redited, but some of the identical ideas by which these very
writers have made their way into popularity."

III. Friedrich Wilhelm Rust

During the years 1744-45 a young man named Johann Ludwig Anton Rust
went to Leipzig to study jurisprudence and philosophy. But he was also
musical, and played the violin at performances given under the
direction of J.S. Bach. On returning to his home at Woerlitz, Rust
tried to inspire those around him with enthusiasm for the music of
Bach. With his younger brother, Friedrich Wilhelm, he was, at any
rate, successful; for the latter, already at the age of thirteen, was
able to play by heart the whole of the "Well-tempered Clavier." Later
on, young Friedrich went to Halle to study law, and there not only
made the acquaintance of Friedemann Bach, but, in return for attending
to the correspondence of that gifted musician, he received from him
instruction in composition, organ and clavier playing. Afterwards, at
Potsdam, he continued his clavier studies under Emanuel Bach. Surely a
finer training never fell to the lot of any pupil. Schumann recommends
young musicians to make Bach their daily bread; and of that, Rust must
have had full weight. But the list of his teachers is not yet
exhausted; he went to Italy in 1765, and studied the violin under
Tartini. Rust composed operas, cantatas, concertos, and sonatas for
violin,[90] and for pianoforte; the last-named, of which he wrote
eight, now concern us.

The earliest, entitled "Sonata Erotica," was composed in 1775; this
work, however, was not published until the year 1888 (edited by his
grandson, Dr. Wilhelm Rust,[91] late cantor of St. Thomas'). It is the
first of a series of works extraordinary in many ways--in form,
subject-matter, developments, and technique. With regard to the
last-named, there is something to say, and it had better be said at
once. Dr. E. Prieger, in his interesting pamphlet, _F.W. Rust: Ein
Vorgaenger Beethovens_, remarks as follows:--"While the grandson, full
of enthusiasm, threw his whole soul into the creations of his
ancestor, he gave a reflection, in his edition, of the pictures which
had been vividly formed in his mind." To accomplish this he has
strengthened the writing, and, in some cases, _modernised_ it. Dr.
Prieger, who has seen some, if not all of the autographs, has assured
us that "these additions only concern the exterior, and do not affect
the fundamental, character of the work." This statement is,