his
chief glory. As a matter of fact, when his scientific speech
threatened to clash with the musical idea in his composition,
he never hesitated to sacrifice the former to the latter. Thus
Bach may be considered the greatest musical scientist of his
time as well as the greatest breaker of mere rules.

Of his sons, Carl Philipp Emanuel is the most celebrated,
and did much to prepare the way for Haydn in the development
of the sonata. J.S. Bach wrote many sonatas, but none for the
clavichord; his sonatas were for the violin and the 'cello
alone, a great innovation. The violin sonatas bring into
play all the resources of the instrument; indeed it is barely
possible to do them justice from the technical standpoint. His
"Wohltemperierte Clavier" naturally was a tremendous help to
clavichord technique, and even now the "Chromatic Fantaisie"
and other works require fine pianists to perform them properly.

In considering the development of music, it must always be
remembered that Haydn, Mozart, and their contemporaries knew
little or nothing of Bach's works, thus accounting for what
otherwise would seem a retrograde movement in art. C.P.E. Bach
(born 1714) was much better known than his father; even Mozart
said of him, "He is the father, and we are mere children." He
was renowned as a harpsichord player, and wrote many sonatas
which form the connecting link between the suite and the
sonata. He threw aside the polyphonic style of his father
and strove to give his music new colour and warmth by means
of harmony and modulation. He died in 1788 in Hamburg, where
he was conductor of the opera. It should be mentioned that he
wrote a method of clavichord playing on which, in later days,
Czerny said that Beethoven based his piano teaching.

Up to the period now under consideration, music for the
orchestra occupied a very small part in the composer's work. To
be sure, J.S. Bach wrote some suites, and separate movements
were written in the different dance forms for violins, with
sometimes the addition of a few reed instruments, and possibly
flutes and small horns or trumpets. It is in the works of
C.P.E. Bach, however, that we find the germ of symphonic
orchestral writing that was to be developed by Haydn, Mozart,
and Beethoven. The so-called "symphonies" by Emanuel Bach are
merely rudimentary sonatas written for strings, with flutes,
oboes, bassoons, trumpets, etc., and have practically no
artistic significance except as showin