the beginning, May 6, 1703."

And now for its contents. The first piece is a short suite,[51]consisting of a Tastata (the old term for Prelude), a Corrente and an Aria; and it shows that Pasquini could write homophonic as well as polyphonic music. Then follows a piece in the key of D major, headed

"A due Cembali, 1704, Bernardo Pasquini,"

which consists of three movements. First one commencing with chords, after which, fugal imitation. Next we have a fugal movement, like the preceding one, in common time; lastly, one in six-eight time. All three movements are in the same key. The part for each cembalo is written on a separate stave, the one below the other. Only the bass notes are written, and the upper parts are indicated by figures. But this will be clearer presently, for we shall give one or more illustrations. At the close of the six-eight movement is writtenfine, and on the following page another piece begins in C major, marked merely 2a, commencing thus:—

Pasquini sonata

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This theme reminds one of Bach's Adagio from the 2nd Organ Concerto—

Bach, Adagio, 2nd Organ Concerto

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or even Handel's "Along the Monster Atheist strode."[52]The movements of this second piece are similar in structure and character to those of the first. Next we have a piece of lighter character in two movements, and, apparently, for one cembalo: there is, of course, only one bass part (figured). At the commencement is merely markedBasso continuo. The following piece is headed 3a Sonata (3rd Sonata). It is in the key of D minor, and it has three movements, all in the same key. Now, as all the pieces fortwo cembaliin the volume after this are marked as sonatas, coupled with the fact that before this 3rd Sonata there are two pieces for two cembali, the latter of which is marked 2a (second), we may conclude that these two are also sonatas. The piece for one cembalo between the 2nd and 3rd Sonatas is, as we have remarked, of lighter character, and was possibly considered a suite. After the 3rd Sonata comes a fourth, then aBasso continuo(containing, however, by exception, morethan one suite), and so on, alternately, until the 14th Sonata is reached. Then follows the last piece in the volume. The superscription, "For oneortwo cembali,"[53]leads us to believe that the precedingBasso continuonumbers were intended for one cembalo. It should be stated that movements in binary form are rare among the sonatas, frequent among theBasso continuopieces,—another reason for considering the latter suites.

The structure of the 3rd Sonata[54]is extremely simple. The first, probably an Allegro moderato, opens with a bold characteristic phrase, which is repeated in the second bar by the second cembalo; points of imitation, in fact, continue throughout the movement. At the seventh bar there is modulation to the dominant, and at the ninth, to the subdominant, in which the opening theme recurs. A stately antiphonal passage leads back to the principal key, and the movement concludes with a cadence such as we find in many a work of Bach's or Handel's. The Adagio opens with short phrases for each instrument alternately. A new subject in the relative major is treated in imitative fashion. After a return to the opening theme, also an allusion to the second theme, a new figure is introduced, but the movement soon comes to a close. This slow movement brings to one's mind "The Lord is a Man of War," and the major section of the duet, "Thou in Thy Mercy,"in Handel'sIsrael in Egypt. The third movement, in structure, much resembles the first; the music is broad and vigorous. The closing bars suggest the stringendo passage and presto bars in the coda of the Scherzo of the "Choral Symphony." Of course it is disappointing to have only the bass parts for each instrument. The volume, as we have already stated, was for the use of Ricordati, and probably the uncle and nephew performed these sonatas together. Musicians will be able to write out the figured basses, and thus form some idea of the music. The figures are an outline of what was in the composer's mind; but these basses, like those of Bach and Handel, so simple, so clear to the composers who penned them, will always remain more or less acrux criticorum. It will be noticed that the three movements, as in some of Corelli's sonatas, are all in the same key.

We now give the opening bars of the three movements of the piece for one or two cembali:—

Pasquini sonata, 1st movement

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Pasquini sonata, 2nd movement

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Pasquini sonata, 3rd movement

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All the other sonatas are more or less after the pattern of the one given. The other two volumes contain suites, airs with variations, arias, and a quantity of short figured basses, apparently as studies.

Before closing this short chapter we will add a word or two about Italian music for the harpsichord at the beginning of the eighteenth century. A recent writer remarks that "Domenico Scarlatti seems to spring full-armed into the view of history." But his father, the renowned opera-writer, Alessandro Scarlatti, wrote music for the harpsichord, also his pupil, Gaëtano Grieco, who succeeded him as Professor at the Conservatorio dei poveri di Gesù Cristo (Naples) in 1717. The influence of the master can be clearly traced in the music of the pupil; and, if one may judge from the simpler character of Grieco's music[55]as compared with that of D. Scarlatti, he, too, was a predecessor. Grieco is said to have been born about 1680; D. Scarlatti was born in 1683; but this, of course, decides nothing as to the dates of their compositions. The harpsichord music of G. Grieco has both character and charm, and it is indeed strange that none of his pieces have been included either in theTrésor des Pianistes, theMaîtres du Clavecin, or Pauer's Collections of old music.

