to the recapitulation by clear, and often prolonged, dominant
harmony; sometimes, however, the return of the principal theme comes
as a surprise. The recapitulation always remained more or less
faithful to the exposition. It is interesting to note how little the
character and contents of the recapitulation section have been
affected in modern times by the growth of the development section. In
the matter of balance the two sections of movements in binary form are
more satisfactory than the two sections (two, so far as outward
division is concerned) of modern sonatas. The grain of mustard-seed in
the parable grew into a tree, and so, likewise, have the few bars of
modulation of early days grown into an important section. However
difficult to determine the exact moment at which a movement in
sonata-form really ceased to be binary, there seems no doubt that that
moment has now passed. We have already noted when the change
commenced.

CHAPTER II

JOHANN KUHNAU

This remarkable musician was born, April 1660,[36] at Geysing, where
his grandfather, who, on account of his religious opinions, had been
forced to leave Bohemia, had settled. Already in his ninth year young
Kuhnau showed gifts for science and art. He had a pleasing voice, and
first studied under Salomon Kruegner, and afterwards under Christian
Kittel,[37] organist of the Elector at Dresden. His next teachers were
his brother Andreas Kuhnau, Alexander Hering,[38] and Vincenzo
Albrici. In 1680 the plague broke out at Dresden, and Kuhnau returned
to his parents. He then went to Zittau with a certain Erhard Titius,
who had been _Praefectus_ at the Kreuzschule, Dresden, and received
help from the court organist, Moritz Edelmann, also from the
"celebrated" Weise. A motet of Kuhnau's was given at Zittau under his
direction. After the death of Titius, Kuhnau resided for a time in the
house of J.J. von Hartig, judge at Zittau. In 1682 he went to Leipzig,
where D. Scherzer endeavoured to obtain for him the post of organist
at St. Thomas'; Kuehnel, however, was appointed. The latter died in
1684, and was succeeded by Kuhnau, who in 1700 also became cantor of
St. Thomas'. He devoted much of his time to jurisprudence. Among other
things, he wrote a curious satire, entitled _Der musikalische
Quacksalber_, published in 1700. There remain in manuscript,
_Tractatus de tetrachordo_ and _Introductio ad compositionem
musicalem_. Kuhnau had many pupils; we know of two who af