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Updated: June 26, 2025
She could hear Bach's interminable twiddles, and this exasperated her nerves and she wept through many preludes and fugues. Later on she must have heard the fugues in a dream, for the door opened; it passed over the carpet softly; and she heard Ned saying that he hoped the piano had not kept her awake.
He felt himself called upon to continue the work of the three great "B's," and yet never understood the grand spirit that animated their art. Strauss, with his fine conduct of instruments through the score of "Salome," is nearer the spirit of Bach than Reger with all his fugues and double fugues ever got.
Then came chromatic scales of colour; combinations meant to vulgarise the rainbow; sinfonies and fugues; the twittering of birds and the great peace of dewy nature; maidenhood in her awakening innocence; "The Dawn in June." The Master rested content. A week later came an order from Sybil, including "an entirely original ball-dress, unlike any other sent to America." Mr.
And among the compositions that have been played for the first time it is enough to mention the following: César Franck: Nearly the whole of his works, including his Sonata, Trio, Quartette, Quintette, Symphonic Variations, Preludes and Fugues, Mass, Rédemption, Psyche, and a part of Les Béatitudes.
"But it isn't anyone else," persisted Iola, "and my doctor says yes. I'll only hum, Jack." "Well, one only. And mind, no fugues, arpeggios, double-stoppings, and such frills." She took her guitar. "I'll sing this for Barney's dear mother," she said.
Epitaphs always fascinated him, and formerly he used to say he should like to be buried at Langar and to have on his tombstone the subject of the last of Handel's Six Great Fugues.
It may be remarked in passing that Spohr, in his naïve way a good enough fugue-writer, never received any instruction at all: in point of effectiveness his fugues beat anything coming from the Jadassohn and Hauptmann pupils.
The music played by these men, those "morceaux fugues," once the pride and pleasure of the Netherlands, is now the wonder and despair of the modern bell ringer, however skillful he may be.
We know that what we call the whiteness and coldness of snow or the hardness and weight of marble, can no more resemble the feelings we receive from looking at or handling snow or marble than the mental exaltation produced within us on hearing one of Bach's fugues is like the organ on which, or the organist by whom, it is played.
For instance, I have long felt that the mental technic that the study of Bach's inventions and fugues afford could not be supplied by any other means. The peculiar polyphonic character of these works trains the mind to recognize the separate themes so ingeniously and beautifully interwoven and at the same time the fingers receive a kind of discipline which hardly any other study can secure.
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