ight be
mentioned in the larger works of Bach, are the legitimate pleasure of
advanced musicians or of those especially gifted; but there is a whole
world of Bach which lies nearer, within our reach, and it is this more
accessible part of the land of Beulah that the present program will
approach.

The importance of Bach in the world of art is further attested by the
inspiration which he has been to all great composers since his time.
In this respect he is the musician's musician _par excellence_. There
has never yet appeared a master so advanced as not to find delight in
the works of Bach, and in the opinion of many, all things considered,
he was the most richly endowed genius who has ever adorned the art of
music.

PROGRAM.

Invention in C major. From the Two-part Inventions. No. 1.
Invention in F major. From the Two-part Inventions. No. 8.
Saraband in D minor. Fifth English Suite.
Loure in G major. Heinze. Third 'Cello Suite.
Song, "My Heart Ever Faithful."
Preamble in E major. Sixth Violin Sonata. Heinze.
Saraband in E minor. Fifth English Suite.
Gavotte in E major. Tours. Sixth Violin Sonata.
Cradle song, from the Christmas Oratorio.
Prelude and Fugue in C minor. Clavier. Book I, No. 2.
"Hope in the Lord." Arranged by William Mason from the celebrated
Largo. Haendel.
Menuet in D major. First 'Cello Suite. Heinze.
Gavotte in B minor. Saint-Saens.

(All the instrumental pieces of this program except the two inventions
and the Tours arrangement of the Gavotte in E are in the "Bach Album,"
Peters edition, No. 1820, fifty cents. The inventions are in the
Peters edition, fifty cents. The prelude and fugue in C minor may be
had separately, as also the two songs.)

The conditions of being pleased with this program are that it be played
in a melodious and expressive manner upon a good-toned piano, and that
the songs are reasonably well done.

The selections from Bach in this program are intended to illustrate the
lighter and, so to say, more superficial characteristics of Bach's
music. Accordingly, the inventions are taken to show his manner of
developing a piece from a single motive, which by many repetitions
remains as a text all through the movement. The same principle carried
much farther will be found later in Schumann.

The sarabands illustrate Bach's method in slow movements. These being
written for the clavier, which in Bach's time had little