This chapter is headed: "A Contemporary of Kuhnau." The latter published all his known sonatas by the year 1700, while the dates assigned to the Pasquini sonata volume are, as we have seen, 1703-4. But at that time Pasquini was over sixty years of age; it is therefore more than probable that he was really the predecessor of the German master as a writer of clavier sonatas.

Carl Phillip Emanuel, third son of J.S. Bach, was born at Weimar, 8th or 14th March, 1714, and died at Hamburg, 14th December, 1788. He studied composition and clavier-playing with his father. His brother, Wilhelm Friedemann, his senior by four years, went through a similar course, but learnt, in addition, the violin under J.G. Graun. Emanuel's attention, however, was concentrated on the one instrument; and to this we probably owe the numerous clavier sonatas which he wrote, and which paved the way for those of Haydn, Mozart, and Beethoven. In his twenty-first year (1735) Emanuel left his father's house in order to study jurisprudence at Frankfort-on-the-Oder; three years later, however, he went to Berlin, and as cembalist entered the service of Frederick the Great (1740).[56]Already inhis father's house, the young student saw and heard many distinguished musicians; he himself has told us that no musician of any note passed through Leipzig without seeking an opportunity to meet his father, so famed as composer and as performer on the organ and clavier. And again, afterwards, at the Court of Prussia, he came into contact with the most notable composers and performers of his day. From among these may be singled out C.H. Graun (composer of the "Tod Jesu") and Georg Benda.[57]Graun was already in the service of Frederick when the latter was only Crown Prince.[58]It would be interesting to learn the special influences acting upon Emanuel before he published his first set of sonatas in 1742, but this is scarcely possible. The collection of symphonies[59]or sonatas published at Leipzig in 1762, mentioned in ourintroductory chapter, gives, however, some idea ofthe music of that period; and it is possible that many of the numbers were written before Emanuel Bach published his first works. The "Sammlung Vermischte Clavierstücke für geübte und ungeübte Spieler," by Georg Benda, may also be mentioned; it is of great interest, especially the Sonata in C minor. The character of the music and style of writing for the instrument constantly remind one of Emanuel Bach. Benda, born in 1721, joined the King of Prussia's Band in 1742, and soon became known as an experienced performer on the harpsichord. Unfortunately it is impossible to ascertain the dates of composition of the various pieces of this collection, and thus to find out whether Benda was an imitator of Bach orvice versâ; the collection itself was only published at Gotha in 1780.

The Italian taste in music which prevailed at the Prussian Court[60]had undoubtedly a marked influence on Bach, and one for good. The severe counterpoint of the North German school and the suave melody of the Sunny South blended together with happy results.

It is customary to speaken blocof Emanuel Bach's sonatas; if, however, the earlier be compared with some of the later ones, interesting differences may be detected, and developmentstraced. But the composer's artistic career, unfortunately, does not show a steady, regular advance such as we find in J.S. Bach or Beethoven. C.H. Bitter, his biographer and enthusiastic admirer, has to confess that he was a practical man, and that he wrote at times to please pupils and amateurs; while, occasionally, his aim may have been pecuniary gain.

Of his early period, we shall notice the "Sei Sonate per Cembalo," dedicated to Frederick II. of Prussia (1742), and the Würtemberg Sonatas, published in 1745. Of his middle period, the "Sechs Sonaten fürs Clavier mit veränderten Reprisen," Berlin, 1760, and the "Sechs leichte Sonaten," Leipzig, 1766. And of his latter period, the six collections of "Sonaten für Kenner u. Liebhaber," published at Leipzig between 1779 and 1787. With regard, however, to the last-named, it must be remembered that some are of a comparatively early date. Thus the 3rd Sonata of the 3rd Collection, one of the finest of Bach's works, was composed in 1763, while the collection itself only appeared in 1781. But a table of dates will be given further on.

If some of the best sonatas written after 1760 be compared with those of 1742, there will be found in the later works more character in the subject-matter, also movements of greater length. Practice, too, had improved the composer's style of writing. The later Bach did not return to theprincipal theme in such a crude, nay, lawless, fashion as the following:—

(Frederick) Sonata 1. First Movement.]

