Variety and symmetry are always present, but
the variety is to be found in the modulatory treatment
and in the counterpoint--the various accessory ideas
which appear in the course of the work for better setting
off the leading idea forming the substance of the
composition. Hence we have in Bach, along with a
unity which pervaded every single idea and every
succession of ideas, a variety also going on at the same
time (as in the melody of the different voices, rhythm,
etc.); and symmetry, which also expresses itself as
between ideas heard simultaneously and between ideas and
paragraphs introduced successively. A Bach work,
therefore, is rather complicated almost always, and needs
to be studied a little, and the art of hearing it
appreciatively has to be acquired; but once we have mastered it,
there are no works in music which are more fresh or
permanently pleasing.

The Bach selections upon the present program include
three preludes and fugues, those of C-sharp major, C
minor, and G major, all from the first volume of the
"Clavier." There is no necessary connection between
the prelude and the fugue following, except that in
Bach's idea they somehow corresponded or contrasted
in such a manner that they could be heard agreeably in
connection.

The prelude in C-sharp, which opens the program,
consists of a long leading idea (eight measures) which
is repeated completely six times in the course of the
work. After it has been heard four times,--in the
keys of C-sharp, G-sharp, D-sharp minor, and A-sharp
minor,--it is relieved by a modulatory interlude,
constructed out of new material (measures 33 to 46). Then
the original theme is resumed in the subdominant of the
principal key (F-sharp major) and is given entire in the
original key of C-sharp, the repetition being exact. In
measure 63 the conclusion begins. It consists of a pedal
point upon G-sharp, treated very pleasantly, and relieved
and developed in measures 75 to 91 by interesting
matter of a more impassioned character. At measure 91
the pedal figure returns, and is abandoned only at
measure 101, after which the end speedily follows. (Before
playing the piece have the parts played and explained
separately, each division as here marked, and then the
whole prelude entire.) The work as a whole is singularly
light and pleasing.

The fugue is built upon the subject in the soprano at
the beginning, running two measures. This subject is
repeated entire t