207.—BACH'S GREAT WORKS. HOW ENJOYED BY SOME.
Bach is one of the most famous names in the history of musical art. There are records of 247 Bachs, who, in one way or another, distinguished themselves both by composition for, and performance on, the organ. John Sebastian Bach's last and in some respects greatest work, "The Art of Fugue," was left unfinished by the failure of his eyes. His friends urged him in his old age to write a treatise on fugue and fugue making. He started to do so, but, after writing a few pages, threw away the work in disgust, exclaiming, "I cannot teach by precept, only by example," and then recommenced the work on a different plan. He took one simple subject, and on it wrote sixteen fugues and four canons, in every style of composition. This work on "Fugue," the "Passion Music," and the "Well-Tempered Clavichord " are considered the most splendid results of his genius.
But while this grand music of the old "cantor" of Leipzig is, to some, an exposition of the highest form of art, to others it is nothing but a dreary succession of sounds which falls on ears unattuned to its grandeur. But there is still another class, though we hope it be small, that sees for Bach's music a purpose which, though it may savor of utility, does not of dignity.
The use to which a proportion of modern concert-goers puts Bach's music has its precedent in the custom of a certain count who lived in Bach's day. This noble was particularly fond of Bach's music, and at the same time was occasionally troubled with insomnia.
At these times he would have one of his musicians play a particular set of variations "of a soothing and rather cheerful character," as we are told, variations that were written for him by Bach, and which so pleased him that he presented Bach with quite a sum of money.
We are not accustomed to thinking of Bach's music as soporific in character, and yet if one glances over an average audience during a programme containing a goodly amount of Bach, we may see that with some people it has that tendency.