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Rh It does indeed seem, from all that is said of Bach on this score, that, as the organ was his proper instrument, and represents him, as the flute or violin might Mozart, so he that heard him on it enjoyed the sense of the true Miltonic Creation, thought too plenteous to be spoken of as rill, or stream, or fountain, but rolling and surging like a tide, marking its course by the large divisions of seas and continents.

I wish there was room to quote the fine story of the opera house at Berlin, p. 34, which shows how rapid and comprehensive was his intellectual sight in his own department; or the remarks on the nature of his harmony in that it was a multiplied melody, pp. 42, 43, or on the severe truth and dignity of his conduct to his pupils and the public, p. 76. But I must content myself with the following passages, which, beside, lose much by mutilation.

“The ideas of harmony and modulation can scarcely be separated, so nearly are they related to each other. And yet they are different. By harmony we must understand the concord or coincidence of the various parts; by modulation, their progression.

“In most composers you find that their modulation, or if you will, their harmony, advances slowly. In musical pieces to be executed by numerous performers, in large buildings, as, for example, in churches, where a loud sound can die away but slowly, this arrangement indisputably shows the prudence of a composer, who wishes to have his work produce the best possible effect. But in instrumental or chamber music, that slow progress is not a proof of prudence, but, far oftener, a sign that the composer was not sufficiently rich in ideas. Bach has distinguished this very well. In his great vocal compositions, he well knew how to repress his fancy, which, otherwise, overflowed with ideas; but, in his instrumental music this reserve was not necessary. As he, besides, never worked for the crowd, but always had in his mind his ideal of perfection, without any view to approbation or the like, he had no reason whatever for giving less than he had, and could give, and in fact he has never done this. Hence in the modulation of his instrumental works, every advance is a new thought, a constantly progressive life and motion, within the circle of the modes chosen, and those nearly related to them. Of the harmony which he adopts he retains the greatest part, but, at every advance he mingles