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In these "Frederick" Sonatas there is as yet no tendency to enharmonic and other surprise modulation such as Bach afterwards displayed. Then as to technique, we find here octaves and large chords comparatively rare,[61]while scale passages are more restricted. Like Beethoven, Emanuel Bach seized hold of additional notes to the keyboard. In 1742 his highest and lowest notes, apparently, were—

1742 highest and lowest notes

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but afterwards—

highest and lowest notes

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In theintroductory chapterwe noted the change with regard to the number of movements of a sonata which took place between 1683, when Corelli published his first sonatas, and 1740, when E. Bach composed his first set. Instances were given of sonatas in three movements by Corelli, but with that composerfourwas the normal number; with E. Bach,three. This change came about in great measure through the concerto. From E. Bach, we are able to show the links in the chain of development: Bach, Haydn, Mozart, Beethoven; but though between Kuhnau, the first writer of sonatas for the clavier, and Bach, B. Pasquini wrote, as mentioned in thelast chapter, sonatas in three movements, yet we have no knowledge that Bach was acquainted with them. Kuhnau, in fact, however interesting a phenomenon in the musical firmament, is not necessary to explain the appearance of Bach. Joh. Sebastian Bach was undoubtedly acquainted with the "Bible" Sonatas. He must have admired them, but he may have been afraid of the freedom of form which they displayed, and of their tendency to programme-music; and perhaps he did not speak of them to his sons, lest they should be led astray. For, as we have already mentioned, Sebastian Bach seems to have yielded for a moment to the Kuhnau influence, but, if we may judge from his subsequent art-work, he did not feel satisfied that it was a good one.

In 1742, E. Bach dedicated the six sonatas(composed in 1740) to Frederick the Great. The title-page runs thus:—

Sei Sonateper Cembaloche all' Augusta MaestàdiFrederico II.Rè di PrussiaD.D.D.l'AutoreCarlo Filippo Emanuele BachMusico di Camera di S.M.Alle spese di Balth. Schmidin Norimberga.

And in the obsequious dedication, the composer describes them as works "debolissimo Talento mio." As Bach's earliest published sonatas, they are, for our purpose, of special interest. Their order is as follows:—

Sonata1inFPoco Allegro, Andante, Vivace."2"B flatVivace, Adagio, Allegro assai."3"EPoco Allegro, Adagio, Presto."4"C minorAllegro, Adagio, Presto."5"CPoco Allegro, Andante, Allegro assai."6"AAllegro, Adagio, Allegro.

The first and last movements of all six are in binary form. In the five major sonatas, the first sections close in the key of the dominant, and in the one minor sonata (No. 4), in the relative major. The opening movement of each sonata is in early sonata-form: the second section starts with theprincipal theme, or a brief allusion to it; but then, after a short development with modulation, there is a return to the principal key and to the principal theme.[62]The final movements, on the other hand, are of the usualsuiteorder. Of interest and, indeed, of importance in our history of development are the contents of the first section of the opening movements. In some of the Scarlatti sonatas (see No. 56) there is to be found a fairly definite second subject in the dominant key, or, in the case of a minor piece, in the dominant minor or relative major. Here the process of differentiation is continued; in the 2nd Sonata the contrast between the two subjects is specially marked. We give the opening bar of each—

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In most of the developments the composer steers clear of the principal key, so that at the return of the principal theme it may appear fresh. To such a method, since Beethoven, we are quite accustomed; but it is curious how littleattention—even with the example of E. Bach before him—Haydn paid to such an effective means of contrast in some of his early sonatas. In Bach's No. 6, in A, the development assumes unusual magnitude; it is even longer than the first section. And it is not only long, but interesting. One passage, of which we quote a portion, has rather a modern appearance:[63]—

C.P.E. Bach Sonata No. 6

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The return of the principal theme is preceded by an unexpected entry of the opening bars in B minor,—a first sign of that humour which afterwards formed so prominent a feature in Bach's music. And the theme itself, after the opening notes, is dealt with in original fashion.

The middle movements of Nos. 2, 3, 5, and 6 are in the key of the relative minor; that of No. 1 is in the tonic minor, and that of No. 4 (C minor), in the relative major. No. 1, twice interrupted by a recitative (upper part and figured bass),[64]is dignified, yet tender, and, in form, original. The Adagio, in C sharp minor, of No. 3 is a movement of singular charm; it is based on imitation, but, though old in style, it breathes something of the new spirit, or rather—for there is nothing new under the sun—of the old Florentine spirit which freed music for a time from the fetters of polyphony. The genius of Johann Sebastian Bach gained the victory over form, and, in fact, exhausted fugue-form. It is in the clever, but dry fugues of some of his contemporaries and, especially, successors, that one can feel the absolute necessity for a new departure. This Adagio is, as it were, a delicate remembrance, and one not unmixed with sadness, of the composer's immortal parent.

