, however, meant it seriously; from the tone of his
preface, and the narration, with comments, which he has prefixed to
each sonata, in addition to the explanatory words over the music
itself, it is clear that his aim was to elucidate and intensify the
Bible stories by means of his art. He was a man, apparently, of deep
religious belief.

The battle-picture is a curiosity, but, as music, of little value. The
flight of the Midianites is depicted in the following primitive
manner:--

[Music illustration]

The 6th (and last) Sonata bears the title, "The Tomb of Jacob." We
have, at first, mournful music: the sons of the Patriarch are standing
round the deathbed. At length Jacob dies, and they "ponder over the
consequences of the sad event." A quiet, expressive theme

[Music illustration]

is then treated fugally, and with marked effect. Then comes the
journey from Egypt to the land of Canaan. The bass, progressing in
quavers, expresses motion. From time to time a curious syncopated
semiquaver figure is heard in the upper part: it may be intended to
represent sobbing. The following quotation, including one of these
"sobbing" passages, will give a good idea of the character of this
section--

[Music illustration]

A short, solemn phrase is headed, "The Burial of Israel." Then a
finely worked-out fugal section depicts the great grief of the
bystanders. It is in four parts, but in one place the addition of a
fifth part and stretto treatment render the feeling of grief more
intense. A peaceful closing section in the major key and in triple
time expresses the consoled minds of the survivors.

From this _resume_ of these "Bible" Sonatas, it will be seen that they
have nothing in common with the ordinary sonata of the time in which
they were written. They were bold attempts at programme-music; and,
as we have already said, the form is entirely determined by the
subject-matter.

In the old edition of these "Bible" Sonatas, in addition to the
preface of which we have made mention, Kuhnau has related the Bible
stories in his own characteristic language. We give a translation of
the first two, as specimens.

I. _The Combat between David and Goliath_

The portrait given in Scripture of great Goliath is something quite
uncommon: a monster of nature appears, a giant, tall as a tree. Six
ells will not suffice to measure his length; the high helmet of brass
which he wears on his head makes him appear still taller; and the