ude in C-sharp is
one of the loveliest in the entire "Clavier." It is lyric in its
principal motive, and there is a very pretty interlude of alternating
work between the two hands upon the dominant, just before the return of
the principal theme, which is quite in modern style. The fugue also is
very melodious, yet at the same time rather difficult, and it will be a
good player who is able to produce this fugue successfully in anything
short of about a month's practice. With the last program we come upon
a very different grade of difficulty, especially in the matter of
interpretation, for in mere finger work the last Bach piece is not so
much more difficult than the fugue in C-sharp major.

The "Chromatic Fantasia and Fugue" is a very curious illustration of
Bach's genius. No one knows the circumstances under which it was
written nor the time. There is absolutely nothing else in his works
which is at all like it, taken as a whole, although each one of its
peculiarities may perhaps be found elsewhere in his works. It opens
with a bravura run in scale work,--the two hands co-operating
interchangeably,--which must have the character of a bold flourish,
such as a virtuoso might give upon taking his place and beginning his
piece. This is followed with a delicate harmonic passage in which a
melody is very distinctly suggested; a very delicate and musical
passage it is. Then the bravura run returns, and then the harmonic
arpeggio motive as before, but always carried out in different keys and
chords. Upon these two elements the first part of the fantasia is
constructed.

In the forty-ninth measure begins another chapter, in which we have a
series of recitative-like phrases, the most of which end upon
diminished chords and contain or suggest enharmonic modulations of
extreme modern type. The recitatives are very expressive, and their
proper delivery necessitates a high degree of musical sensitiveness and
experience in singing. After the recitatives, at measure 76, a coda
begins, which brings the fantasia to an end. The coda is perhaps the
most beautiful part of this great work. I have here also forgotten to
mention the series of arpeggios upon chromatic chords, beginning in
measure 27. These Bach wrote merely as chords to be played arpeggio,
and it was for a long time a question as to what manner of filling up
the time would be nearest his intention. Mendelssohn, in one of his
letters, says he wishes that he knew