Modern music and musicians : [Encyclopedic] . d 20 of the first and many others of the second part, ofwhich I select the twentieth as the most interesting. The most beauti-ful preludes are those in the style of the Passion arias, as Nos. 8, 22,and 24, Part I, and 4, 12, and 22, Part II. The fugues are all strong; most of them are set with one, often two,firmly held counterpoints, and even, as in the F Minor Fugue in Volume I,in four voices with three counter-themes worked in double are the most magnificent fugues ever written for the piano. Differ-ent moods are expressed in t
Modern music and musicians : [Encyclopedic] . d 20 of the first and many others of the second part, ofwhich I select the twentieth as the most interesting. The most beauti-ful preludes are those in the style of the Passion arias, as Nos. 8, 22,and 24, Part I, and 4, 12, and 22, Part II. The fugues are all strong; most of them are set with one, often two,firmly held counterpoints, and even, as in the F Minor Fugue in Volume I,in four voices with three counter-themes worked in double are the most magnificent fugues ever written for the piano. Differ-ent moods are expressed in them : amiable cheerfulness in No. 3, humorin No. 9, spirited jesting in No. 15, manly bravery in No. 5, earnestconsecration in No. 4, quiet meditation in No. 8, deep sadness inNo. 12, pathos in Nos. 18 and 22, soul anguish in No. 24, Volume I,inward piety in Nos. 9 and 22, Volume II. In all these fugues themost skilful counterpoint is only a means to an end. The close carry-ing out of the wonderful combinations is kept free and natural. Here. W1LHELM FR1EDEMANN BACH, Eldest son of Sebastian great organist and fugue-player. KARL PHIL1PP EMANUEL BACH, Third son of Sebastian , director, teacher, and critic. the contrapuntal style develops in itself a speech for the expression ofBachs own characteristic thoughts. From all these splendid fugues Iselect as the most important in three voices Nos. 8, 13, Volume I; 4, 6,18, and 24, Volume II; in four voices, Nos. 12, 16, 18, 20, 24, Volume I;7, 9, 16, and the grand Fugue in B Minor, No. 22, Volume II; the lastnamed has a close carrying out of four voices in double counterpoint in thetenth. The work contains two five-voiced fugues, of which the first is atriple fugue; one fugue only is two-voiced. This work, like the Clavierbuchlein, begun in 1720, and the In-ventions, was written for instruction; the Orgelbuchlein and theKunst der Fuge were written for the instruction of organists. Inthe last-named work, which I like
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