nd the
fourth measure once, to define the second leading idea.
Everything else is developed out of these ideas. In
measure 11 some new material is introduced and treated
with excellent effect.

The fugue is rather an elaborate one. After the
subject has been carried through the first time, the subject
is introduced in a new form, in inversion (measure 43,
alto), all ascending passages in the original being now
imitated in downward directions and by the same
interval. This taken as a new subject affords ground for
much additional development, and later on the fugue
becomes very complicated and interesting. When well
played, however, the complication is only an incident of
a very playful and varied composition. In the entire
work there is no lyrical idea; everything comes thematically.

In the Beethoven sonata which I have chosen for
contrast, D minor, opus 31, No. 2, the thematic mode of
construction is also marked, but the contrast of subjects
is very much greater than in the Bach work, and the
effect of the whole impassioned to a high degree.
Beginning with a slow arpeggio chord (two measures) the
first theme follows only to be interrupted in the sixth
measure. In the seventh the Principal subject is resumed,
and in measure 10 a new motive appears in the
vigorously ascending bass theme, which is immediately
answered by a soprano counter theme, measures 11, 12,
14. This carries us forward to measure 30, where an
episode comes in not unrelated to the first theme, and
again in measure 44 a passage of chords practically
forming a pedal point, and the conclusion proper in
measure 55. In the elaboration these themes are delightfully
treated, and the entire movement has much the character
of an improvisation. The slow movement continues the
rhapsodical spirit of the first movement. The finale is
one of the most delightful examples of charming effect
reached by means of composition essentially thematic.

The Sonata, opus 90, in E, is one of the most pleasing
of Beethoven, and, aside from a certain figure in tenths
for the bass (measures 55 to 58, and again later on), it
presents no serious difficulties for the player. The
second movement is a delightful song, which is carried out
at great length.

The first movement of Bach's Italian concerto is much
more modern in style than the other pieces of Bach in
this program. Without ever quite reaching the
modern conception of the lyric, it at least approaches