Of B.ach's orchestral scores also, it may be i said that all the players are, in turn, soloists. His harmony is ga manifold melody'; it forms the bridge between the mediaeval polyphonic and the modern harmonic styles. In his or chestral accompaniments, a favorite device is an obligato part for some string or wind instru ment playing a duet with the solo voice. His works for orchestral instruments alone com prise three overtures and six concertos. Among his compositions for violin there are three suites and three sonatas that are unique, inas much as they have no pianoforte accompani ment but are complete in themselves, the poly phonic or harmonic accompaniment being played together with the melody by the violin ist; for the violoncello, also, there are six son atas and suites of this kind. While it is true that in all of his works the organ style prevails more or less, there is nevertheless a keen in stinct (far ahead of the time in which he lived) for what is idiomatic, or peculiar to each in strument. This is particularly true in regard to the pianoforte compositions. In these, Bach is more modern than Haydn, Mozart or even Beethoven. While writing for the imperfect clavichords and harpsichords of his time he had in his mind a prophetic vision of the modern grand piano; on that alone can justice be done to his superb compositions of this class. His preludes and fugues, his inventions, suites, toccatas, fantasias, etc., are the fountain head of modern music. Of special importance is the 'Well-tempered Clavichord,' a collection of 48 preludes and fugues, two in each key, arranged in the order of chromatic ascent. Hans von Billow called this °the Old Testament in music.° It is indispensable to every student; but it is infinitely more than a group of studies. "We find these fugues," wrote Rubinstein, "of a re ligious, heroic, melancholy, grand, serious char acter; in one respect only are they alike in their beauty! And then the preludes, whose charm, variety, perfection and splendor are simply incomparable! That the same composer who wrote those organ compositions of over whelming grandeur could also write such de lightfully humorous gavottes, bourrees, gigues, such melancholy sarabandes, short piano pieces of such charming simplicity, transcends belief. These remarks refer to his instrumental works alone, but if we do add to them his gigantic vocal compositions, we are led to the conclu sion that the time will come when it will be said of Bach as of Homer: 'This was not written by one man but by several.' " Rubin
stein's reference to the gavottes, etc., calls at tention to the fact that Bach was not above writing dance music; a great deal of it, in fact. He also did much to improve the technique of pianoforte playing, especially in the matter of fingering (use of thumbs). He would have been the first to adopt all modern improve ments, and in playing him, therefore, thy pedal, for instance, should be used as freely as in play ing Chopin. And while it was not customary in Bach's day to write expression marks, it is idiotic to suppose that he played his pieces with out changes in loudness and pace. Here students should follow the guidance of Liszt and Billow. The more Bach's works are studied from this point of view, the more does he seem a modern romanticist, and his works music of the future, even more than music of the past. Mendelssohn all his life furthered the cause of Bach and his efforts resulted in the erection of the first statue of the Altmeister, as Bach has been affectionately called, at Leip zig in 1842. In 1884 a fine bronze statue was erected at Eisenach, and in 1900 a full-sized bronze statue was unveiled with imposing cere monies in Leipzig. In addition to the 60 vol umes of Bach published by Hiirtel and Haupt mann, new volumes have been published an nually since 1904 by the Neue Bach Gesell schaft, appearing as the 'Bach Jahrbuch.' In 1907 the Bach birthplace at Eisenach was opened as a Bach Museum. There are now Bach societies in several countries.
Bibliography.— Spitta's (Bach,' in 2 vols. (English by Bell & Maitland, London 1899) is the most elaborate and authoritative work. Of the shorter books the most serviceable is that by Abdy Williams, which also contains a classified list of Bach's works and a bibliog raphy. Consult also Parry,