Pianoforte so universal in character can give, through it, a
general survey of the art of music--Bach illustrates an
epoch--A Bach fugue more elaborate than a music-drama or tone
poem--Bach more modern than Haydn or Mozart--His influence on
modern music--Wagner unites the harmony of Beethoven with the
polyphony of Bach--Melody, harmony and counterpoint defined and
differentiated--Illustrated from the "Moonlight Sonata"--What
a fugue is--The fugue and the virtuoso--Not "grateful" music
for public performance--Daniel Gregory Mason's tribute and
reservation--What counterpoint lacks--Fails to give the player
as much scope as modern music--Barrier to individuality of
expression--The virtuoso's mission--Creative as well as
interpretive--Mr. Hanchett's dictum--Music both a science and
an art--Science versus feeling--Person may be very musical
without being musical at all--The great composer bends science
to art--That "ear for music"--Bach and the Weather
Bureau--The Bacon, not the Shakespeare, of music--What Wagner
learned from Bach--Illustration from "Die Walkuere"--W. J.
Henderson's anecdote--Wagner's counterpoint emotional--Bach's
the language of an epoch; Wagner's the language of liberated
music--Bach in the recital hall--Rubinstein and Bach's "Triple
Concerto"--"The Well-Tempered Clavichord"--Meaning of
"well-tempered"--A king's tribute to Bach--Two hundred and
forty-one years of Bachs 48