anoforte that he was even led to
overestimate his own powers, and one day remarked somewhat boastingly
to a friend that he could play any piece, however difficult, at sight
without a mistake. The friend, disbelieving his statement, invited him
to breakfast shortly afterwards, and placed several pieces on the
pianoforte, amongst them being one which, though apparently simple,
was in reality extremely difficult. He then left the room to prepare
breakfast, and Bach, seating himself at the instrument, began to play
over the pieces. Coming to the difficult work, he struck into it very
boldly, but after proceeding a little way he came to a stop, then
tried it again from the beginning, and once more halted at the same
place. His host then appeared bringing in the breakfast, and Bach,
turning to him, exclaimed, 'You are right. One cannot play everything
at sight--it is impossible!'

In August, 1712, Zachau, the organist of the Liebfrauen-Kirche at
Halle, and Handel's old master, died, and Bach, whose knowledge and
practical skill in the matter of organ construction had now become
widely known, was asked to plan a new instrument for the church. He
accordingly made his plans, and then, induced by the thought of having
a fine organ under his control, he applied for the vacant post. The
elders of the church, having heard a sacred cantata which he composed
for the occasion performed under his direction in the following year,
were most willing to accede to his application, but Bach, fearing that
his independence would be threatened by the conditions attached to the
position, withdrew at the last moment. Nevertheless, so great was the
appreciation in which his abilities were held that when the new organ
was completed he was invited to Halle for the purpose of inspecting it
and testing its capabilities.

In 1714 Duke Wilhelm Ernst raised him to the position of
Hof-Concertmeister--a step which afforded increased scope for the
exercise of his powers. Every autumn for several years he utilised his
leave of absence by journeying to the principal towns in order to give
performances on the organ and clavier, by means of which his
reputation was greatly enhanced. It was on one of these tours that he
found himself in Dresden at a time when expectation was rife
concerning the powers of a remarkable French player who had just
arrived in the town. Jean Marchand, as the Frenchman was named, had
achieved a great reputation in his own country, whe