The light, lively final movements need no description. All the music of these sonatas is written in two or three parts or voices; occasionally there are chord passages in which for the moment the number is increased. We have dwelt somewhat in detail on this work, as it appears to be little known.

There is a sonata in the key of D major, published in the 3rd Collection (1763) of Marpurg'sClavierstücke(p. 10), by E. Bach, which was written in the same year (1740), but earlier than the "Frederick" Sonatas. C.H. Bitter remarks that if the year of composition were not known, it would certainly pass as a much later work. The first movement reminds one of Beethoven's terse, bold style. Bitter refers to the freedom with which the thoughts are expressed, to the melodious character of the Andante, and to the humour of the Finale. He might also have referred to the style of writing for the instrument, which suggests a later date.

In 1745 (?) appeared the Würtemberg Sonatas (so called because they were dedicated to Bach's pupil, theDuca di Wirtemberg e Teckh, as he is named on the title-page of the original edition). These sonatas are marked as Opera seconda. They were offered by the composer to the Duke in recognition of the many favours shown to him "at the time when I had the honour of giving you lessons in music at Berlin."[65]Of these sonatas we have only been able to have access to the two preserved in the British Museum; the others are probably of similar character.

No. 1, in E flat, opens with an Adagio, followed by an Allegro assai (E flat), and then by a Menuet alternato and Trio, both in E flat, and with the formerda capo. The first and second movements are in old binary form; the Allegro shows the influence of D. Scarlatti. The Minuet isfresh and pleasing. It is evident, taking E. Bach himself as standard, that this is a suite rather than a sonata.

No. 2, in B flat, is of similar character and construction. Both sonatas are old in form, but more modern in their subject-material and style of writing than those dedicated to the King of Prussia. In the latter there is a solidity not to be found here; in its place we have lightness, almost merriment; they were written, one would almost think, expressly for the amusement of the Duke. The rapid semi-quaver passages (as in No. 1) and the crossing of hands (as in No. 2) tell in no undecided manner of the influence of Scarlatti. The exceedingly light and graceful Minuets remind one of the kinship between the composer and Haydn.

In a letter to Forkel, dated 10th February 1775, Bach writes as follows:—

"Die 2 Sonaten, welche Ihren Beyfall vorzüglich haben, sind die einzigen von dieser Art, die ich je gemacht habe. Sie gehören zu der, aus dem H-moll, die ich Ihnen mitschickte, zu der aus dem B, die Sie nun auch haben, u. zu 2en aus der Hafner-Würtembergischen Sammlung, u. sind alle 6 anno 1743, im Töplitzer Bade von mir, der ich damahls sehr gicht-brüchig war, auf einem Claviacord mit der kurzen Octav verfertiget."[66]

It would be interesting to know the two sonatas belonging to this period, "the only ones of the kind that I have ever written." In the catalogue of musical remains of E. Bach, published two years after his death, the opening bars are given of a Sonata in B minor (see above letter) written at Töplitz in 1743—

C.P.E. Bach Sonata in B minor

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This, surely, must be the one mentioned in the above letter.

In 1760, Bach published six sonatas with varied repeats (mit veränderten Reprisen), dedicated to Princess Amelia of Prussia. In the preface the composer remarks that "nowadays change or repetition is indispensable." He complains that some players will not play the notes as written, even the first time; and again, that players, if the changing on repetition is left to them, make alterations unsuitable to the characterof the music. These sonatas are of great historic interest. This preface, also the evident necessity for additional (inner part) notes at times, especially in the slow movements of E. Bach and other composers of that day, make one feel that, as it now stands, much of Bach's music is a dead letter. Here we are face to face with a question which in a kindred matter has given rise to much controversy. If the music is to produce its proper effect, something must be done. To that (in the case of Emanuel Bach's sonatas) all reasonable musicians must agree. Yet not, perhaps, as to what that something should be. According to certain authorities, only additions should be made which are strictly in keeping with the spirit of the age in which the music was written. Some, on the other hand, would bring the music up to date; they think it better to clothe eighteenth-century music in nineteenth-century dress, than to ask musicians with nineteenth-century ears to listen to patched-up eighteenth-century music. The second plan would not be approved by musicians who hold the classical masters in veneration; with a little modification, the first one, however, ought to meet with general acceptance. We may write in keeping with the spirit of a past age, but the music must now be played on an instrument of different character, compass, and quality of tone; so surely in making additions (and, so far as certain ornaments are concerned, alterations) these things ought to be taken into consideration. A certain latitude should, therefore,be allowed to the transcriber; hard-and-fast rules in such a delicate task are impossible. The late Dr. Bülow edited six of Emanuel Bach's sonatas,[67]and though he was well acquainted with the composer's style of writing, his anxious desire to present the music in the most favourable light sometimes led him to make changes of which even lenient judges would not approve. The matter is an interesting one, and we may therefore venture to refer somewhat in detail to one passage. In the 3rd Sonata (F minor) of the 3rd Collection, the passage—

