sic--complexity of developments
now taking place--principal actors--two main channels of improvement;
fugue--sonata--Bach and Haendel as writers of fugue--people's
song makes its way into cultivated instrumental music--reference to
Mozart's sonatas--thematic and lyric as elements of contrast.

CHAPTER XXIII--JOHN SEBASTIAN BACH 265-272

Bach as a composer--sketch--his clavier--attainments as virtuoso
upon the clavier and the organ--choral works--Passion oratorios--his
pre-eminence as writer of fugues--general sketch of the
form of a fugue--prelude--mutually complementary--Bach's concertos--his
rhythm.

CHAPTER XXIV--GEO. FRIEDRICH HAeNDEL 273-281

The companion figure of Bach--early life--violinist at Hamburg--conductor;
composer--first opera--Italy--successes there--England--Italian
operas--oratorio "Messiah"--other oratorios--list of his works--Bach
and Haendel compared--Haendel's place in art--personalities.

CHAPTER XXV--EMANUEL BACH, HAYDN--THE SONATA 282-291

The sons of Bach--Emanuel Bach as composer--difficulty of founding
a new form--Haydn--early years--conductor for Prince Esterhazy,
compositions--the visit to London--the money he made--"The Creation";
second visit to London--Haydn and the sonata form--"The Last Seven
Words"--his rank as tone-poet.

CHAPTER XXVI--MOZART AND HIS GENIUS 292-304

Charming personality--childhood--early talent--concerts--Mozart
at Bologna and the test of his powers--Haydn's opinion--early
operas--"Marriage of Figaro"--success--accompaniments added
to Haendel's "Messiah" and other works--call to Berlin--mysterious
order for the "Requiem"--death--general quality of Mozart's
music.

CHAPTER XXVII--BEETHOVEN AND HIS WORKS 305-315

A worthy successor to Haydn and Mozart--early years--orchestral
leader--piano playing--his friends--Count Waldstein--his first
visit to Vienna--settled in Vienna--compositions--life--appearance--place
in art.

CHAPTER XXVIII--HAYDN, MOZART AND BEETHOVEN COMPARED 316-326

Their relation to symphony--refinement of Mozart--early age of
Mozart--Beethoven's independence--relation to sonata--Beethoven
more free--climax of classical art--Beethoven adagios--summing
up--tendency of progress.

CHAPTER XXIX--OPERA IN THE EIGHTEENTH CENTURY 327-351

Three great names--Graun--Gluck--his reforms--his ideal--