s with a slow introduction, lasting ten
measures of very slow time. Then enters the headlong allegro, of which
the Principal, with its retinue of modulating sequences, lasts forty
measures. The Second enters in measure forty-one, and the Conclusion
in measure seventy-nine. The Elaboration lasts sixty-two measures,
beginning with a few measures of the introduction.

Time will not be wasted if before playing each of these movements the
subjects themselves be played through separately.

CHAPTER V.

BACH, MOZART, AND BEETHOVEN COMPARED.

The present program brings together a few representative
selections from the two greatest masters already
noticed, for the purpose of bringing out more clearly
the individualities of their style and the predominant
flavor of their work. In this comparison we are not as
yet undertaking to represent either Bach or Beethoven
in their moments of greatest and most impassioned
abandon. The so-called "Moonlight Sonata"
approaches this point in the case of Beethoven, but if it
had been desired to perform the same service for Bach
larger works would have been taken, such as the
"Chromatic Fantasia and Fugue," the "Fantasia and Fugue in
G minor" for organ (arranged for piano by Liszt), and
the like. And for Beethoven the sonatas in F minor,
opus 57, "Appassionata," the opus 106 in B-flat, and
opus 111 in C minor. All these go much farther in the
untrammeled expression of deep feeling than any of the
works brought together upon the present program, even
the "Moonlight Sonata," although the finale of this is
distinctly representative of Beethoven in the impassioned
and strong. As for Mozart, this headlong passion was
not at all in his line. But for the sake of showing the
peculiar sweetness of his imagination in contrast with
the more concentrated expression customary with Bach
and Beethoven, his Fantasia in C minor is here included.

Before entering upon the actual acquaintance with the
works in the program, it is advisable for the hearer to
be disabused at the outset of certain prepossessions
likely to be harmful. The most important of these is
that which regards Bach as having had a higher idea of
his art than later composers had, and of having intended
to illustrate in his works a very high degree of skill,
contrapuntal cleverness, and the like. This prepossession
is included in the phrase which describes all serious music
as "classical," as contradistinguished from tha