cians."
Kuhnau, under this plural mask, was, as we have mentioned, certainly
referring to himself, for in another part of the preface he specially
calls attention to the consecutive fifths by which he depicts the
disordered mind of King Saul. This first movement, opening in G minor,
ends on the chord of G major. We now come to a movement (B flat)
entitled "The Refreshing Melody from David's Harp." The following is
part of David's soothing theme:--

[Music illustration]

At first it is not heard in its entirety. The sweet singer of Israel
plays it, or sometimes only the first two bars, in various keys, and
with varied harmonisation, as if watching the king and trying the
effect on him of different modulations. Besides in the principal key,
it appears several times, and in succession, in the relative minor,
then in the minor key of the supertonic. The key of the subdominant
enters with refreshing effect; after that, a return is made to the
principal key, which continues until the close of the movement.
Between each delivery of the theme, occur passages similar to the
following:--

[Music illustration]

as if to denote the restlessness of the king. And as the character of
the music, especially towards the close, suggests _piano_ and
_pianissimo_, it would seem as though intended to express the gradual
healing power of the music. As a piece of abstract music, the movement
appears long, but not if the dramatic situation be kept well in mind.
At length the sounds of the harp cease, and a closing, peaceful, and
dignified movement in G minor tells of Saul's now tranquil state of
mind.

The 3rd Sonata, entitled "The Marriage of Jacob," opens with a
delightful Gigue; over it stands the superscription, "The joy of the
family of Laban at the arrival of their relation Jacob." The beginning
of the second section has, as usual, the subject inverted. The music
is gay and sparkling. Then comes a section illustrative of Jacob's
seven years' service for a wife. The music expresses effort and
fatigue, but by way of musical contrast sprightly bars intervene from
time to time, to represent happy moments when the lovers meet. Further
on we have the bridal-song of the companions of Rachel: a short,
quaint, and delicate movement in minor and in triple time. It
commences thus:--

[Music illustration]

A short section follows, full of rapid semiquaver passages and points
of imitation (such a mode of procedure is frequently adopted by t