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84 something related to it; and in this manner he proceeds to the end of a piece, so softly, so gently, and gradually, that no leap, or harsh transition is to be felt; and yet no bar (I may almost say, no part of a bar,) is like another. With him, every transition was required to have a connexion with the preceding idea, and appears to be a necessary consequence of it. He knew not, or rather he disdained those sudden sallies, by which many composers attempt to surprise their hearers. Even in his chromatics, the advances are so soft and tender, that we scarcely perceive their distances, though often very great.”

“In other departments he had rivals; but in the fugue, and all the kinds of canon and counterpoint related to it, he stands quite alone, and so alone, that all around him, is, as it were, desert and void.***It (his fugue) fulfils all the conditions which we are otherwise accustomed to demand, only of more free species of composition. A highly characteristic theme, an uninterrupted principal melody, wholly derived from it, and equally characteristic from the beginning to the end; not mere accompaniment in the other parts, but in each of them an independent melody, according with the others, also from the beginning to the end; freedom, lightness, and fluency in the progress of the whole, inexhaustible variety of modulation combined with perfect purity; the exclusion of every arbitrary note, not necessarily belonging to the whole; unity and diversity in the style, rhythmus, and measure; and lastly, a life diffused through the whole, so that it sometimes appears to the performer or hearer, as if every single note were animated; these are the properties of Bach’s fugue,—properties which excite admiration and astonishment in every judge, who knows what a mass of intellectual energy is required for the production of such works. I must say still more. All Bach’s fugues, composed in the years of his maturity, have the above-mentioned properties in common; they are all endowed with equally great excellencies, but each in a different manner. Each has his own precisely defined character; and dependent upon that, its own turns in melody and harmony. When we know and can perform one, we really know only one, and can perform but one; whereas we know and can play whole folios full of fugues by other composers of Bach’s time, as soon as we have comprehended and rendered familiar to our hand, the turns of a single one.”

He disdained any display of his powers. If they were made obvious otherwise than in the beauty and fullness of what was produced, it was in such a way as this.