no other
composer has equaled. The oratorio, in particular, not only fulfilled
itself in Haendel, but we might almost say _completed_ itself there,
for very little of decided originality has been produced in this
department since. The Haendelian operas have been mostly forgotten for
many years, but they contain gems of melody in the solo and chorus
parts which have still a future. His first opera, "Almira," was
revived at Hamburg a few years ago with remarkable effect, and it is
not at all unlikely that extracts from many of the other works will
eventually find their way into the current repertory of the singer, as
many of the arias already have.

CHAPTER XXV.

EMANUEL BACH; HAYDN; THE SONATA.

I.

None of the sons of Bach inherited the commanding genius of their
father, although four of them showed talent above the average of
musicians of their day, and one of them distinguished himself and
exercised an important influence upon the subsequent course of
pianoforte music. The most gifted of Bach's sons was Wilhelm
Friedmann, the eldest (1710-1784), who was especially educated by his
father for a musician. He turned out badly, however, his enormous
talents not being able to save him from the natural consequences of a
dissolute life. He died in Berlin in the greatest degradation and
want. This Bach wrote comparatively few compositions, owing to his
invincible repugnance to the labor of putting them upon paper; he was
famous as an improviser, and certain pieces of his in the Berlin
library are considered to manifest musical gifts of a high order.
Johann Christian (1735-1782), the eleventh son, known as the Milanese
or London Bach, devoted himself to the lighter forms of music, and
after having served some years as organist of the cathedral at Milan,
and having distinguished himself by certain operas successfully
produced in Italy, he removed to London, where he led an easy and
enjoyable life. He was an elegant and fluent writer for the
pianoforte. The one son of Bach who is commonly regarded as having
left a mark upon the later course of music was Carl Philip Emanuel
(1714-1788), the third son, commonly known as the Berlin or Hamburg
Bach. His father intended him for a philosopher, and had him educated
accordingly in the Leipsic and Frankfort universities, but his love
for music and the thorough grounding in it he had at home eventually
determined him in this direction. While in the Frankfort University he
co