he
composer); and then comes a sudden change in the character of the
music. No _tempo_ is marked, but, evidently, it must not be rapid. It
is a tone-picture of the deception practised by Laban upon Jacob when
he substituted Leah in place of Rachel. At first, it is a free
recitative. A quotation of a few bars will give a good idea of the
extraordinary harmonies and rhythmical figures:--

[Music illustration]

And again--

[Music illustration]

The Fugue, short and vigorous, has a characteristic theme:--

[Music illustration]

A new section expresses Jacob's happiness until he discovers the
deceit practised on him. The exact moment of displeasure is indicated
by a superscription; the latter, however, was scarcely necessary--the
notes speak for themselves. For there are reminiscences of the Laban
recitative, of the fugue theme, and also (in augmentation) of the
counter-subject. This is, indeed, an early instance of the employment
of representative themes. The composer then naively orders the section
descriptive of the wedding festivities to be repeated, to illustrate
the second marriage of Jacob with the beloved Rachel.

The 4th Sonata deals with Hezekiah's mortal sickness and recovery. It
is shorter than the preceding ones, and of simpler structure. It opens
with slow, sad music: the prophet of God has summoned the king to
prepare for death. His ardent prayer to heaven is naturally expressed
by a well-known Chorale, supported by most effective polyphonic
harmony. After a short thematic working of a figure from the Chorale,
the latter is submitted to fresh treatment: the movement (in six-four
time) somewhat resembles the old Corrente. The sonata concludes with a
lively movement in binary form. It is intended to depict the king's
joy at his recovery. There are a few bars _adagio_ in each section:
Hezekiah recalls the past. This is the only one of the sonatas which,
as abstract music, would be satisfactory without any programme.

No. 5 is entitled "Gideon, the Saviour of Israel." From a musical
point of view it is the least interesting of the set, yet it contains
some curious programme effects. It will be remembered that a sign
from heaven was given to Gideon: the fleece was to be covered with
dew, but the ground to remain dry; the next night, however, the order
of things was reversed. Kuhnau expresses the latter by giving a theme
in _contrary motion_. This may almost be described as punning in
music. The composer