. The organ works of Bach. Violent as is the contrast between these twosections, the second seems to grow out of the firstquite naturally, and its persistent dissonancemaintains the emotional note struck by theopening. It reappears after another free passage,this time with changes both in the key and in theorder of entry of the voices. It leads into somenew material, with a bass that makes us long for apedal-board of four octaves, so that we might carrythe splendid scale down in one sweep instead ofcoming up for three fresh starts. FANTASIA AND FUGUE IN G MINOR 167 The demisemiquaver passages
. The organ works of Bach. Violent as is the contrast between these twosections, the second seems to grow out of the firstquite naturally, and its persistent dissonancemaintains the emotional note struck by theopening. It reappears after another free passage,this time with changes both in the key and in theorder of entry of the voices. It leads into somenew material, with a bass that makes us long for apedal-board of four octaves, so that we might carrythe splendid scale down in one sweep instead ofcoming up for three fresh starts. FANTASIA AND FUGUE IN G MINOR 167 The demisemiquaver passages in this work seemto call for a more measured style of playing thansimilar flights of Bachs earlier period. They arefar more definite in rhythm and harmonic feeling,and in some cases a kind of check is placed onthem by accompanying parts. The phrasingimplied in Bachs grouping, plus some of theelasticity of a cadenza, will be more satisfactorythan eccentric rushings and baitings. Someeditions suggest quiet Swell stops for th
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