C.P.E. Bach, 3rd Collection, 3rd Sonata

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has been changed by Bülow: he has altered the C flat in the second half of the first bar into a C natural, thus smoothing down the hard progression to the key of B flat minor. Now this very passage had already, nearly a hundred years previously, attracted the notice of Forkel, who admitted that, apart from the context, it jarred against his musical feeling. But he had thought over the composer's intention in writing that sonata, and had come to the conclusion that, in the opening Allegro, Bach wishedto express indignation.[68]He therefore asks: "Are the hard, rough, passionate expressions of an angry and indignant man beautiful?" In this case, Forkel was of opinion that the hard modulation was a faithful record of what the composer wished to express.[69]The natural order of history seems inverted here. One would have expected Forkel to look upon the music from an abstract, but Bülow from a poetical point of view. C.H. Bitter—also on purely musical grounds—condemns Bülow's alterations. He says:—"Even weaknesses of great masters, among which the passages in question are not to be counted, still more so, special peculiarities, should be left untouched. What would become of Beethoven, if each generation of musicians, according to individual judgment, arrogated to itself the right, here and there, of expunging hardnesses, smoothing down peculiarities, and softening even sharp points with which, from time to time, we come into unpleasant contact? Works of art must be accepted as they are."

The first part of Bitter's argument is sound; but, unfortunately for the last, the writer in his life of Emanuel Bach and his brothers insists on the necessity ofnotaccepting Emanuel's clavier worksas they are.

He quotes a passage from the Andante of the 4th Sonata of the second set of the "ReprisenSonaten," and comes to the natural conclusion that it was only an outline requiring filling up.

With all his faults, one cannot but admire the spirit in which Bülow worked. He felt the greatness of the old masters, regretted the limited means which they had at their command, also the stenographic system in which they were accustomed to express their thoughts; and he sought, therefore, to make use of modern means, and thereby was naturally tempted to introduce modern effects. The restoration of the old masters is a difficult and delicate task, and in most cases, one may add, a thankless one. In the matter of transcription, however, it is important to distinguish between a Bülow and a Tausig: the one displayed the intelligence of an artist; the other, the thoughtlessness of avirtuoso.

But what, it may be asked, is the character of the changes made by Bach? The matter is of interest; by examining these sonatas, we get some idea of the difference between letter and spirit. However, from what we have said above, a mere imitation of these changes, in playing Bach's music, would, in its turn, be letter rather than spirit.

As a rule the bass remains the same, though plain crotchets may become quavers, as in extract from Sonata 1 given below, or notes turned into broken octaves—

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or, at times, some very slight alteration may occur, such as—

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In the upper parts the changes are similar to those found in the variations of Haydn and Mozart. An illustration will be better than any explanation, and we accordingly give a brief extract from the 1st Sonata: first the five bars of the Allegretto, as at the opening, then as they are changed—

C.P.E. Bach, Sonata 1, Allegretto

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C.P.E. Bach, Sonata 1

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The publication of the set of six Leipzig collections of sonatas, etc., commenced in 1779; but thirteen years previously, the composer had published a set of "Sechs Leichte Clavier Sonaten," and these, in one or two respects, are curious. The opening movement of No. 6 has no double bars, and, therefore, no repeat of the first section. And again, it has a coda pausing on the dominant chord and followed by an Andantino. This second movement, peculiar in form and modulation, ends on the dominant of F, leading directly to the Presto.

The opening of the Larghetto of No. 2—

C.P.E. Bach, Sonata 2, Larghetto

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was probably the prototype of many a theme of the classical masters.

The works by which Emanuel Bach is best known are the six collections of sonatas, rondos, and fantasias published at Leipzig between 1779-1787. The composer died in 1788. The 1st Collection (1779) bears the title "Sechs Claviersonaten für Kenner und Liebhaber," and, in fact, contains six sonatas. But "nebst einigen Rondos" (together with some Rondos) was already added to the title-page of the 2nd and 3rd Collections; and to the remaining ones, the still further addition of "Freye Fantasien."

For the sake of reference, the list of sonatas is subjoined—

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