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 strenuous than strict polyphony. Yet the reaction toward operatic styles was not as great as in Catholic countries, since in both Germany and England the Italian opera was exotic. Hence, especially in England, there begins to appear a modern church style which avoids technical elaboration and is yet not without dignity and solemnity—a compromise that has often proved valuable as a means of religious expression and impression. The popular influence of the more sterling English services and anthems, for instance, has had more historical importance than their technical quality would seem to warrant, simply because for many communities they were almost the only forms of artistic music known. The parallel development of the simple motet in Germany was delayed till the next period, when it was stimulated by the liturgical awakening in the Lutheran churches under the lead of Schleiermacher.

In Germany a few names may be selected:—

Karl Friedrich Christian Fasch (d. 1800), from 1756 associated with Emanuel Bach in the royal band at Berlin and 1774-6 in charge of the opera-orchestra, was a good contrapuntist. In 1790 he began a choral society which became the famous Singakademie. Before his death he destroyed many works as unworthy, but some survive—psalms, motets, a mass for 16 voices, etc., besides many clavier-pieces.

Johann Christian Kittel (d. 1809), the last pupil of J.S. Bach, from 1756 organist at Erfurt, won wide renown by his masterly playing in the old style and attracted many scholars. In 1800-1, however, though almost 70 years old, he was forced to undertake public concerts at Hamburg and Altona, which were artistically unsuccessful. His works were chiefly for the organ, including preludes, chorale-elaborations, fugettas and a collection (1801-8).

Contemporary with these was Johann Christoph Friedrich Bach (d. 1795), J. S. Bach's fourth surviving son, who, after studying law, chose music for his career and from 1756 was chamber musician at Bückeburg. He excelled as a harpsichordist, but also wrote many sacred cantatas, an oratorio (1773), some motets, an opera, Die Amerikanerin (1776) and much chamber and clavier music. His ability was only moderate. Christian Gotthilf Tag (d. 1811), from 1755 for 53 years cantor at Hohenstein (Saxony), is cited as a typical German church musician of the time, plodding, methodical and prolific. Georg Michael Telemann (d. 1831), from about 1773 cantor at Riga, was another. More conspicuous was Johann Gottfried Schicht (d. 1823), who as a law-student at Leipsic came under Hiller's influence, played the violin and the piano at the Gewandhaus, and in 1785 succeeded Hiller as conductor there, from 1798 was organist at the New Church and from 1810 cantor at the Thomasschule. He wrote 3 oratorios (from 1785), several masses, many motets, and edited a noted Choralbuch (1819). Justin Heinrich Knecht (d. 1817), from 1771 director and later organist at Biberach and in 1807-9